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Fueling the Magic
How venues can create or prevent musical utopia
by Molly Kincaid
A brilliant live music show can lift one’s spirits from morose to sublime. But, to corrupt an old saying about cranky mamas, “If the band ain’t happy, ain’t nobody happy.” That is, if musicians are “on,” they can turn the crowd on by oozing that irresistible carefree, rock-star vibe and churning out an awe-inspiring show. But this enchanting music experience can only be achieved if conditions are right.
Venue owners can do a few key things to produce band bliss. It’s no surprise that many Knoxville artists cite free beer as a plus, but Scott Miller puts the frothy beverage at the top of his priority list. “If ever I am appointed ‘Czar of Bars,’ I’d ban live music, put the money towards keeping the beer ice cold and put in a good juke box,” the local music veteran jokes.
In addition to beer temperature, organization on the club’s behalf is key, because many musicians are on the road and may arrive at shows a bit weary and disheveled. Jonathan Sexton and Jamie Cook of Red House say that if the sound guy is on time and prepared, it definitely helps setup and soundcheck run smoothly. (This only works, of course, if the band shows up early as well.) As far as getting paid, “It’s nice to not have to hunt someone down for a check at the end of the night,” Sexton says.
A venue’s general ambience and arrangement also makes a difference to many bands. Obviously, an attentive audience supplies an energetic vibe for musicians to feed on, while dancing can signify both extra levels of enthusiasm and/or drunkenness. The performance space can either add to or detract from the show. For example, stages situated at the front of bars are troublesome due to constant distractions. Though it’s hard to fathom anyone leaving a Dixie Dirt show early, the band’s bassist Brad Carruth points out that this setup puts a damper on the mood by forcing bands to watch people exit or turn away to avoid a cover charge.
As significant as atmosphere is, Maggie Brannon of Divorce is wary of clubs that are overly concerned with maintaining a certain “vibe” and end up discriminating against people at the door. “It’s one thing if people are too drunk to come in or are acting rowdy,” she contends, “but sometimes door guys will just use that as an excuse if they don’t like the looks of someone.”
Although bands certainly appreciate perks like free food or T-shirts, many artists consider the best service local clubs can provide is bringing in other southeastern bands in order to nurture the regional network of independent music. Considering all the great musicians and close-knit community of ready-to-rock carousers packed into our tiny borough of Knoxville, many folks wonder why it’s still not “on the map” musically. Although we definitely get some quality out-of-town bands to play here, Carruth points out the plethora of others from cities like Asheville, Louisville, Athens, and Memphis that don’t play in Knoxville even though they often pass through. Carruth suggests that the reason is a simple lack of venues. He says that certain club owners and promoters in town “have the heart to make a place work, but they lack the money, space and time. The people who have money only want to make more of it.”
If there are specific factors keeping bands away from Knoxville, a lack of attendance at live shows is certainly not one of them. Tommy Bateman (of The Passport Again and The Rockwells) concurs that the Knoxville scene has its bad eggs, but he is positive about the community as a whole. “People in this town will come out to see independent rock, no matter what venues may be doing right or wrong,” Bateman says.
Be it bringing in unique out-of-town acts or simply stocking the coldest beer in town, music venues definitely have their work cut out for them keeping the rockers and rollers happy.
July 22, 2004 • Vol. 14, No. 30
© 2004 Metro Pulse
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