When we look at the history of popular musical revolutions of the 20^th century, it is hard to dismiss the role that geography plays in helping to create and sustain a vibrant musical sub-culture. Whether it was the birth of Jazz in New Orleans, the urbanization of the Blues in Chicago, the blooming of pscyhadelia in San Francisco in the 60’s, Punk in the New York underground, or the rise of Grunge in Seattle, the progress of new styles of music are inextricably linked to the regions that gave birth to them. But what is it about these regions that helped facilitate and nurture these growing movements into the musical revolutions we know them to be today?  What are the factors that turn a hand-full of like-minded musicians into a cohesive scene? Although there is no scientific formula for predicting where the next great musical innovations will occur, there are a number of key ingredients which help shape any musical community, even yours.

            While some of these ingredients may seem obvious even to the untrained musical historian; the rise of major metropolitan cities, the changing cultural landscape, the invention of electric instruments; there are just as many factors that go virtually unnoticed, while at the same time having a subtle, yet profound influence on the creation of a sub-culture.  Factors such as the economic infrastructure of a city, the organization of social groupings, even the weather, have a direct effect on the success of musicians in creating a social identity, yet are usually only observed in retrospect by the most thorough cultural anthropologist. But you don’t have to wait for the history books to explain it to you ten years after the fact. If you know what to look for, you can recognize some of these factors in your own musical community and in some cases, help change them for the better.

As an example of a burgeoning music scene, and a model from which to understand some of these factors in a current setting, I offer up my home for the past three years, Portland OR.  Although by no means a cultural phenomenon on par with the examples I listed above, it is nonetheless a city trying to come to terms with its own musical identity and bring some form of organization and community support to the thousands of musicians and music fans that call it home. It is a city bursting at the seems with creative energy and talented artists who want their music to be heard and appreciated, a city whose government and citizenry support the arts and provide venues in which to celebrate it. But it is also an area with an alarmingly high unemployment rate and few decent jobs outside of the service industry, a city whose budget shortfalls and economic depression have caused local schools to cut their funding for music programs, as well as an area in which an influx of upper class families has caused an increase in social gentrification. So how is it that, amidst the economic hardships and overcast skies of this northwest city, musicians are still able to develop their creative impulses into a vital and sustainable music scene?  Ironically, it is some of these same hardships that helped give birth to this up and coming musical community.

Portland has always prided itself on its livability. From its emphasis on urban planning, public transportation, and sustainability, Portland has gained a reputation as a city that understands what people want, not just what they need. Rent is cheap, getting around is easy (even without a car), public services are plentiful, and its tightly knit neighborhoods make it feel more like a small town and less like the large city that it is. So it is no surprise that musicians and artists would be drawn to the cozy confines of our own little utopia. Except in a few cases, musicians tend to make a lot less money than other professionals, and cheap rent seems to be the perfect antidote for those with little disposable income. But the question poses itself: If this is such a great place to live, then why aren’t more people moving here? Why is rent still so cheap? I can answer that question with one word: Jobs!

Because of the high unemployment rate, Portland residents have generally low incomes. Low incomes mean that landlords can’t ask much money for their spaces. Now this may not be good news for the business community or those looking for high paying professional jobs, but for those of us who find our satisfaction in creative pursuits, it is the perfect place for us to spend less time worrying about money, and more on our craft. Of course even the most dedicated musician needs to make money, and there is no shortage of low wage jobs in food service or bartending. These aren’t jobs that would help you support a family, but ones that would allow you to make a living while you pursue other interests. And this is exactly why Portland has become a Mecca for musicians and artists.

