Drinking alcohol while playing

[Rusty]

Just wondering opinions on whether you like to drink alcohol on a gig and how it may affect your performance, good or bad.

I’ve had some good gigs where I’ve had a beer or two and loosened up a bit and relaxed, others I have a beer and my chops start to feel pretty dry and rubbery, so usually I’ll avoid it and just drink water.

Do spirits vs beer change much or is it just the alcohol that is the issue?

Interested to hear your test results from the field!

[Kingfan]

I've had a beer between sets, but limit it to only one. Never had a problem with my ability to play. I know me, two beers and I would start losing my edge. I'm a cheap date!

[Posaunus]

In my (relative) youth, I occasionally sat in with a small jazz ensemble at a small bar/restaurant. The owner paid us (or at least me) by supplying beer. I always played better after the first beer. And learned to stop after one.

[Burgerbob]

Beer is fine for me, just keep hydrating alongside. It feels like I play better but that's probably a bit of the beer thinking too.

[JacobsianApostle]

I have a regular gig where I always drink a glass of wine before the first set and have a second during the set break (with a bit of food, which is important). Just know your tolerance and where it begins to effect your technique. Also this is playing samba where everyone is dancing and/or singing along. Being a little fast and loose makes sense for the context. For me there’s a sweet spot where I have slightly lowered inhibitions and feel good but still haven’t lost any facility, but the magic zone gets smaller and smaller every year.

Coffee, in my experience, is more dangerous. I’ve lost track of the amount of times I was just hanging out at a cafe and had one too many before a show where my embouchure would be trembling from being over caffeinated.

[elmsandr]

There is a performance curve (also with bowling, golf, etc..). A few years ago I was in a golf league with some other engineers; we actually figured out the optimal rate of consumption to improve our scores. Then promptly ignored it because the reason we were golfing was that we wanted to drink beer outside with each other, not to put some ball in a hole.

I forget our final formula, but it was definitely to go a little slower than you would think and stop soon. But there was a measurable positive effect if the first drink was not consumed too quickly. There is also a lag time between consumption and effects. While we were paying more attention to the rate of consumption and timing, it was VERY interesting to begin to understand when performance was going to roll off the top of the curve and then plummet. If you are paying attention, you know exactly that this is going to happen, but in your chemically altered state the exact manifestation of it always seems to be a bit different than you want (I can control it! wait, what?). This was in the days before those readily available portable breathalyzers. Wish we could have that data to get an even more defined view. But alas, I have not golfed in about a decade now.

I always felt that a little consumption seemed to stop me from overthinking things and be slightly more relaxed... These may help some aspects of my playing as well; but probably not as much.

Cheers,
Andy

[MrHCinDE]

In my younger days, I'd have a pint of bitter (Traditional English ale, weak, warm, flat beer, only about 3.5%) in the interval. I don't think it had any significant effect on playing either way.

One exception was a late call to play the bass trombone part on Tchaik 5. I was pretty stressed about basically sight reading it live in the concert and had been out for a couple of quiet liquid refreshments to help the nerves after a morning rehearsal with another group. For inexplicable reasons, it turned into a slightly less quiet 6-7 pints over the afternoon. I was playing it on my 88H as it was too late to arrange anything else. On the night I thought it had gone ok all things considered, I’d been running on pure adrenaline. There’s a recording of the concert so I can judge in the cold light of day. It was surprisingly good in most parts, sure there were a couple of errors but generally no worse than I would have expected for sight reading. I got a bit carried away, basically uncontrolled, in some of the louder sections, which pushed the tuning out a bit, especially with the unfamiliarity of playing a bass part on an 88H. On reflection, it was not very smart and actually quite disrespectful to the other musicians, who had rehearsed for months. I don’t wish to repeat the experience in a formal concert.

More recently, playing at beer festivals similar to Oktoberfest, we would sometimes be playing a five-hour slot with 3-4 breaks and most of the whole band would pick up a Maß (1L) of strong festival beer at each break. I once saw a trumpeter in that group bring 4 (yes, four!) 0.5L Weißbier onto the stage to see him through the final set. I would say this approach was not very wise, but somehow the audience was even more inebriated so very few would have noticed we were not in prime condition. Nowadays, for those types of gigs, I would generally stick to Radler (shandy, about 3% or so) alternated with water so over the whole gig would have the equivalent of one Maß of actual beer, which is just fine to get into the Oktoberfest spirit and stay hydrated, without losing all control of embouchure and slide coordination.

