The Good, the Bad and the Ugly 

A conversation about the Boise music scene with five local music mavens

Boise Weekly sponsored an open discussion about the Boise music scene in which we talked about the good, the bad and the ugly with local music mavens.

BW: So what is the good about the music scene in Boise?

TRUDY: I think the music scene has grown tremendously. I don't think it is quite where it needs to be, but if anybody can recall two or three years ago some of the only bands that could get a gig were bands that played cover tunes. There were maybe five or six venues throughout the city of Boise for them to play. So typically a lot of the underground music, the punk bands, the metal bands, heavier rock bands, the original bands really didn't have a place to play. I think about two-and-half years ago we saw Rock the Lots come to Boise and giving a lot of the original bands a place to play at various venues throughout the summertime. The Big Easy has opened up their door. Club Savvy's had a stint with live music. The Bouquet is doing it now. I think it's grown tremendously but I think it's got a long way to go. I think we can take our hats off to the club owners and organizations that have pushed to make that happened.

ELIJAH: We're talking about the good, right? I think it's good to see the Bouquet to give itself a new image and allow a lot of the bands that you mentioned to get in there and play. I think they've done great things lately. We always have to mention the Neurolux. They've always brought in great bands from out of town and allowed local bands to open up. And provide a great atmosphere.

BW: Tim, you've done some good things for the local music scene. You're doing a local music show.

TIM: Well, we're getting as much on there as we can. I mean right now it's basically Michael [Deeds, co-host of Other Studio] and I are trying to do it as we get enough that warrants the airplay we'll do shows quarterly on the River. But that's obviously a later at night thing. I think, hopefully, the public radio station is doing a little bit in getting local bands on the air. I know it's on AM but ... You know, the whole thing is cyclical, though. Watching almost 20 years of bands trying to play in Boise, places come and go, and the bands... There seems to be periods when things are really dreadful followed by periods when things are a little less dreadful. There are places that support not just the cover bands-that's always been the case. You mentioned the Bouquet, but hasn't the Venue been bringing some bands in, in addition to the Big Easy and other places? So I think all that's positive. We are really trying to step up to the plate and offer bands a place to do CD release parties now that the PA is in across the street. The 16-channel board allows us to have a little bit more than just an acoustic in there. So we're going to try to work that more.

TRUDY: At the radio station?

TIM: At the Record Exchange. It's a chance to help bands market themselves a little more than some of them do. That's going to be fun to try and figure out.

ERICH: I think that's been a really positive thing actually, doing in-stores with local bands.

TIM: You know, the bands get a little attention on our chart which means the labels see that because it goes out everywhere. The store has always been tied in with local music. Always people who have been playing in bands for years work there. So it's something they just like to do. And now we do more of them.

TRUDY: I think the RX, what they do is that they don't hide music like the national chains. You can walk in the door and actually find the local music section. And then, I know we're crossed-referenced in the local music section and the heavy metal section. Then you can also get on to listening stations there. Another thing, a lot of bands want to sell their CDs online. I have no idea why they don't just call the RX and go, "Look, you know, you're a local business, you can fulfill the CDs, we can have a great web page, link to that." I mean they'll even sell local CDs online for bands.

TIM: That's the reason why a gospel record was our number four seller last year. Because Cherie Buckner had us do fulfillment for her. Unbelievable numbers of a gospel record that sold online.

TRUDY: A lot of bands are always looking for solutions. Call the RX. All you have to do is put a link on there. And you're good to go. You've got your music online now.

TIM: We're working on a way to put samples on there too.

TRUDY: That would be awesome.

J: Personally, I think coming up from Southern California, the percentage of really good musicians here in Boise is better than a lot of places I've been. There are a lot of really talented bands in this valley. I think that's the best thing about the scene. Once people start listening to it, I think they'll fall in line. I was in a band in Southern California, you know So Cal, there are a million bands on your block. They all suck, pretty much. I've only been up here for a few years and in the scene heavily for the last two years. But I've seen a lot of really talented bands in this valley. It's different from other scenes.

