I have been making Feminfinity aimed toward a female audience because the first time making a podcast, I wasn't big on creating those types of things and I was leaning towards fabricating music playlists. Now, the whole process of Feminfinity as a podcast and concert has given me the advantage to develop an identity on both of them at the same time, making sure that it will coax my target audience to be inspired by making female-themed music based on their life in a mood.

Through research, Feminfinity fits in both the music and lifestyle categories due to the female-centred podcasts that already did this plan before the titular podcast came about. Feminfinity is something I have to do again in a different way because along with the music content based on female empowerment and the majority of the special guests answering questions that females can motivate with, I would be even happier to broadcast it on a student radio station for pupils to listen to like NTU's Fly FM.

Yes, they have because songs like Reap What We Sow, Sheeshkebab and Riches to Rags all went under the same topic of female empowerment while also taking on other matters such as mental health, love, break-ups, self-esteem, etc... They were all innovative due to the varied key signature and time measures that they used. For example, Reap What We Sow is a trap song that is in 158 BPM, while the key signature is at F# minor. Meanwhile, the third song Riches to Rags is under a different bar measure setting at 5/4 with the tempo at 100 BPM and the key at F major.

The lyrical context of the tracks demonstrates the theme of the podcast and concert because all females will listen to them back and determine which mood they are representing in terms of music and songwriting. In songs like Reap What We Sow and Sheeshkebab, the lyrics I've written have emotions of despair and anger respectively because the former talks about the consequences of a soon-to-be failed relationship. Also, the latter discusses someone doing something wrong to piss off that female (throwing kebabs and chips at a car). Meanwhile, Riches to Rags has a whirlwind of sadness due to failing to recognize who that person is and why she is wearing old clothing, hinting at the song's title as a metaphor for what happens if women's lives take a turn for the worst.

Firstly, I have been writing and producing all of the music collaboratively with other people on Logic Pro. But at the same time, another student or I will mess up on a part of the song while recording a musical instrument on that digital audio workstation.

As an example, timing is a recurring red flag in the music production for all three tracks from the podcast because at one point in the song, I would record a riff of the verse on that MIDI instrument and put it out of sync. This is where I had to bring up the piano roll and select all the notes in the instrument, depending on the amount of strength and swing under that chosen time measure. I had to get support from members of staff and sort out the quantization of those notes while producing these songs from the gig, ultimately making the notes sound right with some new additions in the piano roll, especially Sheeshkebab, where it has an automation feature, modulation and pitch bending.

Another example is the absence of a band member because Ruth Hickton was a collaborator contributing her bass guitar parts to two of the three songs I've written and produced, Reap What We Sow and Riches to Rags. However, she already planned a concert with her band at a live music venue, implying that it will be challenging to track down another bassist due to her temporary omission. My contingency plan was to collaborate with a different bass guitarist on two of three songs that I have done already, or if I couldn't find anyone to lend a contribution, I will use a backing track. In the end, it turned out that Ruth Hickton will be playing at The Angel on the day of the gig, so it will be possible for her to perform.

Yes, I did. This is because I have been sorting out the three songs I will be performing at the gig, alongside some jingle creations in the Feminfinity podcast. Over the last few weeks, I have started developing this podcast and concert for females to come together and make their own music in a specific mood and subject matter.

Over time, I had been improving my music production skills while creating the three songs on Logic Pro because I want to be more serious as a music producer, proving that I can do lots of editing independently with little to no support. Also, I have been improving my stage presence while I was practicing the three songs in the venue. By now, everything went ahead of schedule and I did everything by myself with contributions from other students towards the Feminfinity podcast and the concert.

PROS:

• The Feminfinity podcast strengthens the identity, going down to its theme, music content and core demographic.

• All three songs are relevant to the topic of female empowerment with varied lyrics and music compositions.

• The special guests involved are spot-on and they've answered a bunch of questions about women's daily lives and how music can reflect their lives.

CONS:

• During production, one of the band members is absent from the group. This makes it hard for me to get another bassist to practice and perform both songs out of the three I've worked on (Reap What We Sow and Riches to Rags).

• While I was recording an episode of Feminfinity, I forgot to write down a script for the episode. It is difficult for me to do an episode of the podcast without a script due to a lot of stalling on the words I've said. Sometimes, they wouldn't make sense and I would constantly repeat them now and again.

