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Playing weddings and privates this year gives me NO INCENTIVE to learn anything but crusty standards.


sventvkg

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I'm telling you..The tunes that work best are the standard easy fare like I've Got A Feeling, Brown Eyed Girl, Brick House, Don't Stop Believing, Pour Some Sugar On Me, etc etc..Standards..Easy {censored}..NO NEED TO OVERTHINK IT..Just get out there and play some fun stuff people know, keep em dancing and the party happening. :)

 

The problem is, musicians seem to want to overthink this job:) Yes, my band is better than the average, we all can sing well and play well above average and this can only help but there's no need to play anything crazy to be successful in the private events/wedding business and in fact would probably hurt you.

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Agree with that for sure, Sean!

 

Play fun stuff that people know. YES YES YES.

 

Difficult vs easy? That's on the band, for the most part. Most "fun stuff that people know" are relatively easy songs. But the band is free to do what they want with the arrangements for their own entertainment purposes. And, done properly and cleverly and you can entertain the audience with that stuff as well.

 

Standards? Yes, for the most part. But there are hundreds of songs that will work. So pick stuff you like (can stand) doing. We dropped "Brick House", "Brown Eyed Girl" and "I Got A Feeling" long ago because we got tired of playing them. We still do "Don't Stop Believing" because we like playing it. "Pour Some Sugar On Me" has fallen to "once in awhile if we need some extra tunes" status. But after this weekends gig we decided we're going to put that one back into regular rotation and back burner "You Shook Me All Night Long" instead. Those two are virtually the same song from a crowd-appeal standpoint and as such are inter-changeable in our spot on our setlist.

 

Over-thinking stuff? Yeah, a lot of bands do that. I think the worse offense is focusing on the wrong stuff. It's less about the song than it is what you do with it. And that can work BOTH ways. The key is just making sure you reach the audience. The material is your link. Have fun with it and they will have fun with it.

 

But if there's a song on your list the band hates playing, I'm pretty certain there's always another one you might like better that will do the same job just as well.

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Just for the heck of, here's our current wedding songlist with some commentary thrown in.

 

SET 1

CELEBRATION (still a sure fire opener, but I'm SOOO tired of this and looking for a similar "all ages" replacement. Right now I'm thinking "1999" might work??)

BOOGIE OOGIE OOGIE (getting ready to backburner this one and go straight into....)

BILLIE JEAN (all ages continue to love this one)

YOUR LOVE

JESSIE'S GIRL (we drag the bride and bridesmaids up for this one and change "Jessie" to whatever the groom's name is)

LOVE SHACK

HERE FOR THE PARTY (hit or miss depending on how many country fans are at the event)

STAYIN' ALIVE/ANOTHER BRICK IN THE WALL

RAPPER'S DELIGHT/GOOD TIMES

GET LUCKY

OH WHAT A NIGHT

WHAT MAKES YOU BEAUTIFUL (Stayin' Alive through this one is all one long mashup/medley)

AT LAST

BEST DAY OF MY LIFE

WALKING ON SUNSHINE

MICKEY/THAT'S NOT MY NAME/MY SHARONA

HAPPY

JUST THE WAY YOU ARE

SHOUT

 

bouquet toss - SINGLE LADIES

 

SET 2

DYNAMITE/ CALIFORNIA GURLS/WE FOUND LOVE/LOW/STARSHIPS/PARTY ROCK ANTHEM/GOOD VIBRATIONS (If the first set was dragging at ALL, this medley is our guaranteed dance floor money maker.)

I DON’T CARE I LOVE IT

SEXY AND I KNOW IT (Bring the groom and groomsmen up on stage to make fools of themselves...The song itself is about over though. We're thinking of either replacing it with "I'm Too Sexy" or, more likely, doing a mashup of both)

MOVES LIKE JAGGER (About run its course as well.)

GIRLS JUST WANNA HAVE FUN/I JUST WANNA DANCE WITH SOMEBODY

LIGHTS (Journey is huge here in Nor Cal.)

ANY WAY YOU WANT IT (See above)

BORN THIS WAY/EXPRESS YOURSELF/YOU SPIN ME ROUND (Born This Way is pretty much over, but the other two are still pretty strong. We're looking for some other tunes to replace that one with and freshen up the medley)

SWEET CAROLINE (Yawn. This is usually the first song to go if we are short on time, but if there's a lot of older folks still hanging around this late, we'll do this one for them.)