ERICH: There's a lot of good music being played in Boise lately, for sure. When I moved back here from Seattle it was the same thing. I left Boise and there were pretty much three bars you went to and it was always cover bars. When the Neurolux opened up it opened the gates for a everybody else to follow. I think it's impressive they've been able to do original music for so long in Boise. I think the Neurolux is a very positive thing in Boise for sure.

ELIJAH: There's always bar venues to consider, but three or four years ago there was this place called the Sotano which brought in a lot of bands from out of town. It was basically someone's basement.

TIM: They really had some great shows there.

TRUDY: I remember seeing a lot of shows there ... not personally, but I saw it advertised.

ELIJAH: It was a really intimate setting. You crammed into this basement and everybody was basically shoulder-to-shoulder, seeing these bands that nobody heard of. It just kind of slowly faded away. There are things happening now, as far as that basement scene goes. The Riot Factory is bringing in out-of-town bands and there are a lot of good things going on with that. A lot of local acts having an opportunity to share their music with people they wouldn't be able to share it with anywhere else. Just considering the state of the scene it is a little difficult to get shows sometimes.

BW: So that's a bad?

ELIJAH: No, there's so much good going on. We can talk about that for a while. For example, the Riot Factory. I'm responsible for the majority of booking at that venue. There are a lot of great things going on there. It's just a matter of promoting it and getting people out to it. People always have a good time. It's a safe, non-violent atmosphere. Last night we had a man from Australia and a man from Switzerland come. They were doing an international tour, a noise act. It was something that Boise has never seen before.

TRUDY: Now when you say a noise band, what do you mean?

ELIJAH: There's noise bands in Boise right now. Monster Dudes is one that's incredible. They were supposed to play last night but it didn't work out. This man from Australia came and took a pane of glass, filled his mouth with KY jelly with contact mics up against the pane of glass and proceeded to make sound effects with a series of pedals. He created an enormous amount of noise using that form. And then he broke the glass on his face and continued to bleed. It was something Boise has never seen but everyone walked away enlightened in some way or another.

TRUDY: Different is good.

ELIJAH: Different is good. There's local bands doing that right now. Tim Andrea is an artist I admire. He does some amazing stuff. He's really a good performer. Monster Dudes does the same.

J: There's some really good underground bands doing stuff right now.

BW: So what's bad? Save your big disses for the Ugly. But what's bad? So how can we improve it? What's wrong with it?

TIM: I don't know how much of it is in anybody's control. It's a matter of business conditions for the people that take a chance to provide a place for there to be music... to make it worth their while. I think we're always going to be hoping for venues for some of the smaller acts that don't have a home... at the Neurolux level, or the Venue level, or the Bourbon Street level.

BW: Is there a need for more venues?

[Everyone agrees]

TRUDY: I would definitely say so but first I'd like to preface it ... when you talk about the bad, one of the toughest things I think that the local talent has to deal with is the community not supporting local talent. You can say, "Oh it's just a local band." But to reiterate what J was saying, the talent in this market kicks ass on areas like Seattle and Portland. When you take a look at the bands we have, 85 to 90 percent of them are great bands you want to see time and time again. I think we're trying to communicate that to the general populace and saying, "Look, I know you'll stand in line forever and pay $30 to see a show of a band you like one song of, but you can pay $5 or $3 and see two or three local bands that will blow you away." I think that's one of the bad things. How do we position the local talent and gain the local support so that we can get more venues? Sure, there are enough bands to go around, and, yes, we can get more venues, but unless we can get the community to support that, financially these venues will not be able to go in and stay long term. One of these business conditions is gaining support from the local community.

ERICH: You might even say that one of the bad things is businesses are hot and cold. When it does go into a slump, they don't stick with it. Maybe some of them could diversify a little bit.

BW: Is there a need for more local radio play?

TRUDY: Is there any?

TIM: I'm guilty. I work for the smallest of the corporate radio outfits here and the only one, I think, that is playing local music and specialty programming. Radio is a monster and it always has been. Hopefully this community radio project comes to fruition and I know the store will certainly be involved in supporting that. But radio is always going to tough.

