Mike Null
Special to The Killing Floor

As I’ve said in previous blog posts, there is life before Shanghai, life in Shanghai, and life after Shanghai.

Before I came to China I was in Boston plugging along as a side guy, playing with whoever would have me. In the nine years I’ve been there I’ve experienced a lot by playing with cover bands, Berklee faculty, blues outfits and singer-songwriters alike. Some bands were good, some were mediocre, and some were just bad.

One thing I’ve noticed through all of this is that in being successful it often doesn’t matter how good the band is (this is especially true with cover bands). For instance, any cover band can play the first few lines of “Brown Eyed Girl” and people will say, “Whooo! I love this song!” Similarly, anybody can sing the first few lines of “I Will Survive” and a gang of women will get up and rush the dance floor.

This doesn’t happen because the band is good (though it may be), but because the band is tapping into people’s associations of artist, genre and recording. Even bad cover bands do well because they play the right songs.

I may offend some people by saying this, but a blues band in its essence is a cover band. Many will want to say, “But wait…No, what we’re doing is keeping a tradition alive and…” Nope. Unless you’re writing original music, you’re a cover band.

It may be a hard truth for a lot of blues bands to accept, but just because you take solos doesn’t mean you’re not a cover band. You are still tapping into people’s associations of artist, genre and recording. You are still playing the right songs.

By tapping in bands are becoming successful by finding their place in the huge music machine we have in the United States. This machine has been around for a long time and it’s extremely powerful.

When a band gets signed and they produce a “hit”, that hit is played to the point of saturation all over media. It’s on TV, on the radio, at McDonald’s, on your buddy’s ipod; it’s everywhere. Even if you don’t like a song you’ve heard, chances are you could say who made it famous and could probably sing some of the super repetitive chorus. The machine is that good.

In China, people don’t have these built in associations for a lot of the music we play. There is definitely a music industry here, but the average person probably has no idea who Muddy Waters was or what blues music is at all. Therefore, we can’t rely on anything other than our own performances to get people into the blues. They are literally hearing new music in the moment and if they aren’t affected by what they hear they move on.

In my opinion, the goal of any serious band is to affect people. I’m not trying to say that my band is better than others. I’m just trying to say that is what we are aspiring to do. I want people to leave our show remembering our name, remembering how we made them feel, leaving the show so into the band that they actually tell other people about us or even decide to support us financially by buying a CD or tickets to other shows.

Some things China has taught me about performance:

1. I have to feel it first. If I’m not liking what I’m hearing, or if I’m coming from a place of insecurity, the audience will pick up on that and not get into what we’re doing. I try to make sure I set up the situation (i.e. sound, make sure we’re all fed, etc.) for us to not only play well, but to actually feel it. In short, I have to take care of myself and do my homework so that when I walk up on stage the only things I have to worry about are listening, feeling and reading the room.

2. I have to look good. There is a common misconception that people that dress up are making up for the fact that they are lacking in some other area. That may be true for some bands, but I think this is a cop out. I want people to be able to make the immediate distinction of who is in the band and who is not the second we walk through the door just based on how we look.

3. I have to move. Part of looking good is being a band that is visually dynamic. Musicians are a different breed of people when it comes to checking out a live show. Most non-musicians go out to see and feel live music, not just hear it. In addition to being dressed up, I have to move. I try to get drunk on the music. I find I get the best results when I show people how I feel on the inside when I am doing what I love. If I am feeling it first, this comes easily.

I love the Blues. I feel it deeply, I’ve dedicated my life to it and I want it to survive. I feel that the global blues community is suffering in part because people don’t take it seriously. I believe it is a deep art form that should be respected on the level of any other genre of music, if not more so because it is often the root of most other genres. I can’t expect any audience members or listeners to take it seriously if I don’t first. In short, to really affect people I’ve found that I have to actually perform. Not just talk about performing, or talk about people who do, but actually perform myself.

