The recording is promo for the show. When people hear the recording, it should produce a feeling or desire to attend the live show. Like when you see a pamphlet advertising the beauty of Switzerland, it should be good enough to entice you to want to visit in person. You won’t have a connection to Switzerland if you don’t go, and the record means very little if it doesn’t drive people to see the concert.
As the live sector continues to grow, the role of the producer changes to assist that growth. The average studio producer is familiar with a static audience, as in, rarely do they receive feedback from a live audience. They are better at engineering. An Engineer is great at capturing the sound, the Producer is great at knowing what sound to capture. Being around live music produces a better knowledge of what sounds move audiences.
If life is movement, then the music that moves people can only be gaged from the closest engagement to the music, at the live show. It is pop history that producers and A&R executives were at one time live performers themselves. A real-transaction experience produces all the elements needed to understand how songs are structured, arranged, and composed for maximum response. This area of the industry grooms people to be the best arbiters of talent. If you want to understand how an audience will react to music, then you will want to be in the closest engagement where the audience reacts to music.
I have attended in one way or another close to 1,000 concerts.
Currently a one-man-band, I play music weekly, in venues across the country.
I produce for both the venue and the artist. They both seek the same audience.