TRUDY: It's not tough in larger markets. That's the interesting thing. You go to Portland, you go to Seattle, San Francisco, Modesto ... we're being played on radio stations in Northern California right now, and on college radio stations. The interesting thing is that as long as these stations continue to be owned and operated by major corporations they are never going to play the local music. Up in Seattle, I don't know if they're owned by majors, but they'll sponsor local shows, show up and do live remotes, they'll do on-air mentions, they have local show calendars. Even if we don't get played, if we could at least have on-air calendars. "This week at Neurolux we've got this band... at Grainey's we've got this band." Just creating that excitement for the consumers in this market that are currently not attending local shows. I think that could take us even further in to getting more people at the shows.

TIM: I think you're going to see some big changes on the Statesman's part ... not to bring up a bad word ... but I know there are some efforts being made as far as entertainment calendar wise. But at those radio stations it is all about revenue. Even in those larger markets it's coming from club owners and Budweiser ... the people who can afford to underwrite all that stuff.

TRUDY: It's all about revenue, but the thing that really pisses me off is who is giving them that revenue? It's the local patrons of this market that is making it economically available for them to stay in business. But yet they don't turn around and support the local music scene. And that is what makes me mad. I know people that own businesses and sometimes, gosh, you don't want to cut off your nose to spite your face, because you know advertising isn't working. But by the same token, don't they know where their bread-and-butter is coming from? It's coming from the local market and they need to start investing in the local market. Period. And that's the way I feel.

BW: You mention the Statesman ... what about the print media? What is bad about the Weekly, the Statesman?

TIM: I don't know. It seems the calendar is getting bigger and bigger, and more and more space is allocated for those arts events and calendar sections. I don't want to sound like George Bush and totally screw up an old saying, but you guys can provide all this information but that still doesn't get a reader to open it up and look at it if you're not interesting in the first place.

ERICH: Radio would be nice and having a local radio show would be nice but I personally don't think that's where people are going with their music to be honest with you.

TIM: I think you just hit the nail on the head.

ERICH: I think that between MP3s and Satellite radio, that radio itself is a dying form of media. I won't predict how long it will last but I know for me that in the bar it's XM satellite radio. In my car it's satellite radio. I hardly listen to the radio anymore. I've done radio advertising for shows that were highly targeted for certain rock bands and I've done straight print advertising for bands like Fishbone that completely sold the place out with no radio. I don't think radio should be held accountable or responsible for the future of Boise's local music scene. I think having a show would be good. As far as just for advertising ... I don't know.

TIM: I think there needs to be an online community started... and it takes money.

BW: There's your segue way J.

J: Speaking of bad things, there hasn't been that online community. We've only had the Web site ( up for a year. There are 43 bands involved and basically all it is, is a support network for the bands so they can all talk to each other. I post all their shows on one Web site. If they have cool news they e-mail it to me and I post it. It's just easier for them to go to one Web site than 43 Web sites to check out the news on all the bands. They can go there and see it all at once. We've improved the calendar on it. The community is growing. It's getting bigger. We get bands every week joining up.

TIM: Do they post music on there?

J: No, I don't have the right equipment.

TIM: That's the level it needs to go there to get people excited about the scene. You're talking bandwidth and money to do that, but more than anything that would probably help. The Neurolux Web site, that message board is active. Very active.

BW: It has its ups and downs.

ELIJAH: It is really awful as well. That is something bad.

BW: It is grotesquely awful-the online community scene.

ELIJAH: It's not a good thing at all.

TRUDY: Speaking of satellite radio ... they actually killed their unsigned artists show. Sorry for changing the subject ... they used to have an unsigned artists show, we're sponsored by Jaegermeister and they were encouraging all their bands to sign a petition to get them to keep that. It's still back to getting unsigned artists being heard without going to the individual Web sites and just having them broadcast nationwide.

J: That's where corporate sticks their big foot in there with the word "unsigned." Who cares if they're unsigned or not? They have professionally recorded CDs. Why aren't people hearing it?

