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Trivium Presents: A Light or A Distant Mirror, A Global Livestream Concert Experience

Metal masters Trivium are planning to take the internet by storm with a unique livestream experience that is sure to please fans worldwide.

On Friday, July 10th at 4:00PM ET, Trivium, the kings of streaming who have been embracing the art of the livestream for years, will play their first live show since the April 2020 release of their new album What The Dead Men Say.

 This will be a brand new production and the arena-style visual show will stream globally from Full Sail Live, the state of the art event, and broadcast arena at Full Sail University in the band’s hometown of Orlando, Florida.  

Trivium will debut a new stage show that is cohesive with new album visuals and will perform songs from the new album on stage for the first time.  

Pre-show festivities will kick off at 3:00PM ET and will feature event host Terry Bezer of the Mosh Talks show on Knotfest.com, who will lead viewers through interviews, clips from pre-production week, and an opening support slot from Reading, England’s Sylosis.

Tickets for the event are $9 and will be available at live.trivium.org on June 25 at 12:00PM ET.

Exclusive, limited edition event merchandise and VIP bundles can be purchased here

A portion of the profits of the show will go to benefit the music therapy program at Orlando Health Arnold Palmer Hospital for Children, a non-profit hospital.

“We had to get creative when we heard there was no touring this summer,” the band explains. “We held off on the Zoom concerts and asked our creative/production team to come up with the biggest real-time live metal streaming event of the summer and what we now have to present to you is our show called ‘A Light or a Distant Mirror.’ This performance will be 100% live and is not pre-taped. We will have a brand new epic stage set and lights, and we will bring it 100 percent. We are thankful to our friends at Full Sail University, who are providing us a first class performance arena and the Maestro broadcast team for streaming our show to the corners of the earth! We hope you can join us.”

“Hosting this virtual concert with Trivium is a true full circle moment for us on numerous levels,” says Jay Noble, Full Sail University’s VP of Alumni & Event Production. “Before its release, the album What The Dead Men Say was recorded on campus in our flagship professional recording studio — the Audio Temple, with Course Director Darren Schneider serving as a Recording Engineer. That experience allowed us to welcome home Full Sail graduate and Trivium guitarist, Corey Beaulieu, alongside the entire band including lead guitar and vocalist, Matt Heafy, who can recall recording at Full Sail during his teen years. Through our latest collaboration with Trivium, we are excited to bring this unique livestreamed musical experience to Trivium fans, our university community, and audiences around the globe, during a time when music is needed most.”

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The Future of Live Music [Video]

As the spread of coronavirus continues to prevent concerts, music professionals are scrambling to find creative ways to resurrect the live music experience.

Virtually nobody has been to a concert in over eight weeks. Think about that for a second. The last two months were probably the only time in the previous century when the vast majority of the world was unable to experience live music. The coronavirus has brought the concert industry to a standstill, and there is no vaccine in sight.

You may have read a few headlines regarding the future of live music. Some experts believe music festivals and arena shows won’t return until the summer of 2021, while others claim it could be 2022 before live music is back in full swing. No one knows what the future holds, but that isn’t stopping music professionals from all walks of life from finding creative short-term solutions to COVID-19’s stranglehold on live entertainment.

Starting this week in America, concerts will begin again. A venue in Arkansas will host one of the first “socially distanced” concerts on May 18, but the gig itself will not resemble any pre-COVID events. From temperature checks at the door to “fan pod” seating, dozens of new rules and regulations are being implemented to keep consumers and employees safe. Will these rules be the new normal? No one knows. Any performance right now is an experiment, and many more tests will follow as the world slowly begins to reopen.

In this episode of Music Biz, host James Shotwell explores the ongoing impact of coronavirus on live music. He explores emerging trends, newly implemented rules, and even the proposed ‘concert suits’ some professionals believe will become part of this ‘new normal’ we are coming to terms with as the pandemic carries on. It’s a lot of information to digest, but James does his best to keep things simple. Enjoy:

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Artist Advice Business Advice Editorials Industry News News

When Should We Expect Concerts To Return? [Video]

After a series of conflicting comments from health experts, the Music Biz team weighs in on when we feel concerts will return.

The hardest part of living in unprecedented times is that no one knows what will happen next. Two months ago, most people couldn’t believe that a then largely unknown virus would soon grind the global live music economy to a standstill. A month ago, many states were resisting shelter in place orders because they didn’t know whether or not to believe that such tactics were necessary to combat the spread of COVID-19. This week, many don’t know how they will feed their families if the current pandemic keeps businesses closed longer than the end of April.

