As many musicians know, nothing puts the fear of practicing in you like the threat (or promise, depending on how you look at it) of a performance hanging over your head. With this in mind, I organized two concerts for my students over the past year, one in the fall and one in the spring. Although it took a lot of work to organize and prepare for these performances, the results were well worth the effort.
The first step was to convince my students that this was a good idea. There were about three different reactions. Some were game from the get-go. Others were a little bit apprehensive about getting up onstage (many had never performed before), but with a little bit of encouragement, they signed on. The third reaction was sheer terror. That group took a little bit longer to convince, but most of them came around.

Booking a Venue
After the students were on board, I had to find a place where they could play. The American Institute of Guitar (AIG), the school in which I teach in Manhattan, has a good relationship with Dillon’s, a restaurant across the street. In addition to the main room and bar area, Dillon’s has a back room for live performances.
If you are planning a performance night for your students, there are other options besides booking a club. Louisville, Kentucky–based instructor Dan Canon holds performances at one of the music stores he teaches at, which has a stage. In addition, his students have an open invitation to sit in with his band at their weekly coffeehouse gig. Amanda Monaco, a New York City–based teacher, held her recital in a student’s apartment. (This student had a particularly large apartment by New York standards. Thirty people showed up to watch the concert!) San Francisco Bay–area instructor Nils Erickson has held four concerts for his student in the recital hall of the Blue Bear School of Music.
Of course, one must consider the costs involved. To offset the price of the room deposit and the services of Dillon’s soundman, AIG charged a $5 cover for the night. Friends and family of the students showed up to support the performers, and we had between 50 and 60 people in the audience each night. The club was happy because the audience members ordered food and drinks. We were happy because we made our money back, plus a little extra.
When Monaco decided to hire a professional rhythm section for her students (the bass player and drummer she uses for her own gigs), she asked the students’ parents to chip in for the cost, which included paying the rhythm section and renting a rehearsal space for the kids to play with the band once before the performance. Erickson rented the Blue Bear recital hall for $15 an hour and used his own equipment whenever possible, including his own PA. Many teachers, including Erickson, don’t charge admission or ask students to help with the costs. Erickson considers the concerts “just something nice I do for the students.”

Set List
Once the venue was set, we needed to pick songs and start preparing for the big night. We had about six weeks to prepare. Most of the performers had a good idea of what type of tune they wanted to play, and I tried to steer those who were unsure toward a song that they would like and that was within their abilities. The concert repertoire included “Surrender” by Cheap Trick, the Beatles’ “Blackbird,” “Landslide” by Fleetwood Mac, and Deep Purple’s “Smoke on the Water.” I also encouraged the students to sing their songs, but it wasn’t something I insisted on. It was a big enough step for them to get up onstage. For those who didn’t want to sing, I assumed vocal duties, and I assumed rhythm guitar responsibilities for those who wanted to solo. All in all, I was on stage for about half of the evening. Many brave souls performed on their own.
As the gig approached, I used a portion of our lesson time for rehearsal. The students soon began to realize that preparing for a performance is no small task. As a teacher, I observed several musical benefits from this preparation time. With the performance looming, the students became more focused. They had a specific goal to work toward. I had the students practice their songs to a metronome, which greatly improved their timing. They began to understand the difference between rushing, laying back, and playing right on the beat.