BW: Local recording studios? Do we need more?

TIM: Well there's that one place that just opened with those two guys that used to work at Audiolab.

TRUDY: Def Dog?

ERICH: Def Dog is no more.

TRUDY: They're down already?

ERICH: It was a bad scene there. They closed up, I think, two weeks ago. It was not a pretty divorce.

TRUDY: That's not good. I think it's just about finding a really talented engineer in this market. The market is really used to recording folk music, light rock music, country music. But when it comes to some of the new music, the noise music, the punk, the heavy metal music, the engineers in this market are not used to mixing and producing that. I think it's getting better and the quality of the CDs local artists are doing have risen above where it's ever been. We've got a local guy by the name of Chris Watkins who has a recording studio in his basement. The guy is just amazing. There's really a lot of talent here. He just did the Final Underground CD, he did ours.

ELIJAH: I think that's the trend these days for people to take it to their home. Do it straight out of their bedroom, or their basement or the home studio. That's what is really amazing about it. They can produce professionally sounding CDs out of their own home and not have to worry about $1,000 for two hours or two weeks of recording time. I think that's what helps the scene flourish is when the smaller guys can rise above ... getting away from that corporate stuff. I know that my brother runs a recording studio and does some amazing stuff. He's in a band called The Very Most.

TIM: Are you Jeremey's brother?

ELIJAH: Yeah, Jeremy Jensen.

TIM: The dots are connected. I've heard you on records forever.

ELIJAH: Play me on the radio sometime.

TIM: Well, actually ... did I just get Unicorn Feather? I'll get that uploaded on the Web site. It will probably end up on one of the shows.

ELIJAH: There's also For Hazel Magic, run by Tristen who's done some really incredible stuff. And any band, I really shouldn't say this, but I'm sure he's pretty open to recording people that need it. I think he's easy to work with and is an amazing engineer.

J: There's opportunities to record here. I think Boise is a good place to be if you want to record an album. The software on the computers is definitely making it bad for the studios, because you can make a professional sounding CD in your living room if you want. But another bad thing, [to Tim:] not your radio station, but the X, I heard that one of the reasons they don't want to do local music is because CDs don't sound professionally made.

TRUDY: Yeah, three years ago maybe they could have said that.

J: Now they do. We have 13 bands in our membership with CDs that sound as good as any CD you buy from Hastings or Record Exchange.

TIM: We used to play local music on the X when I was program director there but that changed quickly.

J: The buzz is that they're trying to start it again, but the latest thing I heard was that the CDs don't sound professional.

TRUDY: I talked to Big Jay the other day-sent him an e-mail to find out where they were with that-also to see if any local bands could get on their Cage Match. He said they will not do any local bands on Cage Match anymore. The last time was two years ago. The show he originally thought was going to be a local radio show-I'm assuming was going to be on Sundays-is not going to appear be as local as he hoped. So he doesn't even want to dee-jay it.

TIM: Jeremy gets frustrated. I've been in that position.

TRUDY: He's a good guy.

TIM: I've been in that position. At some point you just throw your hands up in the air because you are constantly being told "no" by these people who don't understand the connection to the market and the importance of what that means for a more significant percentage of listenership than they ever knew. It's really frustrating.

BW: So what's really ugly?

TIM: Apparently the Neurolux message board, which I've never read but I hear people out front talking about it.

ELIJAH: Bitter, bitter, hatred.

TRUDY: It is. They talk shit about everybody.

TIM: I guess I've got to go there later tonight and see what they're saying.

ELIJAH: I remember getting on there one time and there was 43 posts just railing on an individual for whatever the reason, I forget now. I never wanted to visit it again. It didn't seem like the appropriate forum to get anything done. It's digressive.

BW: It's freedom of speech in its ugliest form.

TRUDY: And it feeds the negativity.

BW: People try to get on there and be positive and they become the victims.

TRUDY: Angry Potato ( is the same thing. When I first started posting things on there, when I first started managing Paylface I got so many comments and e-mails, I said to myself, "I don't need this."

