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The songs my band and I have chosen are, Ex Factor by Lauryn Hill, Play that Funky Music by Wild Cherry and Water by Tyla. Aku and I have decided to split the songs between us, so I'll be singing Ex Factor, Aku will be singing Water and we'll both be singing the other two together.

I chose Ex Factor quite last minute and although I know the song very well already, I started watching her perform it live for some inspo. (link attached)

For some more inspo, I was looking at some covers and live performances of Play that Funky Music and Get Lucky. I think they're two very strong, groovy songs that will definitely get a crowd going.

I already knew the songs we chose, so there wasn't a need to learn lyrics, most of my research has been based on different ways to sing the songs.

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At first, I was honestly really unsure about performing. I hadn’t put myself out there in a long time, and the idea of getting back on stage felt kind of overwhelming. I kept doubting myself and wondering if I was really ready.

But being part of this gig actually gave me the push I needed. Once I got over the nerves and just did it, I remembered how much I love performing. Nothing excites me more than being on stage.

Now I’m starting to properly go for it, looking into local pub open mics, sharing more of my stuff on social media, and just slowly building my confidence back up. This whole experience has really reminded me why I started in the first place.

My friend and I are now actually planning a trip to dublin to maybe try some busking, performing in pubs etc.

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Before every singing session, whether it’s band practice, a lesson, or just solo rehearsal, I always start with vocal warm ups. I focus on scales and arpeggios because they help me stay in control, improve my range, and keep my voice sounding its absolute best.

Warming up gets my vocal cords ready and helps prevent strain. It’s like stretching before a workout essential for staying healthy and performing at my peak. These exercises might seem simple, but they’ve made a big difference in how confident and prepared I feel every time I sing.

Sometimes I do forget to warm up and when I do forget it’s very obvious because warming up your voice has a huge, huge impact on how you sound.

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how i feel before performing vs when performing

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how i feel before performing vs when performing

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I always get super nervous before a performance as in pacing, overthinking, and feeling quite panicky. It’s been that way my whole life, especially when I know people in the crowd. That somehow makes it feel way more intense.

But once I step on stage, everything changes. I actually feel calmer up there, like it’s safer than being anywhere else. The nerves disappear, and it’s just me and the music. I forget the crowd, the stress, all of it. It’s kind of wild how performing does that, it’s like I’m in my own little bubble where everything just clicks, I almost feel like I transcend.

That’s how I knew with this performance and all performances to come, that I’ll do just fine.

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I’d never actually been to The Mash House before this, so I was definitely a little nervous going in. I didn’t know what to expect in terms of the setup, the stage, or even the size of the venue. When you’re performing somewhere new, it can be a bit daunting not knowing how the room feels, where the crowd will be, or how the sound will travel. I kept wondering things like how big is the stage? Will it feel intimate or more spread out? What’s the vibe like? But at the same time, that uncertainty brought a bit of excitement too. It felt like stepping into something unknown and trusting it would all come together once I got up there. So I looked into the Mash House and it’s actually quite small stage and room wise, I knew it would be quite packed too and I actually prefer that, rather than everything being spaced out. When a gig is closer together I feel like it’s much more atmospheric, especially with more people being there. They do lots of gigs there and club nights. They also hold dance classes there and as a dancer I was actually quite interested in trying out a class!

https://themashhouse.co.uk

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A couple of days before the gig, Aku decided that she didn’t want to do ‘Water’ by Tyla anymore. Which should’ve been stressful as there was only 3 other songs we were doing but we all agreed on how it was the only song on the setlist that wasn’t really working out, so it actually relieved us from some stress. It never really clicked in rehearsals as it’s quite an electronic, auto tune sounding song. Although if we had worked out how to execute it, it could’ve worked out pretty well in my opinion. All of the other songs were funk/r&b and ‘Water’ is modern afropop.

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We had a scheduled band practice on the 24th of March, but I wasn’t feeling well and unfortunately I was unable to make it. I was really sad to miss it, there’s always something valuable that comes from being in the room with everyone and when you miss it you feel like you’re missing important things like working through things together. Even though I couldn’t be there physically, I still spent some time researching Addicted to You by Avicii, which was actually the first song I had in mind for the performance. I looked into different arrangements and live versions, trying to imagine how we could make it work as a band.

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At the start, our band struggled a lot. We didn’t really click, had different ideas about how things should sound, we were just a bunch of people thrown together and it felt like we just weren’t the right people to be in a group together. It got so frustrating that some of us actually asked to switch bands.

But a couple of months before our gig, things started to shift. We began to understand each other better, started working more as a group, and somehow it all started to come together. Rehearsals weren’t as awkward anymore, they actually became fun.

By the time we hit the stage, it felt like we’d come a long way. We weren’t perfect, but we were finally a band and proud of what we pulled off.

