Being a good audience may not seem like an essential skill for a learner bard, but it absolutely is. First up, you will learn more about being a performer from listening to other performers than you will by any other method. You can learn material, presentation skills, technical tricks of all kinds, from the close observation of others.
Secondly, a developed ear and good listening skills work in a great many contexts, to deepen your awareness and insight. If you want to perform, you have to be able to listen. It also means you will be able to listen to yourself as you practice, and sometimes as you perform, to see how to improve, and to strengthen your abilities. In becoming a good audience for others, you become a good audience for yourself, and help yourself develop. By listening, you deepen your relationship with all things bardic; with individuals, with performance in the moment and with the tradition as a whole.
As a bard, obviously you want an audience that will sit attentively and focus on your performance. If you totally invest in listening when in a performance space (or in joining in where appropriate, if that makes more sense) then you invest in the space. You support a receptive audience. If you’re chatting at the bar until it’s your go… if you’re part of the open mic culture that rocks up, does its slot and leaves… why are you going to be treated any differently? It’s possible, in the moment, to get an audience to behave like an audience, and focus. Oddly enough for bands, getting up and dancing can be the best way to make this happen. In most spaces, attentive listening and applause can help draw others in to listening more attentively.
We’re collectively used to passive entertainment where our engagement isn’t called for. The TV doesn’t care how little attention we pay. Recognising that being an audience for live performance is a whole other thing, is really important if we want to make bardic spaces thrive.