Picking Music for a Bubble Show

If the artist projects a finished thought-through image and sticks to it, the audience will perceive it as a finished product, it will not look half-baked. Like from any product in a store, people expect compliance between external and internal content from a bubble show. The external includes your costume, your image, the style of your props (Bubble show props), the way you move and present yourself. The internal one means both the artist's temperament and the act itself as well as the energy the artist shares with the audience. If the external and internal content of the act coincide, the audience will trust the artist accept him/her as their own.

Stylistics is visible in everything. It leaves its tracks on the subconscious of both the show hosts and the audience. This is a word of mouth of a kind. It may seem that we all live in such huge cities, and no one knows anybody. In the world of show business everyone knows each other.

There's no need to go too far, here's an example from real life: we travelled to Moscow, where we planned to open our federal network. It was four years ago. We were looking for the artists who would do bubble shows in Moscow. For the audition, a girl who had recently moved to Moscow from Omsk came; we had a lot of common acquaintances, it's a small world. Do not think that any of your bubble shows will go unnoticed.

When a customer approaches the show host and says: "You know, I also want to order a bubble show," he will say: "Well, Masha's show is so-so, I do not like it, you better order Lenka's – she's great!" The host also does not want to be put to blame for recommending you to the customer.

In addition to the fact that the host likes working with someone who looks good, he/she wants to work with someone who he/she will be comfortable to work with. He/she will work with someone who will replace him for half an hour with his/her bubble show.

Participation of the show host in the hall can be excluded for half an hour. If the artist has a well-trained team, if his/her act is well-rehearsed, everything goes according to the script, the music in assigned to various show parts, and the assistant is adequate, then the host can just go out for half an hour for a smoke or to have a bite – it's very convenient for him/her. The host is aware that everything will go smoothly, and he/she will not need to invent something.

The opposite situation is when a half-hour act can bore all the guests, and the host will have to shake them up again. The entire previous work of the host will go down the drain. Of course, he/she will not like it.

A romantic act is a good thing. But it cannot stay romantic for half an hour under slow music. The act should go roughly according to the same scenario as the dance floor show does: 5 energetic dances, one slow. With a bubble show it's the same.

It means that if you have a part with a glowing desk (Props, glowing desk), it is clear that it will be quite melodic. If there is no glowing table part, then, in this case a melodic part can be a dance of the newlyweds in the bubble rain showered bubble generators.

Your show must be groovy. Or your first tunes should be slow, and those afterwards will be fast and dynamic. There must be dynamics in your show, because no one likes yawning, sitting on their hands and idling around.

Choose the music you like, under which it you feel comfortable, the one you'd want to move and dance. If your movements are involuntary, then it is 100% your kind of music.

The ideal track option is an instrumental. It's better if there is no lyrics at all. Do not overload your bubble show with a semantic meaning. If you choose songs with lyrics, then they should be very popular tunes, when people will no longer listen to the meaning of the words. But here is a snag. These songs will have to be replaced very often, because popular songs do not stay on top for long. 2-3 months max. If your skills allow you to do sound mixing, there is no problem at all with it. If you can't do it, and this means extra cost for you, then take the evergreen songs that are out of time. There are a lot of such tunes around.

If you perform at a children's event, then look for the music yourself. It is clear that for a two-year-old child, tunes from cartoons are a natural choice. Again, which cartoon? For example, the cartoon "Masha and the Bear" has stunning musical compositions; if you remove lyrics from them, they will do for children of all ages. Even for ten-year-olds. Good musical arrangement, everything is fine, everything is wonderful. Edit, mix and use. In case of the "Barbariki", the ten-year-olds will throw rotten tomatoes along with the Barbariks at you, because it's already history. This won't work.

Ideal option: we have two children's tunes. The children's tune for small children of up to 5 years of age, i.е. the cartoons with familiar melodies that are popular at this time now. Let it be, for example, a cartoon about the pony. Or what are the children watching now? The Fixies. Piled them up in a heap, it will turn out a great children's musical composition. If you have some theatrical elements, then stick to the script, you will figure it out yourself. If you perform for some five-year- in some costumes, for example, the Fixies, then you should only pick the music only from the "Fixies".

If you perform in the image of, for example, a princess, then basically, "Fixies" tracks are also possible, why not. But for the princess there should be something more magical, probably, "Masha and the Bear" is more suitable than the "Fixies". The "Fixies" series has quite a heavy music for the princess. And for older children, take mixed melodies. Some can be taken from adult music, dynamic instrumentals, and some from children's music. It will be more comfortable for them, because a child in the age of eight and older tries to prove with all his/her being that he/she is already an adult. When he/she is given music from cartoons and a clown act, he/she is ready to drive both the parents and this clown out of the house, because he/she absolutely does not need all that at all.

You need to be very attentive and make sure that the children like you too, because children will start telling other children about you. The news among children travel fast. "I had a birthday party, a lady came and blew a lot of bubbles." Everything is fine, he told 25 more children at school, other places and everywhere. And then comes the nagging: "Mom, it's my birthday, I want the same as Tanya had". Therefore, children must like you, it's very important. Even more than adults like you. We adults, always think of something else. But children, when it comes to bubbles and clowns, are experts.

I always divide my music tracks into blocks. I.e. my program is arranged not element-wise, but block-by-block. And I know which block at what time I should complete. The time is regulated by the music, it's very convenient, it helps. Let's say I have five blocks in the show. Each block lasts three minutes. Or some last two minutes, some four. This is another matter. If so, I take five tunes, time them as I like, mix them. And I have a tune for each block. It's great.

The tune has changed – I know that I must move on to the next block. It is very convenient and cool.
For beginners, I recommend not to use many blocks. It's very easy to get confused. If you have 10 tunes, you'll get lost in them. You'll confuse the blocks, the melodies. Do not use a lot of them. 5-6 is enough. But you act should fit into these 5-6 tunes. The master class is a different matter. The Man Inside Bubble is generally uses music in the style of lounge; music is not so important here.

You need to share your energy during the act, there will be the main dynamics there. During the interactive part, it turns out that you should use a slightly more relaxed composition, because the focus is removed from the artist, it is transferred to the birthday person, you can already speak into the microphone.

During a master class with the newlyweds the music is to be calm, the attention of the spectators is concentrated on the bride and the groom.

And when it comes to the Man Inside Bubble, it's already the kind of music we got used to listening in a relaxed state, the muzak, when we go shopping, for example. It is neither slow nor fast. It is a harmonious, calm, background music, which does not bother anyone. This background music during Man inside Bubble should be longer than the act. If you have a 30-minute-act, then your music should last for 50 min. Let it play, it does not bother anyone, maybe you will never hear the end of the track, or maybe it will help you out a lot. The situations can be different.

For example, the host left with the sound engineer and forgot to return. You have already finished the Man Inside Bubble act. No soundman, no host, no one. Only your music. At least you will not pack your props in a quiet room. This music will play in the background, you'll slowly pack your things, and, probably, at some moment the soundman will appear. The guests will not notice all this disgrace. It's great. Guests ae not supposed to see these inner conflicts at all, they should not be involved in any way.

The main thing is that you like the music, that the tune does not have unacceptable lyrics. People are different, some of them are highly intelligent. Now there are a lot of modern songs, in which there are words that are not very suitable for everyone: some of them are good only for some young company corporate party. And if you are invited to perform at government's New Year Party, those kinds of songs won't do.


For those who do not have tracks at all, I can share mine: