A cup of coffee is easy and inexpensive to make at home. Why, then, have coffee shops enjoyed such success in recent years? What mystical magnetic force drew so many youthful spirits to the Haight-Ashbury neighborhood in the late 1960’s? The Oasis in Austin, Texas is a legend among establishments specializing in public merriment. What sets it apart from its peers? There are countless factors that play into places such as these, but the atmosphere, the vibe, the mojo, the ambience, the mood, the tone, the culture… whatever the descriptor, it’s the feeling we get while we’re there that keeps us coming back for more. If I could relax on my deck at home, throw back a shot as I cheer the setting sun, and experience the same inspiration as lounging on the deck of the Oasis while gazing on the fiery sky over Lake Travis, I wouldn’t have the irrational thought that a 12 hour drive to Austin for no other reason than to visit this place might just make sense now and then.

Eateries, coastal neighborhoods, and live music are cows of different colors, but vibe management is an important consideration in each. Concerning live music, the venue certainly contributes to the feel of a show. Who could argue that the Grand Emporium, America’s Pub, and Davey’s Uptown Rambler’s Club don’t have dramatically different atmospheres? However, when the lights go down, the chattering crowd draws its lips together in an anxious anticipative silence, and all eyes widen to focus on the stage, you’d better believe that the responsibility for creating a positive vibe falls on the performers’ shoulders. When your livelihood depends on building and maintaining public support of your efforts, it’s probably a good idea to invest some time in exploring ways to create a unique experience for your customers, or fans as we musicians call them. They need to feel you (not in that way jerky, get your mind out of the gutter). Thought it was all about the music? Most of us know better by now. If not, Britney Spears can probably explain it to you.

There’s obviously no recipe for success when it comes to synthesizing a unique atmosphere to be associated with your band’s performances, but looking at the way some other successful bands have done it (or not) should provide a few ideas. Just before taking the stage, Metallica establishes a tone of their own by cutting the lights and treating the audience to a memorable track from “The Good, the Bad, and the Ugly” {click on “Gold” under Music Excerpts}. Megadeth, on the other hand, does little more than turn the volume up, start playing, finish playing, and leave. Maybe not the best model to follow if you don’t already have a large established fan base. MTV builds ambience through décor in the Unplugged sessions; Scott Weiland’s oversized wooden rocking chair {Classic Unplugged Photos, photo #42} crouched under sullen lifeless trees is a very memorable setting. If you’ve been to a Cowboy Junkies show, you probably felt the intimate atmosphere driven by Margo Timmins’ casual and conversational style of interaction with the audience. In contrast, U2’s multimedia extravaganzas offer a very impersonal but powerful experience. There are many ways to get the job done, so be creative and think about what techniques fit your genre of music and fan culture. One thing to remember is that, just as the vibe from a particular person hits you almost instantly when you meet, there is a very short window of opportunity to influence the vibe an audience gets at your show. Old Chinese proverb: “Band that makes fast mojo like rabbit has lots of offspring”… or was it fans? I’ll get back to you on that one since it’s a pretty important distinction.

Locally, the Battle of the Bands, which took place a couple Wednesdays ago at America’s Pub, offers a case study on our topic this month. Shudderbug, Soulless, Thrust, and Bent all produced solid music. The sound was good, no one had to stop in the middle of a song and start over, and there was a sizeable crowd to support each group, though the format of the event presented challenges to the establishment of a unique atmosphere for each act. Soulless and Bent had personalized backdrops, but stage manipulation is limited when four bands must quickly shuffle gear on and off the stage between relatively short sets so that the event can be wrapped up by closing time. Still, I believe the tone established by each group played a large role in the ultimate outcome of the competition, and that examining this factor sheds light on the controversial question of why Thrust will be the opening act at the Freakers Ball instead of Bent.

Conspiracy theories aside, I’ll throw out the hypothesis that stage presence, which is at least closely related to the atmosphere element addressed by this column, was a primary factor considered in the judging. There’s no question that Bent got a larger crowd on the floor and got that crowd moving more than any other band that night. One might also argue that they played the most technically challenging music. Let’s be clear on the decision facing the judges though, because this perspective is key to understanding the outcome. I believe the decision was framed as, “Which band will be the best fit for the opening slot at the Freakers Ball?” Notice that this frame does not have anything to do with technical prowess or crowd support, though these are likely the decision criteria one would consider most important in a live music competition. If I’m right though, the judges were looking for the band whose vibe would best fit the event they’d be participating in.

Now, think again about the outcome. Bent played a raw, ass-kicking show that connected with the bar crowd like Mark McGwire at a batting cage. Thrust definitely didn’t overpower the pub like Bent, but instead threw off the more seasoned and polished vibe typically associated with larger venues. I’m guessing that, based only on the performances that night (from last year, we know Bent is up to the task), the judges had an easier time envisioning Thrust fitting the more produced Freakers Ball format. From this angle, Battle of the Bands was not a contest of musicianship, but a comparison of the vibe each band emitted while performing. Notice I use the word comparison; one vibe isn’t necessarily superior to another but might be a better fit when placed in the context of a larger event. In this case, to Bent’s disadvantage, the prize may have determined the victor.

We go to coffee shops because they feel good. Flower power bloomed in Haight-Ashbury because the vibe fit the cultural movement. The Oasis is legendary because no other place offers the same atmosphere. And, perhaps it was the tone of Thrust’s performance that secured the band’s spot at the Freakers Ball. Success isn’t one dimensional, so it’s not all about how something feels. But, sometimes the elusive mojo factor is, to paraphrase John Popper, the hook that brings you back.

--Bryan Fries
bryan@thezone.org

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