Looking east onto North Pender Island from the Gulf of Georgia, taken as I write this post.
I write from the ferry between Victoria and Vancouver, in the territorial waters of British Columbia/Washington State/British Columbia. It’s Wednesday 20 February here in North America, but en Nouvelle-Zélande it’s a Thursday at a particular time of the month. This means Song Sale is on in Dunedin!
Now, it is a little odd and a little superfluous for me still to be spruiking for this monthly gig. Yes, I founded it in Dunedin and it was my baby, but now that Daddy has moved to a new city some foster parents have taken responsibility for the rambunctious toddler. Or something. I’m not good at parent-and-guardian analogies.
Regardless, I look from afar wishing all the best for this year’s gigs. I know it will thrive under new management: Corwin Newall is a fantastic writer and performer, and even though he’s young I can see him developing into a really good teacher and director of talent. Gabby Golding is one of the most enthusiastic and organised people I know in the Dunedin arts scene, and late last year she enthusiastically took the reins to organise this mother. (Told you my family member analogies weren’t good.)
They’ve secured funding from both Creative Communities and the Dunedin Fringe Festival, so they must be doing something right – importantly, this means the gigs remain free entry. They’ve also engaged Angus McBryde, a professional, to do their graphics. This is instead of retaining my, uhh, ‘idiosyncratic’ design principles of textual overload. Compare December 2012 and February 2013:
But beyond who manages it, Song Sale is not only an entertaining show for an audience, it’s a valuable vehicle for many different types of creatives.
For a songwriter in the generally-popular-music world, it’s a chance to submit one’s self to a deliberately constrained process: writing something in a hurry. If the song is no good, it can die after its first outing. If it’s great, all the better. If you write enough songs in a hurry, you develop good instincts about which is which and this helps you early in the writing process.
For composers – those trained in a classical, dots-on-paper tradition – Song Sale teaches timing, audience interaction, and Seeing What Works. So many composers are nervous wallflowers, afraid to put themselves out there. While the gig may look terrifying to total introverts, the vibe of the show means The Audience is On Your Side. Even if you try and fail, the audience will still love and support you.
That’s a precept of improv theatre as well – worth mentioning since many Song Salers are members of Improsaurus. The audience doesn’t come to a show to see the perfect response to any situation, they go along to see what on earth the response ends up being. There’s always a little thrill for an individual audience member when that person’s own suggestion is picked up and turned into a scene (for improv) or a song (for Song Sale), but even if the suggestion didn’t come out of your own mouth, you still feel like you have a stake in it: it came from the room and You Were There.
Added to this, many improvisers are also stand-up comedians and many stand-up comedians incorporate music. Song Sale is a pretty sweet song development laboratory, and it bubbles up musically comedic moments that don’t occur when you deliberately craft songs on your own. After a year-and-a-half of Song Sales in both Wellington and Dunedin, I have a heeeap of songs that have had several outings, become more refined and cogent, and could be turned into a solo show and/or an album.
If you’re reading this from Dunedin, do turn up tonight: 7pm at The Church, 50 Dundas St. The gig has a new structure (or a structure full stop): an established act performs for the first half – tonight it’s Reed Street Posse from Oamaru – and the commissions come after the interval. As always – and with gracious thanks to Creative Communities funding – entry is free and commissions are $5 per song. Here’s the Facebook event – go forth and spread.