Final performance and review

0:00, Ain't No Sunshine:  We chose this song for our 70s cover, for the guitar leads I founded around the original lead melody as 5 notes of E, A, B, G and E, keeping it soft and scooping my tone and using the neck pickup. Keeping the wah softer before coming back in after the interlude a little harder, performing rehearsed licks in the general area around the original melody in the key of A Minor before the finale where I played in one octave up to accentuate the voice of the guitar before returning to the original position down the neck. In terms of improvement In the moment I could have cleaned up the flow a little in the moment.

2.22, There She Goes: We chose this song for our 80s cover, again I played to the original melody in the neck pickup. For the hooks and bridge I played a melody deferring from the original to add some more contrast as the original is quite cyclical. In terms of our setlist this was the one that had been the most weak on the day for me as before I come in you can hear my pick miss a string and the timing being slightly off - however later on I did come back in to timing well again. In rehearsal it was not an issue - most likely just nerves throwing me off for the start of the performance, in terms of improvement it would likely to just play it more bold and not to be so caught up on the mistake.

5.22, Zombie: We chose this song for our 90s cover, switching to the bridge for a harsher tone - the tone for the song itself could have had more bass and pulling back on the mids or treble to add a heavier sound. I played exactly to the original, adding a manual vibrato to the open B string in the interlude by pressing down on the string behind the nut to add dimension to the space of the note. Our other guitarist had been cautious about when to stop after the final interlude on guitar - so I had emphasised in rehearsal and performance where it ended by striking down on the notes with my arms extended to help emphasise to him at '9.25'. The finale to add to the grungy angst of the song I made the feedback ring from guitar to move away then into hysteria.

9.53, Hysteria: We chose this song originally as a creative cover however shifted to it being an original decade - in rehearsal me and the other guitarist decided to split the solo to give him room for a lead section live and harmonised the pick scrape and intro section together, with rehearsal we managed to get our timing in sync. For my solo it went smoothly with only a slight error in repeating at A and E once again coming back in, having to change back to Ab and E which caused it to end ever so slightly later than planned. Ending the song on a messy bled out harmonic power chord.

13.37, Fortunate Son: We chose to do this song as our 60s cover, in rehearsal we swapped some roles as I originally never played the riff before coming in as our bassist did not want to bring 3 instruments, first time coming in being slightly behind however the second time being perfectly in time despite this. For the majority of the song I harmonised and played behind the vocals following along to the notes sung by our singer, empphasising on harmonics to saturate the sound to add to that own vocal sound through my guitar.

Coming back in at '15:10' for the solo I had rehearsed the order of licks and phasing that i'd play and the ending of the song, being the part of the performance I was most looking for as I got to play a little to how I prefer. Soloing in C Mixolydian playing three note patterns at a high alternate picking speed at from the high e string to b before playing a repeated pattern of d,f,d,c,d,g moving to the g string and adding an extra note into the scale at c sharp to add that chaotic messier and almost bluesy tonality to the solo, at one part shredding my hand against the string to pinch the harmonics repeatedly to further infuse that heavier messy sound at d,f and c sharp really beating my energy into the performance before running up and down the scale quickly and bending the f note to a g slowly and edging it slightly higher in pitch just before g sharp to further accentuate it and add some flair to the ends dramatic buildup. 

Originally in rehearsal and for the live production on air I had then ended ontop with rapid palm muted power chords and sound to end it heavier but decided to end it clean in the moment. Most of the solo had wah to accompany this tonality. This was agreed to be our best song by us, definitely could have added the same personality to this solo and speed as I had prior but a lot of people had seemed to still love it which was nice.

Next time I hope to definitely be more lively on stage as I usually tend to be, however for this day was slightly deterred from doing so, which in terms of any next performance is what I will aspire to improve on also.