Back when I was playing at the children’s hospital, I would
show up a few minutes early to move some furniture around in the common area to
set up. This day there was this African
American guy who looked to be mid 50s sitting on one of the sofas reading the
paper. He saw my guitar case and asked
if I would be playing soon. “In a bit but there’s no rush” I replied. He said, “oh
cool, my son and I really love music I’ll go get him.”
He rolled his son over in a mechanized wheelchair with
several tubes, wires and blinky machines attached. I’d been working on not
letting surprise or pity cross my face. I gave a big smile, a hardy hello and
some small talk about the quality of hospital food. Though his son was small
and frail he was 10 years old. I apologized that I only had preschool tunes to offer. I thought to myself of course I also know
tons of raunchy pub tunes but those would likely get me disinvited from playing
there again.
They looked at each other, both a bit disappointed but not
wanting to be rude said, “Oh that’s ok. We’ll just hang out for the show with
the little ones anyway.” A few seconds of odd silence hung over us while I kept
setting up. Then I spastically blurted out “I do a James Brown version of wheels
on the bus you might like?” I suppose it was a bit prejudicial to assume he
would appreciate an homage to Soul Brother # 1 over say, Rupert Holmes’ Pina
Colada song but I was desperate for a connection point.
The father said, “What’s that now?” with his left eyebrow
right up against his hairline. “You want to hear it?” I tried to sell the idea
with excitement in my voice. The boy shrugged his shoulders with his palms up
and eyes down.
So I bust into it and ask them to tell me when to do the
stop time breaks. They were sitting side by side about 7-10 feet from me. By
the end of the first verse they were both singing with some volume, looking
straight at each other with faces that acknowledged the silliness and
awkwardness of the moment. By the third verse I had stopped singing, it was
just them, singing to each other, having their own moment without me, laughing
and dancing in their seats. Their moment must have been about a great deal more
than my version of wheels on the bus. But it was that stupid song that gave it
to them. I was just a six-string karaoke machine in the background of their
moment together at that point.
I’d always thought I had to be the show, fill the room with
my presence and take over all of the audience’s senses. This experience showed
me that I could provide something special by not trying to fill it all up
myself. It was one of the best musical experiences of my life.
In that instant I really felt like I had given them a gift,
something they shared together. I have to acknowledge that the power of the
moment was of course born out of their traumatic circumstances. But that only
underscores the importance of making sure things like the gift of a simple
silly song are brought to those who need them.
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