The Perfect Set List?

This week we’re looking at how to build the perfect set list.

Ultimately, it is our job is to invite the audience into our world and involve them in a visceral, holistic experience that leaves them craving for more. The way we construct our set list is integral to this effect. Think about it: when you put together your set, is it just a random collection of songs you enjoy? Or is there a story, a central theme perhaps or a dynamic arc that pushes and pulls the listener through the light and shade of your artistry. What connects the songs? Is it style, key, instrumentation or perhaps all three! This week we’d like to get your thoughts on this.

So the question is: What components make up the perfect set list for you?

Share your views on Facebook and our Forum!

Great Comments from last week:

Last week Craig asked: Do you think it’s possible to blend head & chest registers into one smooth consistent sound? If so, what techniques can we use to help us achieve this?

Jamie Read wrote…

“Take a look at the Estill model – it doesn’t deal in Head and Chest at all, it just deals in the vocal qualities and how to achieve then at all points in the range. In that sense, a good safe belt is in neither chest nor head, it’s in belt. Likewise legit or operatic tone is also not in head or chest, etc. Excellent way of working”!

Josh W Drane commented…

“Brett Manning has built a successful studio in achieving this with exercises that work automatically, but gradually”.

Al Andrew posted…

“Mix Voice for some reason has become a huge desire in vocalists today. It is the pay off of hard consistent work. I agree with my friends above it comes with time and naturally, provided the foundation of using your voice is built correctly, breathing and tone placement has to be an instinct before mix voice can be engaged”.

Chris Johnson responded…

“This is totally possible through tonal adjustment, airflow management, mouth shape and maintenance of vocal cord adduction. But, much like has already been said; the key is in adjusting the sound or vowel colour to facilitate the process and treating the voice as one register. Although for some it’s important to acknowledge separate registers, with the right approach it’s possible and beneficial to ignore them a bit”.