1st November 2008 4 de Diciembre with Maxsalsa @Darlington Arts Centre, Darlington (Part 2)

The East Hall of the Darlington Arts Centre in which MaxSalsa's monthly events are held is a light, wooden-floored, double-height space with a capacity for maybe 140+ dancers and seating on the periphery. It's a nice venue in which to accommodate a dance event, although for live music it's somewhat more tricky: not because of the lack of a stage - I actually enjoy performing on the same floor as the audience, and the hall is not deep enough to disadvantage viewers at the back; but due to the alcove-like end of the hall lined with plenty of uncurtained windows. This is the only place where bands can be set up, which is unfortunately an ill-behaved resonance chamber.

Band in a boom-box: Waiting as Blast dials out the nasties

Talking to Ian, he told me that his previous bookings had found it a challenge to get good control over their sound. I was unperturbed. Those bands didn't have the rather magical BlastPA by their side. Setup and soundcheck passed unremarkably, with Chris and Richard making mincemeat of the wicked Troglodyte of Resonance with their trusty Yamaha LS9 desk. Chris and Sue of http://www.salsayarm.com were Ian's partners-in-crime that night. All three of them enthused that the sound was the best that they'd ever had at the Hall; welcome praise indeed, considering that the former had also booked 4 de Diciembre to play at their big Christmas party in Middlesborough without ever having heard a demo from us.

Tengan fé.

Willie and I unabashedly leapt into the fray when Chris and Sue called everyone to order for the beginners lesson. It comprised some basic steps, cross-body-lead, and he-turns-she-turns-he-turns combination. Partners were changed often, and it was very easy to give people the impression that I didn't know what I was doing - each and every one of my blushing dancers assumed I was such, and I was inclined not to disappoint. Willie helpfully whispered reminders of how unconvincing a beginner I was at every change, which spurred me on to greater efforts.

Then there was just time for a short breather before we were called to stage.

The attendance wasn't as strong as expected, and that always makes it a challenge; it's an experience that every non-manufactured band goes through. I always remind myself of the pop band "The Police" and how they got their big break in the States playing to an audience of only three people, one of whom turned out to be a local radio DJ. They had taken the time to sit down and talk to the members of the audience just before playing. In my own way, I try to do the same by taking part in the lessons beforehand. Anyhow, the moral of the story is, "play for the people who are there, not for the people who aren't."

Loo Yeo getting the show started
with red-hot salsa band 4 de Diciembre

So with me taking the opening number, I start us up as we mean to go on; playing exactly the same way as we would to a house bursting at the seams. I felt extremely proud of Ferret's lead vocals which were solid on his debut: no indication to anyone at all that he hadn't sang lead for us gig-in, gig-out. Willie was dazzling on the violin all the way through, on solos and on rhythm. This gig was also a watershed moment for me: it was the first time I'd performed without having my lyric sheets nearby. Before, even if I never looked at them, they were always a safety net lurking somewhere in line of sight. This time, without their implicit presence, I found my performance having a stronger connection to the audience. I missed them only once; when I repeated a verse in 'Recordando Africa', but now having left sheltered waters and realised the benefit of the risk, there's no turning back! It all boils down to confidence.

There were enthusiastic responses for every song we played, salsa and son alike, where the floor wasn't short for dancers. The setlists I'd designed worked flawlessly, but the best bit was the comments afterwards. Both Chris and Sue felt that Cuatro de Diciembre were the best band they've seen - high praise indeed, as they have brought a number of leading names to the North-East. At a personal level, it was very rewarding to meet up again with Donna and Colin Piper, salsa instructors whom I'd last met in January at the 12th Night Salsa Extravaganza. They'd made the trip across especially to see us perform, and I felt immensely flattered. You won't meet two people more warm and genuine than this couple.

Challenges are there to be overcome, and at the end of it all: MaxSalsa got a terrific performance and the best live sound it ever had, with 4de12 setting down a marker as a tough act to follow; Chris and Sue know exactly what they've got booked for their Christmas party; and the salseros of Darlington got a good dose of music CuatroDeDiciembre-style.

4 de Diciembre in relaxed mode
closing out the evening

And I got to catch up with good friends and meet new ones, including a winsome lady whose idea of a good dance is to finish it with hair looking like it's come out of a washing machine. The same one who insists that dancers of the North-East like their music very, very fast.

If she's right, we might need to work up more of a lather at practices for X'mas.

looyenyeo