Buzz
Encores have become a tried-and-true part of the concert experience. Artists often save their biggest hits for the tail end of the show, exit the stage, let the audience chant for more, act surprised by the demand, and then deliver those beloved songs in their encore glory. It’s a cycle that repeats itself. But what led to the end of the encore’s spontaneity?
THE ORIGINS OF ENCORES
Musical encores (the term is French for "again") have their roots in the 19th century, when high society concertgoers would request a song to be played again due to the absence of recorded music. These encores were a way to honor exceptional classical musicians for their extraordinary performances.
Encores often served as instant replays, rather than simply closing a concerto or opera. For example, an orchestra might revisit a section that received applause midway through the performance, offering it again to the audience.
And forget about saving the best for last: Encores, which take place at the end of a performance, are sometimes seen as less exciting than the main program. Michael Budds, a Professor of Music History at the University of Missouri, notes, “In the fine arts tradition, performers put on a show full of complex material, while encores exist solely to please the audience.”
TAKE A BOW
The tradition of encores can also be traced back to the early Broadway days. Audiences would call actors back to the stage for an extra bow, says Paul Fischer, a professor of recording industry at Middle Tennessee State University. As the popularity of singers and musicians rose alongside theater, encores became an extra performance at the end of a set, where acts often performed a beloved song again—that’s where the “again” part comes into play.
BACK WHEN ENCORES HELD MORE SIGNIFICANCE
When rock concerts took off in the 1960s and ‘70s, encores were reserved for performances that truly deserved recognition—reserved for special shows. Elvis Presley’s manager, Colonel Tom Parker, kept the King of Rock 'n' Roll from performing encores to leave fans craving more (the iconic phrase “Elvis has left the building” originated as a way to assure fans that Elvis would not return for an encore).
Another Elvis (the British proto-punk, Costello) had his manager blast loud white noise through venue speakers to clear out fans hoping for an encore. In the 1970s, The Who would only play encores when a show was deemed “exceptional.” The Beatles didn’t perform encores, fearing the chaos of fans mobbing them after the show.
THE DECLINE OF ENCORES
David Segal, former columnist for the Washington Post, blames Bruce Springsteen for turning encores into a cliché. In a 2004 column, Segal argued, “It was the Boss who redefined the rock show into an endurance test, performing marathon sets of four hours, returning time and again to the stage with the E Street Band, their sweat and stamina becoming part of the show.” This “iron-man” style—Bob Dylan has ended performances with four encores, and The Cure are known for playing up to five—diluted the spontaneity of encores.
Encores are now often pre-planned for practical reasons: The Guardian notes that the meticulous planning behind encores arises from factors like curfews, contractually mandated set lengths, and the necessity for the encore to align with lighting and visual effects controlled by computers.
Some bands enjoy the encore tradition, while others despise it. Peter Hook, the frontman of New Order, compared the experience of performing a set to sex—saying that the encore is like “being forced to have another go after you’ve already had an orgasm.”
