For the senior crowd, I tend to focus on uplifting energy or happy and fun songs and away from the more reflective and somber ones. I will write out a set list and memorize it. I prefer to start with happy high energy, then a slower one to let them get their breath, then another energetic one, so there's a wave-like rhythm. To memorize the set, I'll make up a few sentences I can memorize; the words in the memorized sentence tell me the order of the songs in the set list, like a mnemonic. That way I don't need a stand or a set list and can just play from the heart.

I know some of you play John Denver songs in your setlist. I specialize in John’s music so I thought I’d pass on some tactics and techniques I’ve found for playing his tunes for you to experiment with. First is the range. John sang really high and some of the yodels were really high. To make that easier vocally, I tune my guitars down a full tone to DGCFAD. This allows me to play the songs in the same chord fingerings but a full step lower vocally, which is far easier. If you need to go back to concert pitch, simply capo on the second fret and you’re back. Drop-D tuning was used by John a lot. You match the 6th string to the 4th D string. Which gives you a deep bass when playing D chords (hit the 6th string on D chords in this style). You hear this in songs like Rocky Mountain High, Poems, Prayers and Promises and Starwood in Aspen. The only chord fingering change is for G chords. John used a lot of fingerstyle. His standard arpeggio was folk style, which was thumb then first finger, then thumb and second finger. Each thumb stroke is the bass beat. You don’t have to get it exact, but the alternating thumb is your bass player. It takes practice to lock into muscle memory but it adds that Denver sound. Even Take Me Home Country Roads was recorded with this driving fingerstyle, though John played it both fingerstyle and strumming. I personally start that song off fingerstyle and transition to strumming after the bridge. Try it and see if you like it. Hope these help if you’re doing John Denver tunes. Let me know if it helps.

Well, while I get to go to jams a couple of times a year, mostly I sit at home here in Virginia and play by myself on the deck. I do that almost every day, as its balm for my soul. I got a feeling a feeling a few months ago from a higher power, a calling if you will, telling me I need to do something useful with all the work I've put in on this, and the best way to do that was bring joy to those who may not have much to look forward to in their lives. It costs me almost nothing and it makes emotional connections. I was a member of a duet once that was planning to do the senior community thing several years ago, but the other guy passed away suddenly and now I'm the whole show. But the calling is still there. Every musician I've talked to who has done this has said it is very rewarding on a feel-good level. I need people to play and sing to who care. This seems a great way to do that. Sitting at home playing for myself is a waste of time at this point in life. I am happy playing for myself, but I know there are others who would enjoy it if I can find them, and seniors seem to need joy more than anyone. I want to do something good for elderly people, who have lived lives we know nothing of and who need to know they are appreciated and not forgotten.

You are so right, Chris. I mean, no matter how good you get, you always remain a student. There's always another musician who can show you a new lick, a new way to present, or a detail of showmanship. We are never going to be satisfied enough to feel "ready." We can't get caught up in paralysis of analysis. Planning and preparing is fine, but we must ACT to make an impact. Those residents need us. Even if it's only one or two in a crowd. We performers go through stages: learning to play, learning to play in front of people, learning to sing in front of people. All scary steps. But the people who need us don't need perfection or a perfect show. They need affection, friends, and something to make the day better. We need to just need to go for it and enjoy the process. We serve other people, not ourselves. The approach I try to use is to bring joy, not be star. We're all in this act together. Great videos, BTW.

My opinion, for what it's worth, is this is a very personal thing. You have to be you and what you bring, which is the interaction you want to give. I have never used them personally but that's not a judgement. It does create a vibe, and certainly a sound, but for me personally it would interfere somewhat with my interaction and spontaneity in the moment. It would tie me to a track list and affect my ability to flex in the moment. But that's me. You do what works for you, Andrew. As long as you're being authentic in that moment, I think that's all that matters. Find what works and keep it. There is no right or wrong way with backing tracks. Share what you find works for you with us. We all learn from each other.

This story strikes close to my heart because of the music I do. Music is a natural bridge, and it taps memories and experiences every person has. It bridges distances, cultures and time. It's a living thing; you never know how a song with affect someone, not even yourself. But you can see it in their eyes when it does, even if they don't speak. I have been suddenly affected by a song I've played a million times, but in that moment, something different happens. It suddenly has a whole new meaning. And it does for these seniors, too. They deserve these moments. Not just to hear a song or story, but to be part of it. To participate. It's in that moment, and those heart-to-heart connections, that the magic occurs. I believe storytelling is as important as the song. Thanks for sharing this story, Chris.