Communicate All Good-like

Today’s post is where the American Idol analogy breaks down. The remaining judge* Randy, isn’t known for communicating well; perhaps he would be if he wasn’t trying to be everyone’s friend. However, clear communication is the key to every other component; high standards and a professional environment aren’t effective without it. (Go back and re-read that last sentence – it sounds like I’m about to launch into a simple, life-changing plan that can be yours for only $99.95).

Communicating well is an art form. It does not come easy in my case because I have the prideful belief that if something is said once, it should be remembered. This would be fine if everyone in the world possessed a photographic memory, but instead we’re at the mercy of remembering only what is important to us, or what uniquely gets stuck in our brain. For years I assumed people would come fully prepared to the audition after reading one email. This self-centered approach assumes they have nothing else going on, and will devote all faculties to storing the audition information and mastering the material. It also assumes they’ve interpreted each component with the same understanding and priority as I intended. Those of you who majored in communication or advertising are probably rolling your eyes as you sip coffee in reading such ignorance. Roll and sip, my friend; you’re right.

For three years, communicating by one lackluster email resulted in varying degrees of preparedness by those auditioning. The most difficult thing to understand was why those auditioning didn’t learn the parts of the songs as they’re written. Time after time people would show up and either play whatever they want, or say “I didn’t know if I should memorize the part that was written, or do my own thing.” This was frustrating as I never knew what to expect, and often the audition was not reflective of a person’s ability. If you leave out specific instructions, the person is not at fault for doing something other than what you expected. From what they observe at Vintage21 Church on Sundays, there’s freedom on stage for creativity as we play 80% original songs and arrangements. While I asked people to learn the  specific parts, it’s one small part of a large email of instructions. The emphasis was not effectively communicated.

Poor communication was not considered at first, because we’re all adults and we should know how to follow instructions, right? In the melodic words of T. Cockrell, “Pride won’t get us where we’re going”. Am I seeking to judge people on their ability to decipher, or to serve musically? Sticking to my guns that “they should be able to figure this out” would result in a group of highly analytical, type-A people, but not necessarily the best musicians (a group not typically known for using the left sides of our brain). As a result, I now seek to over-communicate. Interested musicians are asked to read three separate documents that lay out vision and expectations, and they receive several emails before the big night. In a majority of these, they are asked and reminded to learn the parts exactly as they’re played. The expectations of each person auditioning are clearly laid out, as are what they can expect of those of us leading the audition. While people continue to show up unprepared or play something other than what was asked of them, I’m no longer stuck in an awkward position of wondering if they knew the expectations ahead of time. This also makes feedback more objective and clear- “We asked you to learn the parts as they were played, you played something different.” All in all, it makes for a much more effective and comfortable audition process.

- Matt Stevens

*There is a fourth judge, added last season, but she was terrible. I think she should be replaced by these two.