Anyone going to see a University band play live can likely guess which songs they are going to hear. Whether it is “Mr. Brightside” by The Killers, “Sex on Fire” by Kings of Leon or the infamous “Valerie” by Amy Winehouse, there seems to be a stable idea among bands of what the average setlist should include. And while these songs are cultural classics, their constant repetition is somewhat inconsistent with the level of diversity in musical tastes present at the University.
That uniform sound is mainly rooted in the structure of booking a gig and the venues available in college towns, as bands are often playing at Corner bars or Greek life events. At these performances, the bands operate more as a part of the venue’s atmosphere than as an individual musical act. This attitude factors into their setlists, as they are more inclined to perform songs that the crowd will know instead of songs that represent their own musical styles to appeal to those in the audience.
Molly Simpson, lead singer of the band Dropout and second-year College student, spoke to the complexities of organizing a successful setlist.
“It’s definitely a balancing act … because you have to book a gig somehow,” Simpson said. “If you want to play, you can’t be so niche that no one wants to listen.”
As a result, many groups maintain a sort of universal repertoire. Even newer outfits who have tried to lean more in one musical direction — including student bands such as rock-heavy 14th Street or the more country-focused Maurice — still find themselves playing more popular songs, because many crowds assume they will be included on the setlist. Zachary Morgan, drummer of the band Maurice and second-year College student, noted that Maurice would often get requests for “Valerie” — which was not originally a part of their show — as audiences did not realize it would not be performed.
An added complication to setlist creation is that bands such as Dropout have said new acts are encouraged to have a more generic set than seasoned names to gain popularity and appeal to a wider audience. Members of the band 14th Street spoke to their own experience with this trend. They initially tried to model their set after the student band Weekends and Wednesdays, whose members have since graduated, but found the band’s classic rock cuts did not land well coming from an unknown group.
Elliott Spinrad, guitarist of 14th Street and second-year College student explained why this disconnect between the setlists of novel and more seasoned bands occurred.
“The difference is, they were a third- or fourth-year band … they had the full reputation, and could play whatever they wanted,” Spinrad said. And that’s what we kind of learned, is that we can’t. We should play really popular songs so that we can get our name out there first.”
However, bands still find ways to make space within these outside expectations of what a setlist should include, namely by creating new arrangements of the most-played songs. “Valerie” is the song that has most notably undergone these changes. For example, alt-pop student band Scarlet Fever slows the song’s bridge down to add an echoing piano, while Maurice uses the same section to pare back their instruments and leave only vocals and drums.
Sterling Peterson, keyboardist for Dropout and fourth-year College student noted how these small changes can bring something surprisingly special to the University music scene.
“In an almost paradoxical way, it’s a way to allow audiences … to connect with your own artistic vibe,” Peterson said. “It’s actually really interesting and kind of beautiful sometimes to listen to the same song … done in really different and interesting ways.”
Some bands have taken novel steps in forming their setlists, which could indicate a move away from such a rigid list of “must-play” songs. 14th Street still does not include “Valerie” on their setlist, as they said they feel it is not a necessary inclusion due to the audience’s ability to hear it from countless other groups. Similarly, Dropout has begun adding more esoteric songs like “Cowboy Nudes” by Geese in order to better reflect their members’ musical tastes. These choices indicate a trend towards innovation — given that both 14th Street and Dropout debuted just last year — and could inspire the next generation of University musicians to showcase a wider range of musical genres and tastes.
Yet, even when these traditional songs come on, crowds are sure to enjoy each rendition all the same. Elena Heraldo, drummer of No Composure and third-year College student, said these songs remind her and others of their time at the University, acting as a soundtrack to their college years.
“After we graduate, you know, we’ll look back and we’ll still enjoy listening to these songs,” Heraldo said. “I would say ‘Valerie’ is one, maybe ‘Mr. Brightside’ or ‘Sex on Fire.’”
In addition, regardless of how repetitive they may be, this shared set of songs can help to foster a sense of community at the University.
Charly Sowder, second-year College student, frequently attends student band live performances and spoke to the importance of this shared experience.
“That’s one thing about U.Va. that I love the most, is how you can always bring different people together, especially through the music culture,” Sowder said. “You feel the unifying force of [the music] … it does really remind me of a really good time at U.Va.”
As the weather warms up and the Corner once again fills with the sounds of student bands, there is a chance that some new songs will break through the college classics. But, in the meantime, performers and crowds alike can find joy in a familiar setlist, bringing all manner of students together for a moment they will remember long after they leave the University.
Read More
From Chicago to Charlottesville: Sharel Cassity on shaping jazz education
By Preet Manukonda | YesterdayLast Fall, Cassity added another role to her distinguished artistic career, stepping into academia as a professor at the University
‘The Bride!’ is a chaotic pursuit on the forgotten side of Frankenstein
By Nritho Halima | YesterdayInstead of centering on the monster’s suffering, director Maggie Gyllenhaal provokes questions about the woman created for him — the Bride — and what she ultimately wants out of her life.
On Repeat: Songs to welcome spring
By Siddharth Sharma | 2 days agoThis selection can be a healthy reminder to maintain gratitude within just about any spring mood