For music fans and professionals, one of the biggest questions right now is when live music will return. Every state has a ban on large gatherings for the time being, and most have no concrete plans to allow such happenings anytime soon. Some promoters are hopeful that these guidelines will be lifted by June or July, but others are anticipating a much longer wait.

Recently, a health expert speaking to the New York Times about when and how the American economy upset people with a claim that live music may not return until Fall 2021. To be specific, bioethicist Zeke Emanuel said:

“Restarting the economy has to be done in stages, and it does have to start with more physical distancing at a work site that allows people who are at lower risk to come back. Certain kinds of construction, or manufacturing or offices, in which you can maintain six-foot distances are more reasonable to start sooner. Larger gatherings — conferences, concerts, sporting events — when people say they’re going to reschedule this conference or graduation event for October 2020, I have no idea how they think that’s a plausible possibility. I think those things will be the last to return. Realistically we’re talking fall 2021 at the earliest.

“Restaurants where you can space tables out, maybe sooner. In Hong Kong, Singapore and other places, we’re seeing resurgences when they open up and allow more activity. It’s going to be this roller coaster, up and down. The question is: When it goes up, can we do better testing and contact tracing so that we can focus on particular people and isolate them and not have to reimpose shelter-in-place for everyone as we did before?”

We understand the reasoning behind Dr. Emanuel’s claims, but after speaking with multiple industry sources, we also know how the music industry is likely to behave.

As soon as bars and other spaces where live music often occurs are allowed to open, likely with reduced capacities, live music will return. The first artists to perform will probably be DJs, local acts, and cover bands who are available at a moment’s notice. If the spread of COVID-19 continues to decline, bigger artists and shows will slowly start to return as well.

But this won’t happen all at once. Most economists agree that reopening the country will happen in steps, and guidelines will change region by region rather than nationwide. States with fewer cases of the novel coronavirus who are successfully slowing the spread will be among the first to attempt something akin to normalcy, but more impacted areas like New York and California may take much longer.

In this episode of Music Biz, host James Shotwell examines the data available and draws conclusions based on the information available to people today, April 13, 2020. Will that data change in the next week or month? Almost certainly. But for now, this is what seems most likely based on what we know.

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Dropkick Murphys Celebrate St. Patrick’s Day with free ‘Streaming Up From Boston’ concert live stream

Boston punk favorites Dropkick Murphys won’t let the fear of Coronavirus stop them or their fans from celebrating St. Patrick’s Day.

Following the live stream success that Code Orange experienced over the weekend, more artists are lining up to perform for fans currently stuck at home due to COVID-19. Dropkick Murphys are throwing a St. Patrick’s Day party this year and the whole world is invited. Dropkick Murphys’ Streaming Up From Boston online concert will be simulcast worldwide on Tuesday, March 17 (St. Patrick’s Day) at 7:00 PM ET / 4:00 PM PT via the band’s YouTube, Facebook Live and Instagram pages, as well as via Twitch. 

Founder Ken Casey explains, “For the first time in 24 years, we are not playing on St. Patrick’s Day weekend. The current world situation is the ONLY thing that would ever stop us from doing so.”

Dropkick Murphys’ originally scheduled hometown St. Patrick’s Day Week Boston Blowout shows have been postponed until later this year. Visit the band’s official website for details. 

The band recently released the single “Smash Sh*t Up,” and will release a new album on September 11 through the band’s own Born & Bred Records. “Smash Sh*t Up” is available digitally and on limited edition colored vinyl paired with B-side “The Bonny,” a cover of Gerry Cinnamon’s 2019 song.

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Artist Advice Editorials Haulix Industry News News

Music Biz 101: How To Promote A Festival Performance [Video]

Festival performances can change your career, but they can also be a waste of money. Marketing, or lack thereof, makes all the difference.

Every musician dreams of headlining a major music festival. The idea of performing for tens of thousands gathered to hear songs you developed is a career peak many artists spend a lifetime chasing. There is never a guarantee any amount of good songs and hard work will be enough, but that is no reason to not try in the first place.

For those musicians on the come up, festival performances often look very different from the one describe in the preceding paragraph. Most young artists lucky enough to land a festival time slot perform while the sun is high in the sky and the crowd is scattered. Some artists perform to only a handful of people, despite appearing at a festival whose headliners see a sea of people when they take the same stage hours later. It seems festival crowds, like every other audience in entertainment, are fickle.

