As performers we all have a certain amount of ego – if we go out and perform something and people aren’t paying attention it’s pretty insulting. It would be great if every time you performed people would simply stop what they are doing and give you their full attention but, you have to be realistic; this isn’t going to happen all the time.
The first thing to remember is that there are many different types of performances. There are formal occasions such as recitals or symphony concerts as well as more informal locations such as parties, restaurants or even malls. While the performances might be similar, the audience and setting is extremely different.
If people are loud and obnoxious at a formal event – which does happen – this is something that is completely antithetical to the setting of the performance; if they act that way in a public setting it’s something to be expected and planned for. You can’t expect everyone at a party to stop what they are doing to listen to your performance – they are probably there to eat, drink and socialize with their friends.
It’s very important as a musician to understand your audience and the context of the performance. In many cases when you are playing in an informal setting you have to put your ego aside and realize that what you are doing is more of a job than a pure musical expression.
But how do you deal with an audience member in a formal setting who is being loud? There are a number of ways to react and deal with a situation like this.
One method is to be confrontational. You could try looking towards the source of the noise and possibly intimidate the audience members to quiet down so everyone can enjoy the music. This can work but it can also backfire. Really the last thing you want to do is create a distraction by developing a dynamic between you and an audience member – you want to minimize the distraction to your audience. It’s probably best to avoid confrontation whenever possible.
I personally use a much different method. If I find someone is being disruptive during a performance, I do my best to draw them out to the audience and make them aware of the distraction. For example, when I come to a quiet part of a piece I may play even quieter then I normally would. This might seem counter intuitive, but if you captivate your audience and have them follow you into a quiet section they will be incensed at the idea of someone disrupting it for them. In situations like this the audience will take care of your problem for you.
The best thing you can do is keep your composure. You don’t want your audience seeing you affected in a negative way and you don’t want them seeing you upset. You will have to deal with this problem as a performer and it’s always important to remember the context in which you are performing.
Thanks again for joining me, Robert Estrin Robert@LivingPianos.com (949) 244-3729
3 thoughts on “Dealing with a Loud Audience”
I was reading Bill Evan’s biography (How My Heart Sings), and he complained about the weekday crowds at the Vanguard (where he had a regular house gig) as being just crassly loud. That helps me get over it when crowds at my modest restaurant gigs aren’t showing the “proper respect” – that was Bill-friggin’-Evans, and still, people will chatter! And yeah, about the quiet bits. When I’m doing something very touchy-feelie, and some lunkhead is bellowing, I play ultra pianissississimo – and usually they get the message. Sometimes.
Hmmm — I guess you might call it disconcerting…
(Which also brings up the subject of musicians’ affinity for groaner puns…. )
Since I only play coctail bar piano in public, the unusual case for me is if somebody does pay attention to it.
— J.S.
My playing was cocktail lounges and restaurants, and lately parties, wedding receptions,Etc. When the crowd is small they are fairly quiet, but as the number of people increases, so does the ambient noise. Thus each person has to talk louder to be heard, and the noise rises. I find myself sometimes unable to really hear what I’m playing, so to a muse myself, I’ll play my left hand in F, for instance, and my right hand in F#. It doesn’t matter, since no one is listening. Okay, as long as the check doesn’t bounce.