So true. I've always played in cover bands, and exactly ONE band fit the top 40/dance/corporate bill. Ironically it was the least successful of the lot. Playing covers does not necessarily equate playing dance or even "popular" tunes.
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Set list blows
- Thread starter Xemoran
- Start date
So true. I've always played in cover bands, and exactly ONE band fit the top 40/dance/corporate bill. Ironically it was the least successful of the lot. Playing covers does not necessarily equate playing dance or even "popular" tunes.
True, you don't always know what the crowd thinks. But you should be able to read the room a bit to see which songs people are engaging with or completely ignoring. The song I referred to was The Difference by the Wallflowers, and it barely gets any applause although we play it well.
Our band is the second category. People don't come to dance, they come to see us play and enjoy the night. However, we've found that if we aren't playing "danceable" songs, it helps to play "sing-along" songs. These are tunes that people recognize and will sing along to the chorus because it's catchy and has a good hook. Songs like Jumper by Third Eye Blind, 3AM by Matchbox 20, and Zombie by the Cranberries. It all depends on the band, but it works for us because we have an extremely talented lead singer.
I've always found this subject fascinating and I don't believe I've ever felt like there was anything I've seen or read or experienced that proves out the existence of any 100% rules. I like that my main band being a concert type show focused era tribute band makes this quite a bit easier...not easy, but easier.
This past Thursday, I had the fortune/misfortune
to play acoustic sets before and after the main St Paddy's party band. They're one of the area's top bands, and it was nice to get to watch them do their thing from start to finish. They absolutely slay every time, and this one had me thinking that in part, there is a semi-magical formula that the most salient thing sees to be a talent for engagement of the people. These same sets work for mixed age audiences from 20s to 50s (their primary audience median age is probably at the higher end of that range).These exact same songs (plus or minus some) works for them for bar gigs, concert/festival shows and weddings. They work for urban/suburban audiences and they work for more rural audiences. They simply bring the party with them.
Someone else playing the same songs (plus or minus some), I just don't see it having the same impact. I can just pick songs at random and try to imagine another technically competent band and can't envision the same impact...so at the end of the day, I can't believe it's really ever just the list blowing that's the problem
If you're in a typical modern/radio/dance rock band, peruse this list...how's your reaction to that on paper? If this was presented to you, are there parts that you can't imagine possibly working? That you'd be vehemently opposed to as doomed to fail?
(Approximately in order)
Jump Around - House of Pain
California Love - Tupac
Livin La Vida Loca - Ricky Martin
Pony - Ginuwine
Panama - Van Halen
Poison (Apache, Jump on It Mashed) - BelBivDevoe
You're The One That I Want & Summer Nights - John Travolta & Olivia Newton John from Grease
24K Magic - Bruno Mars
Friends In Low Places - Garth Brooks
Blinding Lights - The Weeknd
Ride - 21 Pilots
Kiss - Prince
Pass The Dutchie - Musical Youth
Mo Money Mo Problems (I'm Comin Out) - Notorious B.I.G.
Nothing Compares 2U - Sinead O'Connor
Hot In Herre - Nelly
Country Roads - John Denver
Round and Round - RATT
War Pigs - Black Sabbath/Move, Get Out The Way - Ludacris Mashup
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My reaction to this is that it's a lot of variety, which I think could be quite interesting. No one's going to like everything on that list but there's a bit of something for everyone, which will please a lot of people.I've always found this subject fascinating and I don't believe I've ever felt like there was anything I've seen or read or experienced that proves out the existence of any 100% rules. I like that my main band being a concert type show focused era tribute band makes this quite a bit easier...not easy, but easier.
This past Thursday, I had the fortune/misfortune
These exact same songs (plus or minus some) works for them for bar gigs, concert/festival shows and weddings. They work for urban/suburban audiences and they work for more rural audiences. They simply bring the party with them.
Someone else playing the same songs (plus or minus some), I just don't see it having the same impact. I can just pick songs at random and try to imagine another technically competent band and can't envision the same impact...so at the end of the day, I can't believe it's really ever just the list blowing that's the problem
If you're in a typical modern/radio/dance rock band, peruse this list...how's your reaction to that on paper? If this was presented to you, are there parts that you can't imagine possibly working? That you'd be vehemently opposed to as doomed to fail?
