I Love Playing Library Concerts
They bring out the community
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| Ken Lelen Concert at the Franklin Public Library in Somerset, NJ on a Thursday evening, August 2008 |
Recently I performed a fun concert for a friendly crowd at a public library in northern New Jersey. By the time I got home I'd recalled a few memories of the dozens of library gigs I'd played in the last few years. So I'd like to relate some anecdotes from these events and offer my insights on performing concerts at public libraries.
First, I realized library audiences want to be entertained and educated. To achieve this goal, they'll get in a car, drive to a library and sit on metal chairs for an hour or two for the sublime pleasure of seeing and hearing a stranger tell stories, play old guitars and sing tunes that were hits before they were born. These folks are motivated to listen and to learn. That is why I love playing concerts at public libraries.
First, I realized library audiences want to be entertained and educated. To achieve this goal, they'll get in a car, drive to a library and sit on metal chairs for an hour or two for the sublime pleasure of seeing and hearing a stranger tell stories, play old guitars and sing tunes that were hits before they were born. These folks are motivated to listen and to learn. That is why I love playing concerts at public libraries.
I also realized I'd been playing guitars, singing songs and telling musical stories at public libraries for more than 45 years. So, performing for library patrons is second nature for me.
For the record, my library concerts are not 30-minute sing-alongs for idle patrons. They're not bits of Broadway hits by a saloon singer on an upright piano. They're not musical pablum for the mommy-and-me set. And they're not juiced-up Americana from a singer-songwriter posing as a folksinger.
Instead, the music I sing at library concerts is great American jazz, ragtime and swing — laced with musical, romantic or historical themes (see below). And the guitars I play were made in the same era as the songs, so you don't see pick-ups and wires hanging off my instruments.
I bring a good sound system and quality microphones, so people hear the music, catch the words and enjoy the program. And after a concert I answer questions about my guitars, the songs I sang, the Tin Pan Alley artists who wrote them and the performers who made them memorable.
Over the years I've performed at dozens of East Coast public libraries for several thousand people of sundry age, gender or temperament. I've displayed three dozen vintage guitars and sung hundreds of legendary love songs. And I've regaled people with tales of Drug Store Cowboys, Swing Shift Maisies, Stage Door Johnnies, Zoot-Suiters and Flat Foot Floogees. Below are themes I now offer in my concerts:
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Ken Lelen performing at Northport, NY Public Library
on a weekday evening (school night) in Spring 1965.
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Instead, the music I sing at library concerts is great American jazz, ragtime and swing — laced with musical, romantic or historical themes (see below). And the guitars I play were made in the same era as the songs, so you don't see pick-ups and wires hanging off my instruments.
I bring a good sound system and quality microphones, so people hear the music, catch the words and enjoy the program. And after a concert I answer questions about my guitars, the songs I sang, the Tin Pan Alley artists who wrote them and the performers who made them memorable.
Over the years I've performed at dozens of East Coast public libraries for several thousand people of sundry age, gender or temperament. I've displayed three dozen vintage guitars and sung hundreds of legendary love songs. And I've regaled people with tales of Drug Store Cowboys, Swing Shift Maisies, Stage Door Johnnies, Zoot-Suiters and Flat Foot Floogees. Below are themes I now offer in my concerts:
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Concert Themes Song Eras
Legendary Love Songs 1926 - 1946
A Fine Romance 1940 - 1956
Tin Pan Alley Cats 1912 - 1935
Ragtime Rascals 1912 - 1929
Sunny Side Of Street 1930 - 1939
Jazzman's Journey 1918 - 1935
Big Band Idols 1925 - 1955
Juke-Joint Jivin' 1934 - 1945
Folksong Boomers 1949 - 1968
Lest it go unsaid, concerts at public libraries don't happen without publicity. In my experience publicity by a performer and the library is the best way to draw people. It combines the resources of both participants, taps each player's list of media contacts, draws on their press-release writing skills and available time for a publicity campaign.
Tandem publicity demonstrates to a community and the media that both participants have a stake in a concert's success. In short, the event is a concert for discriminating audiences that's worthy of a community's time and press attention.
The best library concert publicity campaigns I've worked on were run by Marcela Dunham, adult programs coordinator at the public library in Warren, NJ and Betty Freeley, volunteer publicity person for the public library in Roseland, NJ. Both combined excellent publicity skills, updated media lists and personal networks to attract good-sized audience to recent concerts.
Publicity for the Warren library concert, for instance, drew attention to my event and filled all the seats in the program room. As is my habit, I sent bookmarks (handed out at the reception desk) and posters (for in-town bulletin boards) to the library to complement its in-house publicity. Then, we both sent dozens of press releases and email announcements to the local media. Several papers and websites published articles and photos to announce the concert in advance. I even received copies of newspaper articles upon my arrival.
The Warren library's blog listed the upcoming concert and asked people to reserve a seat. Though I've seen larger crowds, every person in the audience had reserved their seat with a call to the library or email to the library’s website. In addition, on the day of the event a two-by-three-foot billboard near at the library's entry proclaimed: "Vintage Music Concert @ Warren Library."
