Bristol open mic nights respected & thriving

As Bristol’s musician of the moment George Ezra prepares to take to the stage for a huge harbourside gig in the city in which he cut his musical teeth, it’s hard to believe that just two years ago he was a regular on the open mic circuit.

Playing tiny venues such as the Kingsdown Wine Vaults and Gallimaufry, Ezra secured a loyal local following before being picked up by Sony and charging onto the national stage with his rich voice, boyish good looks and a back catalogue of songs already well known by Bristol’s open mic regulars.

Open mic nights – especially those in small towns – can get a bit of flack, as a place where musicians who can’t get proper gigs annoy people with their self-indulgent music. But in the same way Bristol bucks the trend in a lot of things from elections to its approach to tackling food waste, it also does this with open mic nights.

“The words ‘open mic’ to some may conjure up something that resembles more of a karaoke night without the jukebox,” said Bristol singer/songwriter Sarah Proudfoot, who along with playing on some of the city’s bigger stages – including The Fleece and The Louisiana, often plays slots at open mic nights across the city. “In some places that may well be the case but Bristol, being the amazing city it is seems to shake off this image and open mics have become part of the lively music scene that Bristol has.”

The best place to catch future musical stars

Far from being the arse-end of the musical scene, in Bristol open mic nights are well-respected and are thriving – the best place to catch the future musical stars and, at the other end of the scale, former stars still plugging away at their art.

Proudfoot said: “I saw George Ezra at an Open Mic night in Kingsdown Wine Vaults just before he hit it big time. The whole room shut up when that guy started singing.”

Open mic performer, punter and one-time Bristol24/7 writer Ian Pemble said: “All musicians like to play to an appreciative audience. Clearly the better (pro or semi-pro) ones take a paying gig if at all possible but you’ll be surprised who might turn up if they’ve got a mate running or playing at an open mic.”

The weird and the wonderful

From the famous to the peculiar, open mic nights tend to throw up some surprises which you don’t tend to get at bigger gigs with established acts. James Koch has been running open mic nights on Mondays at the Gallimaufry since taking over from The Prom. He said: “The weirdest thing I’ve ever seen was an artist called Chicalistic. He once arrived in a lycra onesie (cloud patterned) and an umbrella hat. With his dog. I’ve asked Chuman to help describe his sound – “casio keyboard comedy” perhaps? Or in his own words “environmental friendly music”. It’s beyond classification (in a good way).”

And then there’s the wealth of quality artists waiting for their big break, artists who may find that the contacts they make on the open mic circuit actually lead to that break. Open mics are not only a breeding ground for relationships between musicians and promoters but they often quietly play host to talent scouts, to music writers and label execs.

Koch said: “It is an opportunity to play without too much pressure. But also to be heard by other musicians and promoters and get booked. Speak to the host and socialise if possible.” 

Reveal that inner rockstar

Pemble, who used to write articles for Bristol24/7 about some of the stars of the unsigned music scene in Bristol has discovered some great musicians at open mic nights, including Sam Whitlock, Sarapunzel and Elliot Hall. He said: “A good open mic, and most are, is a welcoming and encouraging corner or back room of a pub that wants you to bring your friends and buy lots of beer. Whoever’s running it (for a pittance) will have a similar motive. And your fellow performers (even if they are secretly glad you are shite-on-a-stick and make them look better) will encourage you. So it’s win-win all the way. Everyone wants you to relax and reveal that inner rock star; you’re only battling your own demons.”

 “There is always a great community feeling to them with lots of singer/songwriters and bands all keen to listen to each other and network,” said Sarah, who is often accompanied on stage by fellow singer/songwriter Tom Mitchell. “Myself and Tom have met loads of people through these nights that we have then played with at other events.

Finger on the pulse

“Doing regular open mics helps to keep you on the pulse with local artists and keeps you ‘on the scene.’ At the same time.you want people to come to your gigs too not just come and see you at Open mics so a good balance between open mics and gigs is best.”

Mitchell, who reckons he’s played over 60 open mics to-date including ones at Mr Wolf’s, Blue Lagoon and Star & Dove, added: “There are a few Bristol open mic nights that see the same old people each week playing the same old songs. If that’s your only experience of an open mic night then you’re going to be put off. But there are just as many if not more that are fresh, friendly and constantly moving along.”

Bristol band The Travis Waltons recently started up their own open mic at The Doghouse on St Stephens Street every Wednesday night. “We’ll normally play a set to start the night off”, said Dan Flay, one half of the Travis Waltons. “Open mics are best for having a go at things live for the first time without having to be terrified of people judging you – not like a gig where people are paying to watch you.” 

So, it may be a great rehearsal ground, but how do the audiences respond to this? Dan said: “It can go either way, but my favourites are the ones where people get shushed for talking; people pay attention and everyone is there to listen. The worst audiences are the ones where there are loads of people there to see their friend’s act and talk really loudly over everything else. I think our one is somewhere in between.”

Koch added: “A healthy open mic circuit helps keep a city’s live music scene progressive. In a way it’s the base of the pyramid. So it’s kinda important that venues put them on/keep them on and the that punters (not just musicians) support them to keep them viable.”