I have been fortunate to be asked to play in so many weddings, anniversaries, memorial services, concerts, among others that sometimes I reflect on the many amazing experiences I have encountered, and I how I have learned to deal with emotions in important gigs. I will never forget an early wedding I played when I first started gigging. I was playing a piece of music and I could hear people in the front row crying at a wedding. One of the guests in attendance (who actually happened to be a father of the bride) later came up to me with tears in his eyes, thanking me, and telling me the music I was playing (The Beatles) was his Dad's favorite, and was played in his wedding. I realized early on at the power of music to invoke emotions in people of any age, and it's effect on my emotions in response to those in attendance. Sometimes when you are playing you can get caught up in the feeling of an event, and it's best to think of the chords, and notes that are coming and forget what is happening around you. Crying bridesmaids/brides/grooms etc. can throw a novice for a loop, but it's best to just play on and think of the music and the emotion you're trying to convey. I also find it rewarding after playing a piece of music at an intimate concert, and seeing the waterworks in someones eyes. I recently had a woman come up to me aftet and concert and tell me she loved my rendition of "At Last" by Etta James, as it was played at her wedding. Her husband had recently passed away, and she felt connected to him through the music. The connection humans have through music is so powerful and inspirational. Quite frankly, I've gotten to the point where everything I play is on auto-pilot, especially pieces I have played for years.

Another one of my fondest memories recently was playing a memorial service, where I was asked to play Joni Mitchell's "All Sides Now" after the daughter of the man who had passed away gave a moving speech on his life, and what the song meant to him. I played it while the room was clearly in tears, with open crying, and held back tears while hitting every note to make sure the man's life and memorial would be remembered even more vividly. I had to duck under my music stand when the piece was over and wipe tears off of my eyes, as the mood in the room was contagious, and I couldn't help but be drawn into the beautiful speech his daughter made, and the way he would be remembered. The gift of playing such memorable music for people has really given me meaning in life, as some can forget that there's more to a lot of gigs than just showing up and playing and getting the check. Not only do you have to be accurate, and play during adverse weather and other conditions (heat, cold, wind, insects, etc) you have to play with such emotion that people can feel it, and never forget the moment. This can't be faked, and can only come from the soul. 

Through many gigs played I have realized which pieces work in each situation, and am grateful for the repertoire I have built up over the years, which is a reflection of Minnesota/Wisconsin folks musical tastes. These things I cherish, and am so grateful to be asked to play at so many wonderful people's events. Thanks for reading, and hope to see you at a gig! Until than, I will keep bringing the music to the people!

 

I've been busy putting together a program and practicing for my next concert on Sunday, February 14th at Studio Z in St. Paul. I have developed such a large repertoire, that's it's getting harder and harder to select pieces to play in concerts. I have classical, romantic, Spanish, Latin, oldies, and contemporary hits that I try my best to mix in, To keep the concerts appealing to a wide array of people, I have so many classical/romantic, Spanish, Latin, oldies, and contemporary pieces that it's tough narrowing in on which ones will work best. I'm always wondering "am I alienating people in town who have come to only see a classical concert? Am I alienating people who want to hear new abstract, and lengthy pieces? (I'm convinced this crowd is dying off, but they still exist nonetheless).
 While I believe I have the most eclectic mix of music possible, sometimes it becomes a burden.  If you haven't seen me in concert in a while, my repertoire has become highly catered to arrangements of popular oldies, acoustic fingerstyle, and contemporary music, away from a strict all classical concert. Part of the change is the unbelievable amount of weddings and private events I have been playing in over the past few years. I just feel trapped as an artist playing the "standard" guitar repertoire that everyone who considers him/herself a classical guitarist falls into. I feel more connected to audiences when they hear a piece of music they are familiar with, and arranged in such a way that they have never heard before. I still love to play music from the "classical" repertoire, but I think it pigeonholes anyone who starts calling him/herself a classical guitarist. What does that even mean? Classical music is such a broad term. I know guitarists who play mostly modern South American, and Spanish music, and still call themselves classical guitarists. To me, "nylon string fingerstyle guitarist" makes more sense than "classical guitarist." I guess labels are what define people, so I have gotten used to being known as a classical guitarist, even though I enjoy playing many different guitar styles.
With all that said, I guess it's nice having the freedom to play what I want.  When people say " I haven't heard such a wide mix of music on guitar before," I know it was worth the time and effort to put together such an articulated event. Ever wonder what it's like to hear South American, and Spanish music rub elbows with oldies hits and artists like Stevie Wonder, the Beatles, Clapton, The Beach Boys, and Elvis? Also, I have put together a killer medley that I will unleash upon the audience. Come out and watch me in concert, hope to see you there!