30 days, 30 brand new #WVmusic interviews. Without a doubt, June was a wild, wonderful month to remember.
From our June 1st kick-off interview with Rozwell Kid’s Adam Meisterhans to our season finale with Grammy winner Tim O’Brien, here’s what we learned about #WVmusic during our month-long series:
1. West Virginia music is more than banjos and Brad Paisley (no offense to either of them).
You can find just about any genre in each part of our state, whether it’s hip-hop in Wayne County or apocalyptic folk-rock in Bluefield. Just look at Matt Jackfert, a Charleston native who splits his time between hosting classical music on West Virginia Public Broadcasting, composing scores for videogames and touring with eclectic soul band The Company Stores. Matt was also the composer of the 30 Days of #WVmusic theme song in each of our podcast-y chats, so we chatted with him about his role in #WVmusic and what he hopes will happen in the coming months.
Credit Rafael Barker
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Matt Jackfert plays the ivory(ish) keys as part of The Company Stores.
2. It’s ok to leave…
Sometimes you need to gain a new perspective to fully appreciate past experiences. Just look at the successes of WVU alumni TeamMate (now residing in Los Angeles), Petersburg’s Kenny Tompkins (now in Maryland) or Mid-Ohio Valley’s Katelyn Read (now in North Carolina). But let it be known that if you were born, raised or loved the Mountain State, you will always be a part of our #WVmusic community.
3. …and it’s definitely ok to stay.
Take it from one of West Virginia music’s leading figures (aka Mr. Tim O’Brien): living and playing in West Virginia can be a beautiful thing. Costs are relatively low, travel is a-plenty (to major cities like D.C., Pittsburgh, Louisville, etc.) and the mountains have plenty of inspiration for you.
4. But either way, don’t let opportunities pass you by.
Seriously. If you do the work now, you’ll reap the rewards later. We chatted with Nathan Thomas (who helped transcribe and produce our 30 Days of #WVmusic series) about his work as a college radio DJ in Huntington and why local musicians need to be ready now given the highly-anticipated (and rapidly-approaching) release of Tyler Childers’ full-length debut.
Nathan Thomas poses in front of The V-Club in Huntington the night of WMUL’s College Radio Day celebration of local music.
nathan_thomas_wvpublic_edits.mp3
An interview with Nathan Thomas about #WVmusic.
5. The future is female (and it’s most certainly rock’n).
From charismatic crooners to behind-the-scenes strummers, West Virginia women are a force to be reckoned with. We look forward to following the careers of The Company Stores‘ Casey Litz, The Dividends‘ Hannah Spurlock and sister duo Whiskey Victor, just to name a few.
6. The future is also in the classroom.
Let’s pull a move from Sesame Street’s The Count and add up the ways music education is vital to We felt equal parts “awwww” and “rock on” in our interview with the young rockers from PopShop up in Morgantown. And Alasha Al-Qudwah‘s chat about nurturing lil’ seeds so they grow into strong, beautiful and musically-inclined trees was inspiring. And were it not for his jazz education at Marshall University, Rod Elkins might not be the same drummer we know and love today.
7. West Virginia folk history is full of punk rock.
Musicians like Mark Poole and J. Marinelli make West Virginia history fun. Wish you had them as part of your Golden Horseshoe exam, huh?
8. Don’t be afraid to do something brand new.
West Virginia was literally formed out of the need to do something different. One could argue we are the best example of a DIY state. So if you feel like there is something missing in the state, whether that’s a genre of music or a decent performance venue, get your friends together and make that dream come to life. Look to our friends at Jerry Run Summer Theater, Porch Unplugged and Hot Cup for inspo, or even the analog-in-a-digital-world folks at Sullivan’s, Cheap Thrills and Admiral Analog’s.
9. But whatever you do, support your scene.
Go see a show at a local venue. Purchase a digital download from a hometown act. Buy a CD from your favorite act and give it to someone you know will appreciate it. Tag your band on social media and let the world what they’re missing out on.
And support #WVmusic on public radio. 30 Days of #WVmusic is made possible with the help of our local underwriters (shout-outs to Kin Ship Goods, Made in WV and Todd Burge) and the support from listeners/readers like you.
If you discovered a new artist from this series or fell in love with a new song, help others do the same by pledging your support to West Virginia Public Broadcasting’s A Change of Tune. We’re proud to amplify local music to NPR Music and beyond, and we hope to do even more in the future with your help.
