Theatre, in it's simplest definition is:

THE SUSPENSION OF DISBELIEF.

What your eyes see, and your ears hear may suggest one thing, but the performer is asking you to change that perception, or suspend that disbelief, into something believable. It's all about storytelling. The same is true for musical performances.

As performers, we get the chance to tell a story with each song, and it is our job to "sell" that story. Make it believable. The tools we use are of little importance, unless the story requires a certain image, or effect. Here’s a great example:

Watch this clip, and try to NOT see the animals that are being depicted:
https://www.youtube.com/watch?v=urZ8YkiC88c

(I'll wait ... it's only 4 minutes long. Go ahead, and check it out, please)

OK, back? Moving on …

I used the Lion King opening as an example because it takes a great leap of imagination to make you "see" the animals, and not their actor-operators. The actions, the costumes, and the music all play a role in that visualization. It only takes a few seconds to forget what you are actually seeing, and allow your creative soul to immerse itself in the artist's concept of the animal on stage. If the actors do their job well, then the magic of that 4th wall will hold up, and you will be taken into the scene, as intended, leaving the real world outside.

The same can be said of our role as electronic musicians, arranger players, OMBs, or however else you may identify your act. I prefer to think of myself as a story teller. A voice actor, who performs 3-4 minute vocal plays all night. The tools I use to enhance these stories are varied. Keys, guitar, uke, sax, trax, drum machine ... they are all musical puzzle pieces that join together to form the end result: A suspension of disbelief. Along the way, I try to add a bit of my own personality, and unique style to further customize the endeavor. It it has a beat, and they can dance to it …
even better.

The audience knows I am only one person on stage. They are smart enough to realize that many of the sounds they hear are not coming directly from my hands, or my mouth. Do they disbelieve? Maybe ...
It's my job to overcome that disbelief, and put all the pieces together in an arrangement that fulfills the character of the song, or story.

I know I get long winded, at times, but I feel the need to legitimize this business I call my vocation. Music and art are the icing on the business side of the ShowBiz cake, and as important as the business end may be, the product will sell better if it’s sweetened up.
(A spoonful of sugar, perhaps?)

This post was fueled by the many discussions on gear, and backings, and arrangers, and what’s legit, and what’s not etc. I didn’t want to hijack anyone’s thread. Making music is a privilege, but selling that product to the masses for profit, is very much a business. I take pride in both ends of that equation, and I hope to be fortunate enough to continue to do so, for a long time. It’s a life that has called me … I didn’t seek it out.

Oh, and yes … I also wanted to tell you all that I’m taking 2 of my young, theatre-geek cousins to see the Lion King on Broadway this July. I’ve seen it already, and until your see it LIVE … you haven’t seen it at all. Hope you enjoyed that clip from the Tonys, but do yourself a favor, and so see it on stage - it’s AMAZING. UD out.