But don’t fret! There are many things young musicians can do to maximize their return for performing at music festivals. What time a group or artist performs matters far less than how they promote the event, how they engage with festival attendees, and what they day in the weeks following the event. Don’t believe us? Just watch the video below.

On this episode of Music Biz 101, host James Shotwell explains the importance of festival appearances and what artists can do to maximize the exposure they receive for festival performances.

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Marshmello’s Fortnite concert had 10 million players in attendance

The future of “live” entertainment is upon us, and the potential benefits are crazier than anyone could have predicted.

Following a blitz of news and leaks last week, Marshmello performed at the world’s first in-game concert over the weekend through an exclusive partnership with Epic Games. The performance, held at Pleasant Park in the incredibly popular game Fortnite, drew a crowd of 10 million split across thousands of concurrent gaming sessions. That figure could be much larger, as the number given does not include viewers who watched the performance via Twitch or other streaming services. Here’s how it worked:

When players logged in to Fortnite – which has over 125 million players, according to its developers – they were met with only one competitive game mode available to them. When they chose to join the ‘Showtime Mode’ they were transported to the in-game park, which was modified to feature a performance space. Marshmello appeared on stage at 2 PM EST to share 10 minutes of music accompanied by a wide array of special effects such as lighting and sparks mirroring his real-world concert production.

A video of the performance is available below. The clip has already amassed more than 15 million views on YouTube.

The 10 million concurrent players watching Marshmello’s set is amazing, but what happened after the performance is even more impressive.

Throughout January, Marshmello averaged 37k new YouTube subscribers per day, and about 7.8 million YouTube views per day. On February 3, one day after the concert, Marshmello gained 699k new subscribers (nearly a 1,800% increase from his previous daily gain of 37k). He also amassed over 42.8M YouTube views, an increase of about 500% from his January average of 7.8 million views per day.

But the change in activity online doesn’t stop there.

According to Next Big Sound, Marshmello gained over 147K new Twitter followers this past week, up more than 2,000% from the week before (6,800). His Twitter mentions also increased by more than 1,000% (from 4,800 to 57,500).

Marhsmello’s Fortnite performance lead to a surge of engagement across all social media platforms.

With numbers like this, it is highly likely that additional in-game concerts will happen in the coming months. Epic has not revealed any information regarding the cost of the Marshmello promotion, but the return on investment most likely surpasses the time and money associated with making the event happen.

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Journalism 101: Coverage Confirmations

If the first goal of every young music writer is to gain access to albums from their favorite artists before those records arrive in stores, then the second goal is usually to see those artists in concert without paying the cover charge. Yes, free admission to concerts and festivals is one of the perks of writing about music, but just like advance access to music it’s a perk that doesn’t necessarily have to be extended to you. 

No show or event is truly free to writers. Your currency in these exchanges is your voice and whatever audience (aka reach) you have through the outlet that shares your work. Upon receiving confirmation that you have been added to the list of any event you are entering into an agreement that you both will attend said event and that you will write about that event in a timely manner. For example, if you attend Van’s Warped Tour on Monday after promising a review to PR then it should not take a week or more to post that review online. If it does you will risk straining your relationship with the PR that granted you access in the first place. More importantly, you will develop a reputation that extends beyond that one relationship and follows you where you go in music. The industry may seem large to outsiders, but it’s actually quite small, and everyone who knows anyone will come to learn of your lack of follow through.

This is about good business as much as it is respect. People will get upset if publicists do not reply to their requests in a timely manner, but see no problem dragging their feet to complete content that was promised in advance of receiving a coverage confirmation. Those who respect others and their time/work will in turn receive the same respect.

Rey Roldan, founder of Reybee Inc., recently wrote the following on coverage requests and confirmations from the perspective of a publicist:

If you request music or tickets from a publicist and promise or confirm coverage, it’s your duty to make good on it… and if, for some reason or another, you can’t keep your side of the deal, it’s only respectful to let the publicist know. Don’t ghost them.

It’s understandable if you hated the show or the music and you don’t want to cover it because of that reason. But let the publicist know, so they don’t constantly hound you for the link.

If you confirm an interview date and time but something comes up and you can’t make it, let the publicist know ASAP. Don’t wait for the time of your interview to tell them that it’s a no-go. It only makes the publicist look bad and could create tension in your relationship moving forward.