ELIJAH: One thing with Angry Potato is that it probably could be good for a lot of people. It just caters to a certain type of music. I think that's what it is.

TRUDY: I think that's grown. It's diversified.

ELIJAH: I don't get on it much.

TRUDY: I think it's the individuals. It's very negative and very childish. There's an opportunity to really network bands together on an open forum like that. But unfortunately there's always a few people that go in and just make it horrible. If somebody new goes in there and post something on it, they just trash them. That is a great community welcome. I think negativity is so common that it is part of the ugly problem here in Boise. If you had a message board on your site, which you don't on Boise Local Music Group (, I could see that as a way that bands could really network and talk. But we don't have a message board on our site basically due to the shit that people have all over the place here.

TIM: There's a way to run a message board, though, where people register to be able to participate and to keep an eye on things.

BW: We had that and we would ban people.

TIM: Well, you have to have that ability.

BW: And then it became a nightmare to manage.

TRUDY: Was yours the same way? Very negative?

BW: Ours was much more political and a lot of conservative... no discussions about music. I wanted it to be about what's happening in Boise. It ended up being these people all over the country railing on Bush and John Kerry.

ELIJAH: These message boards, though, are representative of the attitude that exists here in Boise.

TRUDY: You're absolutely right. And it's ugly.

ELIJAH: I don't want to say anything about any individuals. I never will. But Boise, in general, has too much of a hipster attitude.

TIM: Do you think that it's because it's such a small town that they're all just feeling... what is it? Are they too jaded for their own good?

TRUDY: I think it's jealousy. There are people not willing to do anything for their own band and to be assertive and to be aggressive. So they sit around and talk shit about the people that are aggressive and assertive, have objectives and know what they want.

TIM: There is a definite difference. We can tell when a band walks in to the store and has their shit together ... much more so than when a band says, "Hey, here's my CD." That might be what you're talking about.

TRUDY: If you're getting gigs, if you're getting shows, endorsements, sponsorships or whatever, people just talk shit about it rather than congratulate you, because they are too damn lazy to do anything for themselves. I think you're seeing a lot of that in this market. I think that bands are sitting around going, "How come we don't get this? How come we don't have a band bio? How come we don't have a band photo? How come ..." Well, get off your ass and put one together. I hate to be so specific about this, but it's just like a business. If you have a business, are you going to depend upon everybody else to make that business successful? Well, you have to depend upon yourself first and then market appropriately to get the consumers into the business so that you can be successful. I think that the talent in this market-there's definitely bands in this category in this market and bands in that category in this market. These bands have their stuff together. Are they going to be better musically than the other bands? Probably not. But these bands are more assertive. They market. They network. They put together good promo kits and they represent themselves as professional even though they're a local band. I think that's where a lot of the frustration comes from.

BW: Erich, what's been your experience with bands coming in wanting to play?

ERICH: Bands come in and call every single day. Some are a lot more organized than others. Some are a lot better than others. It blows me away how many bands are in this town, for sure. But I haven't really experienced any negative attitudes from anybody. Most of the people that are in bands that come in the club all the time usually have positive things to say about every local band. So my guess would be that people who have a lot of negative things to say aren't where they want to be in life, whether that's a musician or whatever ... so you take it out on the message board. As far as the ugly thing that I think about the scene right now, there's a monopoly on a venue of a 1,000 seats in this town, in this valley. There's no where else to seat. I'm not going to name names but in other cities you have several venues that are 1,000 seats, 750 to 1,000.

TIM: Oh my god, but we didn't have that forever. Some of us have been here for years and we ... I don't know how many miles I put on my car driving to Portland, Seattle, Salt Lake City to get a venue.

ERICH: I remember seeing the Red Hot Chili Peppers at the ballroom at BSU ... '84-'85, something like that.

TIM: But that's dealing with Boise State, and most promoters don't want to have to go through the crap you have to deal with to put a show on there.