As a result, I played a 80-minute concert for a friendly crowd of 50 people. I displayed and played five vintage guitars, including a 1933 Martin once owned by Carl Sandburg, poet, folk song collector and Lincoln biographer. I sang 18 ragtime, jazz and swing tunes and 50 people enjoyed themselves.
Funding Friends
The other major factor in making a concert work is, of course, funding.
Typically, money comes from a program budget, but I've seen funding by municipal governments, local sponsors (commercial and nonprofit) and, most common of all, Friends of the Library, or FOL.
Many, if not most, of my concerts at public libraries were partially or fully funded by FOL members. FOLs offer volunteer labor for programs and activities, provide public relations services, act as lobbyists before local governments and, of course, raise money to support their libraries.
Typically, FOLs solicit membership dues, matching gifts or monetary pledges. But they also operate a host of small-scale, fund-raising ventures, from book sales, bake sales, yard sales and arts & crafts sales to open house tours, art shows, auctions, town fairs, etc. If you've ever seen someone toting a canvas bag emblazoned with a library logo, it probably was sold by a FOL to generate funds for their library.
Other examples include a Community Pizza Night by the public library in Frankford, DE and its co-sponsor, a local pizza shop. The library offered vouchers to patrons that enabled 20 percent of their bill for pizza on one evening to be donated to the FOL. Meanwhile, the public library in Easttown, PA hosted a Musical Tea, which raised $15 per person for its FOL with an afternoon of classical music served with tea and cookies. And the Easttown FOL will hold a Community Shredding Event to raise $10 per person by offering mobile document shredding.
Program Sponsors
A few years ago I played a concert that was funded by a bank that wished to ingratiate itself to my audience. Though the bank's presence at the concert was low-key, lately I've seen more visible sponsors at concerts hosted by libraries and other venues across the MidAtlantic, New England and Southeast.
These newer program supporters include radio stations, auto dealers, retailers, insurers and other publicity-hungry funders. In most, but not all, cases the participating libraries have been large institutions with a large community profile, wide cultural network and on-staff development personnel to prospect for commercial sponsors and solicit underwriting support.
In my view, we'll see more of these joint fund-raising ventures — called "partnerships" in the lingo of fund rasiers. Why? Because even as public libraries in the U.S. get better at attracting people to their programs, library budgets are apt to continue shrinking or, at best, stabilize.
As a result, library administrators and program managers will continue to seek alternative sources of money for live programs. In my view, they're driven as much by budget concerns as they are by a recognition of the pivotal role libraries play in the communities they serve. What's more, the value people derive from active participation in local library programs far outweighs the passive value of renting or borrowing e-readers.
What's more, commercial sponsors have had their appetites whetted by access to the diverse interests that gravitate to libraries. They've discovered they can reach discrete market segments and position themselves as leaders in a community. Oh yeah, with the enthusiasm of born-again converts, they'll be receptive to future underwriting efforts.
Concert Themes Song Eras
Legendary Love Songs 1926 - 1946
A Fine Romance 1940 - 1956
Tin Pan Alley Cats 1912 - 1935
Ragtime Rascals 1912 - 1929
Sunny Side Of Street 1930 - 1939
Jazzman's Journey 1918 - 1935
Big Band Idols 1925 - 1955
Juke-Joint Jivin' 1934 - 1945
Folksong Boomers 1949 - 1968
Vintage Guitars 20s-30s-40s
_________________________________
_________________________________
Concert Publicity
Tandem publicity demonstrates to a community and the media that both participants have a stake in a concert's success. In short, the event is a concert for discriminating audiences that's worthy of a community's time and press attention.
The best library concert publicity campaigns I've worked on were run by Marcela Dunham, adult programs coordinator at the public library in Warren, NJ and Betty Freeley, volunteer publicity person for the public library in Roseland, NJ. Both combined excellent publicity skills, updated media lists and personal networks to attract good-sized audience to recent concerts.
Publicity for the Warren library concert, for instance, drew attention to my event and filled all the seats in the program room. As is my habit, I sent bookmarks (handed out at the reception desk) and posters (for in-town bulletin boards) to the library to complement its in-house publicity. Then, we both sent dozens of press releases and email announcements to the local media. Several papers and websites published articles and photos to announce the concert in advance. I even received copies of newspaper articles upon my arrival.
As a result, I played a 80-minute concert for a friendly crowd of 50 people. I displayed and played five vintage guitars, including a 1933 Martin once owned by Carl Sandburg, poet, folk song collector and Lincoln biographer. I sang 18 ragtime, jazz and swing tunes and 50 people enjoyed themselves.
Funding Friends
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| Ken Lelen and Graham Gudgin, president of Friends of the Library, Edison, NJ Public Library, on a Sunday afternoon, November 2008. |
Typically, money comes from a program budget, but I've seen funding by municipal governments, local sponsors (commercial and nonprofit) and, most common of all, Friends of the Library, or FOL.
Many, if not most, of my concerts at public libraries were partially or fully funded by FOL members. FOLs offer volunteer labor for programs and activities, provide public relations services, act as lobbyists before local governments and, of course, raise money to support their libraries.
