• I can get up at a wedding and play a song I've written as a gift to the couple.
• I can't do three-nights-out in-a-row. Oh man I can't.
• There are not enough hours int eh day or days in the week. These days I'm squeezing the toothpaste every which way.
• Using a rehearsal room when preparing a gig with electronics is a must
• Edit! Less is more.
• If the vibe fits wear it

I used a rehearsal room/studio for the first time in maybe 20 years this evening.

Last time I used one I was a keyboard player at the back of a rock/blues combo trying to find gigs and playing some classic rock & blues tracks.

It seems like an eternity ago.

Tonight I wanted to see how my songs would sound through a PA system. I already know how my acoustic + vocal songs sound and I'm pretty comfortable with them.
However my more ambitious songs using the laptop are a different matter entirely.
The first problem I encountered was that the PA system didn't appear to be stereo.
Now normally for bands this would not be a problem but for me it was a huge problem.
My tracks sounded awful: phase problems and with no depth of field.
A quick trip home (the rehearsal facility is a convenient 10 minute drive away) to get some different cables didn't fix the problem.

That was frustrating because I really wanted to use the session to rebalance the mixes to ensure nothing horrible was happening.
The balance between my vocal, the guitar and the laptop was not nice, not one little bit.

The session was not a complete waste.
I figured out that my arrangement of 'Dive' worked but there is one chorus too many, the folktronica version of 'Be Alright' was just too heavy.
I muted one of the tracks and voila it was fixed. Much much better.
'Interference' was going to use my electric guitar. In my home studio I struggled a little and in rehearsal it didn't improve.
Running out of time I decided to give my acoustic a try and it was much better. Luckily the other song (a cover version) that will use the electric will work just fine on acoustic.
So that's one less case to carry into the gig.

Me 1 - Circumstance 0.

My Taylor acoustic refused to give a signal to the PA or the tuner.
Hopefully it's just the battery. Hopefully. I really don't fancy dismantling the pickup circuitry or replacing the socket.

Next week I've got 2 sessions booked. I'll bring along my own PA amp (definitely stereo) and will leave 1 guitar at home.

What's good enough ? Four songs 'what I wrote'. Four recordings of me and my guitar. Four things I want to say.

Is it good enough ?
What's 'good' anyway ?

I'm sitting here waiting for files to copy on the computer I'm convincing myself that a 4-song CD is a dumb idea. Who wants to listen to this anyway ?

The grand plan. Release another EP in the summer and then in the autumn a third EP. Getting slightly more adventurous along the way adding more sounds and instruments. Culminating in a gig where I play more than guitar.

Right now all I can think about is the vocal pop on one song, the fact that I'm not really an audio engineer and am struggling with this mix. To help figure out if the master is anywhere near professional I'm A-B'ing it with Roddy Frame's album 'Surf'.

So at what point will I give in and start duplicating it ? How many second opinions does one person need ? Reminds me of the old joke:

"How many record producers does it take to change a lightbulb?"

"I dunno... what do you think?"

You had to be there.

I had a couple of emails recently where I was asked to recommend some open mic sessions in Dublin. Since mid-2007 I’ve been playing around Dublin and have picked up a few pointers along the way. I’d like to share them here. 

If you’re not familiar with the open mic concept in a nutshell it is this:

• you turn up with your instrument(s) , stick your name on the list for the night and wait your turn.
• depending on the policy of that open mic you might be able to perform as a group but generally these open mics are geared toward solo or duo acoustic performances
• some open mics are booked days or weeks in advance so it’s best to drop in and check things out with the person running the gig. You might have to wait a couple of weeks to get a slot.

Some etiquette and basic manners that should be observed:

• nobody owes you a gig so be respectful of the person running the open mic, they’re not getting paid for this and deserve a thank you before the end of the night
• bring some friends, even 1 or 2 extra people will make all the difference. Nobody owes you an audience.
• be respectful of the other performers and remind your friends of this, don’t talk all the way through everyone’s set. If your friends aren’t able to chill out and not talk for a few minutes then perhaps you’re better off not bringing them.
• turn off the mobiles. Unless you’re a doctor on standby or a superhero do you really need to share that ringtone and conversation with everyone ?
• be respectful of the audience, with the exception of your friends these people haven’t come to see you. keep the songs to a reasonable length. Avant garde is all well and good but ask yourself whether the audience really want to hear a screamfest.
• these gigs happen in bars & pubs, try not to get drunk before you play. Nerves are a good thing to a certain extent because they’ll keep you on your toes but if you’re plastered and can’t play properly you will get a reputation around town pretty quickly.
• try to stick around for the night and listen to the other performers, encourage your friends to do the same.
• introduce yourself to the other performers. Say hello, compliment them on their set (don’t exaggerate though… nobody likes a bullshitter).
• if you’ve got a CD and want to sell it after your set then check with the person running the gig, it can be a bit disruptive. Apart from which you should offer them a copy first (promo free copy of course).
• don’t be a tightwad skinflint: if another musician expresses an interest in your CD then try not to charge them for it. If you’re in short supply then run off a few CD-Rs without the expensive printing and keep them for freebies.
• turn up. That’s right: turn up. If you’ve booked in advance then have some consideration for the person running the gig and the other musicians who wanted to play but couldn’t because you had been given a slot.

A few tips:

• decide in advance what songs you are going to play. Don’t wait for divine intervention when you get on stage. If you don’t know how many songs you will get to play then think in advance of a 2, 3, 4, 5 song set list.
  
• if you’re not 100% confident of your own songs then think about doing a cover version. Don’t pick an obvious cover version, try to find something a little different and do your own version of it. Experiment at home and see what you can come up with.
  
• don’t apologise if you fluff a chord or lyric. Most people at these gigs cant’ play music, let’s face it they don’t know the chords or lyrics to your songs. Nobody will really notice.
  
• if you’re lucky enough to get a 5 or 6 song set then really think about breaking it up with a cover version. The audience will have to listen carefully to your original material so it’ll be appreciated when they hear something a bit different.
  
• drunk and/or loud audience members are tough to deal with. Try not to be distracted and don’t take it too seriously. I’ve never seen anyone heckled so don't worry about that happening. It’s just a gig and eventually it will happen that some idiot will shout something in the middle of a song. Usually it’s a drunk trying to be funny and making an arse of themselves. You will have audience sympathy when that happens. Best thing to do is not engage with them because they’re looking for attention so don’t provide oxygen to their flame.
  
• guitar players: learn how to tune your guitar. Seriously people, it’s painful listening to an obviously out of tune instrument. Tune it when you arrive at the venue and then check it again before you go onstage. If you don’t know how to tune the guitar then ask one of the musicians at the gig to show you. It’s a good ice breaker and what the ‘community’ is about.
  
• try to communicate a little with the audience. But don’t over do it (I’m guilty of this… I need to reign in some of my song introductions).
  
• don’t worry about playing the same 3-4 songs at open mics. Remember that your friends will not have heard the songs that often (if at all) and the people at the gig won’t have ever heard them before. Even if you play the same venue 2-3 weeks in a row you will probably only play to a few people more than once, if at all.
  
• if you have a MySpace site then mention it during the set
  here is mine http://myspace.com/iMADEtheBBC
  
• don’t forget to thank people for listening and most of all don’t forget to thank the person running the gig.
  
• enjoy yourself. Definitely enjoy yourself.

You’d think all of the above was obvious wouldn’t you ?

Here is some information I’ve pieced together on active open mic nights in Dublin as of April 2009. I’m sure there are others out there (I know of at least one other that I haven’t yet checked out).

Monday Night, The International Bar on Wicklow Street
http://www.myspace.com/jacquelinetuck
The session in the International Bar on Monday nights is unamplified & intimate. The typical performers have a broad range of abilities and experience. I've seen people get up here and play when they had only barely started to learn guitar and knew 2 cover versions. They were encouraged and welcomed. A good way to start. Go down some night and ask Jacqueline for a slot in the next couple of weeks, often though she can squeeze you into the line up for that night because she gets cancellations. Bring a couple of friends.  Usually you get to play 3 songs but if there’s a lot of performers that week you might only get 2.

On Monday night there is a nice open mic in Peadar Kearney’s on Dame Street. http://www.myspace.com/musicmediumlive This is about 5-6 doors down from the Olympia Theatre. It’s got a PA and isn’t too big. As you progress they have other gigs in the same venue later in the week where you can do a full set of your own.