In the meantime, you can relive each of our 30 Days of #WVmusic chats right over here. Let us know which #WVmusic act we should listen to next on social media: like, follow and tag us on Facebook, Twitter and Instagram. And make sure to tune in to A Change of Tune Saturday nights at 10 and Friday nights at 11 for the rebroadcast.
“[West Virginia] affects everything about how I do my job and the way I live my life.”
From West Virginia Public Broadcasting and A Change of Tune, this is 30 Days of #WVmusic, the interview series celebrating the folks who make the West Virginia music scene wild and wonderful.
And we conclude the second season of our 30 Days of #WVmusic series with a West Virginia music history lesson from a legend of bluegrass and, arguably, one of the Mountain State’s musical figureheads. This… is Tim O’Brien.
On starting in music in West Virginia and early inspiration:
My sister Mollie and I were the musical youngest of five in our family. We’d sing in harmony in church, which was kind of uncommon in the Catholic church. But we were into the British Invasion stuff and folk music. She started playing piano, and I started playing guitar. I kept doing it, and so did she.
I’m from Wheeling in the Northern Panhandle. My dad was an attorney, and we lived in a middle class, Leave It to Beaver kind of neighborhood, a block and a half from the Catholic school where we went to grade school. My parents were into the big band-era of their youth, and I was into any kind of music, really. When I started showing interest in it, my parents were good at feeding the fire. They got me some guitar lessons and gave us student tickets to the Wheeling Symphony. There might be jazz, Count Bassey, Ray Charles, all kind of stuff. I got to see live music. The Wheeling Jamboree was going on and you could see people like Merle Haggard, Jerry Lee Lewis and Jerry Reed.
My girlfriend when I was 14, her father was into the music, and he collected some instruments. He had a nice mandolin and a nice guitar. A guy he knew was named Roger Bland, a great Earl Scruggs-style banjo player who ended up being a staff musician at the Wheeling Jamboree. He was the guy that all the bluegrassers in Wheeling learned from. He later took his own life, but he was a wonderful guy to learn from, and I got inspired to play stuff.
Credit Courtesy of the artist
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Tim O’Brien waits to see Charlie Pride in 1970 at the Capitol Theater in Wheeling.
On becoming a professional musician:
I was 19. I went to college for a year, and I realized I was spending most of my time playing the guitar, and I started playing the fiddle. I went back the second year, and the band I had been playing with had hired somebody else over the summer. The wind went out of my sails, and I thought, “I don’t want to be here… I just want to play music.” I withdrew from college and thought maybe I’d learn how to make instruments, but I ended up going full bore and becoming a performer. I went out to Jackson Hole, Wyoming, to be a ski bum and play in bars.
I wanted to get away from West Virginia. I couldn’t wait to get away. As soon as I left, if I would sing a country or bluegrass song, people would say, “Oh you’re good at this. You’re from West Virginia!” It became sort of a calling card. I was already interested in the music of West Virginia, but it became kind of an important thing commercially.
Credit Josh Saul
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Tim O’Brien performing on Mountain Stage in 2016.
On musical opportunities growing up in West Virginia:
The Wheeling Jamboree seemed out of my reach. I was playing at community events, and I was not of-age to play in bars. There wasn’t much to do. I was itching to do it, but I was too young. My parents weren’t stage parents. Brad Paisley, I think his grandfather and father made it possible for him to play as much as possible. I don’t think my parents wanted to promote the idea to me that I could be a musician because they didn’t see that as being a viable way of supporting one’s self and living one’s life. Over and over, people like me disprove them, and we decide we’re going to do it no matter what. I just decided I had to do this. I just love it. So I found ways I could play for people, mostly for free.
On winning a few Grammy Awards:
It means a lot. The Grammy win is a major endorsement by your peers, people from all over the country. When you win a Grammy, it’s not necessarily because you put out the best folk record of the year. It’s more like you’ve been doing your work, and people remember your name. It is a folk record even amongst your peers. They tend to view the quality as well, and it makes me feel like I’m doing something right.
Being from West Virginia, most of us that make a name as musicians or artists have to leave the state to make headway. When I was with Hot Rize a dozen years full-time out in Colorado, we were a Colorado band. I’m proud to be underlining with this new record now that I’m from West Virginia, and that it means a lot to how I play. It affects everything about how I do my job and the way I live my life.
