<< Elvis Presley & Sarah Silverman: One of these performers can get away with not doing a proper encore
At the weekend, I went to see Sarah Silverman play at the Apollo in Hammersmith. If you've picked up the review section of a broadsheet in the last couple of days (nobody, then) you'll know that it didn't go all that well. There has been a bit of journalistic licence applied to the night's events, so here's how it seemed from my rather sweaty seat at the top of the arena. First of all, the build-up was a shambles - two men who I believe earn livings as comedians, namely Matt Berry & Rich Fulcher, came on to announce that Silverman's support act couldn't make it, but had recorded a video message. Who cares? He's the support act. I say, there's two comedians on the stage, there's your support act. Instead they just sauntered off, we saw a weird, disconnected webcam video diary on two tiny screens, and then a collection of clips from Sarah Silverman's U.S. TV show. It's tacky enough to show bits from your sitcom at a live show, but why didn't they just show a whole episode? The £45 entrance fee was starting to play on my mind at this point.
Sarah herself then came on, and contrary to some press opinions, was pretty funny throughout her set, and had the crowd on her side. She did seem a bit apprehensive, however, and made an odd remark about not "crashing and burning" just before her set came to a close. Little did we know that there was still time. She left the stage after 45 minutes, and the audience response was not, at least from where I was sat, completely aggressive - not yet, anyway. A lot of people starting heading for the exits - I didn't really think anything of it as I'd assumed there would be an encore. I had forgotten the golden rule that separates music from comedy - bands play encores even when no-one cares, and comedians don't, even when it's painfully obvious that it'll be expected. She really wasn't planning on coming back out, and in the end, had to shuffle back on in post-show slippers, blinking at the audience, illuminated by the house lights. At least, we thought, she came back out. That's better than just walking off and not coming back. How wrong we were.
To be honest, she seemed a bit pissed off that the audience expected more for forty-odd quid, launching into an awkward Q & A session which featured hecklers, and Silverman responding to them, by repeating what they said, but in a silly voice. Oh dear. I had witnessed this kind of encore meltdown before, at Portsmouth Guildhall last year, when Russell Brand, having been consistently hysterical for a full 90 minutes, decided to unmask his creepy alter-ego in the denouement, propositioning 18-year-old girls, his libido nearly bursting from within himself as the rest of us reached for our coats and made noises about having an early start the next day. The final disaster was a YouTube moron hollering for a song she performed on her TV show, then having to tell her all the words, with the audience laughing at him like he came up with it himself. Perhaps if she had remembered her own song, this whole embarrassing scenario would never have occurred - and perhaps, with maybe 15 minutes of new material, she could have delivered a brief but entertaining show, rather than a performance so truncated that the audience assumed an encore. In total, the whole thing was an hour, but with a final quarter I would have paid £45 not to have seen.
Silverman's slightly arrogant, yet ultimately unfortunate, mistake was to misjudge the audience she was playing to. A 45-minute set at a small comedy club would've been fine - but this was a 3000-seater venue. The whole confusion that exists around the encore issue doesn't help, either - there's been many a time I've looked at my watch as a band have 'finished' playing and calculated that the set is too short without an encore, but will be too long with it. Then there's the interminable 'newie', sandwiched in at the start of the encore, always slow, always sketchy, forced upon paying punters as they wait, knees aching, to hear the one song they came for. Playing your best song in the encore is a moot point too - Radiohead finishing with Paranoid Android at their gig this year was exactly what I had hoped for, but didn't fit at all with the mood of the rest of the performance - from being completely, obtusely Radiohead, it was like they were attempting to transform into Bruce Springsteen belting out 'Born To Run'. On the other hand, I remember seeing Pulp knock out 'Common People' a third of the way through their festival set, and being wracked by confusion - did the band hate the song, or was it not their 'best' song (they played 'Babies' to close the set)? Either way, I felt my love of the song slightly diminished. I have only ever seen one act, musical or otherwise, not play an encore at all. It was The Strokes, and they claimed it was because false encores are 'bullshit'. While this stance is admirable, their 11-song back catalogue probably had more to do with it.
I think the rules around encores need to be changed. The tradition began because an audience requested more material from a performer, so why not go back to this? Bands shouldn't save their best two songs for the encore, assuming that the audience would rather watch them than catch the end of Match of the Day - but all performers should have something in their locker for audiences that want something extra. Sarah Silverman really ought to have been able to give a crowd that she had impressed to the extent that they asked her back something better than fart noises and disintegrating songs. She could have done 'Born To Run', for god's sake. Or, if nothing else, she could have brought out a big suitcase stuffed with cash, and let everyone have half their money back. Of course, the other option, one which would have at least spared Silverman the derision of angry punters, would be to abolish the art of encores altogether. One performer is noted for never playing an encore, and as performers go, he was pretty successful - for he was the King himself, Elvis Presley. Elvis' manager encouraged him to never play an encore, to keep the crowd wantin' more (there were no Gs on the ends of words in the rock 'n' roll era). Hence the phrase 'Elvis has left the building' - this was announced over the PA to inform the crowd that the King was solid gone, paving the way for whichever poor sap was on next, clumsily trying to remember the chords to 'Jailhouse Rock' in the dressing room.
Anyway, if you started reading this post while Sarah Silverman took to the stage on Sunday night (impossible, but just go with it) she'd already be on the plane back to America by now, so that's all from me, thanks, you've been a terrific audience.
(Hurries back onto stage as the crowd shrug and head for the exits)
OK, I've got one more for you crazy kids - the phrase 'whistlestop tour' comes from the U.S., where politicians, most famously Harry S. Truman, would board a train and deliver a speech from their carriage at several rural stations, without getting off the train. It was seen as the most effective way to reach key voters quickly, and it won Truman the 1948 election when he had looked to be well out of the running. Please, nobody let John McCain get on that Greyhound bus, we're so close now. Yeah, that's right, a bit of politics thrown into the mix. Edgy material now i've won the crowd over. To close, I'd like to point out that Sarah Silverman may have screwed up her encore, but she's a master of the whistlestop tour - her entire European tour lasted just 45 minutes. Ifangyoo. I've been questing for knowledge, you've been fantastic, cheers, goodnight.
(Boos ring out across the venue - security step in to restrain feral punters)