YOU SHOOK ME ALL NIGHT LONG

LIVIN' ON A PRAYER

I LOVE ROCK N ROLL

POUR SOME SUGAR ON ME

DON'T STOP BELIEVIN'

 

A lot of this 2nd set stuff often gets passed over if time is running short. Getting to that "rock block" at the end of the set is the key to revving up the crowd for a big response at the end of the night. And there are also a handful of songs we have to throw in there in case the night is running long as well.

 

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We start each set, with a set list. It usually lasts for 3 songs and then we just go off and take it to wherever we end up.

 

We used to do things much more like that. And while we still keep things fluid and allow ourselves the flexibility to change things up on the fly as we read the crowd, as time goes on we find we do that less and less. The setlist has solidified over the last couple of years to become pretty much a winner ever show. For us. I wouldn't necessarily recommend all those songs for any other band---they work for us because they work us. Every band is different as are regions of the country. And some stuff comes and goes and filters in and out and what not. And we're always tweaking and trying new things just to always find that extra bit of improvement or keeping things from getting stale or whatever.

 

But I've been actually very surprised at how consistent that setlist has been for us for the last year or so.

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Looks like a great wedding band setlist dave... I see a few ideas in there for my new project.

 

I'm actually kind of amazed the amount of tunes we do in that set already in the Trio

 

BILLIE JEAN

YOUR LOVE

JESSIE'S GIRL

STAYIN' ALIVE

GET LUCKY

OH WHAT A NIGHT

WHAT MAKES YOU BEAUTIFUL

JUST THE WAY YOU ARE

SHOUT

DYNAMITE

LOW

MOVES LIKE JAGGER

ANY WAY YOU WANT IT

SWEET CAROLINE

YOU SHOOK ME ALL NIGHT LONG

LIVIN' ON A PRAYER

POUR SOME SUGAR ON ME

 

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Here's our standard Wedding set which is hit or miss and ALWAYS involves substituting tunes on the fly depending on crowd.

 

Get Down Tonight

Here For The Party

I Got A Feelin

Jessie's Girl

Drift Away

Funkytown

Im a Believer

Summer of 69

What I Like About You

Gimme Some Lovin

****Then its always Fluid*** Might be

Dancing In The Moonlight

My Love

 

Then

Cruise

Living On a Prayer

 

2nd Set:

 

Don't Stop Believing Or

Bad Romance

Brick House

I Love Rock N Roll

Purple Rain

Superstition

Man I Feel Like a Woman

Than it could be anything else......2nd set is really always up in the air...

 

Shook Me

highway to Hell

Brown Eyed Girl

Hit Me With Your Best Shot

Walking On Sunshine

Sweet Home

Sweet Caroline

End with Pour Some Sugar etc.

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No bad songs in that setlist, Sean. But I have to say that I don't think that we would be able to get by without any newer material out here. Lot of twenty-somethings at most of these weddings. They like the classic stuff, but they want to dance to the newer stuff as well.

 

But every band/region is different, for sure. If you're getting the gigs, that's all that matters! :thu:

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Sventvkg,

I think you are absolutely correct in that that type of gig gives you little incentive to learn new stuff, or play stuff that is difficult. The problem is what that can do to you as a musician.

I really entered the private market in 2001. I had done plenty of weddings and a few corporates before that, but after 2001, it was almost all privates. I was playing with a keyboard guy at a gig and he told me his brother was playing with a name act. I asked why he wasn't playing keyboards in the band. He said since he'd been doing corporates, he didn't have the chops anymore.

 

Before getting to 500. a man corporates, my group was doing clubs for 65. to 100. a man mostly. We also opened for name acts and played name venues. Touring players sat in with us. For awhile, after leaving the clubs, our act was just as sharp, but after a few years doing nothing but the "good" gigs, we were not the same group that played two-three nights a week in a club.

I have to admit I liked the idea of not having to practice daily, of being able to just show up and play and make good money. But everything has a price. These days I practice a fair amount, and enjoy learning. Gigs aren't foremost in my mind, and the money even less so.

 

I did a free gig last weekend-an old friend put together a band to play at his daughter's wedding. There was no band rehearsal, I only got together once with my friend once to go over some of the charts and he gave me a cd. Everyone did their homework, and even though a few of the charts were fairly tough, it sounded great. I spent maybe three-fours hours learning and practicing the material. The dance floor was packed the whole set, and the music was good too. Ironically, the same guy as I wrote about above was on keyboards. His son on drums. That had to be really great for him to play a gig with good players and with his son. He was a full timer for decades, but now has a day gig. Said he should have got one years earlier. He played a great solo on one tune.

