#30daysofWVmusic Story Archives - Page 2 of 11 - West Virginia Public Broadcasting

Sheldon Vance Sings about Hills, Pills and Unpaid Bills

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 acoustic punk rocker who isn’t afraid to sing about hills, pills and unpaid bills. This… is Sheldon Vance.

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How did you start playing music?

I started playing solo after almost a decade’s hiatus from music. I spent almost all of my teens and twenties traveling around the country with my old band on DIY tours. When that fell apart, I became disheartened and all but gave up.

But there was an ember that would never die. My wife bought me an acoustic guitar and all but shoved it into my hands. Then a lifetime’s worth of influences and experiences started to come out in song in a way they never did when I was in a band with an amp blasting behind me.

Songs started pouring out, and for the first time in my life, I was writing songs and lyrics that I was truly proud of and knew meant something. And without any intention of going for a particular sound, the music I heard growing up was showing itself in these new songs, including the Appalachian music, gospel, old country and bluegrass that my parents played on the stereo and my dad walked around singing.

I’m not sane or healthy if I’m not playing music; I found that out the hard way. I have to play in order to have a healthy, happy life. I have to have my voice, and songwriting gives me that.

Why did you use your own name to play and perform music?

I tried using a band name or stage name because I was afraid of people thinking I was egotistical. I just couldn’t get past thinking it would be weird to have my given name on shirts and such. But using stage monikers just confused people and muddied things up. So after some prompting from friends and family, I started using my own name.

How has your sound changed over time (if at all)?

I went from full-on, fast, hardcore punk to playing acoustic. It seemed like a big shift, and it was, but I still incorporate some of that energy and spirit into my stage performance even now. I’ve had to learn to embrace the subtleties and differences and not approach everything like I used to in a band. This is a different beast, with its own beauty and merit. I have to let it be what it is and get out of the way sometimes and let the songs and their spirit shine through.

What’s been the highlight of your musical journey thus far?

It’s not any particular show, but the highlight for me is when people started singing my songs back to me on stage. Especially at the all-ages shows, the young kids have so much heart and energy, and they’re there for nothing more than the music. I’d walk away from the mic and down off the stage, singing right into their faces, and they’re singing right back… I’m smiling, and they are too.

I put every fiber of my being into my songs, and they’re a part of me. And to have someone think enough of something you created that they would remember the words, then for the crowd to shout them back to you? I’ll take that to my grave. That means something.

What’s it like making music in West Virginia?

There’s plenty to write about growing up here. I came from Logan County, and hard times were the name of the game. I think those experiences are common here and around the country like any human experience. But locally, there’s little subtle things that us West Virginia musicians pick up on and can rally around. It’s an honest common thread.

Do you feel held back by being in West Virginia? Or does it feel like a musically-supportive place?

There are a ton of roads that lead out of the state if you want to grow your music elsewhere. But it’s a good home base. I’ve never felt like living here specifically held me back; I’m the only one guilty of holding me back.

When me and my friends were younger, there were no bands coming to West Virginia we wanted to see, and we couldn’t get into bars. Instead of crying about it, we put on our own shows. We rented out school gyms, unions halls and community centers, and we booked bands and did our thing. You can’t use where you live as an excuse as to why nothing is happening. Make it happen. You can do it. I’ve seen it done.

There aren’t a ton of venues, but that makes for a more tight-knit scene. You get lost in the mix in bigger cities, and I’ve experienced that firsthand. When you come from a small town like I did, you appreciate the hell out of the bands who come to play on Saturday night. In bigger markets, they have bands playing all the time, and they get jaded.

What, in your opinion, needs to happen in the West Virginia music scene for it to move forward?

Maybe just a touch more unity. It’s getting better, and artists do support one another for the most part. But I do feel like there are folks who hold back on showing the love a little. I think they’re afraid people will confuse their showing support as deferring to someone. But as it stands, I see things moving in a really positive direction more than it ever has.

What’s your advice to anyone starting to make music?

Write honest, real songs. Write about what you know. Mean what you say. Be humble, kind and gracious. Play each show like it might be your last because it very well could.

Sheldon Vance’s latest release is Northbound. Keep an eye (and ear) on his social media for tour dates and new releases. Hear more #WVmusic on A Change of Tune, airing Saturday nights at 10 on West Virginia Public Broadcasting. Connect with A Change of Tune on Facebook, Twitter and Instagram. And for more #WVmusic chats, make sure to go to wvpublic.org/wvmusic and subscribe to our RSS / podcast feeds.

