Last month, the Kensington Market Jazz Festival and the Canadian Online Jazz Festival provided concrete examples of virtual engagement on a large scale, showing programmers, audiences and musicians what digital festivals can look like. Musicians, meanwhile, have spent the year grappling with questions of engagement on a deeply personal level.
With live audiences largely inaccessible, being a professional musician in 2020 has also meant being a recording engineer, a videographer and a social media planner. It has meant paying more for an upgraded internet connection, purchasing studio monitors and interfaces, and soundproofing apartment bedrooms. It has meant, in a virtual world, that musicians must contend with an idea of themselves as a brand, a glowing, disembodied presence on the screens and speakers of listeners.
This month, I spoke to six different musicians – saxophonist/vocalist Emily Steinwall, drummer Jon Foster, producer/keyboardist Adrian Hogan, guitarist Rod Rodrigues, drummer Robert Diack and guitarist (and WholeNote contributor) Sam Dickinson – about their experiences with the great virtual shift. What follows are extracts from our discussions that involve home recording, livestreaming, brand maintenance and authenticity. Many thanks to these interviewees for their generosity and honesty; all told, I received close to 7,000 words worth of material, enough for several months’ worth of coverage at my standard word counts here.