Tuesday Night: The Bankers Inn , just around the corner from Dame Street/Andrews Lane. http://www.myspace.com/davemurphyandfriends
The sessions run by Dave Murphy in the Bankers on a Tuesday are very small. I reckon that room can barely hold a dozen people!
No PA and very intimate. Dave is very welcoming and the regular crew aren't a clique - they will encourage and talk to you. It’s quite popular and if it’s your first time there you might only get 2 songs.

Wednesday Night: Bruxelles, on Harry Street just off Grafton Street.  http://www.myspace.com/thezodiacsessions
I haven’t played the Zodiac Sessions yet. I visited the gig a couple of times in 2007 and noticed that there are a couple of performers that play every week so it might take a while to get a slot.

Sunday nights in The Bleeding Horse on Camden Street http://www.myspace.com/thebleedinghorsesessions
This is a recently added open mic. The two lads who run it are Fiach and Ro. They are really sound and encouraging. I've seen some really experienced people there and I've seen people doing their first gigs there. Everyone gets a fair crack of the whip. It's a great way to get used to singing through a PA system. You can just turn up and put your name down. Bring a couple of friends to help fill the room a bit.

A good weekend. On Sunday I played a short set at the Apollo Sessions (aka The Bleeding Horse Sessions). With Tuesday being a holiday in Ireland (St.Patrick's Day) I took Monday off and decided to leave the car at home and enjoy the gig.

I think Fiach and John have found a great venue (The Bleeding Horse pub on Dublin’s Camden Street).

As far as I can tell the pub was an old house and has a myriad of staircases and balconies. In the backroom they setup a small PA and light which was just perfect for the room. In between pre-booked acts (of which I was one) it is an open-mic setup so anyone can wander in and play a couple of songs.

With it being that weekend it was no surprise to find plenty of tourists. Transient is how I would describe the audience. The same folk at the start of the night were not there when I did my set. I performed 4 songs ('Holding On', 'What Do I Know?', 'Be Alright' and 'Devil & The Deep Blue Sea').   I guess they went down well - are people just being polite when they applaud? Singer-songwriter insecurities like this do my head in ! I need to name and shame those SSIs whenever they appear. I think that’ll be the trick.

To me, these songs are old. Some are almost 2 years old. I have to remind myself that to the audience they are brand new. Not that I am in the same league as Ron Sexsmith but I'm sure he thinks 'Secret Heart' is old as the trees and feels like a cover version when he's performing it.  I'd feel short changed if I went to see Ron live and he didn't play songs like 'Secret Heart' and 'Lebanon Tennessee'.

Fiach said something very complimentary after my set (along the lines of not being able to get one of my songs out of his head - see I told you it was a compliment !). John asked if I'd be back next week. I'd love to. Of course I would. But will I be overstaying my welcome ? There I go again with the SSI . . .

Inspired by the gig on Sunday I took some time on Monday to write a new song. ‘Bed For Sale’ was inspired by something Chris Difford said in the Songbook show. He met his song writing partner Glenn Tilbrook having read a note posted in a shop window “among the beds for sale”. That got me thinking about the story behind a bed for sale. What happened that the bed was for sale – and so on. I’m always looking for a story to build a song on.

Tuesday was a national holiday so of course I spent it in my studio…

I’ve decided to pause working on my album for a couple of weeks. I’m going to get 4 acoustic songs onto an EP so that I can have something out there. Since I have the facility to duplicate & print CD-Rs and the cost of printing a simple envelope is not much it leaves me with no excuse ! 

Today my fingers are sore. No blisters (yet) but damn they’re sore. It’s been a while since I played guitar for so long. At the end of the day two things bugged me: my voice was warmed up but I could barely play guitar (usually it’s the other way around) and secondly I was disappointed at the quality of my performance. I know I can do better. I was trying to do it ‘live’ in the style of a radio session. It sounds like a demo. That’s not what I want. I’m going to have to do it like a recording: get the guitar down and then overdub the vocal.

Guess what I’ll be doing for the next couple of evenings ?

Our son Ben is 10 years old today.  He’s a sweet, polite & good natured kid and we’re very proud of him.

When Ben was born he was a very sick baby. He spent the first week of his life in an intensive care unit, the first couple of days on a ventilator. Nothing has come easy to him. Ben had to work hard to achieve everything. In the past year we finally got to the bottom of a learning difficulty that has made school more difficult than it should have been. Ben’s non-verbal learning difficulty is being managed really well and we’re seeing him coming on in leaps and bounds. I received some texts for Ben today and he was able to read them aloud himself. That was a big step up for a little man.