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.

Shenanagram Recaptures New York's Bygone Rock Era (in Huntington)

“Every community is bound to bare some sort of sound and champion that, but it’s not as definite as it used to be.”

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 Huntington alt-rock band inspired by the glamour, grit and guitars of the New York music scene. This… is Shenanagram.

How did the band/act start playing music (when, where, why, etc.)?

We started this band in 2012. We all had been in varying bands together prior to forming this group, but as none of those ended up panning out, this project came together. We’re all from the Huntington/Barboursville area and have been friends with each other for some time, so it was a pretty natural formation.

Shenanagram at Charleston’s The Empty Glass.

What bands have the Shenanagram-ers been in previously?

Orchard Avenue, Lights Out Lucy, Blank Pages and Huntington’s Scroungehound.

And where does the name Shenanagram come from?

A few of us were having drinks when one of us just blurted out the word, and I can’t even remember the context specifically. We liked it a lot more than our old name, so we were pretty eager to suggest the name change. It’s also nice having a name that’s not really a word. We’re easy to search on the internet and brand ourselves, so that’s convenient when trying to spread the word.

How has the band’s sound changed over time (if at all)?

It’s changed pretty drastically over the years. When we first started, we were much more in the vein of bands like Foo Fighters and The Black Keys. We sound incredibly different now. We are very influenced by a lot of New York bands like The Strokes, Television and other CBGB’s stuff. We’re also considering experimenting with electronic instruments in some of the newer material we’ve been working on, which is something we would’ve swore off when we started. I think the changes are exciting, and we’ve become a lot more open to the possibility of change as we’ve expanded our tastes.

Where has the band played in and around West Virginia?

We play mostly in Huntington, as two of us are in school and don’t really have the time to go out and venture much. We’ve played The V-Club, Press Club, Huntington Ale House, Bittersweet Coffeehouse, Blue Parrot, Empty Glass, Muncheez and a local house venue called the Cricket Cave.

What’s been the highlight of the band’s musical journey?

I think just having our first official release last year was a big step for us. Actually going into a studio and going through a more legitimate process than just recording stuff at our houses felt like we were doing something more than what we had been doing prior. I think it’s put us into the mindset that we can do something more with this.

Any advice for musicians just starting out?

Write constantly, be prepared to be fluid with changes and don’t fight them. Just get out there and enjoy yourselves.

What’s it like making music in West Virginia?

I don’t feel it has as big of an impact as in the pre-internet era. I think every community is bound to bare some sort of sound and champion that, but it’s not as definite as it used to be. Everyone has access to whatever music they’re keen on, so you’re not bound to the sound of your area. As far as the community itself goes, I think there are plenty of people who support the arts in the area, and I think that community is slowly growing as well, which is exciting.

Do you feel held back by being in West Virginia? Or does it feel like a musically-supportive place?

I think the area is bound to foster certain sounds and really support the acts the fall within that. I don’t feel that we are necessarily aligned with that sound locally, but I don’t think it hinders us in any sort of major way as well. But we might fare a little better in the Morgantown/Pittsburgh area, where the alternative scene is a little more prominent.

What, in your opinion, needs to happen in the West Virginia music scene for it to move forward?

I think breaking down the barriers of localized scenes would help a lot. When I think of Morgantown, I think of alternative music. When I think of Huntington, I think of Americana/folk. So on and so forth. We live in the digital age where boundaries no longer exist in the fashion that they used to, so making the changes to reflect that would be beneficial to all varieties of arts across the state.

Shenanagram’s latest release is “Mayor of Where/I Got Nuthin”. Keep an eye (and ear) on the band’s social media for tour dates and new releases. Hear more #WVmusic on A Change of Tune, airing Saturday nights at 10 on West Virginia Public Broadcasting. Connect with A Change of Tune on Facebook, Twitter and Instagram. And for more #WVmusic chats, make sure to go to wvpublic.org/wvmusic and subscribe to our RSS / podcast feeds.

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.

Drum Softly and Carry Two Big Sticks: A Conversation with West Virginia's Go-To Drummer

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 the Huntington drummer with the best seat in the house, keeping time for William Matheny and Tyler Childers. This… is Rod Elkins.