 

What is important to me now is not how much I can make on a gig, it's how does the music I'm playing, and the level I'm playing at, make me feel.

 

I've listened to your stuff, and you are a really talented singer and player. We have to grow as players, or we regress. There is no standing still. I hope you are still writing and recording-if nothing else for your own sake. I hope you can still do that and make the bacon at the corporate/wedding gigs. When all is said and done, you'll look back and be able to say you wrote and recorded some good tunes, I doubt you'll care how much you made at a wedding when you are an old timer, regardless of how important that is now.

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. For awhile, after leaving the clubs, our act was just as sharp, but after a few years doing nothing but the "good" gigs, we were not the same group that played two-three nights a week in a club.

 

Yep. There's no substitute for playing regularly to make a band tight. Even rehearsing more is no substitute for gigging a lot.

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No bad songs in that setlist, Sean. But I have to say that I don't think that we would be able to get by without any newer material out here. Lot of twenty-somethings at most of these weddings. They like the classic stuff, but they want to dance to the newer stuff as well.

 

But every band/region is different, for sure. If you're getting the gigs, that's all that matters! :thu:

 

 

I agree that we should have the new stuff on our list. We keep allegedly mean to put it on the list but it never gets learned. My band leader is out a few months a year with Allen Parsons and things get pushed back. Either way it's all on my Band's list and I agree with you. The band I'm in now plays it all during breaks on the ipad.

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Sventvkg,

I think you are absolutely correct in that that type of gig gives you little incentive to learn new stuff, or play stuff that is difficult. The problem is what that can do to you as a musician.

I really entered the private market in 2001. I had done plenty of weddings and a few corporates before that, but after 2001, it was almost all privates. I was playing with a keyboard guy at a gig and he told me his brother was playing with a name act. I asked why he wasn't playing keyboards in the band. He said since he'd been doing corporates, he didn't have the chops anymore.

 

Before getting to 500. a man corporates, my group was doing clubs for 65. to 100. a man mostly. We also opened for name acts and played name venues. Touring players sat in with us. For awhile, after leaving the clubs, our act was just as sharp, but after a few years doing nothing but the "good" gigs, we were not the same group that played two-three nights a week in a club.

I have to admit I liked the idea of not having to practice daily, of being able to just show up and play and make good money. But everything has a price. These days I practice a fair amount, and enjoy learning. Gigs aren't foremost in my mind, and the money even less so.

 

I did a free gig last weekend-an old friend put together a band to play at his daughter's wedding. There was no band rehearsal, I only got together once with my friend once to go over some of the charts and he gave me a cd. Everyone did their homework, and even though a few of the charts were fairly tough, it sounded great. I spent maybe three-fours hours learning and practicing the material. The dance floor was packed the whole set, and the music was good too. Ironically, the same guy as I wrote about above was on keyboards. His son on drums. That had to be really great for him to play a gig with good players and with his son. He was a full timer for decades, but now has a day gig. Said he should have got one years earlier. He played a great solo on one tune.

 

What is important to me now is not how much I can make on a gig, it's how does the music I'm playing, and the level I'm playing at, make me feel.

 

I've listened to your stuff, and you are a really talented singer and player. We have to grow as players, or we regress. There is no standing still. I hope you are still writing and recording-if nothing else for your own sake. I hope you can still do that and make the bacon at the corporate/wedding gigs. When all is said and done, you'll look back and be able to say you wrote and recorded some good tunes, I doubt you'll care how much you made at a wedding when you are an old timer, regardless of how important that is now.

 

 

Thanks Martin..I agree you have to keep your chops up and for me the private market just takes a lot of what's for me, a pain in the ass out of the equation..Learning a bunch of stuff that takes time and effort that i'm not really into..Thus freeing time up to work on stuff I'm into :) I can't let my chops go down and in fact still play at least 20-40 hours a week of practice to keep improving!...So for me doing standard easy fare at high $$ gigs is preferable so I have time to work on my stuff and instruments and techniques I want to improve upon:)

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We just played a fraternity party. I was worried about our set list being too old/outdated and not being relevant. Much to my surprise, they wanted all the classics. We played Brown Eyed Girl twice, and they were requesting it a third time. They kept requesting stuff like Take It Easy, Sweet Home Alabama, etc. We played Rocky Top and it was near pandemonium. We play quite a good bit of modern country as well. They liked it, but they really wanted the classics.