• When I was leaving the rehearsal room in Metronome, I forgot to put the drum microphones away after Sam Bennett (first-year Confetti student and drummer) used them for Sheeshkebab. At the time, it became a problem for me to put them away due to not carefully recognizing the safety hazards of using this equipment; I had to take away the drum microphones with support from a staff member and put them back in the tech shed.

AREAS OF IMPROVEMENT:

• Ask whether a band member is free to spend some time working on three songs in the gig, even when he or she is booked on for a concert with a band he or she is in.

• The script for the Feminfinity podcast is under construction at the minute, so I need to spend some time working on it before the main episode of the titular podcast is set to record at Metronome.

• Always put music equipment away and take them back to the tech shed after I am done creating music and/or rehearsing music for the Feminfinity gig. This will avoid creating a hazard while me and my other musicians are practicing.

PROS:

• The Feminfinity concert had been stuck under the theme of female empowerment right down to its planning and visualization. The reason why is like the podcast, it too will reinforce its conceptualization because my core demographic would go and see me perform the female-centred tracks on stage at The Angel and they (the three songs) would represent the graphical layout of the concert as well as fit the abstractions of it simultaneously.

• Bass guitarist Ruth Hickton was still on for the gig, which I am very pleased with. This is because she will perform the two songs on stage with me at The Angel while she will be booked on with her band at a later time. Without her live contribution, I would otherwise get a backing track that includes her bass guitar line.

• Ruth, Jacob and I did a bang-up job in the rehearsal sessions because we have been practicing two out of the three songs, Reap What We Sow and Riches to Rags, for the next few hours. This is due to us wanting to expand on our stage presence, confidence and flexibility throughout the tour without making a mistake.

CONS:

• While Jacob, Ruth and I have been learning the three songs in the rehearsal room, the two students made a statement that there is no metronome anywhere in the two songs that we need to perform.

• I was struggling with the sound mixer on all instruments and vocals when I should've taken audio engineering seriously in the technical aspect of the concert. I had moderate support from members of staff trying to balance the sound levels, but sometimes, one of the instruments or vocals will stop working or overpower its volume from the main tracks.

• I found it difficult to stay on track with my vocal timing while rehearsing. It comes to a point where I had to put the vocals in sync with the beat like the musical instruments, but my accuracy fell short when I begin to practice a song, slowing it down midway through. Also, my vocal cords will get damaged when I get to a specific song structure.

AREAS OF IMPROVEMENT:

• Put in a metronome in the two songs for Ruth Hickton and Jacob Warren to practice with. This will give them a chance to learn the timing and accuracy before perfecting both of those tracks.

• Remember to take on the technical role of an audio engineer in rehearsal and the Feminfinity gig accordingly. This is because I want to adjust the sound levels of the instruments and vocals at the same time in preparation for the night of the concert, otherwise, they would be left unedited and unbalanced in the Feminfinity set.

• Always practice my vocal techniques without creating a mistake. This will help me increase the timing and accuracy of my vocals when I learn the three songs from the setlist. I will also like to relax my vocal cords and take a short break because I don't want to end up with a sore throat on the night of the gig.

• What went well?

1. I have been memorising the lyrics of the three songs I have performed from the Feminfinity set. This is because I want to show off my stage presence and expressiveness by remembering the words at a practice session every week without being prompted to bring up my phone to each track's words.

2. The colour pink matches the visualization of the Feminfinity set because pink represents the feminine identity of that concert tour. This allowed me to colour-coordinate with the female-themed outfit of the gig, eventually linking with the core demographic to gain further inspiration for the clothing type featured in Feminfinity.

3. I've been making eye contact with the audience because this is the next important thing about professionalism next to remembering the words. The reason why is I want to expand my stage presence and confidence by glimpsing at the target audience while I'm performing on the night of the gig, especially when I am trying to keep them interested by singing those three songs that either have an upbeat vibe or a ballad tonality.

4. I've been introducing myself to my target demographic at the Feminfinity gig by discussing what Feminfinity is about along with the layout of each track after performing them on stage. This meant that I am communicating with my core demographic about the concept of this gig the same way I did with my podcast - the objective being women conveying about how they should listen to music mentally and physically while mirroring their daily lives in-between. This also suggests that I will be going through each track after it has been performed on stage, giving my core fanbase a rundown on what they're about in terms of concept, lyrics and music production.

