The first thing to remember when you embark on a USA tour is that the available voltage there is 110V . I remember an anecdote from many years ago – when we had to use electric tanpura machines – where an eminent vocalist had his tanpura machine first garble up then blow up on stage because he had forgotten to use a step up transformer .
The other thing many Indian musicians should remember is that generally American audiences don ’ t like to be overwhelmed with the level of sound in the house . Their expectation from Indian music , and rightly so , is one of calm and serenity combined with dexterity and virtuosity . However high decibel levels are generally detrimental to the listening experience . I have seen from experience that , in the USA sound engineers do not take too kindly to artists who ask for more “ levels ” in the house . They are happy to work through EQ requests and to boost or shave off certain frequencies but higher volume is not the answer .
Also if you are a touring Indian musician in the USA you would have experienced that in some sabhas an “ uncle ” who ’ s an electrical engineer often takes it upon himself to operate the sound console . Normally they understand three parameters – volume , bass and treble . So it helps if the artist has a little knowledge about his / her cut off through frequencies and is able to do little tweaks themselves . Alternatively if they are able to carry a small mixer themselves which gives them control on stage , it ’ s a great solution . Though you wouldn ’ t want to do is offend the uncle !
Many Indian musicians think that American audiences can be won over by fiery , up-tempo playing . This can be quite counterproductive . As I have already mentioned , Americans love the tranquility and melodic complexity that Indian inflexions offer in the alap that we do . In fact I have often received requests of playing just alap in a certain raga .
Another thing to keep in mind … Playing the theme from the Good , Bad and the Ugly can work as a nice repartee towards the end of a performance , but audiences are put off by artistes who are over eager to woo them with cheap thrills . Put yourself in their shoes – how would you feel if Beyoncé , instead of singing her hits in a concert in India , started singing a Bollywood song one after the other ? One or two interspersed in the performance might be cute but they have bought tickets to your concert because they want to hear YOUR repertoire .
I have often seen at Indian concerts , artists , motivated by the perception that great humility must be demonstrated , end up giving a long speech at the beginning of the concert . In this they often ask for forgiveness before they sing or even play a line . I feel this confuses the audience especially in the US . So does bragging about the lack of rehearsal . It ’ s not in the musical culture of the country to be proud about coming unprepared to a concert . By asking for forgiveness before you begin , you often make them think that you ’ re perhaps unprepared and apprehensive .
On the other hand , I have seen that audiences are very happy to hear about Indian traditions . For example if you want to tell them that you must begin your performance with an invocation to Lord Ganesha or to your guru , this is greeted with love and respect . Pandit Ravi Shankar and Ustad Zakir Hussain have done such amazing service by educating foreign audiences about how to listen to Indian music that they approach it with great reverence .
There is one element in the musical culture of the west especially with regards to classical musical traditions that often throws off Indian musicians . By and large western audiences don ’ t tend to applaud till at the end of a movement ( the equivalent in Indian music is end of alap jod , or vilamvit bandish etc ) If you try to burn the house down till they applaud you might put them off . If they are silent , it most likely means they are captivated by your music and they will respond with thunderous applause or shouts of “ bravo ” at the end . Also , I have seen , in the US , a standing ovation is not a mere ritual , it only happens when you have truly touched their hearts .
On the subject of a standing ovation , you ’ ll often hear your audience clapping for a long stretch even after you ’ ve left the stage . This is a request for an encore . You must come back and take a bow and if that doesn ’ t stop the applause , perform an encore . However this won ’ t be logistically possible for your audience if you overshoot your time in the main performance . Most Americans have very carefully planned schedules which do not accommodate being caught up in a concert for an hour extra because the artist was in such a great mood that they forgot to look at the time .
Thanks to the efforts of many great artists our music is much loved and respected the world over . It ’ s our duty and responsibility as contemporary artists to live up to the reverence bestowed upon us .
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