[Stands on Soap Box]
...I apologize in advance for the length of my rant
Besides agreeing with the issues surrounding the bard that I have seen in other threads (dependence on perform skill for music, Bardic Music uses per day, dependence on 2 types of perform thanks to new PF songs, standard action performance, morale bonuses not being exclusive territory, and Jack of All Trades being a great ability too late), I find myself plagued with misgivings of the current path the bard seems to be walking in addition to the problems already listed.
1) On Bardic Performance
The 'songs', to be honest I have never though too highly of any of the lower level songs besides Inspire Courage and Countersong, and the new PF songs do little to increase my joy (save for Soothing Performance). Albeit I believe Deadly Performance is both right and wrong for the class. Several of the new songs are "Save and become immune", rendering repeated uses ... useless. What really saddens me is that Bards possess no performances that can harm their enemies, only befuddle the senses in minor ways.
I would personally like to see blind, deaf, enraged, and some form of sonic damage to be added to the repetoire, as well as a song or two that doesn't target a save that the enemy arcane/divine caster laughs at (though this would likely apply to songs that cause a physical ailment (a disruption to the inner ear that targets Fortitude) or manifested damage (a sonic blast that targets Reflex). In addition, I would appreciate some additional ways of enhancing my party member's abilities beyond Inspire Courage, Competence, and Heroics though I have no idea what.
2) On Spells
If you have played a Bard in a party with a Sorcerer or a Wizard, perhaps you understand my plight with the Bard spell list and progression. I have less spells per day and they are mostly illusion/charm. Charisma may be an important stat, but more often than not I would raise it to 16 or 18 and never think of it again. Heavens forbid the full caster in the party is a specialist in spells that have a Will save, because any enemy I face will likely have a Will that the full caster can just barely hope to overcome. To me, the Bard seems like it has slowly become an illusionist that has traded in his spell focus/penetration for armor. This is not a good thing.
I honestly miss the Spell Compendium, which allowed me spells that would add sonic damage to my weapon, enhance my Inspire Courage, speedily cast certain spells, and allow me to be more than a Zone Effect with minor abilities in other areas. I have personally gotten more valuable use out of Expeditious Retreat, Invisibility, and Greater Magic Weapon, than any other Bard spell in the core rulebooks for PF and DnD 3.x.
3) On Combat
The singing swordsman (or archer) is a tactic I have used many times in the past and one I see being brought low with the new songs that require different types of Performance (though a quick way around it is to take perform: oratory and perform: sing). While I have never used the Bard as a main fighter (unless absolutely necessary), I do envision him as one that would help the fighter by flanking the enemy or distracting the monster with an attack that draws the attention (think "Who threw that rock?!"). An attention getter that gets his hits in when he can, falling back to allow the combat-oriented to take advantage of the situation.
Side Note:
I have played many variations of Bard over the year, my favorite being multiclassing options with the Lyric Thaumaturge and the Seeker of the Song.
[[I tend to be inclined toward the bard as defined in "Legends, Superstitions, and Sketches of Devonshire" which stated early bards originating as a split from druids (divided into priests and bards), and then bards splitting into hymn-makers(vates) and bards, with vates being higher ranking by singing of the divine, and bards singing the tales of heroes and kings. Nothing that is of importance allowed to be written down, thus all must be committed to memory, meaning that the mnemonic device of song is treasured. Hymns of the seasons, birds/plants, celebrating the harvest & seed-time, war-songs of heroes that empassion listeners and sent them to the battle "with a soul returned from song more terrible to the war". Passions expressed in poems were rude but manly, indignation aimed against foes, against cowardice and treachery; Virtues of courage, generosity, tenderness, liberal heart, and the open hand being praised by the Sons of Song.]]
To the point, I feel that the current bard is gravitating toward the 'dude with the guitar and some odd bits of knowledge' a little too heavily with spells that are blah and party aid that is falling short.