There’s a mystery to West Virginia. The music is vulnerable, and it’s interesting.
Music featured in this #WVmusic chat:
Tim O’Brien- “When the River Meets the Road”
Tim O’Brien- “Grandma’s Hands” (Bill Withers cover)
Tim O’Brien- “Few Old Memories” (Hazel Dickens cover)
Tim O’Brien- “High Flying Bird” (Billy Ed Wheeler cover)
Tim O’Brien- “When the Mist Clears Away” (Larry Groce cover)
Support for 30 Days of #WVmusic is provided by Bunj Jam Music, Bunj Jam Music, featuring Todd Burge’s most recent studio album, Imitation Life, Produced by Tim O’Brien. information at toddburge.com.
Support for 30 Days of #WVmusic is provided by Kin Ship Goods, proud supporter of DIY music and the arts. Locally shipped worldwide at kinshipgoods.com.
“For better or worse, I can’t seem to do anything other than exactly what I feel compelled to do any given day, can’t seem to make a type of music just because I want to make that type of music.”
From West Virginia Public Broadcasting and A Change of Tune, this is 30 Days of #WVmusic, the interview series celebrating the folks who make the West Virginia music scene wild and wonderful.
And today’s interview is with a musician and independent label head that is helping other indie artists make waves. This… is Mr. Husband.
Yellow K Records founders back in the golden days of Petersburg music. (Listen to the chat for the full story on the shirt.)
On his upbringing:
I was raised in Petersburg, in the Eastern Panhandle. I had a good time living there. I could smell and hear the Potomac River the entire time I grew up. I’ve always made music with my brother Kurt, and we started a band called New God which got attention for our first two records. A lot of people compared us to the Beach Boys since our music was a bright and sunny thing. It was our own take on pop music sung by two brothers from Petersburg, West Virginia.
I think all of my music would have to be influenced by my upbringing. I felt very alone being a creative person, which isn’t a bad thing. When I was kid, I thought all of my songs were fantastic, and then when I went to college and met other people who were also trying to write songs, I thought, “I might have to try a little harder. These guys are good.” It was because the solitude of [West Virginia’s music] culture. I didn’t grow up with a lot of punk rock bands or people setting an example of what a band or artist should be, so I grew like a wildflower in that way. But for better or worse, I can’t seem to do anything other than exactly what I feel compelled to do any given day, can’t seem to make a type of music just because I want to make that type of music.
But I know some people who make pop music in West Virginia now, and I’ve been around long enough to get to meet souls in the music scene. But at the time, I felt alone with that.
Credit Courtesy of the artist
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Mr. Husband and his Mr. Friends.
On leaving West Virginia:
In the time and place we live in, I think if you’re trying to promote your music, you have to leave wherever you are. Just like any place that’s not metropolitan or doesn’t have a lot of tourist activity, it’s hard to sustain original music scenes, not to mention the economy of keeping a venue running, employing people, keeping bands interested. It’s the same things we talk about outside of West Virginia about how to keep these little scenes going with so little money going into the scenes.
West Virginia had its own unique challenges culturally. Like as a kid, I was scared to be an artist because I didn’t have examples set for that around me. I felt like I was stepping into a vulnerable place playing in front of people, maybe even more so than a kid from somewhere with a lot of bands.
Credit Kayleigh Montgomery
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Mr. Husband
On his indie music label Yellow K Records:
Over time having done so much for yourself as a musician, you start to say, “Well, I guess I don’t need anybody else involved so long as we can keep the organization of it all.” And we still want to get people involved with our music outside of Yellow K Records. There are tons of doors we can’t open for ourselves. It does have to do with my music, but it also has to do with a shared love of music between me, my brother, and Josh Grapes (our kind of adopted brother). It’s just a lifelong thing we’ve had with sharing music.
[When it comes to Yellow K Records’] Eskimeaux, they were playing keyboards with Frankie Cosmos, which Josh, Kurt and I really thought was awesome and just nerding out we found out about Eskimeaux. We reached out to them and talked to them and thought they were cool. [Another Yellow K Records artist] Japanese Breakfast is a different story. We were going to Philadelphia all the time and made different circles of friends, so that’s how that happened, just knowing friends of friends. We don’t usually go hunting for bands too much; we listen to everything that gets sent to us, and every artist that’s been signed to us has been recommended or friends of friends.
