Adapting your setlist
With
Sister BlissSister Bliss of Faithless explains how she shapes a live set to the moment - choosing songs to suit the time of day and the type of festival or crowd.
What's in the course
20 lessons (1h 18m) · 1 free
01. Make electronic make sense live
12:56
02. Expanding the studio tracks
7:24
03. Creating space
6:12
04. Synthesised vs. live
4:17
05. Sound designing the show
7:28
06. Rehearsals and preparation
8:56
07. Working with session musicians
7:50
08. Working with musical directors
Free lesson
09. Incorporating stage filming
3:24
10. Visual design
7:59
11. Adapting your setlist
You are here5:18
12. Importance of the crew
13. Front of house engineer
3:30
14. Live broadcasts
3:03
15. Recording quality
16. International touring
17. Time keeping and logistics
18. When things go wrong
19. Auditioning
20. Stress and personal health
Lesson transcript
The Art of Crafting a Live Set List
The good thing about being in a band, having several albums under our belt by the time we became a sort of main stage act, was that we had a really good back catalogue of songs to draw from.
Set List Considerations
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Time of Day:
- Sometimes, the time of day will affect the set list we choose.
- Of course, there are the biggest hits we can't skip.
- Other pieces of music may feel more appropriate depending on the vibe. For example:
- "That's really funky" , perfect for a midday slot.
- "More of a nighttime experience" , suited for evening performances.
-
Festival Nature:
- The type of festival also influences our choices.
- At particularly rocky and heavy festivals, some of our jazzier, lighter numbers might not work, so we swap them out.
It's essential that the set list is constantly evolving and changing depending on:
- The time of day we play
- The nature of the festival
- Whether there's daylight or not
When it's bright outside, while you can see the screen, you can't really appreciate the lights. So, as performers, we must be confident in the show and music, regardless of the lighting effects.
The Role of the Audience and Cameras
During live performances, we are often filmed.
- Audience Engagement:
- Cameras capture shots of the crowd, allowing them to see themselves on the screens, which gets them excited.
- Strategies at festivals often include cameras sweeping over the front of the stage to show the audience size , this creates a buzz.
While many people might find cameras intrusive, it's crucial to:
- Forget about them
- Focus on the audience
- Build that connection between the band and the spectators
The Evolution of Performance
The live show is constantly evolving. Each performance provides new ideas for the next, including:
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Movement on Stage:
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The evolution of the radio mic was a game changer.
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Lead singers could move freely beyond the front of the stage.
-
Maxi, as an incredible front man, often engaged deeply with the crowd.
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Ego Ramp:
- At festivals, we used a runway, allowing Maxi to connect with fans even more.
- There were moments when he would jump on the speakers and engage with the crowd, creating powerful interactions.
-
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Visuals and Interactions:
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Sometimes, Maxi would vibe with the drummers, while other band members would take turns at the front.
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This movement made each performance feel dynamic and fresh.
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Exciting Moments:
- There were times when Maxi would grab a cowbell and jump up on the drum riser , this visually changed the audience's perspective.
-
Backing Vocals and Visual Coordination
We also had backing vocalists who loved performing coordinated movements reminiscent of Motown:
- They would do their hands and little grooves, adding a visually appealing element to certain songs.
- Although not everyone was keen on this, it contributed to a traditional band feeling.
Memorable Moments
Creating various memorable moments throughout the show was essential, whether musically or visually.
- One notable moment was Maxi taking off his jacket to reveal a bare chest , a showstopper!
In conclusion, live performances offer a multitude of layers that evolve over time, relying not only on musical talent but also on the visual connection between the band and the audience.
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Meet your guru
Meet your guru
'Sister Bliss never stopped writing music. She's an accomplished composer for film and TV, a club DJ, and an advocate for the creative industries'. Billboard
One of the most successful British dance music artists of the past 25 years, Ayalah Bentovim AKA Sister Bliss is the musical force behind Faithless.
Together with iconic front man Maxi Jazz and producer Rollo Armstrong, she formed Faithless: one of the most successful electronic acts of their generation, with a career spanning more than two decades that included 8 albums (3 at number 1) and six top 10 singles. To date, Faithless have sold in excess of 15 million records worldwide and have played live to millions across the world, headlining festivals, stadiums and arenas. The band have collaborated with artists such as Jazzie B, Boy George, Cat Power and Dido, never conforming and moving effortlessly across an eclectic range of genres.
Over a 25-year career that took her from the underground UK club scene to sold-out arena shows and festival headline slots around the globe, Sister Bliss has become one of British dance music's longest-standing and most influential female electronic artists.
She comes off the back of releasing Faithless' first studio album in ten years, the highly anticipated 'All Blessed' - Faithless' love letter to electronic music that presents them at their very best. The album reached number 6 in the charts and the singles, along with their premiere remixes, garnered extensive support across BBC Radio 1, Radio 2 and BBC 6 as well as Kiss FM and Capital.
A classically trained multi-instrumentalist, she has also scored numerous TV, film and theatre productions. Credits include 2012's film Knife Fight starring Rob Lowe and directed by two-time Oscar winner Bill Guttentag, commissions for Sex & The City 2, Chasing Amy, Danny Boyle's The Beach, A Life Less Ordinary, acclaimed British film The Hide, Crossing The Line and the BAFTA-winning TV dramas Life Begins (ITV) and The Poison Tree (ITV).
For theatre, Bliss has written music for The Black Album and The Emperor Jones at The National Theatre in London, as well as composing an original piece for the London Sinfonietta, which was performed at Fuse Festival, UK.
She recently had a lead role in major prime time BBC1 show 'This is My Song', mentoring the contributors and producing their final recordings.
She released a new collaborative album with Rollo and Dido in 2019 under the moniker 'R PLUS' - 'The Last Summer', following a jam-packed summer of festival headline DJ sets throughout the world including sets at Bestival, Exit Festival, Glastonbury, Creamfields, Ibiza and beyond.
Her hugely successful weekly radio show and podcast 'Sister Bliss in Session' is syndicated to over 100 stations and 43 countries worldwide. She recently guest presented Gilles Peterson's acclaimed show on BBC 6 Music and regularly stands in for Ana Matronic on the Dance Devotion show on BBC Radio 2.
She has also presented a 5-part series on Bauer Media's Scala Radio station joining the dots between classical and electronic music, which won the Bronze prize at the New York Festival Radio Awards, competing against 30 countries.
She currently teaches at Tileyard Studios' Masters MA course, including modules on songwriting, production and writing to commercial brief, and mentors individual Masters students - the same hands-on knowledge she shares in Studio to Stage, breaking down exactly how Faithless turned their records into a stadium-filling live show.
