As both a song writer and performer, Bruce Watson is always thinking about how to relate to people through his music. “I’m very involved with Community Music Victoria although I’m mostly a solo performer who tries to bring about that musical connection through audience participation rather than teaching or leading groups.”
Over the course of the past year, Bruce has been exploring new ways to do this. The hiatus to live music and performing fed a pre-existing interest in ways to incorporate technology into his music-making practice which was forced to evolve as everything locked down in order to continue.
“I had quite a few gigs lined up which just disappeared and all the CD sales disappeared too. I found myself in a vacuum and I wanted to fill it with something in a way which would benefit my ongoing music career.”
Unwilling to surrender fully to Netflix and bread making, Bruce embarked upon ‘30 songs in 30 days’a daily song-writing challenge conceived as a way to keep himself distracted and busy. As a frequent facilitator of song-writing workshops, Bruce has been a long standing advocate of the ‘just give it a go’ approach. His self-appointed mission was to write a song a day throughout April, last year.
“If you write a song a month, then after a year you’ll probably have 3 or 4 songs that are really good, which you might not have had if you’d sat waiting for the inspiration to come. I’ve always said that, but I haven’t always done it.”
Bruce admits that staying inspired to write a song a day for a month was actually quite hard but having a good level of insight, he promoted it in ways that left himself no wriggle room.
“If you want to do something that you see is a challenge I always think the best way to make it succeed is to tell other people that you’re doing it. If I’d just kept it to myself I might’ve stopped after a week or two, so I posted it all over Facebook and I made a commitment to do a YouTube video every day. Sometimes making the video was even harder than writing the song.”
Bruce started getting good feedback which he describes as ‘a lovely encouraging thing’, but still found there were times when the inspiration wasn’t immediately forthcoming. He had a fallback folder of song ideas and ‘scraps of things’ but found much of April was spent wondering what he would do tomorrow and what he would write about that day. He came to realise that, in the end, something always percolated to the surface.
“To me it was a great illustration of how there’s an awful lot of stuff sitting in all of us in terms of creativity and if we do something to bring it out, if we consciously tap into that, inspiration will actually strike and it’s an amazing thing to realise!”
At the end of the month Bruce felt exhausted but satisfied. “It was something I wasn’t sure I was going to be able to do and I did it! I anticipated writing a lot of little bits of songs that weren’t really proper songs, but they ended up being all whole songs. And more of them were of a higher standard than I had expected, in fact I was surprised by the quality I produced under those circumstances” laughs Bruce.
Since the latter part of 2020, Bruce has been part of the CMVic team instrumental in bringing Music Software Workshops to the world. While the pandemic made the need for this knowledge sharing particularly important and brought it to the fore, the MSW team were visionaries who had perceived a need for the implementation and delivery of such a program for some time.
This wasn’t just about COVID it was about the ways software can help to share music for both leaders and music group members.
For some time, Bruce has been using MuseScore, a music notation software, to share music with his panpipe band in a way which allows players to practice at home on their own. “Because of the traditional panpipe playing that we do, any given player only plays half a tune because the scale is split between the notes. It’s like you’re playing a button accordion or a harmonica and only playing the blow notes or the suck notes, so you can’t play a tune by yourself. This means you can’t practice on your own and that makes it harder to learn the material. It’s the same for a choir or any band if you’re singing or playing a harmony against the melody you can use this software to easily create all the parts yourself to practice with, and that’s how I’ve used it.”
Last year, Bruce also got to grips with virtual choir technology, which he tackled in a highly successful experiment using his song, Déjà Vu. This project brought together a number of singers from several different countries who each recorded themselves singing to a backing track provided by Bruce which they uploaded to Dropbox. “I updated my video editing software to DaVinci Resolve and used some of the processes talked about in the music software workshops to plan the project, put all the tracks together and work out how to share files. In some ways file sharing can be the biggest hurdle – which can be very easily overcome.”
“I think what’s happened is that COVID came in and everyone searched for something new, in terms of both technology and how to relate to each other and how the musical experience can be shared and there are some really good things about that that didn’t exist before, and those are things that I don’t think we want to give up, such as sharing music across geography. People can join from remote locations and even from other countries. I’ve been involved with Zoom folk clubs where people have participated from five different continents and it’s been absolutely wonderful. Understanding how to make Zoom work well is something I think people might continue to explore.”
That said, upon his return to live performing a couple of weeks ago, Bruce realised more than ever how the sharing of live music is a tremendous and absolute gift.
“I don’t know whether I ever really took live music for granted because it was always just a part of my life, whereas now I am conscious of what life is like without it and yes, you can share music through Zoom and so on, but it’s not the same.”
Something Bruce loved was seeing people react spontaneously to his new material. “At my first festival since lockdown recently I decided only to perform the 30 songs in 30 days. So every song was a live premiere, which was incredibly nerve wracking and I was very nervous, but it was so good to have these songs exposed to the real world and to be able to judge how people were reacting to them.”
On 2 April, Bruce will be playing live to a small live audience Under the Oaks where he will be encouraging lots of audience participation. Bruce laughs, “It’s really great with these COVID restrictions because you can have a small, intimate audience AND a sell out!”
“I think for a long time we’ll value that gift of live music and that’s what I’m loving now, to hear people singing back to me. Music was a great connector during COVID but the magic wasn’t quite there. That’s something that only really happens when people gather together and share a physical space, but I’m so grateful that I’ve been going to Zoom folk clubs in the UK and have made new friends along the way too, it’s been really, really great. And there are a couple of people over there singing my new songs now, too!”
Catch Bruce Under the Oaks on 2 April, or stay in touch with his gig guide at brucewatsonmusic.com
Recordings of previous CMVic Music Software Workshops are available on Community Music Victoria’s website, here.
Photographs: Jill Watson via Facebook