Get more out
of your blues night
I’m otcan, a Germany-based blues musician and dancer (Lindy Hop and blues). I book internationally for festivals and local scenes with a simple promise: tight groove, clear structure, and a room that stays dancing.
What you can book
This site is for organizers: festivals, local scenes, venues, dance schools, and community teams. If you want dancers happy and the night to run smoothly, pick a format below.
Why I’m doing this
I’ve been playing blues for more than 20 years. I started on bass, played live on stages,
and I’ve spent a lot of time in the scene — the musicians, the nights, the festivals, the conversations
after the last song.
(read more)
I love how deep blues culture goes when it’s treated with respect, not as background music.
Over time, something became obvious to me: the connection between music and dance is real, and it changes everything. When the groove is clear, the phrasing is readable, and the form makes sense, the dance floor doesn’t just move — it communicates. It becomes a feedback loop: dancers shape the energy, musicians respond, and the night feels alive instead of random.
I’ve met plenty of people who are either great musicians or great dancers — and I’ve met a few who are both. But I almost never see someone building sets from the inside of both worlds, intentionally designed for social dancing and still musical on stage.
That’s why I created Almost Blues Experience: a project where I treat the dance floor as part of the band. The goal isn’t complexity — it’s clarity. Tight time feel, recognizable form, and groove choices that help dancers make confident decisions fast. If the room stays connected and the night stays coherent, then the gig worked.
Music
Book live music. My #1 focus is dance-friendly blues, but I also play listening sets and showcases. Everything below is built for festivals, venues, and local scenes.
Live Blues — Almost Blues Experience
One-line: Blues standards with a tight groove—built to work for dancers or listeners.
- What you get: Strong pocket + clear phrasing (no tempo drift, no mush)
- Standards + Chicago flavor, tuned to the room
- Can be a main act or late-night act (whatever your schedule needs)
- Formats: 1×60–90 • 2×45 • or shorter blocks across the night
- Lineup: solo (looper + drum machine) or with extra lead (2nd guitar / trumpet etc.)
Blues Jam Sessions
One-line: A jam that stays musical and welcoming—because someone is actually hosting it.
- What I handle: Signups + rotations + timekeeping (so it doesn’t collapse)
- Mic setup + basic stage flow (so people can join fast)
- I bring small percussion (tambourines/shakers) + two guitars if needed
- Formats: one long block or two shorter blocks
- Lineup: hosted by me with rotating festival musicians
- How it feels: inclusive, fun, and listenable—festival talent + a structure that works.
Get on the Floor: Blues Dance Intro
One-line: A short blues dance intro that gets non-dancers moving fast.
- What it covers: Find the pulse, basic groove, simple solo + partnered options
- Musical phrasing made practical (so people stop guessing)
- Formats: 20–30 min warm-up • 45–60 min intro • festival class add-on
- Lineup: taught by me; 10+ years teaching; helped build the swing/blues community in Düsseldorf
Music for Non‑Dancers
One-line: For listening crowds, bars, and showcases: blues standards with groove and personality.
- What it emphasizes: Storytelling + phrasing + recognizable repertoire
- Tight time feel (still feels great even if nobody dances)
- Formats: 45–90 min listening set • showcase slot
- Lineup: solo, duo, or full band
Teaching
These classes are built for dancers and work well for festivals, weekenders, and local scenes. Practical, musical, and immediately usable on the social floor. No fluff, no “just feel it.” You learn something, then you can use it that night.
12‑Bar Mastery
The class that upgrades everyone’s dancing without adding a single new move. We drill recognition, phrasing, and decision-making inside the 12‑bar so the music stops feeling like a mystery.
- Hear it: choruses, turnarounds, tension/release, endings
- Dance it: resets, breaks, punctuation, slow‑downs
- Use it: how to lead and follow with confidence inside the form
Groove & Pulse
Most “musicality problems” are actually timing problems. This class is about getting the body aligned with the beat so you can relax, look better, and feel connected — without trying harder.
- Find the pocket: beat vs. subdivision (and why it matters)
- Weight + timing: how blues lives between the counts
- Micro‑grooves: slow drag vs. shuffle vs. straight feel
Partner Conversation
Blues is a conversation, not choreography. This class teaches how to communicate with simple tools — so the dance feels alive even when you’re doing very little.
- Call‑and‑response: clear lead/follow dialogue without forcing moves
- Texture choices: smooth, sharp, suspended, playful — matching the band
- Musical “yes/no”: answering your partner and the music at the same time
Energy Control & Floorcraft
Great dancers don’t do more. They control energy. This class gives you a repeatable system for building, peaking, and cooling down — so you can dance longer and look better doing it.
- Energy mapping: build → peak → release (without getting frantic)
- Space management: clarity in crowded floors, clean choices in tight rooms
- Endings & transitions: land phrases and finish with confidence
I bring instruments to class and loop short phrases on repeat for clear, visible examples.
Technical info
I bring guitar, bass, a single mic, and my looper pedal + mixer, so it’s ready to plug into the PA.
What I bring
I bring guitar, bass and a single mic, as well as my looper pedal and mixer, so it’s ready to plug-in to the PA.
- I prefer playing Fender, but I can play other options if needed.
- I can bring additional musicians according to the needs.
Monitoring and travel
- Monitor: It’s generally good to have a cabinet present in the venue as a monitor. I can also bring my own cabinet.
- International travel: I need either a Fender/Squier Strat and a 4‑string bass (preferably Fender/Squier Jazz Bass) to be present, because I cannot carry two guitars by myself.
If anything is unclear, the tech team can contact me in advance and I’ll clarify quickly.
Booking and inquiries
Tell me what you’re building. I’ll respond fast with availability, options, and what I need from you.
Contact form
I reply ASAP. If you include dates and location, I can answer in one email.
Quick booking notes
- Based: Germany
- Travel: available internationally (flights or rail)
- Billing: invoice available
- Planning: I can align with DJs and schedule to keep energy consistent
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- Mail me: Mail me