Each of us are sort of independent project managers at any given time. There’s a lot of little busy work you wouldn’t guess would be there. On any given day my role is like, “I have this project. Its release is three months from now.” And I am the person who is keeping the band, the PR people, the label, the manufacturing and booking help all looped together in the same conversation to keep working together, not against each other.
Music featured in this #WVmusic chat:
Mr. Husband- “Riding a Lightning Bolt”
Mr. Husband- “Shake That Dream”
Mr. Husband- “Cookie Pie”
Support for 30 Days of #WVmusic is provided by Kin Ship Goods, proud supporter of DIY music and the arts. Locally shipped worldwide at kinshipgoods.com.
“We want to always have this doomed artist cliche that doesn’t exist, but there’s always these other individuals as a part of the story as well.”
From West Virginia Public Broadcasting and A Change of Tune, this is 30 Days of #WVmusic, the interview series celebrating the folks who make the West Virginia music scene wild and wonderful.
And today’s interview is with a critically-acclaimed author from Beckley and his unique take on a cult favorite musician from New Cumberland. This… is Scott McClanahan.
I think I experienced it, but it was culture that’s different than what people think of as culture. We have an idea of culture in this state like dulcimers and banjos or progressive ideas about music, and I think the culture I grew up with was gas stations or [the band] Alabama. So, that was like my culture. We saw the Statler Brothers at the state fair five times. What’s wonderful about this place is people play music in the evenings or tell stories in the evenings to keep it alive as opposed to doing it for some profession or to record an album, which always sort of taints it in some way. I had no access to culture, in some ways.
We have the greatest myth in John Henry, and we have the best ghost story in the Greenbrier Ghost. There was a musician my dad always listened to called Mel Street who was from Bluefield, he did some independent releases or maybe stuff for MCA, but he committed suicide. Little Jimmy Dickens, there’s a certain West Virginia connection there. I never looked at it as geographical in that way; my father’s music was classic country, and that was amazing and maybe speaks for the place even though the individuals aren’t from there.
On why he has stayed in West Virginia:
It would be ridiculous if William Faulkner moved to Minnesota. That’d be kind of silly. Not that I would never want to live in Minnesota, “Land of a Thousand Lakes.” I have an Uncle Doug in Minnesota.
But I’m kind of a regional person. I lived in Huntington for a time. I lived in Morgantown for a time, and that doesn’t seem like West Virginia to me. Huntington feels like parts-Kentucky, Ohio and urban West Virginia, and Morgantown is just a college town.
I love cities. I love New York. I love L.A. But I just luckily wound up with a job that lets me stay here. I probably could’ve been like every other person my age that’s taken off, but it’s always been important for me to stay. I’m still close to my parents. I’m sure I’ll have to leave eventually, but there’s a great Terry Bradshaw story where he got drafted to the Steelers and his agent said, “But it’s in Pittsburgh,” and he said, “Where ever I’m at, it’s going to be amazing.” So I’ve sort of had that idea about any place that I’ve lived in.
Credit Roberto Cavolo / Two Dollar Radio
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Page from The Incantations of Daniel Johnston
On the mythology of Daniel Johnston:
He’s this Church of Christ kid, raised in West Virginia and he’s really into the Beatles, which is important. He moved to Texas to live with his brother and started doing these home recordings by himself, which doesn’t seem weird today since it’s the sound of bedroom pop Pitchfork-y type stuff. The stuff he’s doing is even more interesting than the DIY punk stuff of the same era. And he’s playing a chord organ which is that bad musical instrument in every 8th grade music class, and he’s writing these songs.
If we were looking at it from a different angle, you know the mental health issue is brought up which adds a certain element to the music. There’s this insane sort of story where he’s flying home from SXSW, and his father is a pilot and he was having this episode and he crashed his father’s plane. So there’s story after story after story with Johnston like that.
This would’ve been like ’99 probably, someone burned me a bunch of Daniel Johnston songs from Napster, the songs that mean something to me. The traditional greatest hits are not nearly as amazing as the tracks that are hidden, and people don’t know as well or there’s not that kind of childlike sort of wonder gimmick that he has that runs through those early recordings. I’m a music head, and I owned a couple of those tapes on CD.
Music featured in this #WVmusic chat:
Daniel Johnston- “Love will Find You in the End”
Daniel Johnston- “Honey, I Sure Miss You”
Daniel Johnston- “The Story of an Artist”
Support for 30 Days of #WVmusic is provided by Made in WV, a specialty apparel company made by and for proud West Virginians. Online at madeinwv.com.