Mike Null
Special to The Killing Floor

As I cruise along to the end of my fourth week here at The House of Blues and Jazz, I find myself grateful, excited and challenged.

The challenges change from day to day. I am always trying to think of steps I can take to get the band tighter, improve the stage show and make sure everyone is having a great time. The first few weeks are all about preparation, but now that the band is looking sharp and sounding great, what’s the next step?

As the bandleader, it’s my job to prepare set lists and call tunes as the night goes on. Let me just say that I never really understood the art of reading the room until I came to China. In Boston, I was more often a side guy and didn’t have to carry the responsibility. Now that I have to think about it in addition to my own playing and singing, I’ve begun to realize how important it really is.

I think set lists are a bad idea. I know a lot of people would protest, but hear me out. Sticking to a set list robs me of the ability to read the room. Instead of a set list, I prefer a song list broken down by song type: danceable tunes, slow tunes, epic musicianship tunes, etc. As I engage the crowd and try to get a show moving, I get a sense of how people are feeling. I’ve found that there a few types of crowds, and a crowd can vary from set to set.

The shy room—This is typically common at the beginning of every night, especially on weeknights. Folks get off work, go out to unwind a bit and probably have dinner or a drink. They’ve just spent all day playing by the rules and are very reserved. Early well-meaning stage banter is received by a tentative response or at worst, dead silence. Some bands never get past this initial contact. Don’t let it get to you! These people are the same people that might be swinging from the rafters later on. I just give them a wink and a knowing smile and loosen up the band, knowing that I have to go there myself first before they will come with me.

The dancing room—This is when the energy is high, often on weekends or later in the night after people have a few drinks. My job changes as a bandleader. I have to suck it up and realize the gig is no longer about the music. A dancing room wants pure enabling energy that will be the blues-powered engine for their party. The room will get loud. People will talk and dance and my job is to call tunes that will keep the party spirit alive. Though I enjoy the dancing room, I must say that I do not consider dancing a sign of success. When people are dancing I haven’t lost, but I haven’t totally won yet either. I did not come all the way to China to become a human juke box. I want people to actually dig what they hear.

The listening room—This is my favorite. This is when I’ve “got ‘em.” The listening room is a room full of patrons that plant themselves in their seats, glue their eyes on the stage and don’t move except maybe to go to the bathroom. The vibe is a self-policing silence, respectful and appreciative of what’s happening. I call different tunes for rooms like this. I call tunes that are more musically intelligent, in many ways more satisfying to both play and to listen to, and in such a nurturing environment, the band often stretches out and reaches unprecedented levels of ensemble playing. I know I’ve read the room well when I can turn a rowdy Saturday dance crowd into a room of energetic and engaged listeners.

My friend Aaron Shadwell said it best: “Don’t ever blame the crowd for how well the band performs that night. If Michael Jackson were here, we’d all be having a great time.”

Mike Null
Special to The Killing Floor

It’s great to be back. The band received a warm reception and despite some basic house sound issues, we had a pretty successful first week.

We have definitely been busy…from rehearsing three hours every day to going to a sterile government health facility and getting the required “health check”. This consists of changing into a little white robe and slippers and being bussed from one room to another for a series of tests. I even tried to crack a joke as I laid on the bed getting my sonogram…”Is it a boy or a girl?”

The doctor didn’t laugh, but he did give me a chocolate afterward.

There is always the necessary trip to some of the local fake markets to get the Boston boys hip to the International standard of dress: suits that actually fit to the T, and gig clothes that don’t look like you’re about to start your shift at the local Citizen’s Bank. And, of course, everyone wants to try the Chinese McDonald’s.

Once the loose ends are tied up, we can finally focus on the main reason that we’re here, the music, and lots of it. Three sixty-minute sets a night, six nights a week. A lot happens to people when they realize that they have to play that much. Back in the states, Asia-bound players become so overwhelmed by the fact that they’ll be in China in a few weeks, that the whole “six nights a week” thing doesn’t quite sink in.

