Gripped by fear.

The harmonica is a new venture for me. Not satisfied with not being able to play guitar particularly well, I have decided that what I need, is to add harmonica to my repertoir. I will now have to learn those Dylan classics.

 

The band MDF have regularly played 'Leaving of Liverpool' and it is one of the few that they do in the key of 'C'. In anticipation of an opportunity to join in, I have been practicing that tune quite a bit. Unfortunately, the number on offer in C this evening was 'Fields of Athenry'. It is a familiar and much loved song, but unpracticed. My first instinct was to say no thank you. What I actually said was 'I don't really know that one.' There was a slight pause before I added, 'but I'll give it a go'.

The decision made, it was time to take my place along with the band. What enabled me to 'have a go' was being comfortable with the Kilsby audience, and friend of the band. No matter how bad it went, I would survive.

I got all the right notes (mostly) but I was definitely quieter than I might have been.

After more than ten years working as a therapist, I have found that the only way to overcome performance limiting anxiety is to perform. The 'stage nerves' may never leave you, but they can be managed to the extent that performances can be enjoyed.

The basic purpose of anxiety is to protect the sufferer from danger. Physiologically this often manifests itself as many of the following symptoms:

Increased heart rate and respiration, providing extra oxygen for the muscles.
Increase in muscular tension resulting in an increase of body temperature and associated perspiration.

Singers may experience a tightening of throat muscles and vocal chords. Theory suggests that this constriction serves the protective process of preventing the person from doing the thing that they are afraid of. On my first public guitar performance I was amazed at the stiffness of my hands. The practicing at home seemed to have had little benefit. What was also interesting was the speed of my playing once I'd got started. I got faster and faster in my desire to leave the spot as quickly as possible.

There are many strategies performers can use to help them deliver a more accomplished set.
Using rehearsal imagery can reduce anxiety significantly. If you imagine performing well rather than worrying about the 'what ifs' your mindset is focussed more on the thing you want rather than the thing you don't. Regular mental rehearsal creates an expectation of success, boosting confidence and encouraging a more relaxed performance.

Breathing techniques are often used to combat panic attacks can encourage a more calm approach. In those moments before beginning it is not unusual to hold your breath. This isn't helpful. Developing a habit of a few moments of deliberate breathing, with a slightly longer outbreath than normal increases carbon dioxide levels in the blood stream and encourages parasympathetic nervous system activity, both promote relaxation.

While some of us have more tuneful voices than others, we can all benefit from learning some technique. Posture, breathing and learning how to enunciate can transform our performance and add to our confidence.

Finally, let's not forget rehearsal, preparation and practice; there is no substitute for doing it.

The not so good strategies include alcohol. A bit Dutch courage might not sound like a bad idea, but if it has inhibited the anxiety, what might it have done to the ability?
Another common stategy is one of denial (It'll be alright on the night). This tends to delay the onset of anxiety until the last minute. If you are lucky, once you get playing you'll be fine.

Perhaps the most surprising of the self-limiting strategies is perfectionism. This is counter intuitive, but the desire to do better is not the same as the demand to be perfect. At the back of your mind lurks the realisation that perfection is unattainable. Ironically, the desire for perfection can be one of the most effective triggers for anxiety.

Have fun and enjoy yourselves.

Sultans of swing?

Dire Straits might have been singing about us.

Check out Guitar George

Arriving early, at The George Hotel, Kilsby, to help with any setting up, the guest band were already installed and warming up. There's no question that there is something special about acoustic only nights. The spontaneity of a free floor where contributors can pop up and disappear with ease, but a good PA adds a depth as well as volume.


A couple of our regulars have been absent on recent evenings; the excuse being bookings for gigs. There is no question that open mic nights have helped sharpen their performing saws. (Performing saws, now there's an act.) I know that they'll be dropping in when time allows, to inspire and delight.



One of the things I love about The George nights at Kilsby is the encouragement and support for all of the performers. I still rank myself pretty low in the performance stakes, and there is no modesty about it, the encouragement of my friends and the inspiration given by the very capable artists makes getting the guitar out for practice a real pleasure. Recent guests have included Hilary Wilson and John Wright, who visited us in April, and George McCranor, (Check out Guitar George) who came to July's evening, both acts featured at Coventry's Godiva Festival, and let's not forget our own Crick Boat Show headline acts (well almost) Bob Deluce and Dangerous Derrick Meyer.

The audience makes all the difference.

It was the first Friday in April and I had delayed setting off on my holiday boat trip to compare my first evening of The Kilsby Open Music Night, at The George Hotel, after taking the reins from Paddy Wex. That night we were visited unexpectedly by a singles/social club that had come to dine in the restaurant. They hadn’t known about the open music night, but curious, they filed into the room after they had finished their meals. It was was packed, and the presence of all of these strangers added a frisson to the night. All of the performers rose to the occasion. 

For a while to come, all evenings will be measured against this. The subsequent months could only be an anti-climax. As it was, the contrast in May couldn’t have been more striking. The only audience being the performers themselves, and a couple of the regulars were no where to be seen. This might have something to do with the bank holiday weekend. While this was disappointing in terms of the excitement, it meant that those of us that did play had an opportunity to contribute more songs, practice some that might have been a bit shaky, and the relaxed atmosphere allowed  for some joining in.

Paddy sings about a night out with some birds.

Is that your guitar?

"Is that your guitar?" I asked, as the narrowboat began to move out of the lock. The steerer nodded."What do you play?"
"A bit of blues." He said, quietly, in that nonchalant and understated way that musicians are wont to use.
"Cool! Where do you play?"
"At home or on the boat. He replied. His tone still warm and friendly.
"It just happens that there is an open music night in Kilsby tomorrow. If you'd like to go, I can get you a lift."

There was a slightly uncomfortable pause and then came the rejection. "No I don't think so. I don't perform in public."

I know that there are musicians that are very hostile towards open mic nights, seeing them as ways in which pubs can provide entertainment at no cost to them, but like my boat driving friend, I had never performed in public before and it was an open mic night that allowed me to murder Bob Dillon's Don't think Twice, and I was applauded me for my effort.





It doesn't matter how many times you practice in your bedroom, or in front of your partner, playing to an audience is something else. Many accomplished performers have used the open mic nights as development venues, allowing them to try new material or just hone their patter skills.

The author sings an original composition about mouldy brown bread and cheese. The audience don't look to impressed.

Over one year on and I've played at a few venues, sometimes with accompaniment, sometimes alone, sometimes through a pa, sometimes unplugged. The quality of performances have varied from pretty good to dire, but there is always something to learn, and always something to be enjoyed.