The live level of China's banned indie musician Li Zhi?

For this question, now if simply ask Li Zhi's scene is no longer enough. I mean it's not just about Li Zhi. The live level of popular music, both mainstream and non-mainstream, depends on many factors, including singers, bands and styles, performance hardware and software and so on.

1. Vocalist and singer: Li Zhi has a good bass and certain magnetism, and can only shout high notes (although he has falsetto in the last two years, and can hear some songs in the last 16 years without electricity), but his broken notes and hoarse high notes are surprisingly shocking. Li Zhi breath is not the best, there is no problem with intonation, pronunciation is not completely correct. In short, his ability is still good, 2010 before the folk music only Li Zhi a person mixed of good time do not remember is Wang Xiaofeng or Li Wan said that he is red because he sang better than others. But that ability is only part of the lead singer scene. This stands out to people watching tuned tunes on TV, but not so much to people at concerts. The lead singer elaborates the content of the song by cooperating with the band and adding his own grasp of emotions and interaction with the audience's emotions (not language, but music) to achieve maximum resonance with the audience. Li Zhi does this very well, almost every performance has a special place, very few singers and bands have their effect.

2, Band and Style Before the 2014 I /O New Year's Eve concert, Li Zhi's performance was "Li Zhi He Band", now it is Li Zhi Band. The maturity of Li Zhi band must be due to their standardized rehearsal system, especially the improvement of Yuan Zheng's lead guitar and Yu Ganning's drum. Li Zhi's earliest albums were some folk, some metal and some punk. From 2011 New Year's Eve to 2015, the scene has a strong taste of popular metal in the 1980s and 1990s, mainly reflected in a large section of Li Zhi himself (before 2013) and Yuan Zheng's distortion solo. The addition of Chen after 2015 keeps the band diverse. In 2016, Li Zhi used two sets of linkups, one of which absorbed the more dynamic elements of J-Pop (such as "With You") and the collaboration of previous musicians, but this was not used much in the future. However, the unplugged performance in 20 days after the 2016 tour was particularly outstanding and became one of the important styles of his later performances. The peak of unplugged performance, I think, was the simple music Festival special performance in 2016, which can be found in the video on Tencent. I also think that Li Zhi has surpassed all his contemporaries and younger musicians on the mainland in terms of the format and quality of live music so far that I even guessed that he would perform symphonies on New Year's Eve (refer to my answer to a question about concerts a few months before the 2016/17 New Year's Eve concert). Recently, li zhi's style has changed in Shanghai strawberry music Festival and Nanjing Midou music Festival, mainly using more electric sound and psychedelic rock color more obvious. From the live effect is unprecedented high. Also, Li Zhi proposed to cooperate with Jin Haiyin again. I wonder if there is any chance in the second half of this year. Another characteristic of Li Zhi's performance is that he is meticulous about the arrangement of his repertoire and strict about confidentiality. Generally speaking, the beginning is dry, sweet in the middle, after the climax, sad end. Generally speaking, the whole process can be achieved without urination, and the end is not enough. "Touring is our best way to spread the word" is not a casual remark. Last but not least, The Lizhi band seldom improvises. They make perfect arrangements through a lot of design and rehearsal, and the band seldom makes mistakes. The concert is designed to bring the audience to a climax at the end, and the performance can be discounted if there are a few missteps. This is also an important reason for the high degree of satisfaction of Li Zhi band.

3. Hardware and Software The live effect of the performance not only needs excellent equipment, but also needs good sound design, pre-performance tuning and mixing during the performance. The main work is done by Jiang Beisheng, one of the bosses of SAG. Jiang beisheng will communicate with Li Zhi to design sound effects according to the characteristics of different performance venues. For example, in order to make up for the insufficient sound effect of the Palace of the Sun theater in 2014/2015, several speakers hung on the top of the front stage were added in 2015/16. The 2016/17 Olympic New Year has eliminated seats with bad sound effects. Li Zhi's New Year is more than using his own equipment, the tour is also. The Three Three Four tour even updated the equipment to drive ahead of the band, with the aim of spreading not only live music, but also high quality live music. The choreography and lighting are part of the big show. Li Zhi also used his own team partners to accomplish this. Even in a music festival with a sponsor, the lights are hired by the team. I would like to end with a remark I made in my review of the plan for Third Quarter: in China, if I were to believe that anyone could do such a tour, Li Zhi is one of the most likely, and he is the most likely to do it well.