It’s not until they actually physically get here and have to do it for a week before they find out what they signed up for. Anxiety begins to set in and people go through a lot of mental changes. They begin to feel trapped and their “inner divas” come out. They can become extremely sensitive to sound issues and they worry about how their hands are going to hold up. Part of my job as a band leader, and I guess being the more experienced one because I’ve done this before, is constantly reminding people that everything will be okay.

“It’s cool…I know where to get a good cheeseburger.”

“If the bed is too hard, there’s an IKEA in Shanghai where you can buy a softer mattress.”

“We don’t have anything to do in the mornings. Sleep in…every day.”

My favorite thing about six nights a week is that I have to get up there and give it everything I’ve got—no matter how I feel that day. The worst part about six nights a week is that I have to get up there and give it everything I’ve got—no matter how I feel that day. It’s a real growing experience. A contract like this will cut through all of the mental excuses holding you back from musical evolution. One can say, “but…but…” and it doesn’t matter because you still have to get up there and kill it.

Again. And again.

There’s life before Shanghai, and there’s life in Shanghai. And right now, I’m here…on a contract, and there’s a room full of people here to experience this American thing called “the Blues”. If I’m not feeling it, they’re not going to feel it.

I had better get some sleep! Until next time…

Click Here for Dana’s Blog

Shanghai

As I awake from my pre-show nap in somewhat of a daze.. I look out at the view from our apartment on the 23rd floor.   Sometimes reality seems more like a dream than the dream from which I awoke..

The first one was just published today!

Mike Null
Special to The Killing Floor

It’s finally starting to hit me. In less than forty-eight hours I will be waking up on the other side of the world! My life as I know it is about to be turned upside down. My new band, The Soulcasters, will be playing a residency at The House of Blues and Jazz in Shanghai, China, starting next week. I can’t believe I’m going back!

This week has been busy. The band has been getting together every day to rehearse with an enthusiastic and anxious energy that keeps us burning the midnight oil. We have a lot to prepare for; three sixty-minute sets six nights a week is a lot of material for any style of music. That in combination with last minute visa applications and honoring other commitments, this trip is consuming just about every free minute I have.

The biggest priority is preparing for the unofficial ceremony that takes place upon arrival. Every band that gets the gig agrees to host a blues jam every Sunday. After the plane touches down and the band is given an opportunity to shake off a little jet lag, they suit up and head to the club to make their first impressions.

This event is promoted and usually well attended. In addition to the draw from the previous band, the crowd also consists of many of the movers and shakers in the local music scene. The resident band calls up the new band to showcase a few songs and they are given one shot to make a strong impression, a trial by fire of sorts. If the band lacks skill or isn’t rehearsed, there is a good chance they’ll lose a good percentage of the crowd for their entire residency. First impressions are everything, especially in Shanghai.

Fortunately, we will have a chance to warm up before we get on the plane. We’re having our own state-side ceremony tonight at Smoken Joe’s in Brighton. Last year’s lineup, The Mike Null Blues Band, will open, followed by Boston legend Toni Lynn Washington. Closing out the night is the debut of the new Asia-bound lineup, The Soulcasters.

I’ll be writing about it here in more depth, as well.  Stay tuned!  We leave first thing tomorrow.

Don’t forget about the send-off party tonight!  Hope to see you there!

June 18th, 9p – 1am, at Smoken Joe’s in Brighton Center, MA.

We’ll be having a big send-off party for the Soulcasters! The show will consist of performances by the Mike Null Blues Band, the Soulcasters, and Boston legnd, Toni Lynn Washington.. in addition to some special guests sitting in!

Hope to see you there!

View the facebook event here.

Shanghai here we come!

This is the lineup, minus our pianist, Gabriel, who was unable to come up from New York.

Dana Shellmire -  vocals, Chris Sublette – bass, and Max Zemanovic – drums.

More to come, stay tuned!