Why am I in an interrogative mood?

April 19, 2013
By

Is this day 10, or 11?

Why travel thousands of miles to another place to play songs you wrote in your own language to strangers with an imperfect grasp of that language? Does the music carry the language gap? Why are the bottom three octaves of this piano so ropey and why did the man who booked us not tell me this last night when I met him in his other bar? Why did the volunteers who run this place put this ropey piano in the corner, facing the wall, thus making audience interaction a serious challenge bordering on impossible? Why are the Danes so attractive and does it really have anything to do with eugenics? Did the Danes even practice eugenics?

What is it about good songs that gives them power? How good are the songs I’ve written? If we assume they’re less strong than I’d like them to be, how best might I write better? How on earth did Konditori La Glace make this morning’s hot chocolate so delicious? Could I replicate it at home using their stated ingredients of sweetened milk, whole cream and melted chocolate? If I did, would I gain anything, given that I’ve only ever drunk that particular hot chocolate on the two occasions I’ve been to Copenhagen and its taste and the way it’s served are woven into the fabric of my experience of the city, along with an appreciation of its unbombed buildings, it’s women and its department store that feels like a design museum, such is the range and display of its beautifully designed wares?

Why has this cold persisted? Did Robbie Moore give it to me in Berlin? Would, if we repeated that schedule a second time, I get sick again or can I take consecutive 20- hour days, all other things being equal?

Is music important to you? Do you listen to lyrics? Do you agree that the narrative drive in a song can pull you along, even if you’re only subconsciously absorbing that narrative while not listening the lyrics? Have you ever written a song yourself? And performed it, in private or in public? Were you satisfied with the results of your endeavours, from the perspective of either your performance, the quality of the song, or both?

Should musicians, in your view, bother with social networking? Is it an effective tool for self-promotion, and if so, should musicians self promote? Or are providers of ‘content’, by providing and producing, simply paying the bills of those that own such sites, given that their value is dependent on advertising revenue and without interesting content these sites would be unused and therefore without commercial value? Or is this construction egocentric, given that most of what people post and ‘like’ on such sites is mostly just a public expression of the sorts of conversations that people used to have privately with a small number of intimates? Are those that post incessantly lacking those intimates? Are they really having ‘the best time’?

Why do I like train travel so much? Did you see the book @barrysykes gave me that I tweeted from a train a few days ago? Do you see now why I’m in an interrogative mood?

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