So overall, it was a rough start but a strong finish and personally I am very proud of everyone and myself.

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On March 31st, I booked a booth for some solo practice and decided to focus on Addicted to You by Avicii again. Even though I was leaning towards another song, I still wanted to give Addicted to You a proper shot and see if I could make it work in a way that felt more “me.” I spent most of the session experimenting with different keys, trying to find the one that sat comfortably in my voice but still gave me space to show off my range. It was actually really productive, I pushed myself vocally and learned a lot about how to shape the song to suit my style. Even though I didn’t end up choosing it for the final set, that session gave me a clearer idea of what I needed in a performance piece and helped me build confidence in my solo practice process, I also love doing solo practice, I feel as though it’s my time to be by myself, do my own thing as much as I love band work, I really enjoy doing my own soloist work.

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Since it was the Easter holidays, I practiced at home on April 7th and focused on Play That Funky Music. This time, my main goals were to loosen up and really let go while singing it. The original vocalist from Wild Cherry has such an effortless, unrestrained energy when he performs it’s like he throws himself into the song without holding back. I realized that to do it justice, I needed to stop overthinking and stop being so rigid. So I focused on letting the groove take over, having fun with the phrasing, and not being afraid to add a bit of attitude and movement even just in my room. It was a good reminder that some songs aren’t just about hitting the notes, they’re about delivering a feeling and that’s exactly what wild cherry does.

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14th and 21st of April at home practices 

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14th and 21st of April at home practices 

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Both the 14th and 21st of April were home practice days, and I used them to really refine Play That Funky Music and start exploring Get Lucky by Daft Punk. With Play That Funky Music, it was all about tightening up the delivery getting more comfortable with the rhythm, the vocal inflections, and keeping that same loose, free energy I’d been working on. I was starting to feel a lot more confident with it, it was beginning to really come together.

At the same time, I started playing around with Get Lucky to see how I could make it feel a bit more original. It’s such a well known song, so I didn’t want to just copy the original version. I experimented with slightly different phrasing, some vocal layering ideas, and even thought about how I might strip it back in parts or play with dynamics to give it more personality. It was fun trying to bring something fresh to a track that everyone already knows so well but still keeping the same energy that wild cherry uses.

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During our band practice on April 28th, I finally made the decision to go with Ex-Factor by Lauryn Hill instead of Addicted to You. As much as I really liked Addicted to You, it just didn’t quite fit with the overall vibe of the rest of our set. Ex-Factor felt like a much more natural choice, it’s soulful, emotional, and has this beautiful flow that matched the energy we were building. Plus, it’s such a lovely song to sing. There’s so much feeling in it, and I could instantly connect with it on a deeper level because of how emotional and raw it is

We ended up spending a good few hours working on the arrangement, figuring out chords, discussing the dynamics, and getting a feel for how we could shape it as a band. It was one of those practices where things really started to come together, things were feeling better overall with our band and choosing Ex-Factor felt like the right move creatively and emotionally.

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On May 5th, I dedicated the whole day to really diving into Ex-Factor by Lauryn Hill. Since it’s one of my favourite songs and she’s one of my favourite artists, I didn’t need to spend time learning the lyrics or melody, I already knew it by heart. Instead, I focused on performance. I watched live performance after live performance of Lauryn singing it, paying attention to how she delivers it emotionally, the subtle changes she makes, and the way she holds space on stage. Every version she does is slightly different, which was so inspiring and intriguing, it reminded me that a song can evolve and breathe every time it’s performed.

I took notes on her phrasing, how she uses silence, and the way she connects with the lyrics in such a raw, honest way. It really pushed me to think about how I could bring my own interpretation to the song while still keeping its original feeling. It wasn’t about copying her, it was about learning from her, making it as if I was telling a story while singing it and finding new ways to perfect my own performance.

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The day of the gig finally arrived! We started early in the morning with a full band practice, running through the setlist a few times and making those final small tweaks to really perfect everything. It was all about locking in the transitions, tightening up the timing, and just making sure we felt as confident and perfected as possible. There was definitely a mix of nerves and excitement in the air, but overall, everyone was feeling strong and ready to perform!

I ended up leaving a bit earlier than the rest of the group because I didn’t want to strain my voice before the performance, vocal health felt extra important after all the work we’d put in, so I felt comfortable enough with what we had managed. Even though the lead up had its challenges, we’d managed to pull everything together. Seeing how far we’d come as a group made it all worth it.

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Having performed extensively throughout my life, I’ve developed a strong sense of stage presence. It’s something that usually comes naturally to me, I feel very at home on stage. I know how to connect with an audience, convey emotion, and hold attention when I’m on stage. That said, I still read the BBC Maestro article on stage presence to give myself some fresh ideas and inspiration.