If you get confirmation of guest list or photopasses to a show (especially the bigger, higher profile shows) and can’t make it, let the publicist know as soon as your can. There’s a chance that the publicist can use your spot to give to another writer/photographer who was cut from the list. We publicists do sometimes check guest lists after the show to see who showed up and who didn’t.

If you are requesting tickets to a show with multiple artists, either send one email with all the publicists on copy or make sure if you get confirmed on one list to let the other publicists know you’re all set. If you are on multiple lists for the same show, it can prevent other writers/photographers from covering that show. Or if we publicists cross-check our lists and see you on it more than once (or worse yet, see multiple names for the same outlet on different lists), it looks bad for you and/or your outlet.

Making relationships in this industry can be difficult. Maintaining them is easy. Just don’t fuck them up.

Respect and follow-through are everything in this business. Do your best to follow the golden rule (treat others as you want to be treated) and you’ll do just fine.

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How to avoid getting screwed over by a venue

The following post is the latest in our ongoing content collaboration series with the fine folks at Sonicbids

There are some types of hateful screwing over that are pretty unavoidable. There are terrible people who’ll screw others over regardless of what securities are in place to prevent that. When it comes to poor treatment by a venue, though, the truly rotten aren’t the cause of most horror stories. Usually, it’s a misunderstanding that’s to blame.

Those situations are still totally infuriating, of course. These five aspects of every show are easily the most susceptible to going terribly awry due to poor communication. Make sure you’ve got them all covered in advance to better your chances of a problem-free gig.

1. Talk about money

If you’re expecting to get paid at the end of the show, then you better have discussed it beforehand. If not, you shouldn’t be expecting any payment whatsoever. The amount you make – if any at all – depends on the venue policy.

Maybe they only book bands for free on weeknights, and it so happens that you’re playing on a Wednesday. It’s possible you were added to an existing bill with a budget that’s already mostly exhausted, so they’re not planning to pay you more than $50. It could be that you get a percentage of the door. There are several different ways to work out payment, so you can’t assume anything until you’ve confirmed the logistics with whoever booked you.

It’s not gauche or taboo by any stretch to discuss how money will work when you’re a booking at a venue (or through a talent buyer), by the way. Do not be shy about it for any reason. You’ve got to hammer out the specifics of the deal before committing to anything. They won’t be surprised you asked – but they will likely be perturbed if you never ask, and then raise hell about it after the show.

2. Will they help with promo?

Bands sometimes complain that venues don’t support them in promoting the event, that they didn’t push it hard enough on social media, or didn’t have a visible poster hanging weeks in advance. Thing is, not every venue’s the same in that department. Sometimes they’ve got a public relations or social media person on that job, and sometimes they’re doing it all (like, everything) themselves.

Discuss the promo effort ahead of time. Who’s putting up the Facebook event, the band or the venue? If it’s them, can you pay them to sponsor a post? Can you do anything to help? Like, say, remind them to share your event if it hasn’t been pushed enough? How else do they normally advertise shows? Do they print posters for shows or should you provide your own? What about flyers? Not only does planning out promo with a venue or talent buyer help ensure they’re supporting you to the degree you expect, but also helps you map out your own strategy more thoroughly.

3. Is it okay to sell merch?

Most venues will say yes, no strings attached, but some charge a fee. It’s not that often that they do, but why not just ask? Avoid any potential problems by simply mentioning you’ll be bringing merch, and asking if there’s anything you should know. Here’s when they’ll alert you of whatever fee or percentage, if any.

Plus, some venues have a designated area for merch, while others set up a table – now’s a good time to ask about that. Maybe they even have a spare you can use so don’t have to lug your own.

4. Confirm all things sound-related

Don’t miss your soundcheck by waiting until the day of a show to ask when it is. (Folks are busy, you know, and they might not see your email until it’s too late.) Ask where to load in, when and how long you’ll get for soundcheck, and with whom. If your sound isn’t what you hoped for, make sure it’s not because you didn’t make good use of that chance to work out any kinks and fine-tune.

Additionally, don’t assume they’ve got a full backline. Not every venue does. Don’t show up with only cymbals and snare because you thought they had a kit, only to find out they don’t.

5. If you’re in a new city, ask around

For those touring through a city for the first time with no local contacts: do some research. Obviously, you don’t want to book at a venue that’s notorious for its poor treatment of musicians. Don’t just book the first venue you like – find one that’s appropriate for your show, first of all, then look into it a bit.