(Approximately in order)
Jump Around - House of Pain
California Love - Tupac
Livin La Vida Loca - Ricky Martin
Pony - Ginuwine
Panama - Van Halen
Poison (Apache, Jump on It Mashed) - BelBivDevoe
You're The One That I Want & Summer Nights - John Travolta & Olivia Newton John from Grease
24K Magic - Bruno Mars
Friends In Low Places - Garth Brooks
Blinding Lights - The Weeknd
Ride - 21 Pilots
Kiss - Prince
Pass The Dutchie - Musical Youth
Mo Money Mo Problems (I'm Comin Out) - Notorious B.I.G.
Nothing Compares 2U - Sinead O'Connor
Hot In Herre - Nelly
Country Roads - John Denver
Round and Round - RATT
War Pigs - Black Sabbath/Move, Get Out The Way - Ludacris Mashup
Follow up questions: How many members did they have, what was their instrumentation, and how many singers? Did they attempt to cover the songs 'as close as possible' to the album version, or change the arrangement to more of a rock focus? Was someone covering the rapping as well?I've always found this subject fascinating and I don't believe I've ever felt like there was anything I've seen or read or experienced that proves out the existence of any 100% rules. I like that my main band being a concert type show focused era tribute band makes this quite a bit easier...not easy, but easier.
This past Thursday, I had the fortune/misfortune
These exact same songs (plus or minus some) works for them for bar gigs, concert/festival shows and weddings. They work for urban/suburban audiences and they work for more rural audiences. They simply bring the party with them.
Someone else playing the same songs (plus or minus some), I just don't see it having the same impact. I can just pick songs at random and try to imagine another technically competent band and can't envision the same impact...so at the end of the day, I can't believe it's really ever just the list blowing that's the problem
If you're in a typical modern/radio/dance rock band, peruse this list...how's your reaction to that on paper? If this was presented to you, are there parts that you can't imagine possibly working? That you'd be vehemently opposed to as doomed to fail?
(Approximately in order)
Jump Around - House of Pain
California Love - Tupac
Livin La Vida Loca - Ricky Martin
Pony - Ginuwine
Panama - Van Halen
Poison (Apache, Jump on It Mashed) - BelBivDevoe
You're The One That I Want & Summer Nights - John Travolta & Olivia Newton John from Grease
24K Magic - Bruno Mars
Friends In Low Places - Garth Brooks
Blinding Lights - The Weeknd
Ride - 21 Pilots
Kiss - Prince
Pass The Dutchie - Musical Youth
Mo Money Mo Problems (I'm Comin Out) - Notorious B.I.G.
Nothing Compares 2U - Sinead O'Connor
Hot In Herre - Nelly
Country Roads - John Denver
Round and Round - RATT
War Pigs - Black Sabbath/Move, Get Out The Way - Ludacris Mashup
That's a great set list, but I feel like the hardest part is that the whole band has to be on board with how you are covering the pop/hiphop songs. To play at the level you describe, the band needs to sound like the backing tracks for karaoke. You need the correct instrumentation and equipment, and if everyone isn't on board with it then it won't work. Finding people who not only learn the songs but also are willing to put in the time and money to get the correct synth patches, drum sounds, or guitar effects for each song, plus learning the backing vocals, is the hardest part of getting 'bigger' as a cover band, in my opinion.
Sure, no secret...I just think it's more interesting when you look at the black and white print of it. As lists and ideas about what might "go over well, personally, I could see myself taking a hard pass.
This is interesting, as a covid online/no-audience performance with pretty good mix
And a live one with a good board recording
They play Virginia; try to catch them if you're interested. And if you're in NoVA, come on out to the Tally Ho Theater on April 15th and catch my band
A lot of 'variety' and I can't see most pulling that off at all....but you'd need to see and hear in context..?
Song choices is a fascinating subject and you can play dumb down to the masses, and remember 'masses' works for the venue. They prefer a non discerning customer who goes for the drink party ..plus some hassle that comes with it. These places have better budget.
Or, you have the listening bands who want a cover charge.
The middle ground is discerning eating houses where food and drink gets the spend up from couples or groups.
This is for a certain crowd..quality food and quality music.