Support for 30 Days of #WVmusic is provided by Kin Ship Goods, proud supporter of DIY music and the arts. Locally shipped worldwide at kinshipgoods.com.
“It wouldn’t be considered commercially viable [as a traditional music venue]… and that’s what makes it unique.”
From West Virginia Public Broadcasting and A Change of Tune, this is 30 Days of #WVmusic, the interview series celebrating the folks who make the West Virginia music scene wild and wonderful.
And for today’s interview, we’re turning the focus from the artist to the venue, specifically non-traditional, do-it-yourself venues. From coffee shops to houses, DIY venues create transform unconventional places into unique spaces for artists to practice, create and flourish.
But how does a local band get themselves into a DIY venue? And how do these venues differ from more traditional spaces? We spoke to some of West Virginia’s popular DIY venues (including Huntington’s Porch Unplugged, Logan’s Hot Cup and Cleveland’s Jerry Run Summer Theater) to tell us what’s up with non-traditional venues, and why they are assets to the West Virginia music scene.
Credit Courtesy of the venue
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Senora May Childers performing at Porch Unplugged in Huntington, WV.
How does a DIY venue get started?
Some DIY venues start with happy accidents. As Huntington DIY music organizer Joe Troubetaris explains, “Porch Unplugged began on a humid June day in 2011. We had a monsoon thunderstorm and had to unplug all our equipment as fast as we could, and all the musicians ended up playing on the living room carpet as the audience gathered round. So we kept the name Porch Unplugged. My home never was intended to become a venue, but over time that what it is.”
Others, like Logan’s Hot Cup, found a home for DIY performances in their brick-and-mortar business. As owner Michael Cline explains, “The space we reside in served as many things over the decades, including a drug store and a gun-safe shop. Before I even opened Hot Cup a half decade ago in October 2011, I knew I wanted it to be a venue for all local art. Painting, music, comedy, literature, poetry… all of it.”
As for the Jerry Run Summer Theater in Cleveland, West Virginia, the venue was a Field of Dreams moment thanks to co-owners Dusty and Renee Anderson. “It was built on a shoestring budget with the vision of it being a space for live music. We opened in 2003, but it took Dusty over seven years to complete the project, from designing the space on paper, building a model, clearing the land, laying the foundation, framing, building and raises trusses, roofing and finishing/furnishing the interior.”
Credit J. Marinelli
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Kin Ship Goods often acts as a DIY venue in Charleston, WV.
What makes these performance spaces so special?
“Every venue is different,” says Porch Unplugged. “They are unique in their own way. Porch has all ages in performances from a beginner who is in middle school to a seasoned artist who has retired, and they are all sharing the same platform and telling their stories. It’s a good mixture of styles, talents and sounds.”
“The thing that separates us [from traditional music venues] is that, although our venue is a coffee shop, it’s deceptively large inside. We allow bands to bring their whole rig instead of requesting a stripped-down acoustic version. So gigs can range from people sitting and listening to a small acoustic act to a standing room-only, full-on rock gig.”
As for Jerry Run Summer Theater, “The physical building is a one-of-a-kind space with lots of rough lumber, recycled fixtures and vaulted ceilings. Theater seating, which has everyone facing the stage in a darkened room, puts the spotlight on the music makers with little audience conversation. Performers appreciate not being background music. Also, the fact that our location is relatively remote, far from any population center? That wouldn’t be considered commercially viable [as a traditional music venue], and that’s what makes it unique.”
Credit Courtesy of the venue
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Meet Hot Cup’s brew-crew.
How have the local communities reacted?
“It was more difficult when I first started than it is now,” says Porch Unplugged. “Neighbors didn’t like their parking space occupied or would call the authorities because they saw people hanging on the front porch. Over time, I made porch unplugged into a more acoustic, inside-the-home kind of venue to limit exposure. Now the neighbors come over and always love who they get to hear or see play. This part takes some time and a little learning to do it right.”
Credit Courtesy of the venue
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Jerry Run Summer Theater is located in Cleveland, West Virginia.