ERICH: I think honestly, right now, that because there's only one venue that supports those acts that play in the 750 to 1,200 seat range that it stifles a lot of what happens in Boise from the national level. I also think that we probably pay a little bit more in comparison to salary ratios than we should. The music industry is so down right now, and bands are playing for a lot less than what they normally would have in the past. I think that when you take salary income to entertainment ratios in Boise ours has to be high. You can go to Seattle or Portland and a see a show for $5 to $8 but people there make a lot more money. I'd just like to see another venue of that size.

TIM: That does happen during the summer, but there are venues that aren't operating near town. You're going to see a lot more shows out at the winery this summer than there has been.

TRUDY: That's a great venue.

TIM: They've been very aggressive and have made a lot of improvements out there.

BW: Are you talking St. Chappelle, or the Winery ...

TIM: The Winery at Eagle Knoll. They've lined up some pretty cool bands like the Ducks, more bluegrass, more folk, adult rock stuff. They're looking to get a venue back as well and have made a lot of improvements as well.

TRUDY: What about the Shakespeare Festival?

TIM: It's usually so packed it's hard to get a show in there.

ERICH: I just can't see alternative rock shows out there. They'd never go for that. Same with the Egyptian Theatre.

TIM: They wouldn't book it.

J: I don't know, I think the bands would play it.

TIM: The venue wouldn't let it happen.

TRUDY: What about the Grove?

ERICH: Outside or inside?

TRUDY: Outside.

ERICH: Isn't that Alive After Five? That meanders back into good ...

[Recording becomes undecipherable due to loud woman in the bar but bits of the conversation could still be heard.]

... it's going to piss people off ...

... I thought that's what the point was ...

... this is very ugly....

... national touring, mostly regional ...

... bring people downtown Wednesday nights ...

... I love Rebecca Scott ...

... They've had good weeks and bad weeks ...

... the weather killed them last year ...

... good for the economy ...

... the smart places will market themselves after Alive After Five ...

[Loud woman leaves]

J: I think one of the really ugly, ugly things is bands having to pay to play. It's got to be one of the ugliest things ever.

TIM: Where does that happen?

J: Here. Not very often. But what happens all the time is bands don't get paid to play.

TRUDY: They pay to play.

J: Well, basically, they are paying to play. They're using gas, carting their equipment. I commend you, the Bouquet, for at least giving them the door. We won't talk about those 1,000 seat places, you'll never get paid there unless you're huge.

ELIJAH: I dealt with that at a specific venue. I won't mention the name. But with my act I played for a show that sold 350 tickets and wasn't even offered a dime for my efforts that evening. The only reason I got paid was because one of the touring bands went to their envelope and paid me out of their take. So that is pretty ugly.

TIM: We never got paid once for opening for national bands when I was playing. The only time we ever got paid was when we were playing four sets a night at the freakin' Crazy Horse when I was 18 years old.

ELIJAH: I remember that place. That's another ugly thing.

TIM: The biggest paycheck I ever got as a so-called musician was playing at that craphole. Then it was half-original, half-cover. But not a dime ever for opening for anyone, whether it was at the Zoo or wherever. But you also have to kind of go through that, if you're a band that is going to try to look long-term, those are some of the things you unfortunately have to do I think.

TRUDY: To get established.

TIM: So we never complained about it. It was a chance to do something we wanted to do anyway. We never thought we'd be REM or whatever. We just wanted to play.

TRUDY: It's a very good point. When you talk about the band objectives-every band has different objectives- but I know with us ... yeah, it's great to get gas money going from town to town. But the most important thing to Paylface is fans. Because without our fans we'll never reach our objectives. And being able to play in a great venue. And pay to play is definitely part of that. We've spent big money to play some venues. But locally we never want to get in to that. If we get a percentage of the door, a little of the door, then that's great. But bottom line it's about sharing the music, because we have long-term goals.

ELIJAH: It always comes down to sharing the music. But at least cover some gas money, or time spent. Make it worth the artist's time to make them want to keep playing.

J: This slips back into kind of the ugly. Cause you know the bands aren't going to stop playing, I'm in a band myself and we have to go play for free all the time. And we're going to keep doing it. Cause we love doing it. But most of the venues out there, they know that and they're going to exploit it.