And then you have the bands that have the good players and how they position in all the above...plus they also want people to listen against bands who play sex on fire type anthems and nobody cares.
It is a fascinating dynamic, imv
Song choices is a fascinating subject and you can play dumb down to the masses, and remember 'masses' works for the venue. They prefer a non discerning customer who goes for the drink party ..plus some hassle that comes with it. These places have better budget.
Or, you have the listening bands who want a cover charge.
The middle ground is discerning eating houses where food and drink gets the spend up from couples or groups.
This is for a certain crowd..quality food and quality music.
And then you have the bands that have the good players and how they position in all the above...plus they also want people to listen against bands who play sex on fire type anthems and nobody cares.
It is a fascinating dynamic, imv
Agreed! And some gigs you shift between all those scenarios. 8-9pm: the late dinner crowd, 9-10pm the casual listener beginning their night, 10-11pm: the cover charge starts and your core fans are there, 11-12pm the drunk crowd who wants to hear anthems.
Sure, no secret...I just think it's more interesting when you look at the black and white print of it. As lists and ideas about what might "go over well, personally, I could see myself taking a hard pass.
This is interesting, as a covid online/no-audience performance with pretty good mix
And a live one with a good board recording
They play Virginia; try to catch them if you're interested. And if you're in NoVA, come on out to the Tally Ho Theater on April 15th and catch my band
Not exactly what I expected, but they definitely all know what they're going for! I'll amend my last comment to emphasize back up vocals, or even having multiple lead singers, as the most difficult part for a good cover band. There are so many more songs I'd love to do but we just don't have the vocal chops like a band like that. Some songs just don't work without backup vocals.
Thanks for the heads up! I'm in Fredericksburg, VA so I'll check yall out if I'm up that way.
No, we dont shift between different types of crowd.
We do what we do...and target a condusive gig and ones we want to play.
So, we've discussed what we are after, ...and the venue has their own ideas and if these two objectives meet, we take/get offered the gig.
There is never 'enough' money in the gig, so pleasing yourself comes out top.
What I do garauntee though is the band is very good but the simple fact is that some venues are not suitable.
Too small, too rough, too far, money too low..etc etc.
We do what we do...and target a condusive gig and ones we want to play.
So, we've discussed what we are after, ...and the venue has their own ideas and if these two objectives meet, we take/get offered the gig.
There is never 'enough' money in the gig, so pleasing yourself comes out top.
What I do garauntee though is the band is very good but the simple fact is that some venues are not suitable.
Too small, too rough, too far, money too low..etc etc.
Is this YOUR band's set list? Interesting. A few surprises there.I've always found this subject fascinating and I don't believe I've ever felt like there was anything I've seen or read or experienced that proves out the existence of any 100% rules. I like that my main band being a concert type show focused era tribute band makes this quite a bit easier...not easy, but easier.
This past Thursday, I had the fortune/misfortune
These exact same songs (plus or minus some) works for them for bar gigs, concert/festival shows and weddings. They work for urban/suburban audiences and they work for more rural audiences. They simply bring the party with them.
Someone else playing the same songs (plus or minus some), I just don't see it having the same impact. I can just pick songs at random and try to imagine another technically competent band and can't envision the same impact...so at the end of the day, I can't believe it's really ever just the list blowing that's the problem
If you're in a typical modern/radio/dance rock band, peruse this list...how's your reaction to that on paper? If this was presented to you, are there parts that you can't imagine possibly working? That you'd be vehemently opposed to as doomed to fail?
(Approximately in order)
Jump Around - House of Pain
California Love - Tupac
Livin La Vida Loca - Ricky Martin
Pony - Ginuwine
Panama - Van Halen
Poison (Apache, Jump on It Mashed) - BelBivDevoe
You're The One That I Want & Summer Nights - John Travolta & Olivia Newton John from Grease
24K Magic - Bruno Mars
Friends In Low Places - Garth Brooks
Blinding Lights - The Weeknd
Ride - 21 Pilots
Kiss - Prince
Pass The Dutchie - Musical Youth
Mo Money Mo Problems (I'm Comin Out) - Notorious B.I.G.
Nothing Compares 2U - Sinead O'Connor
Hot In Herre - Nelly
Country Roads - John Denver
Round and Round - RATT
War Pigs - Black Sabbath/Move, Get Out The Way - Ludacris Mashup
No, sir; another band I had very recently watched with this kind of thing in mind.