You live and learn!

[rickfaulknernyc]

For me, it depends on what the gig is. These days I drink at lot less in general, but in the 90's I toured heavily in the rock circuit, where bringing a couple or three beers on stage with you was normal and kind of expected. I also used to have an annual Oktoberfest gig where we'd be given giant steins at every opportunity (glad I didn't drive home from those). But if it's a gig that involves heavy reading or unfamiliar material, I usually avoid drinking to keep my wits sharp. I've never found that alcohol affects my embouchure.

Interestingly, the great Panamanian trumpet player Victor Paz used to ask his students if they drank on their gigs. If so, he'd have them practice (and take lessons) with the same amount of alcohol in their systems!

[robcat2075]

I don't need to drink to sound impaired.

[Kbiggs]

I used to drink and play—a lot. I don’t anymore. I know now, after the fact, that it impaired my performance, although I was just as convinced earlier that it helped.

Repeated studies on drinking while driving have shown that only a small amount of alcohol is needed to impair judgment and coordination. Playing an instrument is just as complex as driving—arguably more so, although they use different parts of the brain and different neuronal pathways.

I know—in many circles of musicians, drinking covers the gamut from the occasional glass of wine, a drink to unwind, to help performance anxiety, and even as a competitive sport. I, too, have played gigs where I was paid with beer or liquor. Fun in its day, but only when everyone else around me was too drunk to care.

I have no problem with other people drinking, so long as it doesn’t affect their performance. If it’s illegal to drive while impaired from drinking, it’s probably not a good idea to drink while playing.

[imsevimse]

No. It could be a beer after the gig, but if I need my car to get back home it only happens if someone else is driving. It is very rare that acctually happens. This means it's very rare I ever drink

/Tom

[timothy42b]

I think that it depends a bit on the mental focus vs the physical.

Certainly one beer wouldn't impair me physically. But to me that one beer is a signal that I've done all the required tasks to the required standard, and now it's time to relax and enjoy the reward. Mental focus is gone at that point.

If you wouldn't have that beer before using your table saw.............just saying.

I did play with a German band that consumed a lot of beer. Especially if I were driving and stuck to Diet Pepsi, I'd notice increasing sloppiness as the night went on. And with the road map on those German pieces (first strain, next strain, folge, DS, no wait it was DC and we play the repeat, where's the coda again, what trio?)

[Rusty]

Reading a few of these stories I’m reminded of my worst alco-bone moment, a pub jam on a uni tour where I got up and was playing the bass line to Chameleon two bars out without realising it…luckily we were all pretty smashed and basically playing to ourselves so it didn’t matter. I thought I’d erased that from my memory, but not quite it seems!

The caffeine issue is interesting too. I usually don’t notice a difference if I’ve had a single coffee, but I had one instance on a professional show of Wicked where for some reason I thought it would be a good idea to drink a 500ml can of red bull with dinner. I had the freakiest experience where it felt like I was looking over my own shoulder while playing, and I’d play a phrase and have no real recollection of what I’d just done! Never again!

[2bobone]

I recall being totally amazed when playing Royal Festival Hall in London, to discover a "Pub" immediately backstage complete with an Irish bar maid who had already drawn a tray full of draughts for her anticipated clientele. She apparently was quite busy at every intermission whether it was a concert or a rehearsal ! A bus driver for the LSO on a tour of the USA told me that they tried to talk him into drilling a hole in the floor of the bus so that they could install a keg of brew in the luggage compartment and draw draughts as they traveled ! Seriously ! It never seemed to affect their terrific playing abilities. Maybe it was because the beer was room temp ?

[afugate]

Perhaps we should start a similar thread titled, "Playing the trombone while drinking..."

After all, I'm pretty certain some of us might feel inclined to get out the horn after a couple of rounds.