Rod Elkins can be seen (and heard) on tour with William Matheny & the Strange Constellations and Tyler Childers. Hear more #WVmusic on A Change of Tune, airing Saturday nights at 10 on West Virginia Public Broadcasting. Connect with A Change of Tune on Facebook, Twitter and Instagram. And for more #WVmusic chats, make sure to go to wvpublic.org/wvmusic and subscribe to our RSS / podcast feeds.

Rod Elkins performing with Tyler Childers.

Interview Highlights

On beginning in music:

I’ve been into music pretty much my entire life. My dad has a band, The Elkins Brothers Band, and ever since I was a little kid, I’d go and watch him play. Mostly at the Milton Fire House or various VFWs, and I would just sit there, swinging my legs. It’s always been around, and I can never think of a time it wasn’t. I started playing drums in the 6^th grade, enrolled in band at school and started playing in his band.

I always thought the drums were the coolest instrument on the planet. Every drummer my dad had, they were just cool dudes. I loved to be around them and loved watching them, and I thought it was the best instrument in the band. My dad’s a guitar player, kind of picked that up naturally. He would put one in my hand, teach me a few things, I would download songs off Napster when I came home from school and learn them.

He was really nurturing. I used to teach at Route 60 Music and people would tell me how they bought their kids electronic drum sets because they didn’t want to hear it. I always thought about how my mom and dad gave me a couple of hours to make as much noise as I wanted, but at like 8pm, if it wasn’t done… [laughing]!

On what he listened to growing up:

The classic country, outlaw stuff. My dad is a huge Waylon Jennings fan. I always thought he sounded like him when he sang.

I had a Fisher-Price record player, and I remember as a kid, I was just crawling across the floor, maybe 4- or 5-years-old, I took the Fisher-Price record off and waddled over to a stack of my dad’s records and pulled it out, and it was Creedence Clearwater Revival, one of the greatest hits records, “Down on the Corner,” was the first song. I was pretty hooked after that.

Rod Elkins as a Marshall University drummer.

On his jazz studies at Marshall University inform his Americana/rock drumming:

I always wanted to do music in college. I wanted to go to college because not many people in my family went to college. Me and my sisters did. My dad didn’t go; my mom went to beauty school. Staying in town just made sense.

I got really bored with just doing classical performance with symphonic band and percussion ensembles. Not that I don’t like the music or anything, but at the time, I was just really out of it and not really enjoying it. I think I was the only drum set major at the time in jazz studies. I took a little break and came back in 2012 and finished three years ago this December.

It helped playing with different groups, playing something you just got a week ago. Reading, making charts. Sometimes if we want to play a song now, the fastest way for me to learn it is if I jot it down on a piece of paper and chart it out. I got to see a lot of great drummers being in school. We had great faculty, and they would always bring great people in. It was really inspirational seeing them play.

On his favorite drummers:

Levon [Helm], for sure. I’ll never forget… me and Craig Burletic. I was in the music library, and I was supposed to be doing something but I wasn’t actively doing anything, and [Craig] comes in and says, “Dude, you got to stop what you’re doing and listen to this.” And I think it was the Rock of Ages video of The Band doing “Don’t Do It.” It was lifechanging, the way he played, the nuances and the sound he got out of the drums. That and Steve Gadd. I always wanted to play like Steve Gadd ‘cause that guy’s perfect.

Rod Elkins performing at The V-Club in Huntington, WV.

On what it means to be a drummer in the band:

Drummer is the bus, that’s what I always thought, and the bass player drives that bus. It’s a team effort, something to lean on. A good drummer doesn’t get in the way of the song. It’s a nice blanket for soloists or singers to lean on and to stay out of the way. That’s always a goal in my head when I play. I feel like I’m naturally strong, and I have to work hard at the drums to stay out of the way. I constantly worry that I’m too loud.

On his first bands playing in the #WVmusic scene:

I was playing in a VFW band called 60 East. I played guitar and sang. It was pretty good, right out of high school. James [Barker] and Craig Burletic had a rock band and a drummer who was moving away. I was late for a math class, and I didn’t go because I was late, I was getting coffee and [Craig] said, “You have to play in my band. I talked to James, and we don’t want anyone else. We want you.” I just wanted to do this original music. That was the first thing with Huntington music… Deadbeats & Barkers.