If you don’t know anybody in that particular town, try asking for insight in a subreddit or a public Facebook group. Local music coverage, whether via blogs or the culture section of a news outlet, can be good indicators of the venue landscape, too.

If a venue’s truly bad news, you won’t have to poke around much to hear about it. And if all else fails, check Yelp, where the angriest of people go to scream under the guise of warning others.


Jhoni Jackson is an Atlanta-bred music journalist currently based in San Juan, Puerto Rico, where she juggles owning a venue called Club 77, freelance writing and, of course, going to the beach as often as possible.

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How to Make the Most of a Crappy Turnout at Your Gig

This post is the latest in our ongoing content collaboration series with the fine folks at Sonicbids.

It’s probably one of your biggest fears as a musician. You’re pumped for your upcoming gig, you’re ready to hear some noise, but when you make it onto the stage, your heart drops as you see the audience is practically empty. For any number of reasons (weird weekday, bad weather), you have a crappy turnout. Your first instinct may be to jump off the stage and run out of the venue, hoping in vain that no one even notices you were there, but pause for a second, and ignore this urge.

It’s too late to get more people to the show, but as long as you do have an audience, you need to play for them. At worst, it’s still a practice opportunity, and at best, you might make a few more diehard fans who greatly appreciate the effort you put in despite the circumstances. Just because there’s a bad turnout doesn’t mean it has to be a bad show, so here are some tips for making the most of a crappy turnout.

Use it as an opportunity to have more personal interactions with the audience

One of the few upsides to a small turnout is that you can see the individuals in your audience better and personalize the show more than you typically could. Make the show intimate. Treat the few people that are there like they’re a group of your friends, and make them feel special for coming out. If you see a funny shirt, comment on it. Ask someone else what the best bar in town is. Ask if anyone who knows your music has any song requests. The specifics don’t matter – it’s much more about letting your audience know their presence is noticed and valuable. This is a great way to create fans who want to see you again (and maybe bring a few friends next time!).

Take advantage of the low-risk atmosphere to try out something new

Another pro to playing for a small crowd is that if anything you do isn’t received well or just falls flat, you haven’t screwed up in front of hundreds of people, and you can calibrate your act for future, larger shows. It’s actually the perfect space for getting honest feedback without alienating too many people. Now, the content of this “new thing” is entirely up to you. It can be a brand new song you just finished up and haven’t gotten any feedback on yet. It can be a personal story you’ve thought about incorporating in your show. Whatever you do, be honest with the audience members that this is the first time you’ve done it. They’ll feel extra special that they’re the ones getting the sneak peek, which will make them compassionate even if it doesn’t pan out.

Give it 110 percent

It might seem counterintuitive, and you may not be in the right mood given the state of the crowd, but you should actually try and go above and beyond when you’re playing for small turnouts. They deserve your best effort anyway, but even more importantly, everyone in that audience is perceptive enough to know you must be bummed due to the turnout, so if they get a truly kickass show anyway, your attitude and performance will blow their expectations out of the water. Rise above the circumstances and show the crowd – all nine people that may be in it – that absolutely nothing gets you down, and you put your heart and soul into your music no matter who’s watching. This is how you leave a lasting impression. People love talking about a great experience that they and only a few others were a part of, so you may be surprised how the word spreads.

Stick around until every single person has left

This goes beyond just working the merch table after the show is over (though you should definitely still be doing that). This is the point of the night where you can solidify a lasting connection with the concertgoers. If you’ve successfully implemented all the tips above, then you should be catching your listeners in very high spirits, which you can capitalize on. Ask people how they’re doing, what they liked about the show, and what they didn’t like. Exchange as much contact information as you can, and let them know how they can interact with you in the future. If you’re financially comfortable enough to part with a shirt or EP for free, use that to “seal the deal,” as giving away free merch is a sign of gratitude that will continuously remind them of you. Ultimately, show how grateful you are that they gave you your time, and convey that this is the kind of musician you are all the time.

Playing to only a few people is not on many musicians’ bucket lists once they’ve gotten used to bigger crowds. This is still no excuse to not give it your all. If you’re ever in this situation, take a deep breath and use everything in your arsenal to make it a great night. You’ll be amazed by how meaningful that small show might become.

Katarina Underwood is an editorial intern for Sonicbids.