As for Jerry Run Summer Theater, “Neighbors, visitors to Holly River State Park, travelers to Webster County and folks from farther locales react positively to the different genres that we have, as long as they view the genre favorably or have an open mind toward something not in their comfort zone. A diehard bluegrass fan who did not ‘read the fine print’ and comes to a show like Iron & Wine or an Americana act may leave early. A country band with drums may not appeal to someone who enjoys acoustic folk. All in all, reactions have been overwhelmingly positive, and Webster County natives often proudly bring visiting family and friends to the theater to catch a show.”
What are the values of a DIY venue? From money and music to time and location, the biggest value of a DIY venue is the sense of freedom, which allows artists to take their art to a level that a traditional venue might not allow. Hot Cup agrees: “Every form of music is welcome, as long as the lyrics aren’t bigoted or racist in any way. We don’t take a cut of the door money. Whatever the band collects at the door belongs to them. We truly just want local art to thrive. It’s not about the money for us.”
Credit Courtesy of the venue
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Porch Unplugged in motion.
As for Porch Unplugged, it comes down to three things: “passion, respect and love.” But more than musical food for the soul, there’s literal food for the stomach. “There’s always a potluck. Please bring food or drink you don’t mind sharing. Also, donate to the artists traveling.”
“Our philosophy is to help make life in our neck of West Virginia better by bringing live music to live ears in a space with good acoustics,” says Jerry Run Summer Theater. “Luckily, we do not have to depend on theater revenue to make a living. By keeping our overhead low (no AC or heat, doing a lot of the work ourselves or with family, etc.), we also keep our admission charge low, usually $5 and not more than $10.”
Credit Courtesy of the venue
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Anyone want to guess the age of Tyler Childers in this Hot Cup performance?
What kinds of acts can you expect at a DIY venue?
DIY venues act as springboards for eclectic acts to grow, so expect any type of music from anyone. As Porch Unplugged recounts, “A memorable moment was when an artist rode his bicycle on tour from Boston. His name was Leo Lydon, but we called him the Forest Gump for Music. Other favorite acts have included Coyotes in Boxes (with their CD release party), Jared Mahone, Michael McArthur, Frances Luke Accord, Christopher Vincent and Bradley Jenkins, just to name a few.”
“So many great local, regional, and national artists have given their best to our audiences on our stage,” says Jerry Run Summer Theater. “And they reaffirm our vision of having a welcoming space for live music. Two highlights of national significance include the evening that Jerry Douglas played dobro with his father John’s band the WV Travelers to celebrate his 80th birthday. And of course, that incredible 2014 show by Sam Beam/Iron & Wine, where he kept the audience spellbound while cameras captured the performance for his Dreamers and Makers are My Favorite People documentary.”
“Having Meet Me in the Matinee play is always a huge deal for us,” recalls the Hot Cup. “They draw a crowd, and those guys are so much a part of the Logan music scene. Other standouts are Tim Browning & The Widowmakers (Americana on steroids), The Big Bad (horror punk at its finest and most passionate), Let The Guilty Hang (the purest metal you’ve heard), The Jasons (think The Ramones, but literally all songs are about scenarios in the Friday the 13th film series, and the guys all wear Jason masks) and The Allegheny Ramblers (100% pure Appalachian folk and bluegrass played by awesome millennials). Tyler Childers also played here before he became a West Virginia household name.”
Credit Courtesy of the venue
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TipTop in Thomas is another location for DIY events.
And how can you get your band booked at one?
Don’t be afraid to reach out! Getting booked at a DIY venue is easier than it sounds. “I used to go to all venues, open mics from Charleston to Huntington and ask the artists if they would be interested in playing a house show,” says Porch Unplugged. “Now, artists Facebook or email me (porchunplugged @ gmail dot com), or a friend will let me know of an artist to contact to play.”
As the Hot Cup tells us, “It’s as simple as contacting the Hot Cup’s Facebook page, getting on the phone (304-752-6500) or the boss’s favorite way: in person.”
Just remember that to have fun with it. As Jerry Run Summer Theater explains, “Having your own take on a particular genre, original songwriting and good rapport with the audience are what draws us to a group. Having an in-person or phone conversation with a member of the band is how we meet most of our acts. Email and Facebook are not our preferred way, as you don’t really get a feeling for the personality of the band until you have a direct exchange. Once that connection has been made, then hearing them on YouTube or in a press kit/CD is a good way to appreciate their talent.”
Credit Courtesy of the venue
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Yep. That’s a lot of Jasons in one DIY venue / coffee shop.
How important is the West Virginia music scene to your venue?