That transformed into like 68 consecutive Sundays at Shamrocks. [Shamrocks owner Ian Thornton] gave us a shot, and I think [Deadbeats & Barkers] already had the Sunday gig when they asked me to play. We dove right in, and it was great. That period… I understand why they call it the good old days. I met Bud Carroll for the first time, Doug Woodward, The Demon Beat. Anybody and everybody would come on Sundays. Sometimes it would be so special. We’d play a set, take a break and then anybody who’d want to jam could jam. I think I quit my job at Amazon because of Sundays because I had to be at work on 8 on Monday morning.

On joining up with Tyler Childers:

It was kind of a joke at first. Jack Browning, a good buddy of ours who lives in L.A. now, thought, “Y’all should play together and be the Food Stamps.” Tyler Childers opened for us at Shoops, and he sang and it was beautiful, everybody was shocked. I’ll never forget after the show I said, “Man, you’re great, you’ve got great songs. You want to party?” His response was, “Man, I’m 18 and 45 minutes from home, I think I need to go.”

We kept crossing paths, and then the joke came back around, and it was one of our friend’s birthday parties where we finally did it. A little bit later, we were goofing around playing covers, and I took the initiative to put our name in the hat for a music festival in Cincinnati. We went to Bud’s and cut some demos. We got in, and it was the first time we played Tyler’s songs, and we’ve been doing it ever since.

Bud Carroll, Rod Elkins, William Matheny, Adam Meisterhans and Ian Thornton backstage before their June 2016 Mountain Stage.

On playing with William Matheny:

Nothing short of magical. I love that guy to death. It’s kind of hard to place when I first met William because once I did, it’s like he’s been in my life forever, it’s like he’s always been there. He probably knows better than I do. I filled in for Bud [since] Bud was playing drums. I can’t remember why he couldn’t play, but I learned the songs, and after those strings of dates it was like, “Would you like to be in this band? We can put Bud back on guitar.” [Billy’s] songs are great, he’s a great person, a true bandleader. I’m fortunate enough to play with the two best songwriters in West Virginia. It’s been nothing short of great, I don’t know how I did it. I’ve been really fortunate to hang in there with some of the best.

Music featured in this #WVmusic chat:

Rod Elkins- “DonDon”

Tyler Childers and The Foodstamps- “Feathered Indians”

Rod Elkins- “PanGan-Anini”

William Matheny & the Strange Constellations- “Living Half to Death”

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.

In with the Old, Out with the New: Welcome to Union Sound Treaty's Outlaw Country

“We felt that by coming together to write authentic music, we offer a modern-day “sound treaty” to the legends and heroes of grassroots, outlaw country and bluegrass 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 an Americana/country outfit out of Morgantown who are paying tribute to the rabble-rousers and outlaw country giants before them. This… is Union Sound Treaty.

How did the band get together?

Union Sound Treaty began humbly in 2015 when singer-songwriter Charles Godwin decided he wanted to expand his musical horizon and bring new life to his catalog of music by forming a full band. From childhood friendships with Ross Justice (drums) and Nate Colombo (pedal steel/banjo) and networking at Morgantown’s local music store, John Schooley (guitar) and Shawn Wilhelm (bass) completed the lineup for Union Sound Treaty. The band was formed to write, record and perform original music… a sound similar to “old” country, but infused with homegrown Appalachian energy. It is the goal of the band to make a career out of our music and bring the sounds of West Virginia to the rest of the country.

Union Sound Treaty are Charles Godwin, Shawn Wilhelm, John Schooley, Ross Justice, Nathan Colombo.

What previous bands have you all been in?

Vandalia (Charles and Nate), The Hide and Seek Effect (Ross), SpaceHoney (John, Shawn) and too many cover bands to name.

Where does the name Union Sound Treaty come from?

We take pride in the authenticity of our music and felt the name Union Sound Treaty accurately represented our mission as we create music for ourselves and anyone who would like to listen. Our interpretation of country is one that negates the sound of pop-influenced radio hits that play day in and day out. We felt that by coming together to write authentic music, we offer a modern-day “sound treaty” to the legends and heroes of grassroots, outlaw country and bluegrass music.

Where can folks see you play in and around West Virginia?

Schmitt’s Saloon (Morgantown), 123 Pleasant Street (Morgantown), The Boulevard Tavern (Charleston), Live on the Levee 2017 (Charleston), Greenbrier Valley Brewing Company (Lewisburg), Cheat Fest 2017 (Albright), The Purple Fiddle (Thomas), Black Bear Burritos (Morgantown) and Clay District Fair (Fairview).

