Mike Von God, Royal Festival Hall, Jack Berry discussed on WTF with Marc Maron Podcast
The bottom line when pop Staples was still alive and John Hammond open for them, and she's like, oh, I remember that like it's just sometimes this business is just very exciting. And very it's just a powerful moment, man. I mean, she she's amazing. But. What it takes for me to get excited about his show? Just because I'm so sure it's going to be awkward. I mean, I've played this place before Royal Festival Hall is a big space meant for symphonies. Yeah. And I don't I don't always remember, exactly. I know the feeling I have when I do a space that seats over eighteen hundred like if I'm in his space seats from fifteen hundred to three thousand I tend to it's not that. I get nervous. But it's like will the vessel. Hold will the vessel. I'm occupying. Hold it. You know by the time, I get to the venue, Mike von God, not not as bad it used to be. But once I get on stage due to soundcheck. I'm like, okay. I remember this place. It's big it's a symphony space. It's it is what it is. And I know man, I just know, you know, I get out there. I got my open this kid Jack berry he's doing. All right. Get out there. And I'm like, I'm just being loose and I can make this face intimate. I can pull them in. I can do it. But it's. Weird man when you're working space is like there was about nine thousand nine hundred people in there. And I'm on a stage that has it's wide open because a symphony should fucking be sitting up there. And I'm doing what I do. But like the it's hard to get on a roll, I'm connecting. But it's like, I don't feel it coming back as much as I'd like it to I know that in a bigger space the tighter the bit the better it's going to be because then it can just land. And you know, you can. People know where it ends. They know with the punchline is and sometimes I like to sort of noodle around a little bit like the improvise, but I have to accept that. I think I have to accept that's how I do shit, and they're digging it, but I'm not feeling the connection as much as like because the fucking room is so big, and it wants a symphony in it doesn't want just me sitting up there on a stool in the middle of where there should be a full orchestra the space doesn't want it. It's fighting me. And I feel that after every bit after every arc. I there's a moment of Mike. Look just this little guy. I'm just I'm just sitting on the stage. And there's that moment where it's sort of like, you know, the difference between performing and just being you like I feel that when I'm sitting up there in a symphony space between jokes. I'm like the bottom could fall out here. I could just be a guy talking to myself on onstage. You're in front of people. Like, you could just feel that there was such a fine line between getting laughs and connecting in that way. And just kind of being. A guy sitting on stage in front of one thousand nine hundred people that's wide open and should have a symphony on it going. Hey, I don't I don't know. I'm just up here by myself. You know, it's like weird him up here by myself like that place that place. I'm just up here by myself. I hope. No. Is there any way I can get out of here? I have to get out of here. Eight like that was just right under it. And the show is great and people liked it. But I got to the point at the end I'd done about an hour and forty minutes, and that was I just wanted to like, I set the Mike aside the sticks. Perfect. And I'm like, what are you guys need we need to connect here. What are we doing? And they.