TIM: That's awful. I had no idea.

TRUDY: We usually get a minimum because I work with booking and promoting agents. They go, "I will guarantee you X amount." And that's enough to pay for a 100 miles in gas or whatever. But if the goal of the band is that what it wants to do, these are some of the roadblocks they will have to face. It would be great to get paid, but that's not a reality throughout the country.

ELIJAH: To get back what you said, Tim, and I know you referred to the Crazy Horse as a craphole, and it kind of was...

TIM: It was, but, my God, we were down there every night.

ELIJAH: And it was a room where all-ages could show up. There were some great bands that came through.

TIM: Well, it was the only place to see bands like that for a while in Boise.

ELIJAH: We don't have that anymore in Boise, that's the problem.

TIM: Well, you know, the Venue has stepped up.

ERICH: JD & Friends.

ELIJAH: The Venue has done a good job brining in hard core bands. And they do a good job bringing metal acts in, but they haven't done a good job of bringing an indie crowd out. Or whatever. They're doing a good job with all ages.

[a cell phone rang and lost a portion of the recording]

... not since the shooting. It's not all ages anymore.

ELIJAH: The Venue?

TRUDY: No, I thought you meant JD & Friends. I'm sorry. No, The Venue's great.

J: JD and Friends.

ELIJAH: Which was the Crazy Horse.

J: They just recently stopped their all ages.

TRUDY: The Venue seems to be doing a great job.

TIM: Well they're stepping up and booking the bands that Alan doesn't have time to do anymore... that he would have done, but he just doesn't have time anymore.

TRUDY: Alan who?

TIM: Alan with the Neurolux. Think about it. A lot of the shows that play at the Venue once upon a time would have played the Neurolux. But it might be too small for it now ... or Alan may be too busy ... or whatever.

TRUDY: We've never played the Neurolux. It's a great venue.

TIM: The crowd can sometimes be... well, we've already established the fact that it's got the nastiest message board in the world.

TRUDY: Well it's a very eclectic crowd.

BW: So what can we do better?

TIM: I think it's really good what you're doing and you should think about expanding this, maybe a one-day seminar for local bands. Treat it like SXSW does. The first day of SXSW is band school 101. I think you and Trudy and these guys could offer a lot for these guys in bands getting started. I could get the manager from the store there to talk about what we'd like to see when you bring a piece of music in to the store. How we can help you market it. You'd maybe able to get some nice PR out of it too.

J: Getting people involved to stick it out, when times are slow. And if we do actually get a community of bands, a radio station or two, the Weekly, some record stores that actually want to keep in good communication. If there is a slump, maybe they stick with it. It will all get better I think. But it's going to take some effort to stick it out during those slow times.

ELIJAH: I think I would like to see is more community-sponsored events. Outdoor concerts highlighting local bands only. There's the Hyde Park Street Fair, which brings in a couple bands. But I haven't seen anything that has really brought the community together and exposed them to these unknown bands. I think that's what is important. You've got to have something lined up.

ERICH: I'd just like to see everyone keep coming out and playing. Keep it up. Definitely there's some decent venues for people to play. Keep jamming.

BW: Any predictions? What's the music scene going to look like in five years?

ERICH: I think it's going to continue to grow and flourish. There are a lot of good musicians in Boise, the valley and the state, for that matter, and I think that as far as those bands keep going out and playing, and as long as those musicians keep going out and watching other bands you'll see good things happen. I think you'll see some good stuff coming up. Good relationships.

TRUDY: I think that, once again, we have to look at where we were at three years ago and be thankful of where we are at right now in this market. Keep feeding on the positive. The other thing is really talking positive about the music scene and helping it to grow with the group. I also think that the BLMG and the Boise Weekly should get together and do a monthly live show at the Grove.

BW: Good ideas. We've got plans once we move our offices this summer to do more events. Creating a sense of community.

ELIJAH: That is exactly what this all boils down to. Bringing Boise closer together.

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