• What didn't work?

1. The items never showed up at the gig on time. This implies that they took a long time to turn up and by that point, it was already too late. As my area of improvement, I must think about getting the items I need first before I can use them for the gig; stuff that includes the projector with pictures of women, a stainless steel female gender sculpture/female gender keyring for a desk mic, pastel pink flowers as decoration for a desk mic and a series of hot pink lights for the stage are not featured at the time of the concert.

2. At some point in the sound check and the Feminfinity gig itself, I have been stumbling on those words while I am performing a song from the setlist. For example, in Sheeshkebab, there is a little delay when I am rapping a line from the first verse. That insinuates the timing of when that line is going to be performed in a different verse, thus slowing it down halfway through its structure. In the future, I have to be careful about the lines I sing or rap in terms of timing and accuracy; failure to do so will result in me missing out on some words in the tracks, decreasing my musical professionalism.

• Constructive criticism from the audience:

First of all, the Feminfinity gig is fantastic and for a couple of good reasons why I did this. For one, I want the concert to be affiliated with the Feminfinity podcast because I have to create all three songs under the theme of female empowerment alongside practice and perform them. In addition to this, the visualization of the concert is great and it suits well with its conceptualization, strengthening its identity and personality to my core demographic. I have improved my stage presence and expressiveness through the majority of this concert and the Feminfinity tour is a breath of fresh air for me to perform professionally.

Although I've done three songs that are poppy and positive or slow and solemn, it could've been worked on if I had to add on a few more songs that are connected with a female empowerment theme. It implies if I have more time in the practice sessions, I would be producing more of those songs that stick with the motif itself in the hopes that I will land a headlining act the next time I do Feminfinity differently.

The items aren't here at the Feminfinity concert because it was the first setback I've witnessed before performing on stage, meaning that I should've got them first before using them as ornaments for the stage design, serving as my next improvement. First, the microphone would've been covered with flowers while adding a stainless steel female gender sculpture or a female gender keyring with it, reinforcing the conceptualization of the set. Secondly, the projector could've been pointing at the wall showcasing pictures of women of different ethnicities because this would get the point across to my core fanbase throughout the tour. The same can be said with the pink lights because the idea of it is the lights should stay static without changing them each time it transitions from one track to another.

Amongst the absence of the stuff I need for the gig are the bits where I was coughing while practicing along with making a delay in the next line. In Sheeshkebab, I struggled with the accuracy of the lyrics midway through the first verse, but I managed to say them on my phone as a prompt rather than forget them. This is because it will hinder my stage presence and confidence if I don't sing them properly. Next time I do Feminfinity differently, I need to make sure that I should keep my accuracy of the words stable without having to miss out on a single word in the structure of a song, especially if it's the one that is entirely rapped.

• How did I consider the target audience and presentation of the concert?

To start with, I have been demonstrating the aspects of Feminfinity to my core demographic whilst performing the three songs from the setlist. The reason why is that I want to introduce myself to the rest of the crowd at the Feminfinity tour before getting started on the first one. Afterwards, I want to give a quick rundown about what the concept of this concert is about, linking with the female empowerment motif while trying to discuss what the tracks are about under that theme.

The way I've been handling my setlist for the concert was to put in a blend of club-ready and serious tracks that go with the thesis of female empowerment while also exploring different subject matters on each song individually. This is because I will keep my target demographic interested throughout the concert so that I won't have a sole set that contains the same type of music production and lyric writing.

I was surprised that Ruth and I have been wearing feminine clothing throughout the set because we want to look as girly as possible while touching on our personal sides with whatever clothes we wore. Plus, the colour co-ordinations of a pink colour that coincides with the substances of the Feminfinity concert have allowed me to fortify its identity associated with the podcast itself to intrigue my target audience, no matter which clothes I wear that gives out the motif of femininity.

