From a Musician: On Bars & Music

This is a commentary from Neville Harson in response to some feedback I was requesting for a subject in my book: Neville is a wonderful musician living in Boulder. Here's his input:


"I had a strong (positive!) reaction to one of the questions you sent. Here are my thoughts:

Your question was: "Do you feel there is a need for alternatives to bars/nightclubs for community music participation? Why specifically? For example: what don’t you like about bars, what doesn’t it provide, etc…"

You even said it last night: it's an honor for musicians to play to an audience who actually listens!

Rhetorical question: How did we as a society get to the place where that is the exception rather than the rule?

It is indicative of the general lack of listening skills in our culture, not only with the arts, but with conversation etc. It's rare for many people to find a friend who really listens.

Bars are not for listening. You don't go to a bar to hear a band. You go to see friends, consume intoxicants, and SEE a band. Not that there's anything inherently wrong with that. But most musicians don't want to be seen. They want to be
heard. And it's hard to compete with conversational noise in a bar (not to mention all the other noises).

Another factor: alcohol is the wrong drug for listening. Alcohol and cocaine are "talking drugs."

But why do we need the drugs anyway?

My ideal place to play: a Listening Room, which would be billed as such. No alcohol served. Maybe tea, but out in the lobby. I like the idea of beanbag chairs,or pillows and mattresses, to encourage inactivity on the part of the audience (unless it's music for dancing). Everyone's on this journey together. No one admitted after the performance has started (though maybe between songs would be okay, like at the
symphony). Two 30-45 minute sets with a break in the middle for socializing, etc. (Like Gypsy Nation, socializing should be discouraged during the music).

Let the audience know how long you'll be playing for when they come in, so they can plan accordingly.

In order for live music to evolve, the audience has to change. And in order for the audience to change, the context and rules (written and unwritten) of the
space has to change..