--Andy in OKC

[Vegasbound]

Usually no, for no other reason than I have to drive home following a gig

[Pre59]

In the UK before drinking and driving became unacceptable and could lose you your livelihood, many musicians that I worked with must not have been sober since their youth. It was common to see markings on parts when playing a show that gave the exact tacit time down to the last second, so that the "sub" could get to the pub and be back in time.
Starting a gig in the middle of the morning with half of the band rushing in from a pub was not a good look, glad that those days are gone, and what a waste of money!..

[DougHulme]

They tell the story, from not very long ago, of one of the London Orchestras who appointed a new (and young) trombone player. The brass section were not needed for the first half of the concert so they all went down the pub. I think it might have been regarded as some kind of initiation process but the older guys got the younger player drunk. So much so that during the ensuing second half of the concert he fell off of his seat. Such was the alcohol effected thought process of the rest of the brass that they found the episode incredibly amusing - their myrth being evident to one and all watching and listening. Monday morning they were all summonded to the management offices and were all sacked... only to be re-instated a short while later it has to be said. I imagine (with no evidence to support) that they are all a little more careful now (?). Even as a tee totaler myself I have to say its an amusing story that you cant help but smile about since no muscians were actually hurt in the production of the story.

[Bigbasst]

I don't buy the argument that drinking makes things easier, or one become better at stuff after drinking. I can't think of any activity where drinking helps even a bit...

[robcat2075]

I'm reminded of a story...

who was that masked man?

In the early days of network radio, "The Lone Ranger" originated out of a station in Detroit and, as was standard practice then, each episode was performed live twice; once for the east coast and again two hours later for the west coast. Technically it was possible to record a radio program in advance but the difference in audio quality was obvious and advertisers insisted on live broadcasts.

One of the trademarks of "The Lone Ranger" was that every episode ended with someone asking "Who was that masked man?" to which would always come the reply, "It was... the Lone Ranger!"

It so happened that one time that last line fell to an older man who had been hired just for that day to fill an extra role. They did the first performance, which went according to plan, but when they were done, rather than just wait around the station the cast decided to all go to a nearby bar.

Of course they had too much to drink, and lost track of time and just barely made it back for the start of the second show. The director was expecting disaster but amazingly, the show went great; it was shaping up to be one of their best performances ever.

Sensing a chance to fine tune the performance the director pulled aside the older man during a commercial break and said, "That was just fine the way you said 'It was the Lone Ranger' in the first show, but this time I'd like you to really hit it."

"I want you to say it like you're talking about the most important person in the world... I want you to say it like you're introducing THE PRESIDENT OF THE UNITED STATES!"

He sends the guy back in and the show continues, still going great. Finally they get to the last scene and the question is posed "Who was that masked man?"

Silence.

Everyone turns to the older man. He glances at the director, takes a deep breath and stammers, "It was... it was... Herbert Hoover!!!"

I heard that story from Professor Dan Viamonte of the Division of Radio, Television and Film at the University of North Texas, so it must be true.

[AndrewMeronek]

I don't like alcohol during a gig. I just like performing better without it. If anything, a bit of coffee can be nice.

[Doug Elliott]

Coffee has a significant effect on improving my sightreading and concentration in general.

[RoscoTrombone]

Having been in the military I have partaken in a drink or 2 or 3, perhaps 4 on the odd occasion although I quickly learned my limit as to when to stop as it wasn't worth it.

One band I was in were quite notorious and if we were staying overnight there was a go out and get smashed mentality from many of them resulting in some interesting performances, especially when it was a marching band job when the drum major needed his mace to stay upright as he was still half cut! There's also nothing quite like the drum rolls to cut through a hangover!
We did a tattoo in Holland one summer for 2 weeks and we were on at the very start with a 3 hour wait before the finale so it was dangerous being stuck in the refreshment tent with not a lot to do.

Our band sergeant major was a tee totaller and the director of music a closet alcoholic - he actually died from liver failure a year after he left.

When I got posted to a different band then it was a completely different mentality. Yes there was still alcohol but nothing like before.

Nowadays I don't drink very often so just stick to soft drinks/water, plus beer and my bladder don't mix very well. The last thing I need is for my eyes to be swimming halfway through a concert, especially a symphony.

