Performance Critique: SUCOFEST 2022 J-Song

The last "performance critique" that I made was close to three years ago, and that's for a good reason: events and conventions have been largely absent (if not infeasible) since then, owing to the state that the world is in. Though that still hasn't improved by a lot, there may still be some room for events and conventions to be held in more recent times, like the one that just happened yesterday. I chose to take the opportunity and participate in the competitions... and get a recording of the most important one - the J-Song competition - so I can make this critique today.

And like the last critique I made for a competitive performance, what I performed didn't change: I performed "Chiisaki Mono" in the same way as I did last time, only of course the venue, audience, and even judges are different. If last time I mentioned the time limit restriction that hinders the performance of this song in most cases, in the case of this one, it was unstated, which in a way means that participants ought to have used their best judgment for what they want to sing and how long. For me, I chose this one, and happily, no objections were raised, and the plan to sing this proceeded.

All seems to be well... (Ignore the swordsman in the back.)

Unlike last time, this time I have a recording of the full performance, which means I'm free to make the critique any time, even now. It is also facilitated thanks to a really good friend. In general, I find recording performances to be an iffy matter, especially if I don't have someone I can trust to make the recording; fortunately, the other day worked out. Obviously, I can also upload this recording on YouTube later on since I now have a channel for that purpose, but that'll have to wait, as other video concerns take priority.

...until they are not.

"Concern", however, still seems to be the operative word that describes this performance, and it all starts with... not checking that the microphone is turned on, though this was very quickly rectified by the sleight of hand of a staff member, albeit three lines into the first verse. It's such an amateur mistake to make, and one that comes after a long time of not doing so. Apart from that, there are the certain usual problems, some voice strains remaining, and not having much "stage presence", as a colleague of my friend observed. I was actually in part aiming for a no-frills performance, but it seems that I got more than I bargained for.

Just before the bridge.

Yet there was one "frill" I did keep, apart from the switch to English lyrics for the last chorus: I added an ending vocalization to fill out that part and showcase a little more of what I can do with my singing. It is present in neither version of the song, but I think it adds a nice harmonic touch. The audience also clapped in both of the expected places, being after the very first chorus and that ending part. It may very well be expected if I perform this song again at another opportunity, which for now is uncertain, unlike how my performance is now and how it will be then, with this addition.

While vocalizing at the end.

With nearly three years having passed, it seems that the same performance is still not as good as it could be, though some of the reasons are different as they are the same. The question of how much I can stand to improve on this next time - whenever "next time" may be - remains to be answered. One question that does not need to be answered is how much I still enjoy the song - then, now, and evermore. That enjoyment has to be reflected in whenever, wherever, and however I perform this song as well.

One year ago: Basic Buddy Photo Tricks in Pokémon Go

Two years ago: Pokémon Go Fest 2020, Day 2

Three years ago: Mobile "Invasion"?

Four years ago: Two New Pokémon Center Merchandise Lines

Five years ago: Supporting Doujin and Indie Stuff