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The Introverted Musician’s Guide to Performing

The following post is the latest in our ongoing content collaboration series with the fine folks from SonicBids. If there is ever a music related topic you cannot find covered on our blog we highly recommend giving their site a visit. Heck, go ahead and make them a bookmark. They’re great people doing great work for the same reason as us: They want to see the industry continue to grow for many years to come.

Being a musician involves wearing many hats. Most great musicians have mastered the art of both practicing their chops alone, and displaying those chops in front of large crowds. As an introvert, you may feel more comfortable practicing alone, but that doesn’t mean you can’t be an amazing performer as well; you might just have to change the way you approach performance in order to make it work for you. Here are some tools introverted musicians can use to improve their stage presence and overall performing abilities.

1. Throw away the misconceptions

Many people (including introverts themselves) have misconceptions about what introversion actually means. Susan Cain, bestselling author of Quiet: The Power of Introverts in a World That Can’t Stop Talking, points out that shyness and introversion aren’t the same, even though most of us assume they are.

“Shyness is the fear of negative judgment, and introversion is a preference for quiet, minimally stimulating environments,” she writes. Barbra Streisand, for example, is someone that most of us would immediately identify as being comfortable in front of other people, but not so, says Cain. “Barbra Streisand has an outgoing, larger than life personality, but a paralyzing case of stage fright: she’s a shy extrovert.”

Another misconception is that introverts get stage fright. But even if you’re a shy introvert, that doesn’t necessarily mean you have performance anxiety. (By the way, if you’re curious to see if you’re a shy introvert or not, you can take this online shyness test developed by researchers at Wellesley College.) Most shy people are moderately shy and can get by just fine in front of people despite their shyness. It’s only when this shyness becomes extreme that it can lead to cases ofperformance anxiety (which, by the way, it something you can conquer, just as other performers like Barbra Streisand have).

2. Develop a pre-gig routine

Just like in other areas of DIY musician life, introverts have the upper hand over extroverts in some ways when it comes to performing. Psychologists have found that introverts often make better public speakers than extroverts, because introverts tend to take more time to prepare and think things through. So while your extroverted bandmates might be chatting it up with fans or other musicians before the gig, you can feel justified in taking this time to go over the setlist in your head, warm up your voice, or simply spend some quiet time alone.

3. Prepare some topics for between songs

Sometimes the most daunting thing about performing is not playing the songs, but thinking about what to say between songs. Because introverts don’t tend to be as quick on their feet as extroverts in social situations, it could be a good idea to prepare some topics beforehand to help fill those awkward silences if you’re the one tasked with talking to the audience.

4. Know when to fake it…

As Cain has pointed out, introverts don’t always act like they feel. “Introverts are capable of acting like extroverts for the sake of work they consider important, people they love, or anything they value highly,” she says. This is because of a phenomenon she calls Free Trait Theory, which says that people are born with certain natural dispositions, but can successfully act against these dispositions when pursuing “core personal projects.” So even if you don’t feel like going up onstage every time you have a gig, you can learn when to turn on the extrovert tap, so to speak.

5. …and when to be real

At the same time, going too far into Free Trait territory can be dangerous for your stage presence, if not for your personal health. According to research from Cambridge University, faking your personality for too long could lead to health problems such as decreased immune system functioning. Plus, there’s always the danger that you could get tired of pretending to be an extrovert onstage and come across as fake and awkward.

It’s also important to remember that performing onstage isn’t the same as interacting with people at a party or a networking event; while it may serve you well to act more gregarious than normal in a networking situation, you might actually have more luck capturing the attention of fans on stage simply by being real. Sometimes you can actually exude more energy simply by standing stoically rather than jumping around like a spastic monkey.

6. Take time to recuperate

Both extroverts and introverts need time to recharge. Research has found that extroverts feel less stressed at work when they take time throughout the day to be social. If this is the case, then it would follow that the opposite is true for introverts. If performing takes a lot of your energy, then naturally, you’ll want to take time after each gig to regain that energy.

Even if you don’t feel comfortable at all onstage, it may help to think of performing as part of your art, just like writing songs or recording an album. It may be the part you dread the most, but for your fans, it could be the best way to experience your music. You may find performing exhausting, but if you learn to do it right, your fans will find it exhilarating. And after all, isn’t playing music all about creating amazing experiences?

Casey van Wensem is a freelance composer, musician, and writer living in Kelowna, B.C., Canada. You can hear his musical work at birdscompanionmusic.com and read his written work atcaseyvanwensemwriting.com.

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