You can't just sort of come with, say, 'Yesterday,' or 'A Hard Day's Night,' and it be in the wrong place in the wrong show, and expect the song to work theatrically.
Sentiment: NEGATIVE
A song must move the story ahead. A song must take the place of dialogue. If a song halts the show, pushes it back, stalls it, the audience won't buy it; they'll be unhappy.
It's not a bad problem to have because a lot of classic acts are known for one or two songs and in their show they basically hold those songs off until the end and you sit through an hour or so of lesser known material but in our case most of the songs are well known.
For the live shows, I'm just getting my song together. I go back to my hotel room and I just listen to my song over and over again, figure out how to make it different and put my little Pia spin on it.
If you feel like you're getting into a rut with a song, a night off usually fixes it.
The songwriter mustn't fall in love with his own song. If it doesn't belong, he can't push it into a show. Let him save it; maybe it'll fit in another show.
It's always interesting - how do you actually convey thought through song? We're used to the convention on stage. In film, we used to be used to it, and now sometimes it works and sometimes it doesn't. You need to be fresh and really look at the material.
Some of those songs, you really have to bite them. You challenge yourself, you challenge the audience, you do something different. People weren't expecting it.
Yeah, but on the U.S Tour we threw a new song into the set almost every night. Ofcourse, you can't do too many new songs every night as they've never heard it.
The songs become the show, which is how it should be.
Oftentimes the shows that don't work help you get it right.