doc-phil wrote:
While i wouldnt be too impressed if i went to a show just to find a performer that plays something over a backing track, i do believe backing tracks have there uses.
The only commercial use i would encourage the use of backing tracks is for gear demos
Once again, one must realise that the performance market is multi-faceted. With reference to the "covers circuit": Live bands (ie drums, bass, etc) are obviously more expensive than solo musicians, or small duos, etc. There was a time a few years back when it was still relatively easy to book bands into "cover venues". Now the proprietors make more money by hiring a DJ or a karaoke compere - or one man band - than booking a full band. I work in this segment, and have friends who play in full bands. I from time to time also play in full bands for certain gigs or line-ups, etc. If an owner estimates making R 5 000 on a night from drinks, he's not going to pay a five-piece band R 1 000 a man. But he will pay a one-man band R 1 800 or, even better, a DJ a R 1 000. Every time I've played in a full band on the covers circuit in the last two years I've been paid less than it would be worth packing the PA into the car as a solo or duo - essentially as a favour to the other guys. The size of the cake is in many cases pre-determined. Whether you slice it into 5 or 6 pieces, or 1 or 2, is up to you.
These comments are, of course, relevant to the "covers" market. Different rules apply to venues that are geared to, and committed to, supporting live, original bands.
In an ideal world, one would want every performance to be fully live and ensure that every muso out there get's a chance to play. In my experience, however, that is not realistic or attainable in the local market. In my view, one must accept that some guys play with backtracks because it makes commercial sense in a particular market segment. If you don't, one soon finds yourself in the debate that raged in the Afrikaans market a year or two ago with Anton Goosen and Steve Hofmeyr ripping each other off in public: Anton alleging that singers who sing with backtracks are ripp-offs and are inherently uncool and of a lower status in the business. Probably had nothing to do with the fact that Anton makes 10% of what the backtracks gang do. One may argue that Anton's view is more legitimate (and it probably is), but he probably makes 10% because he excludes himself from 90% of the rural venues because promoters can't afford a full band in all the areas the backtrack guys tour. Bit of a double-edged sword, really.
As long as one looks at both sides and keeps the context in mind I'm happy. But the "
I'm hardcore and you're plastic 'cause you use backtracks" attitude simply overlooks the practical politics of live performance in the holistic sense.