What’s been the highlight of the band’s musical journal thus far?

We have been able to have two great recording sessions at Blackbird Studios in Nashville. Being surrounded by such great equipment and even better people has enabled us to record some great tracks, including our debut album Next Year, which we released in November of 2016.

What’s it like making music in West Virginia?

Making music in West Virginia is special. There is a real energy in West Virginia that enables us to create music that is authentic but rooted in Appalachian music’s past. We typically draw writing influence from life events and stories that highlight the joy, struggle, fights and triumphs of people that call West Virginia home.

Do you feel held back by being in West Virginia? Or does it feel like a musically-supportive place?

If a musician is serious about a touring career, it seems that he or she is never satisfied with his or her surroundings. In that respect, we might always feel a bit held back (regardless of location) until we are playing throughout the country on a daily basis. We certainly feel supported by the people we meet and our family and friends in West Virginia, which ultimately keeps us grounded and focused.

What, in your opinion, needs to happen in the West Virginia music scene for it to move forward?

The West Virginia music scene is filled with well-known acts and hidden gems of talent. By municipalities embracing artists within their communities, the music scene will naturally move forward. Increasing the opportunities for artists to perform – all the while increasing opportunities for crowds to listen – will have a lasting impact on the West Virginia music scene that will keep folks playing and listening for years to come.

Any advice for anyone who is starting to make music?

Stay true to yourself and the music you honestly want to create, especially when just starting to make music. The journey should be filled with joy and authenticity, not pressure.

Union Sound Treaty’s latest release is Next Year. Keep an eye (and ear) on the band’s social media for tour dates and new releases (including a set of new Nashville recordings). Hear more #WVmusic on A Change of Tune, airing Saturday nights at 10 on West Virginia Public Broadcasting. Connect with A Change of Tune on Facebook, Twitter and Instagram. And for more #WVmusic chats, make sure to go to wvpublic.org/wvmusic and subscribe to our RSS / podcast feeds.

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.

Rock Enroll: West Virginia's School of Rock is In Session

People ask, “It’s a rock school. How do they graduate from this?” And I always say, “We win (and they graduate) when they go make music, play in bands and go out into the community on their own. That’s when everyone wins.”

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 for the young rockers and the young rockers-at-heart. In the words of Jack Black, “you are not hardcore, unless you live hardcore,” and this School of Rock-esque facility is definitely hardcore. From Morgantown, West Virginia, this… is PopShopWV.

PopShopWV is currently in session. You can rock enroll and learn about the classes and summer camps on their website and social media. Hear more #WVmusic on A Change of Tune, airing Saturday nights at 10 on West Virginia Public Broadcasting. Connect with A Change of Tune on Facebook, Twitter and Instagram. And for more #WVmusic chats, make sure to go to wvpublic.org/wvmusic and subscribe to our RSS / podcast feeds.

PopShopWV during their Springfest 2017 in Morgantown.

Interview Highlights

On what PopShopWV is:

PopShop is a non-profit arts academy located in Morgantown. We take students in the area that want to learn music. Specifically, our vehicle to teaching them music and the musical instruments is popular music, country music, rock music, metal, hip-hop and blues. The goal of PopShop is to not only teach them how to play their instruments, but the underlying goal is to bring students in the area (age eight to adult) and put them in groups together and let them work together.

The major thing that a lot of these students are doing in school is playing in large ensembles, and they can kind of hide behind something if they don’t know their part as much. We stress that it’s a small group, and everybody has their own part; if that part is not there, then the final song does not sound the same, so it’s important to be courageous in how you play it, whether it’s singing or playing a solo or even just supporting the band and sitting in the background to do your part.

I’m a product of the public school system in music, and it was a little bit of the folk stuff every now and then. You got some James Taylor every now and then, but it switched around middle and high school to classical music. I love that stuff and love listening to [classical], but what kept me in music and what brings me back are the Billy Joel’s, the Elton John’s, the Beatles. And a lot of these kids are finding the same things from their parents. We’re teaching them artists, and they’re teaching us about new artists. It’s a great thing for everyone.

PopShop’s SpringFest 2017 in Morgantown.