[KWL]

I recall being totally amazed when playing Royal Festival Hall in London, to discover a "Pub" immediately backstage complete with an Irish bar maid who had already drawn a tray full of draughts for her anticipated clientele…

I at first thought you were going to tell “the basses were loaded and the score was tied” joke.

[Cmillar]

Here's a true trumpet player's story....from a guy who was my best friend but died too young.

My friend took trumpet lessons from a great player in Toronto in his teen years, every Saturday morning.

The teacher (big time player in the commercial scene) would be drinking by 10am. My friend asked his father (who was a big time musician from the Toronto Orchestra, big time session player, and a real health freak) why his teacher was drinking in the morning at his lessons and during the teachers own practice time before his lesson.

His father said that he should probably put that question to his teacher at the next lesson.

He did! The teacher's answer was simply "Son, you have to practice as if you're on the gig."

[jbeatenbough]

When in Rome...

[michaelpilley]

Ian Bousfield has an interesting chapter on diet in his Unlocking the Trombone Code book. Something about the level of histamines in certain foods, making the lips swell. He says he stays off those foods as much as possible to avoid any unwanted side effects.
Alcohol and coffee are two of them.

[Jimkinkella]

Can be a lot of fun, can be overdone.

Chemistry is a weird thing, and everyone's body chemistry is different...

[robcat2075]

An anecdote from cellist Grigor Piatigorsky, about his stint in a cut-rate touring production of "Eugen Onegin" in pre-revolution Russia...

...At the opening, Mr. Trilo, the double-bass player, stood near me with a bottle of vodka protruding from his pocket. The eager audience paid little attention to the scantily spread orchestra in the pit, but showed surprise when Mr. Jubansky walked to the conductor’s podium with his horn.

The house lights dimmed, and during the overture it was quiet in the hall, but soon after the curtain went up the restlessness of the public became noticeable. As the performers warily proceeded, the unrest of the audience mounted, reaching the crucial moment when, for some reason, [lead tenor] Mr. Susow’s aria suddenly stopped. The conductor, desperately looking for a tenor, pointed at Mr. Trilo, of all people, and screamed, “Sing!”

Trilo’s rasping voice, “Olga, good-bye forever,” came loudly from the pit as Trilo fell, crashing over his double bass in a drunken stupor. The house was in an uproar. “We want our money back!” the people shouted, moving threateningly toward the pit...

bonus excerpt...

The orchestra consisted of seventeen men. Its most unusual feature was the conductor, who occupied the podium with his French horn. Holding the horn in both hands, his mouth shut by the mouthpiece, he was mute and gestureless. I was surrounded by four music stands, with parts for the cello, clarinet, trombone, and oboe. It was my duty to play the important spots of each part.

[Posaunus]

Note that the prodigy cellist Piatigorsky was born in Ukraine in 1903. In 1912, he left home and made his way to the Moscow Conservatory of Music. By the age of fifteen he was both principal cellist of the Bolshoi Opera Orchestra and a member of the famed “Beethoven String Quartet”, later renamed the “Lenin String Quartet.”

So in "pre-revolution" Russia (<1917), he was a (probably wide-eyed) teenager, playing in a rag-tag opera orchestra. In 1921, unhappy with the oppressive political climate in Russia, Piatigorsky dramatically escaped into Poland. He eventually made his way to Los Angeles, where he (along with violinist Jascha Heifetz) led the string faculty at USC, advocating for the cello as a viable solo instrument, and performing chamber music on the world's stages - and in friends' living rooms just for fun!

http://piatigorskyfoundation.org/gregor-piatigorsky/

[robcat2075]

... In 1921, unhappy with the oppressive political climate in Russia...

...The government assigned artists to play in factories, workers' clubs, and Red Army clubs. There were sometimes as many as four such appearances in a single night. Groups of musicians and actors were loaded on sleds and driven by horses from place to place. We were instructed not to play anything too heavy for the unaccustomed audiences. If our show took place in a chocolate factory, we would receive chocolate in exchange for our services; if in a cannery, herring. Only once did I hear a complaint—when Chaliapin received a pair of baby shoes for his singing.

His life seemed to be one hair-raising adventure after another.