I thought that, relative to this discussion and as just an example of a set list that was an absolute home run, it possibly helped to illustrate some points (but maybe not
). One thing I think is that there are fewer hard and fast rules than reflecting on this tends to bring people to...things are far more individual and situational than can be boiled down to a list of bullet points or rules of thumb.It won't surprise anyone to hear that I agree with you. I think about the bands I play with and there are four of them that do pretty well in terms of audience response. Each one is very different from the others.No, sir; another band I had very recently watched with this kind of thing in mind.
I thought that, relative to this discussion and as just an example of a set list that was an absolute home run, it possibly helped to illustrate some points (but maybe not
The one thing they all have in common is that none of them plays the tired list.
That set list seems to exist mainly on Talkbass. I know one band here in my local neck of the woods, that really do a lot of "tired" songs. I talked with their singer once and told him that I love the fact that they put a lot of those songs in their first set. Kind of "get it over with AND get the crowd all enthused".
An interesting take a friend's band has...as I've had to learn their set as a sub, is that although they might go to populist acts, they dont pick the obvious song from them.
So, Smile like you mean it by the Killers is interesting but then they go and spoil it by doing Comfortably Numb. I think we can see the influence of the gtr ego over good song choice compatibility here.
But hey, not my band to answer for. I'm out after this weekend so not my concern.
So, Smile like you mean it by the Killers is interesting but then they go and spoil it by doing Comfortably Numb. I think we can see the influence of the gtr ego over good song choice compatibility here.
But hey, not my band to answer for. I'm out after this weekend so not my concern.
It exists on Craigslist too and Bandmix, too. Much of the time when I see posts on those sites that have a list to demonstrate what someone wants to do, those are the songs. That's not to say any of those people ever end up with decent bands, but you see it a lot there.
If you're playing in four bands concurrently that all do particularly well with audience response, you must have the great fortune of running in a circle of excellent performers and have a lot of fun playing...good for you! I'd also venture a guess that these groups are "past" the point of any real regular consternation over song selection, and they just get out and play, rinse and repeat.
It's notable to me that you give credit to something that you're *not* doing...I believe that recipes for success are multi-faceted (in the extreme) but I'd tend to consider things that are being done.
It's possible that I have misunderstood what you mean by "the tired list", but I don't know that I really believe in "tired songs" as being a simple fact. I think that in many cases where songs are labeled as tired, they are more correctly long-term staples that the ones doing the labeling have become tired of playing or hearing, and what's being viewed as the failure of the song is more often than not contextual/situational failure of the band to connect (with or without being "at fault"). If a song was in a position for people in bands to come to believe that it's worn out, there were reasons that it was played that much to begin with.
That's not to say that I don't believe that some songs can't become played out at points in time. I think that songs can have different types of appeal and longevity of appeal. Some songs can have great shorter-term appeal because of novelty and radio/club/dj play while other songs can have long-term appeal that at some point becomes about the fact that they simply evoke feeling with large numbers of people. Songs with that shorter-term appeal can fall away to never return, fall away and come back in cycles, or, in more rare cases, transition to long-term appeal.
I know that there are tons of examples, but I'm horrible with mental lists, so I find myself reaching. But for Modern/Radio/Dance Pop Rock bands, I'd consider Counting Stars as an example of the first case. It had a run of high mass appeal...if you didn't play it during that initial run, at some point it would have been reasonable to consider it "too late" to bother with it. If you did play it, there probably came a defined point that dropping it was the right thing to do, and there's a low likelihood that you'll bring it back. An example of the second type of song might be Forget You. It had a high novelty/mass appeal that died down probably with popularity in airplay. There would have come a point that it was too late to add and not a bad idea to drop. But unlike some other dropped songs, it's the type that can successfully be "broken out" occasionally after some time to a very good response from a willing audience, producing a kind of "recent nostalgia" that doesn't go back so far in time. An example of the third would be Uptown Funk...high mass appeal from the start that doesn't appear to be likely to fall off to nothing. So, it's one that appears to be on track to becoming a long-term staple.
For long-term staples, there are certainly situations where they'll be the wrong choice, but there are always bands and situations where they will be perfect.
