Playback, a modern technique as celebrated as it is criticized, has been a point of constant debate in the contemporary music scene. His complex relationship with current artists is an intriguing theme, highlighting his duality as an ally and antagonist of live performances.
Taking as a case study the legendary Michael Jacksonit is possible to better understand the contexts in which playback is used and the reasons behind these choices.
Before we delve into the nuances of using playback, it is essential to recognize that there are other technical tools available to singers. Among them, a computer program capable of automatically adjusting vocal notes according to pre-defined parameters stands out.
How does this process work? When a singer performs his vocal performance, regardless of its accuracy, the sound is processed by the computer before being amplified by the stage mixing and PA (public amplification) consoles. The software then corrects any pitch discrepancies, creating the illusion of perfect vocal performance even in the most challenging situations.
In the specific case of Michael Jackson, a different approach is observed. The pop music icon chose to employ playback in certain circumstances, especially on songs that required a wider vocal range or that were originally recorded at different stages of her career.
Furthermore, the intensity of their choreographed performances added a layer of complexity to the equation. Jackson’s characteristic movements, often described as “robotic”, required great abdominal rigidity, which could compromise the quality of his voice during live performance.
In this context, playback revealed itself not only as a technical convenience, but as a necessity to preserve Jackson’s artistic integrity. It allowed him to maintain the standard of excellence for which he was known, even under challenging performance conditions.
However, it is important to highlight that the use of playback was not a unanimous choice. There were moments when Jackson alternated between parts sung live and parts in playback, seeking a balance between authenticity and visual performance.
Some reports even suggest that Jackson’s shyness and perfectionism influenced his decisions regarding the use of playback. For the artist, whose performances were closely scrutinized by fans and the media, the pressure to achieve perfection was constant, making playback a strategic tool to minimize the risk of failure.
Ultimately, the relationship between Michael Jackson and playback encapsulates the dilemmas faced by contemporary artists. In a scenario where the demand for perfection coexists with the search for authenticity, the use of playback presents itself as a pragmatic solution and in Jackson’s case, this approach became just a technical choice.
PLAYBACK | ON WHICH TOURS?
Michael Jackson started using playbacks in 1988 during the 2nd phase of Bad World Tourfrom the European phase that began on May 23, 1988, in the city of Rome.
You playbacks they were small exceptions at that time. Michael used it in certain songs and moments, as many songs already required a lot of dancing for him to synchronize with breath, tone and tuning (as explained in the other post about playbacks).
Before that during the American phase of 1988, the Bad Tour it was performed entirely live, as was the first part of the tour in 1987, during the shows in Japan and Oceania.
Follow the chronological order of playbacks:
BAD TOUR 1988 (EUROPE) and 1989 (USA)
– Smooth Criminal (until the second part of the song, after the last chorus is live).
– Bad (until the third part of the song, from the phrase “you know I’m smooth…” is live).
– The Way You Make Me Feel (from “give it to me, give me some time…” is live).
– Man In The Mirror (only the ending is live).
DANGEROUS TOUR 1992/1993
– Jam (entire).
– Smooth Criminal (entire).
– Thriller (entire).
– Will You Be There (entirely with the exception of the “prayer” at the end).
– Bad (entire).
– The Way You Make Me Feel (entire).
– Dangerous (entire).
– Black Or White (entire).
– Heal The World (entire).
– Man In The Mirror (except the ending).
HISTORY TOUR 1996/1997
– With the exception of Wanna Be Startin’ Somethin It is Jackson 5 Medleyall other songs were playback.
It is important to highlight that, at the time when Michael Jackson was experiencing swelling in his vocal cords, he found himself faced with an additional challenge in his live performances. This physical obstacle limited his ability to sing live, leading him to resort to playback more frequently.
PS: In the documentary Bad Tour Around The WorldMichael reveals that Thriller it was one of his most difficult songs to be sung, interpreted and danced live, so much so that it was only performed live on Bad Tour.