Parent worry. It’s what we do best. Beats doing anything useful. Something has happened though. 10 years is a lifetime for Ben. It’s been a blink of the eye for us.

I remember as a kid being sick on my birthday. It sucks.  Ben was running a 40 degree temperature yesterday at 6:00am and I had to bring him to the doctor to get some help with the bug he’s fighting. One of his classmates has ended up in hospital because he started having breathing difficulties. Our crosses are all relative.

Despite being wiped out and not feeling 100% he got stuck into the bowling & Qazar games before we headed to TGIF for a birthday meal with his friends. Personally I cannot stand the place but the kids like it.

I’m in an email discussion with another Irish singer-songwriter.

It seems that many of us hold ourselves back creatively and we were sharing our frustration and experience.

Demons & fears are the single thing that holds back so many songwriters and I include myself in that. Some days I'm confident and others I just wonder who I'm trying to kid. I'm even going through it now with my album recording. On MySpace there is a simple guitar+vocal+cello demo of a song called "Holding On". I started recording a master of it last week and have almost completed it. The problem is that I've recorded it with a full band arrangement. Although I like it I'm not sure if I should stick to the original simple arrangement. I'm trying not to sound like a whiny acoustic folksy singer-songwriter stereotype (I'm looking at you Damien Rice!). I've done this with my song 'Be Alright' which on MySpace is a simple acoustic demo but the ‘album’ version has more in the arrangement.

I've decided to just get on with it. If I make the wrong decisions on the arrangements and style then so be it. Nobody dies because of it.

Fortunately I have my own studio which means I can spend entire evenings working on this stuff. Until last year I hardly used the studio for myself and seemed to be always doing stuff for other people and trying to hire it out.

Many of my friends are musicians (regularly mentioned in this blog) and I have to stop comparing myself to them. Sometimes it feels like I'm only 'pretending' to be a songwriter. They're doing it full time so I'm really only pretending to be an artist. That's a hard one to get over - that feeling that they'll come to the gig, hear the CD but will know that it's not the real deal.

I think a songwriter needs to set goals and deadlines. I've set myself a goal of having a launch gig in the small room in Whelan's for a CD. Ideally in the autumn. Given that I will be away for 3 weeks this summer and have a demanding day job it's quite a stretch. There's also the small matter of paying for the duplication and hiring the venue. With the goal in mind it's focusing my mind on getting this album done.

The person I’m corresponding with has set themselves a goal : write a good song this year. But I think they’re not giving themselves a fair chance. My message: If I may be so bold as to make a suggestion: set yourself a target to write as many songs as possible this year. If they're all shite then so be it. But I'll bet you a bottle of your favourite drink that there will be more than one gem in there.
Back in November I tried the NaSoAlMo project. I blogged about this back in November 2008.

Now, my point here is that I'm looking back on the songs I wrote and recorded for that project and have decided to keep two of them live on MySpace. I created an 'experimental-me' MySpace at http://myspace.com/iLIVEinAsuitcase . I think I will do something with those 2 songs. Each of them took less than 2 hours from opening a blank page in my notebook to finishing the demo.
So making yourself just keep outputting songs does yield results.

I found the open mic scene in Dublin to be very supportive (with only 1 exception really). Just getting out and playing your songs is a great learning process. You find out which material works and you also develop confidence. Most people look in awe at anyone who can play music in front of an audience. Even more people admire anyone who writes and performs their own material. 

My song writing friend mentioned the inner critic: "As songwriters I know a lot of us wrestle with the 'who wants to listen to me & my ****' mentality.
Every time I sit at my piano or take up my guitar I think 'oh, what's the point?' “
”why oh why do I limit myself by jumping the gun from idea to fear of doing anything with result of said idea. The result too often is No Result, because I limit & criticise myself from the moment of conception. "

Very valid points. They’re not alone in this. All I can say is this: the point is that you can do this and others can't. Nobody can write a ‘Peter Fitzpatrick’ song (not even Ron Sexsmith - he can only write Ron songs).
That moment of conception is where your best ideas are. They don't need to be complex ideas. For all it's complexity Jazz is still just 12 semi-tones. 

Here endeth the lecture.