Lance LaDuke: Three Tips for Talking to Audiences

If you haven't spoken to audiences a lot, chances are you need to work on it. It can be one of the most terrifying things that some people ever try to do in life.

But it doesn't need to be.

One of the best people I've ever seen on a mic is my partner at Pedal Note Media, Lance LaDuke. Here is a piece that Lance did a long time ago that he has let me republish here. Good stuff!

(This is reprinted with Lance’s permission and originally appeared at bostonbrass.wordpress.com.)

Um, I’d like to, um talk, you know about er, um, oh you know, like, talking to audiences and stuff.

Captivated?

Can’t wait to hear more?

Didn’t think so.

As musicians, we sometimes feel that we can just let the music speak for itself. There is no need for us to sully our performances with speaking. We practice for hours, perfecting every phrase, every nuance, striving for an ideal performance. Then we adopt a “play it and they will come” mentality. Since we’re God’s gift, people will instantly respond to our every phrase and nuance; we’re just that good. Adulation, groupies and a tour bus are all in our near future.

Other times we feel insecure in performance. Will it go as planned? Will the audience like the piece or program? I hate speaking to crowds. I don’t know what to say. Will they throw vegetables? If so, will there be enough to serve at the reception?

Whatever the reason, it has become increasingly common (and in some cases expected) for musicians to speak to their audiences. While this can seem beneath some of us, and terrifying to others, it needn’t be either.

Audiences want to connect with performers. Programs, bios and notes provide data but not personality. There are many potential reasons (the de-formalization of performances, the rise of reality programming and the connective possibilities of the internet, to name a few). The fact remains that many (most?) most conductors, soloists and chamber musicians will have to “face the music” and speak to the folks who have paid to come hear them play.

Fortunately, audiences have very simple needs. SO STAND UP, TURN ON THE MIC, AND ANSWER THESE THREE QUESTIONS:

1. WHO ARE YOU?

We see your name in the program and read your bio. BUT if you’re a chamber group, introduce the players (so we can connect the names to faces) and let us know something about them. If you’re a soloist, tell us something that happened to you today in our city or at our venue or comment on something that happened in the world that may be on everyone’s mind. Not a lecture, a minute or two. Break the ice. Think dinner party.

2. WHAT ARE YOU PLAYING?

Remind us. Don’t just read the program to us but give us a framework to help us get a head start on what we’re about to hear. Set the table for us.  This is especially helpful if the composer is less familiar to a general audience. This can take less than a minute

3. WHY SHOULD WE CARE?

Is there an interesting story about the composer or the piece? Why did you select it? Is there anything in particular we should listen for? One to two minutes should do it.

Tailor the talk to your style. If you’re funny, let it be funny. If the piece is serious, let it be serious. DON’T read a script. If you need notes, fine, but talk TO the people who have come to hear you and BE YOURSELF!

THAT’S IT! NOW GO SIT DOWN AND DAZZLE US WITH YOUR PLAYING!

It’s really that simple. We don’t need a twenty-minute lecture. We DID come to hear you play. We just want to know WHO YOU ARE, WHAT YOU’RE PLAYING AND WHY WE SHOULD CARE.

See you at the reception.

I hear there are plenty of veggies.

Lance