On the formation of PopShopWV:

PopShop is the product of a band I was in from the late ‘90s called The Argument. We were all teaching music whether in schools or privately, and as we were touring, we had days off. So we decided, “What if we contact the schools and see if we can teach what we know using popular music?” Like vocal blending, the business of music and maybe the students and teachers would want to hear it. That started in 2003. In 2004, the Appalachian Education Initiative helped us find a grant through the Justin Timberlake Foundation that opened some doors and helped us find some of the hardest hit arts schools in West Virginia and allowed us to go to these schools, put on concerts and teach them about popular music.

In 2010, after the band had broken up, I started the actual school itself. It was a small affair. We had 11 kids, all homeschooled. It’s grown to this day, almost seven years later, with over 90 students of all ages and 20 groups. We’ve had a lot of students in-and-out [over the last seven years]. What’s cool about that is some of them teach with us now. From students to now teachers, they’ve been a great asset to our program.

On how PopShopWV operates:

PopShop is for students of all ages. We take students that have no experience or years-and-years of experience. We expect for them to come in and want to play with us, to learn, to want to play with other people and use it as a group effort to make something great. They might not be great players after a six-week session, but we’ll want them to want to know more, maybe pursue lessons.

Most of the younger students have their eyes set on an instrument [before they start], but we give them an opportunity to try anything. We have a very young group called The Blackouts, some seven-year-old’s in the band, and they are happy playing anything you put in their hands. They’re actually becoming a good little band; every time I see them, they blow me away.

We have students that come as far as away as Buckannon. We have students from Fairmont, Maryland, Pennsylvania and a lot of students in Morgantown (of course), but we’re always blown away when a student finds us from a little further away and wants to drive to let us teach them music.

Our instructors are not necessarily schooled musicians, but they have a lot of performance experience so they can actually relay that to students that things might not always go right; sometimes, you have to find a way around things. As a performing musician, that’s one of the important things you can do: overcoming problems, not using shortcuts to being a good musician, but learning how to handle when things aren’t exactly as they should be. They also do a good job of introducing music to these groups, and we all come from different musical backgrounds. Brian Spragg is one of our music technology instructors, as well as Walt Sarkees. Those guys couldn’t be from more different musical backgrounds, and I love hearing them talk about their passions for music.

Recognize the musical faces inside PopShopWV HQ?

On PopShopWV’s relationship with #WVmusic:

We have never done a series or session on just West Virginia musicians, but we have used Bill Withers’ music. He’s one of our favorites. Our students really, really relate to songs like “Lean On Me” and “Ain’t No Sunshine.” It’s been great to use him as a model and also have some time with him. We actually got to Skype with him in December 2015, and we all were really blown away. He talked about perseverance and working through everything and wanting to make it happen. A lot of students needed to hear that.

PopShop students Hazel Iafrate and Zorrah Lawson.

The thing we strive for here in West Virginia (and whenever we Skype with musicians around the world), we get to ask them the question, “How were you shaped by where you grew up musically and as a person?” And we always get really great answers from that because a lot of students in West Virginia may think, “Well, I’m just from West Virginia, and I can’t do anything because I’m from here.” And Bill Withers might be the perfect example of what you can do as a West Virginian. We want to produce musicians (and people) who think that they can do anything and be from anywhere and work hard enough to do [what they want].

Young rock’n voices featured in this #WVmusic chat:

Sydney Wiley (15-years-old)

Zorrah Lawson (8-years-old)

Hazel Iafrate (8-years-old)

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.

If You Can't Find it, Make It: Joshua Lee on Wheeling's musical 'Promise Land'

“We need to work to retain young musicians so we can continue to grow the scene from within.”

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 folk rock’n newcomer to the Wheeling music scene who’s sang his way through Nashville and Indiana. This… is Joshua Lee.

How did you start playing music?

I’ve played in bands as a frontman or sideman since high school in Indiana and throughout my 13-14 years in Nashville. When I relocated to Wheeling a few years ago with my family, I tried to quit playing music. After a particularly difficult first year here, I couldn’t help but write songs again. I initially had a difficult time finding like-minded musicians in the Wheeling area to work with, so I had to do it all myself for the first time in my life. I started playing out as a solo act and gradually warmed up to the idea of being a singer-songwriter instead of a member of a band.

And your name?

It’s mine! I just left off my last name, mostly because there’s a soap opera star and a British Bieber-wannabe who already have my name locked down in internet-land.