            Judging by its progressive agenda and support of the arts, it should come as no surprise to find that Portland is a hotbed of liberal thinking and blue state politics. Some of the largest protests against the war in Iraq were held in downtown Portland and it is the home of several environmental and grassroots organizations. It is in this progressive cultural atmosphere that musicians find themselves challenging the musical norms of a populace weaned on MTV and Top 40 radio. Most musical revolutions have found their voice as a reaction to previous cultural trends. Grunge was a direct assault against the glitter and posturing of 80’s hair bands, just as Punk was a reaction to the self-indulgence and excess of Disco. Any cultural movement can be defined as much by what it stands for as what it stands against. In these days of corporate controlled media and manufactured pop stars, Portland musicians have embraced the authenticity and immediacy of the Do-It-Yourself approach and are striving for a level of sincerity and quality that the mainstream media can’t seem to produce.   

Another factor that plays heavily on Portland’s musical and cultural development is its weather. For nine months out of the year, the skies turn a muddy grey color and the rain begins to saturate our fair city. Seasonal depression sets in, people shrink back into the comfort and dryness of their homes, and they channel their somber feelings and long hour’s in-doors into moody, melancholy songs. Elliot Smith is a great example of a Portland artist whose work seems to give a musical voice to the rain-soaked isolation of the city. When he sings, “Shine on me baby, because it’s raining in my heart” from his posthumous release From a Basement on a Hill, you can almost feel the way that the weather wreaks havoc on his emotions. But to say that all Portland music is melancholy and dark would be doing the community a disservice. In the past couple of years, there has been a re-emergence of bands that specialize in wildly upbeat anthems and youthful optimism in the city. It’s almost as if their bright harmonies and infectious beats are a direct assault against the bleakness of the NW winter. Either way you look at it, the environment in which you live has a profound effect on both your personal situation and the art which you produce.

            Not only are musicians affected by the northwest weather, but by its geography as well.  With Seattle almost 4 hours away, and the San Francisco Bay nearly a day’s drive, it is much harder for Portland musicians to take their music outside of the city. As opposed to the East Coast, where a band can be in another city in less than an hour and with as many as 6 or 7 different metropolitan areas to choose from, the West Coast has fewer large cities, and even more space in between them.  Although this makes it increasingly difficult for bands to perform in other cities (except for the occasional tour), it has the added effect of keeping bands local and their performances accessible. When bands play more shows at home, usually with other local bands, it fosters a greater sense of community as well as helping draw crowds that might otherwise not have heard their music.

            As for places to perform, there is no shortage of clubs that present showcases of local talent. Apart from the 2 larger venues, The Crystal Ballroom and The Roseland, which usually feature big name touring artists, there are several mid-range clubs that host a variety of lesser known touring acts and local favorites. The downtown area bustles on a weekend night as patrons move back and forth from such venues as Dante’s, Berbati’s Pan, and the Ash Street Saloon, sometimes coming for the headliner, but usually just to see one of their friends bands or to perform themselves.  But it is in the realm of the small club venue that Portland really begins to show its true colors. From hole in the wall bars that showcase electronic music, to gritty pubs that feature an assortment of punk and rock shows, to the quiet eateries and coffee shops that host open-mic nights for aspiring singer-songwriters, there are an abundance of local venues in which to perform your music, no matter what style it may be. It may seem completely obvious, but it’s true: the more places to play, the more music gets played. The more music gets played, the more it gets heard. And the more it gets heard, the greater the chance the musicians will realize the interconnectedness of their musical pursuits.

            That’s not to say that Portland music venues are immune to the sagging economy. In fact, clubs have just as hard a time staying in business as your local restaurant or grocery store. In the past few years, there have been an alarming number of popular music venues that have gone out of business, and not for lack of patrons. Local favorites such as La Luna and Conan’s Pub, once packed with great bands and eager music fans, have closed their doors due to rising rents and the high overhead costs of running a music club. Even the beloved Satyricon, the oldest rock and roll club on the West coast and former stomping ground of Nirvana, has sold its space to the newest trendy restaurant.

            But for every club that has been shut down, it seems that a new one has arisen to take its place. Just this past year, Portland has seen clubs such as the Bossanova, The Loveland and the Doug Fir open to rave reviews and packed houses. It seems that, even in this economically depressed area, the demand for music and the people that make it happen, outweigh even the toughest economic climate.  So what is it that gets these supposedly apathetic 20 something’s off their butts to create new clubs, new music, and new fans? What is the difference between a city full of musicians and a city full of musicians that actively works to promote a common identity and musical scene? Again, one word: Organization.