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Yup...The days of having to have a current top 40 list are OVER..Now, mix it up and don't play only the ultra crusty stuff at all times and you'll be golden!....

 

I've come to the conclusion that I need to add the 2 or 3 big tunes a year and that's it for the market i'm going after. There's so much good music out there recorded that people have to listen to that new stuff just isn't a priority.

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Yup...The days of having to have a current top 40 list are OVER..Now, mix it up and don't play only the ultra crusty stuff at all times and you'll be golden!....

 

I've come to the conclusion that I need to add the 2 or 3 big tunes a year and that's it for the market i'm going after. There's so much good music out there recorded that people have to listen to that new stuff just isn't a priority.

 

Definitely for the types of gigs we're talking about on this thread, having a variety of stuff is the way to go. As far as whether the new stuff or old stuff goes over better? My experience is that as soon as you think you've figured that out, you'll find yourself playing a gig where it turns out that the opposite it true.

 

The other side of that coin is that many times, the band is who the band is and the crowd is fine with that. If you hire a bunch of old guys who play classic rock and country for your party, those are likely to be the songs you're in the mood for because that's what you expect from such a band. Crowds aren't stupid and don't expect bands to be jukeboxes who can play anything and everything. (For the most part. There's always one or two dumbbells in the crowd who believe that.)

 

So the double-edged sword of that reality is A) run with your strengths and the crowd will follow along, but B) don't completely lull yourself into the false sense of security of believing that just because they'd rather hear your band play Van Morrison than Katy Perry at a particular gig, that that's what the crowd is really "more into". It might just be that they've got a pretty good sense that you'd suck at Katy Perry.

 

So, in other words, I think all the old rules still apply: Play to your strengths, concentrate on being the best version of YOUR band that you can be, don't try to be what you're not or try to be all things to all people, BUT still make sure you're keeping your ear close to the ground and aware of what is working with the audiences you're playing for and what isn't working and why.

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There's so much good music out there recorded that people have to listen to that new stuff just isn't a priority.

 

The key is creating the proper atmosphere and selling the party. The songs are just one of the tools you use like choosing which sort of lighting you'll implement.

 

Focus on why the band was hired for the event and what the purpose of the band is and remember always that we're just one of the "vendors".

 

And I don't mean that in a bad way. (A lot of musicians chafe at being thought of as a 'vendor'.) But think in terms of why other vendors are hired and what is the difference between a good one and a bad one. Anybody can serve up some food for an event. But why would anyone pay thousands of dollars for a particular vendor to do so over just bringing in some buckets of KFC? Because the best ones hit all the marks with menu, flavor, presentation, delivery, professionalism, etc. It's less about whether you're serving up beef or chicken or fish than it is HOW you do it. Although who doesn't also like having the choice of options? Almost everyone prefers that. But, at the same time, few people are going to leave disappointed that they only served chicken if the chicken kicked ass.

 

But, like the food and beverage vendors, the band's job is to hit certain marks over the course of an event at the right time and deliver. You gotta give 'em some appetizers and some drinks and some salad and a main course and dessert. They need a bar, they need people serving up champagne at the table, etc etc etc. None of those things are, in and of themselves, necessary. And who hasn't been to a great event where there was just a food truck and a keg of beer or some such? But if you're looking to deliver a full, high-end experience for the client, you have to hit all the marks.

 

The songs themselves are just the tools you use to hit those marks with. Some make your job easier than others for various reasons. Example: there are a lot of songs we could play during the bouquet toss. Or we could just run an iPod of some song or another. Or we could just do an announcement and a drum-roll. Or we could not do anything at all and let the guests take care of it themselves. But---at least for us---playing "Single Ladies" is an easy and obvious choice that makes our job of trying to make the bouquet toss a "moment" much easier for us. So we run with it and make the most of it.

 

There are no "priority" songs or genres or eras to play. But there ARE multiple "moments" and marks you need to try and hit over the course of the evening. Especially at a wedding. You need songs that appeal to all ages. You need songs that create certain levels of excitement and songs that are less so, so that there is a certain ebb-and-flow to the set so that you're building to a big finish. Since it isn't a bar where most everyone is there because they are all of a similar age and culture, you have to be able to reach out to the wide variety of folks in attendance without driving away others.

 

I try to build the setlist by looking at each song and what it is designed to do at that moment in the set. And is there another song that, for us, would accomplish that goal better and easier? I'm not very much concerned with whether a song is new or old or what the genre is or who the original artist was or any of that stuff as long as the song works in that spot. But sometimes a newer song will work easier simply because its newer. Or a country song will work better simply because it's a country song. So, in those cases such things are relevant.