How has your sound changed over time (if at all)?

I’m thrilled with how this first EP Promise Land has turned out and feel like it does establish this sort of ambient folk rock as a foundation. That said, since this is still a newish project, the biggest change has been moving from a sort of shapeless, undefined mess of acoustic guitar chords and melody to a pretty clear full-band approach. I love ambient guitars and textures. I love careful arrangements. I love rock and roll energy. I love great melody. I think that’s really starting to come out.

What’s it like performing in West Virginia? Where have you played?

As of yet, I’ve been working primarily in the Wheeling area. We have a dearth of legitimate venues in Wheeling, so I’ve been working with some other local artists (Michael Iafrate and members of Mr. Fancy Pants) to build a local original music scene through our collective, The Bridge+Tunnel Collective. I’ve just recently started to try to get out of Wheeling a bit. I actually just opened for Hello June at their CD Release Party in June at Joe N’ Throw in Fairmont, and I was very excited about that!

Now that you mention it, what is The Bridge+Tunnel Collective? And what do you hope to achieve with it?

Bridge+Tunnel was born out of dozens of conversations with other bands and artists in the Wheeling area who were all frustrated that there weren’t many real mid-sized venues that promoted local, original music. We felt like we needed a hub for musicians to get together and help promote each other, trade tips and ideas and especially try to find spaces willing to partner with us to host shows.

Our first partnership was with Artworks Around Town (in Wheeling’s Centre Market). They have a gallery space that has been hosting original music the 3rd Friday of every month. We’ve taken over booking and now help run those events.

Ultimately, we want to act as a sort of virtual music venue. We feel like every scene needs that space that acts as a hub. You can meet every type of artist there: photographers, videographers, graphic designers, engineers, producers, songwriters, guitar players, etc… Since Wheeling doesn’t have that space yet, we’re trying to be that through the events we put on around town and through our online community.

What’s been the highlight of your musical journey thus far?

I’ve had a lot of great experiences on the road when I toured with bands and artists out of Nashville. I got the opportunity to tour with some of my best friends, and that’s really hard to beat. But, so far, it’s the making and releasing of this new EP. I have been a part of several projects in the past that I’ve been really proud of. This record has surpassed anything I could of imagined. I really think this record says what I set out to say.

What’s your advice to anyone starting to make music?

Just do it! Take some chances and introduce yourself to other musicians that you like, even if you’re awkward (trust me, I can be pretty awkward). Don’t worry about getting things perfect yet; just get out there and publish your tunes, play some open mics, get feedback and just keep making more music!

What’s it like making music in West Virginia?

At first it was frustrating. I had been a band guy my entire life, as I’ve always preferred to collaborate, but I couldn’t find anyone that I thought I could work with. It seemed like an entire generation of musicians fled the Ohio Valley for music hubs like Nashville or New York. After searching around for a while, I found 3rd Friday at Artworks and discovered a number of interesting bands and artists. Gradually over the last couple years, I’ve met more and more musicians who are interested in working to rebuild a thriving scene in Wheeling.

Joshua Lee performing at 3rd Friday at Artworks in Wheeling.

Do you feel held back by being in West Virginia? Or does it feel like a musically-supportive place?

As a relative newcomer, I’ve been blown away by what I’ve found in West Virginia. I hadn’t realized what great music was happening in places like Huntington, Morgantown, etc… I didn’t know about how supportive West Virginia Public Broadcasting was of homegrown artists. I’ve been impressed and inspired by the work of people like Ian Thornton. I feel inspired to help grow the original music scene in Wheeling and for us to be able to help contribute to growing the scene statewide.

What, in your opinion, needs to happen in the West Virginia music scene for it to move forward?

We need to continue to spread the word that there is good music here and there is a scene. We need to continue the work of connecting the dots, so to speak. Also, in Wheeling, one of our primary interests is trying to show younger musicians that they don’t need to leave town to be a part of something great. We need to work to retain young musicians so we can continue to grow the scene from within.

Joshua Lee’s debut EP is Promise Land. Hear more #WVmusic on A Change of Tune, airing Saturday nights at 10 on West Virginia Public Broadcasting. Connect with A Change of Tune on Facebook, Twitter and Instagram. And for more #WVmusic chats, make sure to go to wvpublic.org/wvmusic and subscribe to our RSS / podcast feeds.

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