            Two years ago, based on a common sense of community and shared interest in Portland music, a group of musicians, fans, and promoters got together to form PDX Pop Now, an organization dedicated to celebrating Portland music. Two compilations and two free three day music festivals later; PDX Pop has become the model for a community based musical organization. Their website declares that “PDX Pop Now is a non profit organization dedicated to promoting the music made in Portland. Through efforts like the PDX Pop Now music festival and the PDX Pop Now compilation CD, we strive to expand Portland’s music audience, and to enhance the sense of unity and purpose within our community. The nation has turned its ear toward Portland and we hope to help our diverse musical community make a loud roar.” The 40 different bands that performed for free over the three-day festival this past August represented the variety of musical talent and creative energy that this town has to offer. But it wasn’t just the musicians that did the work. Promoters, artists, recording engineers, club owners, sound technicians, and music fans gave up hundreds of hours of their time to make the festival a success. And for those that caught even a portion of the musical acts, it was a sacrifice well worth it.

            So, you ask yourself, apart from the favorable external conditions and a desire of the participants to achieve a unified musical community, what does Portland music actually sound like? What makes it unique and relevant in the frenzied sea of tastes we call popular music? That, my friends, is not such an easy question to answer. Certainly the emergence of indie rock as a viable and profitable commodity has influenced countless up-and-coming bands in the Portland area. With its slacker image and thrift store aesthetic, indie rock seems the perfect category for Portland’s disaffected, under-employed and musically adventurous twenty-something’s. But when you look at the variety and diversity of the local talent, you begin to realize that this is only one of the many musical sources that they draw inspiration from. In the past couple of years, there has been a growing trend towards incorporating electronic elements and unconventional instruments into the traditional rock band format. With the growing availability of inexpensive digital gear such as samplers, drum machines, and sequencers, musicians are able to bring new life and modern musical ideas to the often-stale Guitar/Bass/Drum lineup. With the growing sophistication of computer technology, some groups even use laptops in their live performances, often using pre-recorded tracks that meld seamlessly with the live instruments. It seems that Portland musicians have embraced this new technology and have used it to produce intriguing, unusual, and often striking results.

Although Portland isn’t yet a cultural landmark in music, it does have its fair share of bands that have gone on to greater notoriety and national exposure. Popular acts such as Sleater-Kinney, The Dandy Warhols, and The Shins have become heroes in the indie rock movement of the past five years. And although they might not play as many local shows as your neighborhood band, their status as “Portland” bands has helped bring a level of national attention to our thriving musical scene. When local musicians have bands to look up to and say “they did it, and they’re from Portland” it gives everyone a boost of confidence lets everyone know that success is indeed possible. Every movement needs its leaders, and it should be very interesting to see who steps forward to represent Portland to the rest of the world.

            So, ten years from now, will music critics talk about Portland in the 00’s with the same reverence that they attach to Seattle in the 90’s or San Francisco in the 60’s? Who knows? Musical revolutions are hard to predict and even harder to pin down. It is impossible to know what trends the greater musical world will embrace and what bands they will champion. But what can be said of Portland, and what I expect can be said of a number of cities across the country, is that when you combine favorable geographic, cultural, and economic factors with a community that is creative, ambitious, and willing to organize, then you have yourself all the right ingredients for a thriving musical community. As musicians searching for creative satisfaction and personal recognition in a competitive and often hostile musical universe, it helps to understand our place within the complex social networks of our community as well as the greater musical landscape, and in doing so, possibly give the world its next musical innovation.

Portland bands to check out:

The Thermals

Talkdemonic

Menomena

The Planet The

The Joggers

The Snuggle-Ups

The New Mexican Revolution

Good clubs for touring bands:

Dante’s

Berbati’s

Doug Fir

Ash Street Saloon