Finally, I have been closing out the set by giving a shout-out to the Feminfinity podcast amongst announcing my social media pages. This is because I will keep things posted with my target audience about my latest music content or when the Feminfinity podcast should return for a new series. I didn't feature podcast music for the concert itself which could've been worked on as my area of improvement; it was a spectacular experience for me to showcase my professionalism in regards to my stage presence and expressiveness all the way through.

https://docs.google.com/forms/d/e/1FAIpQLSdZ-L9z5HiBBbuzIp8NqzhLt4qgpboQQQORn2SOu0TKRqWvPg/viewform

From the beginning, Feminfinity was my first foray into fabricating a podcast, both on Anchor and YouTube. This is due to continuing onward from the subject matter of finding yourself musically, but also trying to reach a female-oriented demographic with the new podcast.

After creating nine episodes (eight episodes in the YouTube playlist) for the series about how women can relieve themselves by making music and the music content that had stuck with the theme of female empowerment on the three tracks, the approach of Feminfinity felt perfect for someone who can do music production, especially when it's down to the concept of female empowerment while making a song that's either pre-recorded or from scratch. The reason for this is a lot of inspirations flourished from the making of the Feminfinity podcast and being that it was my first time producing it on a podcast-creating website like Anchor, I managed to stick with the timeline and did all three songs before planning the titular concert.

Going through the development process of the Feminfinity gig, I have been remembering the lyrics from the three songs over the last few weeks and I went and expanded on my stage presence, flexibility and expressiveness while singing. This is because I want to be a professional singer-songwriter and musician trying to overcome these challenges and learn those tracks for the next couple of weeks without screwing up its formulation. Because it was affiliated with the podcast of the same name, the Feminfinity gig was an excellent experience for me to do and I was hoping I could do some more touring around the UK and overseas the next time I do Feminfinity differently from what I did.

A couple of inadequacies are what I needed to discuss in the Feminfinity podcast and gig, serving as my areas of improvement for next time when I do it differently - from episode one until its final episode, I had trouble with having no script written for them because the fact that I haven't got it means that I am hindering my confidence, going as far as repeating those words when I could've gone and got a thesaurus in there. Another thing about the podcast is that there are no items anywhere to be delivered to college because things like the pink flowers, the stainless steel female gender sculpture, a set of hot pink lights around the stage and a projector showcasing women of different races and ethnicities took too long to arrive. By the time I recorded an episode of the podcast and performed a set of the Feminfinity gig, I have forgotten about the requirements altogether.

There are times when I need to get a prompt for the gig, presumably in the song Sheeshkebab where I screwed up on one line from the first verse. This is because I needed my phone to bring up the lyrics so I could remember them for the main concert. In the end, I managed to memorize all of the words and I learned them from the heart before performing them.

The absence of band members is also the third red flag in the development process of my Feminfinity concert. For instance, drummer Jacob Warren took part in a few rehearsal sessions for the concert because he wants to expand on his stage presence and confidence while performing Reap What We Sow before the gig. However, he was feeling under the weather that day, but I managed to keep his drum contribution of Reap What We Sow on the night of the tour. Luckily, a first-year student and bassist named Ruth Hickton appeared that night and played the bass guitar on two of the three songs, Reap What We Sow and Riches to Rags.

To make sure I do Feminfinity contrastingly, I would draft a script first before writing it down for an episode of the podcast. This is because I wanted to screenwrite it before I begin reciting the script I've made. Without one, I would lose confidence and my target audience will lose interest in the episode if I publish it on Anchor or YouTube. The items also need to be on stage at the tour because I want to purchase them and let them represent the visualization of the set and the theme of female empowerment. If the stuff doesn't appear on the day of the gig, it will fail to reinforce the recognition of the Feminfinity tour and podcast.

In closing, Feminfinity had some positives and negatives throughout the last several weeks, following on from the method of searching for yourself through music. From the podcast development to the concert establishment, I think that it will inveigle my core demographic about wanting to create their playlists that mirrored their daily lives along with the opportunity of making their music tracks for their own portfolio based on a mood they were in, either purposeful or fictional.

Feminfinity was a spectacular podcast and concert to do and I would do them again in a different manner. I could bring in my scripts and record them for each episode while also making more songs for me to learn and perform at the gig. The items will also be there on the day of the tour because I wanted them to arrive a few days before the main event. Another thing is that I want a band member to turn up at a concert on the night because along with Ruth Hickton and myself, he or she would've learned the three tracks from the setlist before arriving at the gig unless that member is off for a few reasons e.g. feeling sick, got a medical appointment, in a college exam, on holiday, etc...

In other words, Feminfinity was a great experience for me to make all females feel inspired and make their music content.