The article really reinforced the idea that stage presence is more than just confidence, it’s about energy, authenticity, and emotional connection. One thing that stood out to me was the emphasis on vulnerability. Letting the audience in and being emotionally open can make a huge difference in how a performance is received, and I’ve definitely found that to be true in my own experiences.

It also talked about developing your unique stage persona, which made me reflect on how mine has evolved over time. Even though I’ve got a lot of experience, I’ve not had much experience in performing in bands so there’s always room to grow and I loved that the article encouraged that mindset. It was a great reminder that even when something feels familiar, there’s always more to explore.

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You know you're funny. You've got all your best jokes rehearsed. But how do you make people warm to you when you're on stage? We're talking about stage presence.
If you're an aspiring musician, actor, or comedian, good stage presence could be just the thing to take your live performances to the next level. But what is it, exactly? And more importantly, how do you get it?

Keep reading for tips on how to command your audience's attention.

What is stage presence?

Have you ever been to see a musician or a stand-up comic, and felt unable to take your eyes off them? Or been to see a play, and were mesmerised by the performance of the main actors?

That's likely because they had good stage presence. It's something that's undeniable when you see it, but it's difficult to put your finger on exactly what it is.

Stage presence is a combination of different things. It's an energy on stage that makes their performance unforgettable; a charm and charisma that draws you in. Having a strong stage presence doesn't necessarily mean that someone is larger than life - you can draw people in if you're a more understated performer, too. It's all about how you conduct yourself during your live performances, and how you engage with the audience through eye contact and body language.

Why is stage presence important?

Whether you're a politician delivering an important speech, or a stand-up comedian trying to get a room full of people in hysterics, stage presence is what ensures you leave a lasting impression on your audience.

It's the important element that can be the difference between becoming the next big thing - or getting left behind. Think of Bruce Springsteen, Dame Judy Dench, Barack Obama, and Sir Billy Connolly. Four very different people, with four very different jobs. But they all have one thing in common - good stage presence.

Someone with a great stage presence can make a significant impact on their audience members, capturing their full attention for the duration of your performance - and leaving them thinking about it for a long time after. So, when you're starting out in the performing arts, it's as important to develop your stage presence as it is to hone your craft.

How to develop your stage presence

If there's anyone you can trust for stage presence tips, it's Sir Billy Connolly. Known for his observational comedy, the Big Yin is a commanding presence on stage - and not just because he stands six feet tall. It's because he has a likeable charm, and a personality that makes you want to listen to what he has to say. And, of course, he's had years to develop his craft and on-stage persona. In his BBC Maestro course on Comedy, he has some top tips for developing stage presence and finding your feet as a performer.

Be vulnerable

People warm to others who show their vulnerabilities - and there's nowhere you'll feel more exposed than standing on a stage in front of an audience.

In his BBC Maestro course, he says:

"When you're vulnerable, you're funny. When your trousers are down, you're funny. When somebody interferes with your trousers in front of his work mates, you're funny. Everybody laughs. It's just, vulnerability is funny."

It's a little different for aspiring actors, as you're generally reading from a script, but if you're writing your own songs or jokes, then there's a real opportunity to share a little bit of yourself with your audience members - and that can help you to build a strong rapport with them. As Billy says:

"It's a peculiar art, comedy, because the man who portrays himself as vulnerable always wins at the end, and everybody's laughing."

So, whether it's a tale about a time you fell flat on your face, or a doomed date, try sharing something honest with your audience. There's no quicker way to build a rapport than sharing your embarrassing stories!

Try different styles of jokes, different clothes, different attitudes, different statements. You'll know when the one that fits you is right: you'll feel it.
Sir Billy Connolly

Develop a unique image

Billy Connolly suggests that you carefully consider the clothes you wear on stage. Not only can your clothes help you to make a statement but thinking about what you want to wear can help you to better define who you are when you're performing. In his BBC Maestro course, he says:

"For many comedians at the start of their journey, this is one of the hardest questions to answer: who should I be on stage? How can you choose the 'right' clothes if you haven't got a strong, confident idea about who you are on stage?"

It's a conundrum for all performers, and the way to combat it, Billy suggests, is simply to try different things and see what feels right for you. He goes on to say:

"Try different styles of jokes, different clothes, different attitudes, different statements. You'll know when the one that fits you is right: you'll feel it. The way to improve is to be open to experimentation and change."

Think about your stage persona

If you're a comedian, you don't need to be entirely yourself when you're on stage. You can adopt a different persona, a version of your true self that makes it easier for the audience to connect with you.

As Billy Connolly explains:

"Your persona is a heightened part of your character that you emphasise on stage to allow audiences to 'get' you. Crowds find it easier to laugh when they know who they're dealing with. Make yourself easy to understand by signalling to this room of people who you are in your comedic persona and what they can expect."