Typically, FOLs solicit membership dues, matching gifts or monetary pledges. But they also operate a host of small-scale, fund-raising ventures, from book sales, bake sales, yard sales and arts & crafts sales to open house tours, art shows, auctions, town fairs, etc. If you've ever seen someone toting a canvas bag emblazoned with a library logo, it probably was sold by a FOL to generate funds for their library.
Program Sponsors
A few years ago I played a concert that was funded by a bank that wished to ingratiate itself to my audience. Though the bank's presence at the concert was low-key, lately I've seen more visible sponsors at concerts hosted by libraries and other venues across the MidAtlantic, New England and Southeast.
These newer program supporters include radio stations, auto dealers, retailers, insurers and other publicity-hungry funders. In most, but not all, cases the participating libraries have been large institutions with a large community profile, wide cultural network and on-staff development personnel to prospect for commercial sponsors and solicit underwriting support.
In my view, we'll see more of these joint fund-raising ventures — called "partnerships" in the lingo of fund rasiers. Why? Because even as public libraries in the U.S. get better at attracting people to their programs, library budgets are apt to continue shrinking or, at best, stabilize.
As a result, library administrators and program managers will continue to seek alternative sources of money for live programs. In my view, they're driven as much by budget concerns as they are by a recognition of the pivotal role libraries play in the communities they serve. What's more, the value people derive from active participation in local library programs far outweighs the passive value of renting or borrowing e-readers.
What's more, commercial sponsors have had their appetites whetted by access to the diverse interests that gravitate to libraries. They've discovered they can reach discrete market segments and position themselves as leaders in a community. Oh yeah, with the enthusiasm of born-again converts, they'll be receptive to future underwriting efforts.
Audience Demographics
Over the years I've seen three distinct age cohorts attend Vintage Music Concerts: senior adults (50 percent), middle-aged adults (40 percent) and youngsters from eight to 15 years (10 percent). Once they reach 16 years we lose them to other social activities and personal interests.
Over the years I've seen three distinct age cohorts attend Vintage Music Concerts: senior adults (50 percent), middle-aged adults (40 percent) and youngsters from eight to 15 years (10 percent). Once they reach 16 years we lose them to other social activities and personal interests.
One of my youngest concert-goers in recent years was a 10-year-old boy at the public library in Ft. Lee, NJ. He and his family attended a Saturday afternoon event because the youngster wanted to convince his parents to let him abandon violin lessons and take up guitar. While I’ll never know if he swayed the parents, all three saw me play six acoustic guitars and sing 18 songs in an 80-minute Vintage Music Concert.
Concert Scheduling
Most of my library concerts have been held on a Saturday or Sunday afternoon, while a few were held on a Thursday or Friday evening. It seems weekend dates work well because people are relaxed and can accommodate a concert in their schedules. Likewise, we often attracted adults and their kids on a quick visit to a library visit to borrow/return books, videos, CDs, etc. for homework or pleasure.
Most of my library concerts have been held on a Saturday or Sunday afternoon, while a few were held on a Thursday or Friday evening. It seems weekend dates work well because people are relaxed and can accommodate a concert in their schedules. Likewise, we often attracted adults and their kids on a quick visit to a library visit to borrow/return books, videos, CDs, etc. for homework or pleasure.
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| Ken Lelen (guitars & vocals) and Matt Koch (bass) at Greenwood Lake, NY Public Library on a Saturday afternoon, February 2010 |
A few of my weekday evening events, on the other hand, worked poorly. Folks had less time or energy after work, school, supper and homework. It's hard to fit a 90-minute event into a school night schedule.
Still, it may surprise you to learn one library I know has earned modest success in luring a mid-week, mid-day concert crowd. For many years the Lunchbox Learning Series at the public library in Wayne, NJ has drawn good-sized crowds to its concerts. I should know; I’ve played there twice to 125 people.
Still, it may surprise you to learn one library I know has earned modest success in luring a mid-week, mid-day concert crowd. For many years the Lunchbox Learning Series at the public library in Wayne, NJ has drawn good-sized crowds to its concerts. I should know; I’ve played there twice to 125 people.
Most visitors enter a program room and stay for an entire concert. Some, watching a clock or checking a cell phone, only visit for a portion of the program. Still others will stand at the door and listen for as long as they can. Last year, at the public library in Bound Brook, NJ, I played for an audience of 40 people seated in the Reading Room. Meanwhile, another 20 people gathered around the Main Desk and stood through most of the program.
Over the years I've met many people who told me they brought a friend or date to a concert. Likewise, many have said a friend convinced them to attend the event. So, long ago I concluded library concerts are a great way for friends to meet, for people to date, and for people to get together.
As I always say, I love playing library concerts. They bring out the community.
Over the years I've met many people who told me they brought a friend or date to a concert. Likewise, many have said a friend convinced them to attend the event. So, long ago I concluded library concerts are a great way for friends to meet, for people to date, and for people to get together.
As I always say, I love playing library concerts. They bring out the community.
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© 2012 Kenneth Lelen — All Rights Reserved
