I wonder if 2015’s Bob Dylan, Leonard Cohen, Rod Stewart or Paul McCartney soundalikes were to compete on “The Voice” would the red chairs turn, or would those distinctive voices and song-writing giants simply be resigned to obscurity? Perhaps such competitions aren’t aimed at song-writers.
I rarely get to see “The Voice”, “X-Factor” or “Britain’s Got Talent” but when I do, I find myself increasingly questioning these shows’ merits.
When I studied music and performance, and later taught in theatre schools, I was repeatedly reminded that a single-digit percentage actually ended up in the music business. Yet surely if you triumph in a high-profile TV talent-show, drawn out over months in front of millions, surely then you’re guaranteed a career?
But where are all the winners?
Kelly Clarkson, Carrie Underwood, and a few others did well from “American Idol”. Leona Lewis, Alexandra Burke, Will Young and Little Mix are reaping the “X-Factor” rewards. Nobody can question the huge successes of runners-up Susan Boyle, Olly Murs, world-dominating One Direction, and others.
Mickey Harte and Simon Casey are working steadily, but what of all the other winners of “You’re a star”, “Pop-stars”, “Pop Idol”, “Fame Academy”, “X-Factor”, “The Voice”, “Britain’s Got Talent”, “American Idol” and countless other shows providing a platform and questionable false hope to emerging talent? The astounding winner of “You’re a star” (2006) for example – Lucia Evans – in my mind, ought to be enjoying a glittering international career.
Perhaps the process is more important than the result.
We dwell in an era where kids strive ’to be famous’. We all love rags-to-riches tales, or heart-wrenching stories of singing ex-servicemen, but sadly we also appear to be addicted to car-crash TV, relishing in people’s misfortune and failure. Look at our reactions to Madonna’s recent stage fall. At the end of a drawn-out audition process, having bared all before millions, these hopefuls appear little more than a product, moulded and processed by judges, coaches and producers.
Audition technique is only one aspect of learning your trade as a performer. Wouldn’t it be better to construct a career steadily and sensibly, focussing on the raw talent, breathing, technique, music theory, creativity, tuning, drive, reliability, flexibility, networking, stamina, self-discipline, gregariousness, becoming a proper performer/musician boasting longevity, like so many real ‘stars’ of old?
The fact that “The Voice” and its coaches focus on vocal ability and quality rather than looks and image is a positive premise from which to start. However the sing-off/duet resembles more of a gladiatorial vocal battle, one trying to outdo the other. The coach opts to save one, while the other dumped competitor waits to see if they’re worthy of saving by a different coach, all the while the Greek-chorus-style crowd chant in the background.
On “X-Factor” ’themed nights’ the judges at times attempt to squeeze contestants into a specialist straight-jacket – not every performer suits disco, pop, rock, country and musical theatre. Imagine Leonard Cohen on ‘Disco Week’. Then there’s the public vote, where often one token eejit is kept in the running until almost the finale, while real talent is sacrificed in this very public arena.
Some of these shows seem to focus more on contestant humiliation – judges and coaches quarrel with each other, others are little more than posing coat-hangers. And what of the cruelty of that delay before announcing who goes through? Let’s add mind-games to the mix – after all, it makes great telly.
As a singing student, I remember one of my female colleagues being asked in a lesson – “Luvvie, can you type?”. That teacher was renowned for her honesty. It’s irresponsible to predict that every second contestant will have ‘a huge recording career’. It’s irresponsible for a coach to say ’tuning isn’t important’, or ‘I love your raspy husky sound’. If a young singer with minimal technique sounds raspy or husky – fix it, or at least make them aware of how to do it correctly and healthily.
Then of course in “Britain’s Got Talent” an operatic soprano might find themselves up against a toothless ‘stand-up’ Granny or a dancing Jack Russell.
Yes these shows lead to instant (usually temporary) fame and celebrity – ‘famous for being famous’.
The notion of celebrity is becoming confused, about as confused as I am when trying to recognise the ‘celebrities’ on “I’m a Celebrity”. Bring back real stars, and a sensible route to stardom.