 

I know we have to give them a dessert. Whether it's ice cream or cupcakes or what sort of frosting we use is up to us and as long as it tastes great, they're gonna be happy. But we can't give them kale salad for dessert regardless of how good it tastes.

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We just played a fraternity party. I was worried about our set list being too old/outdated and not being relevant. Much to my surprise, they wanted all the classics. We played Brown Eyed Girl twice, and they were requesting it a third time. They kept requesting stuff like Take It Easy, Sweet Home Alabama, etc. We played Rocky Top and it was near pandemonium. We play quite a good bit of modern country as well. They liked it, but they really wanted the classics.
I hear ya. I put on an open mic, and it's all younger people, it's a good time. I'll do a short set here n there. I bring drums etc. one time my bass player and drummer were there so we banged out a bunch of classics as a trio. Surprisingly they ate it up. Things like Runwway, BEG etc. I couldn't believe it.
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The key is creating the proper atmosphere and selling the party. The songs are just one of the tools you use like choosing which sort of lighting you'll implement.

 

Focus on why the band was hired for the event and what the purpose of the band is and remember always that we're just one of the "vendors".

 

And I don't mean that in a bad way. (A lot of musicians chafe at being thought of as a 'vendor'.) But think in terms of why other vendors are hired and what is the difference between a good one and a bad one. Anybody can serve up some food for an event. But why would anyone pay thousands of dollars for a particular vendor to do so over just bringing in some buckets of KFC? Because the best ones hit all the marks with menu, flavor, presentation, delivery, professionalism, etc. It's less about whether you're serving up beef or chicken or fish than it is HOW you do it. Although who doesn't also like having the choice of options? Almost everyone prefers that. But, at the same time, few people are going to leave disappointed that they only served chicken if the chicken kicked ass.

 

But, like the food and beverage vendors, the band's job is to hit certain marks over the course of an event at the right time and deliver. You gotta give 'em some appetizers and some drinks and some salad and a main course and dessert. They need a bar, they need people serving up champagne at the table, etc etc etc. None of those things are, in and of themselves, necessary. And who hasn't been to a great event where there was just a food truck and a keg of beer or some such? But if you're looking to deliver a full, high-end experience for the client, you have to hit all the marks.

 

The songs themselves are just the tools you use to hit those marks with. Some make your job easier than others for various reasons. Example: there are a lot of songs we could play during the bouquet toss. Or we could just run an iPod of some song or another. Or we could just do an announcement and a drum-roll. Or we could not do anything at all and let the guests take care of it themselves. But---at least for us---playing "Single Ladies" is an easy and obvious choice that makes our job of trying to make the bouquet toss a "moment" much easier for us. So we run with it and make the most of it.

 

There are no "priority" songs or genres or eras to play. But there ARE multiple "moments" and marks you need to try and hit over the course of the evening. Especially at a wedding. You need songs that appeal to all ages. You need songs that create certain levels of excitement and songs that are less so, so that there is a certain ebb-and-flow to the set so that you're building to a big finish. Since it isn't a bar where most everyone is there because they are all of a similar age and culture, you have to be able to reach out to the wide variety of folks in attendance without driving away others.

 

I try to build the setlist by looking at each song and what it is designed to do at that moment in the set. And is there another song that, for us, would accomplish that goal better and easier? I'm not very much concerned with whether a song is new or old or what the genre is or who the original artist was or any of that stuff as long as the song works in that spot. But sometimes a newer song will work easier simply because its newer. Or a country song will work better simply because it's a country song. So, in those cases such things are relevant.

 

I know we have to give them a dessert. Whether it's ice cream or cupcakes or what sort of frosting we use is up to us and as long as it tastes great, they're gonna be happy. But we can't give them kale salad for dessert regardless of how good it tastes.

 

 

NAILED IT DAVE!!! I agree 100000%

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Just for the heck of, here's our current wedding songlist with some commentary thrown in.

 

SET 1

CELEBRATION (still a sure fire opener, but I'm SOOO tired of this and looking for a similar "all ages" replacement. Right now I'm thinking "1999" might work??)

BOOGIE OOGIE OOGIE (getting ready to backburner this one and go straight into....)