“The WV music scene is our core,” says Jerry Run Summer Theater. “Although we do feature several out of state groups, the overwhelming majority of groups hail from the hills of West Virginia, be they Morgantown folk sisters Whiskey Victor, Charleston’s Carpenter Ants or Hacker Valley’s own bluegrass teen siblings Marteka & William.”
“I think the #WVmusic scene is important to every venue or DIY component because that means the community is supporting the music and the arts, which makes the area prosper,” says Porch Unplugged. “Our local community is continuing to grow with music, which helps impact the state. That’s why we’ve taken on the motto that Porch means ‘Passion on Real Community Harmony.’”
But let it be said that this line of work is not a moneymaker, which is why community involvement matters in booking, promoting and supporting DIY culture in these musical homes and businesses. “We would survive without the DIY performance component of Hot Cup,” says its owner. “I can’t even say it helps us that much financially, even if we might sell a few more coffees. But I want local artists to have a place to play and call home, especially in Logan, West Virginia. I had two goals when I opened Hot Cup over a half a decade ago: 1. Serve the most kick-ass coffee in the cosmos. 2. To shove a little class and culture down Logan’s throat, whether they knew they wanted it or not.”
Final words of wisdom?
“Play shows, reach out and follow-up,” states Porch Unplugged. And above all else, remember that small scenes are the seeds that grow into bigger ideas and opportunities. The next time you see your favorite band perform at a stadium, remember that they started out with this DIY work ethic.
Support for 30 Days of #WVmusic is provided by Kin Ship Goods, proud supporter of DIY music and the arts. Locally shipped worldwide at kinshipgoods.com.
From West Virginia Public Broadcasting and A Change of Tune, this is 30 Days of #WVmusic, the interview series celebrating the folks who make the West Virginia music scene wild and wonderful.
And today’s interview is with an Appalachian quartet who are creating a new mountain sound for the next generation. This… is Apple Pappy.
<a data-cke-saved-href=”http://applepappy.bandcamp.com/album/apple-pappy” href=”http://applepappy.bandcamp.com/album/apple-pappy”>Apple Pappy by Apple Pappy</a>
How did the band start playing music?
Emily Tanzey (guitar-vocals), Smith Sarver (guitar-vocals,) Ben Williams (mandolin-vocals,) and Greg Mulley (bass) all became friends while attending WVU in Morgantown and were drawn together by a love for Appalachian music and its tradition in storytelling.
Credit Courtesy of the artist
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Apple Pappy
Where does your current band/act name come from?
Ben’s grandfather had apple and peach orchards in Hampshire County, West Virginia. We were also influenced by the phonetic form of “Appalachia.”
How has the band’s sound changed over time (if at all)?
We learned many standards and old time/bluegrass songs before using our music to tell our own (and the mountain’s) stories.
Where does the band play in and around West Virginia (venues, festivals, etc.)?
We tend to play in Morgantown. We played at Cheatfest (Preston County) and Pink Moon Festival (Monroe County) last year, and lately we’ve performed for more private parties and weddings.
Credit Alex Heimbuch
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Apple Pappy
What’s been the highlight of the band’s musical journey thus far?
Opening for the Larry Keel Experience at 123 Pleasant St. was a real thrill. That group really inspires us.
What’s your best advice to anyone starting to make music?
Just with any art, imitating the masters is a good place to start. However, finding your own unique voice and using it to tell the stories of your community is when your art becomes alive.
What’s it like making music in West Virginia?
West Virginia is a tight-knit community across the board. Musicians in the state are generally very supportive of each other and help lift each other up. This is an attitude you will not find in many places. It’s rewarding to make music that resonates with old and young people alike, we all have common ground in our Mountain Mama.
Credit Courtesy of the artist
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Apple Pappy
Do you feel held back by being in West Virginia? Or does it feel like a musically-supportive place?
It is a much smaller pond than Nashville or even Asheville. This can be discouraging, but ultimately the talent and drive of West Virginians is unrivaled. You can’t expect support from a big record label, but you can expect it from your fellow musicians and listeners.
What, in your opinion, needs to happen in the West Virginia music scene for it to move forward?
People are waking up to the beauty of our state and the wonderful ways in which we can combine outdoor adventure, craft brewing and live music. These three areas need to recognize their symbiotic relationship and keep our government focused on tourism and attraction rather than capitalism and extraction.
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