A comic persona can help you to develop a stronger stage presence, especially if you're nervous about things like eye contact and audience interactions. But as Billy Connolly notes, it's important that your persona is still close to your true self - otherwise audience members will notice, and it will end up having the opposite effect of what you were hoping to achieve. He says:

"Don't affect a persona that isn't part of your natural personality. If you do that then you effectively become a character act, an actor playing a part, and this keeps your audience at arm's length."

Connect with your audience members

The key to a good stage presence is connection with your audience. You can build a strong bond through eye contact and body language, and you can also do it through your subject matter - and, ideally, you'll be doing both!

Take Billy Connolly's advice:

"People love to talk about themselves. Audiences are no different. One of the reasons that relatable comedy is generally successful is that audiences like familiar subjects, told in a funny way, by someone they like."

So, one sure-fire way to develop a strong stage presence as a stand-up comedian is to build stories that people can relate to into your set. If you're playing a gig in a new town, then take the time to walk around beforehand and get a feel for the local area. If you have time to work one or two locally themed jokes into your set, then people will immediately warm to you and you'll be off to a flying start!

Be in the moment

As a stand up comedian, it's important that you're not reading off a script. You can have notes written down on a piece of paper in front of you, or even on your hand, but don't read word-for-word off a script - there's nothing that's more likely to make the audience lose interest. Instead, you need to be present, and in the moment with them.

As Billy Connolly says:

"The first note on how to perform is 'don't be a parrot'. If you are on stage, repeating a script, you're not really there. You lose the sense of your words. You stop communicating. Comedians aim to be in the moment and aware not of themselves, but of the ideas that they're communicating."

And the best way to be in the moment - or at least, give the illusion of being in the moment? Practice, and believe in the jokes and stories you're telling. Billy's advice is:

"Put all of your effort and energy into the stories. If you want to rehearse your routines, do so out loud, not in your head. Hear yourself saying the words. That way you'll know how it sounds. Get on stage and project. Use your body, use your hands. Be animated when you're telling your story - fill it with colour and life. The aim is to live in that moment on stage rather than being partly on the outside looking in."

So, now you know how to develop a stage presence, are you ready to get out there and put these tips into practice? If you want more comedy tips from one of the true maestros of the genre first, then be sure to check out Billy Connolly's BBC Maestro course on Comedy.

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Stage presence: What is it? And how to find yours... | BBC Maestro

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Discover why having a good stage presence is important for any aspiring musician, actor, or comedian, and how to get it.

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1. Most of my research was focused on live performances as I already knew the songs but needed some more inspiration on how to perform them. I wanted to get more ideas on stage presence specifically how to engage with an audience while still staying emotionally connected to the song. Watching how experienced artists move, use eye contact, and express themselves helped me think about how I could bring more of that into my own performance style.

2. How did research help or inform the development of my work?
Watching the performances definitely gave me a clearer idea of how to use emotion in my own songs. Seeing how artists expressed themselves on stage through their voice, body language, and overall presence inspired me to be more intentional with how I perform and communicate the meaning of each song to the audience. It’s really important to understand that you are telling a story and you’ve got to tell it with feeling.

3. How have my skills and knowledge developed over the course of the project?
My skills have definitely developed over the time I’ve been on this course. At the beginning, I wasn’t very confident with band work because I’d never really done it before. Now, I feel a lot more comfortable collaborating with a group. I’ve also learned a lot about using microphones properly, we had a whole lesson committed to learning how to use them, set them up etc. Whivh has made a big difference in my overall performance, confidence and vocal control.

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When choosing the songs for our setlist, we really thought about the kind of audience we might have or how to make sure everyone, no matter their age, could enjoy the performance. We wanted the vibe to feel inclusive and upbeat, so we went for songs that are absolute anthems, tracks that people instantly recognise and want to sing along to and songs that make people want to dance, the key aim being to get the audience moving and having a good time.

Get Lucky and Play That Funky Music were perfect examples. They both have that timeless, feel-good energy that appeals to older audiences who remember them from when they first came out, but they’ve also stayed relevant enough that younger people know and love them too. It was important to us that the set felt fun, familiar, and engaging from start to finish, we started with ex factor to draw the audience in, then get lucky to get everyone dancing and finally we finished with play that funky music, which everyone knows and loves to groove to. I watched this live performance of play that funky music lots of times over our practice period.

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After the event, we reflected on our overall performance and group dynamic. One key observation was that our band took a while to get going and really start to gel as a team. It took some time to build chemistry and agree on the right songs that suited our style and strengths. However, once we found our rhythm, everything started to come together, and we made strong progress. So in conclusion, if in a bit of a tough situation next time, I think we all have realised we need to trust the process and go into it with a positive, open mindset.

Despite the slow start, our final performance went really well. We had a great audience who were engaged and supportive, and each of us brought strong stage presence, which helped create a lively and confident atmosphere on stage.