BILLIE JEAN (all ages continue to love this one)

YOUR LOVE

JESSIE'S GIRL (we drag the bride and bridesmaids up for this one and change "Jessie" to whatever the groom's name is)

LOVE SHACK

HERE FOR THE PARTY (hit or miss depending on how many country fans are at the event)

STAYIN' ALIVE/ANOTHER BRICK IN THE WALL

RAPPER'S DELIGHT/GOOD TIMES

GET LUCKY

OH WHAT A NIGHT

WHAT MAKES YOU BEAUTIFUL (Stayin' Alive through this one is all one long mashup/medley)

AT LAST

BEST DAY OF MY LIFE

WALKING ON SUNSHINE

MICKEY/THAT'S NOT MY NAME/MY SHARONA

HAPPY

JUST THE WAY YOU ARE

SHOUT

 

bouquet toss - SINGLE LADIES

 

SET 2

DYNAMITE/ CALIFORNIA GURLS/WE FOUND LOVE/LOW/STARSHIPS/PARTY ROCK ANTHEM/GOOD VIBRATIONS (If the first set was dragging at ALL, this medley is our guaranteed dance floor money maker.)

I DON’T CARE I LOVE IT

SEXY AND I KNOW IT (Bring the groom and groomsmen up on stage to make fools of themselves...The song itself is about over though. We're thinking of either replacing it with "I'm Too Sexy" or, more likely, doing a mashup of both)

MOVES LIKE JAGGER (About run its course as well.)

GIRLS JUST WANNA HAVE FUN/I JUST WANNA DANCE WITH SOMEBODY

LIGHTS (Journey is huge here in Nor Cal.)

ANY WAY YOU WANT IT (See above)

BORN THIS WAY/EXPRESS YOURSELF/YOU SPIN ME ROUND (Born This Way is pretty much over, but the other two are still pretty strong. We're looking for some other tunes to replace that one with and freshen up the medley)

SWEET CAROLINE (Yawn. This is usually the first song to go if we are short on time, but if there's a lot of older folks still hanging around this late, we'll do this one for them.)

YOU SHOOK ME ALL NIGHT LONG

LIVIN' ON A PRAYER

I LOVE ROCK N ROLL

POUR SOME SUGAR ON ME

DON'T STOP BELIEVIN'

 

A lot of this 2nd set stuff often gets passed over if time is running short. Getting to that "rock block" at the end of the set is the key to revving up the crowd for a big response at the end of the night. And there are also a handful of songs we have to throw in there in case the night is running long as well.

 

 

Dave I have some questions:)

 

Set 1

Who does "That's Not My Name"?

 

Set 2

Who Does, Dynamite, We Found Love, Low, I Don't Care I Love It, Sexy and I Know It??

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Let me also say something about each of those songs --- not that my observations apply to all markets or all bands, but just to give you something more to go off of ----

 

"That's Not My Name" is about 5 years old and, as such, has lost that "new" appeal. But it's still a cute song that most chicks seem to dig. We do it in a medley with "Mickey" because they are pretty much the same frickin' song rhythmically. We used to open the medley with TNMN, and it wasn't really working so we switched it around and now play Mickey first and it works really well for us. I like that spark of energy we see on a dancefloor whenever we kick into a new song in a medley and it's working with the crowd and this does that. But I don't think it would be in our set as a standalone piece.

 

"Dymanite" Maybe THE most consistently popular song to come out in the last few years. I don't feel its popularity waning at all and almost wonder if it ever will. There's a reason we open the set with it. I play those opening chords on the keyboard and the dancefloor fills. Every. Time.

 

"We Found Love" is a couple of years old now but still works well in the medley we have it in. Not sure if it would work as a standalone anymore. We've talked before about replacing it only to look out and still see so many people singing along with it, so it's staying. For now.

 

(side note: Deceptively hard song to sing it appears. Done it with a couple of different girls singing it and they both had issues with staying in pitch on it.---something neither of them ever have an issue with, really. And every girl who ever auditioned for us with this song had big problems with it as well. Don't know why that is. Just the way the melody weaves around the chords I guess?)

 

"Low" Another one that doesn't seem to be going away anytime soon. 5-6 years old, but the chicks LOVE LOVE LOVE this one. They love to slap their asses and each others asses on the dancefloor and shimmy down to the floor during the "Low, low, low, low, low, low, low, low" bits.

 

"I Don't Care I Love It" still new enough to be really strong. Great shout along chorus for the crowd. Probably will get tired for the crowds at some point though, I would imagine.

 

"Sexy And I Know It" works as a gimmick, crowd-participation piece for us. Probably wouldn't work anymore otherwise.

 

And your band could probably work up all those songs in less time than it took me to write this post.

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