Howler and the hometown hate debate

Jordan Gatesmith shares his true feelings on the music scene

Minnesota, Give Up. No, that's not the title of Howler's next album, nor is it the slogan for the eyebrow-raising marketing campaign the band just rolled out. But, if you were to read some of the things being bandied about on the internet regarding the interview that their baby-faced bandleader, Jordan Gatesmith, gave to the Guardian's Alexis Petridis, you might think just that.

There's been considerable hand-wringing—as well as some intelligent conversation—generated by Gatesmith's interview, in which he had some less than flattering words for his hometown music scene. What he said doesn't exactly qualify as grounds for controversy, so given the touchy reaction of some folks, it's probably just the kind of bratty behavior the Twin Cities could use more of. Lest we forget, it's just the sort of thing a journalist like Petridis would love Gatesmith to say about our exotic little backwater town.

Later on, Gatesmith had the opportunity to explain himself, and he struck a mature and contrite tone. Yet this episode once again brings to the fore a long-percolating subject of debate: Just how healthy is the Twin Cities music scene these days?

One of the funny things about Gatesmith's original comments—beyond, of course, the curious fact that he singled out the 4ontheFloor—is that he didn't really say anything new. Sure, there were the same old complaints about how long it's been since the Purple One and the 'Mats were doing their thing. Then again, who hasn't heard that dozens of times over? Far more compelling, and eloquent, was what Gatesmith had to say in an interview in January with Jim Walsh, when he wondered whether "Minneapolis is where dreams go to die."

Nonetheless, the response to his comments was swift. Over at the Current's website, Andrea Swensson wrote a nigh-on-seething blog post, wherein her relative lack of commentary was her harshest means of criticism. Meanwhile, Becky Lang threw her hat into the ring as well with an intriguing column over at the Tangential. Lang suggests that "what makes you famous in Minneapolis" boils down to two things: "Having a live show that people talk about and get social points for being at," and "having a lot of friends in the local journalism/music scene who will support you."

Oh no, she didn't!

Lang makes an interesting point, but she undercuts herself by speculating that "anywhere else," you need only to "have an interesting record" to be successful. Really? So the same can't be said of anyone in Brooklyn, or Chicago, or any other city? That's far-fetched, and somewhat naive.

What Lang is getting at, however, is the notion that the Twin Cities scene is too incestuous—another oft-repeated criticism of the local music here. But this, too, has always seemed like a flimsy argument. Say what you will about how technology has wiped out the need for local scenes, but it remains true that musicians working with other musicians, artists with other artists, is healthy. Some of the best local music in recent years has happened through collaborations and cross-pollination.

If the scene seems too cliquey, well, making connections is a reality of almost any business—and, like it or not, music is a business, and success a function of it. (Yes, that's also true of Elite Gymnastics and even Howler.) Hell, the real issue may just be that Minnesotans are bad businesspeople. The fact remains, however, that the musicians in this town are regular people, and they'll probably talk to you if you say hi. Same with us pesky journalists, in case anyone cares.

Perhaps a better way of phrasing things is to say that the Twin Cities is too insular. Gatesmith touches on this when he says, "They'll really build up these bands...that I will hate.... And then, of course, nothing will happen outside Minneapolis for them." This, really, is the crux of the problem, the root of our self-consciously wondering whether anything is "wrong" with the music here—our collective inferiority complex, you might say.

Once upon a time, this was something Swensson herself referred to as "the Current effect," back when she was working at City Pages. All things considered (pun intended), the local media have done a great job of trying to promote local talent. This is something to be grateful for, but unfortunately it has the tendency of becoming hyper-local and, sometimes, overly navel-gazing. The Current is a perfect example of this sort of double-edged sword: They even have a separate 24-hour local feed, but does our sense of that music ever get inflated and become too cheerleaderish? (To be fair, it's radio. If a DJ were to say, "Up next, here are three shitty bands," it wouldn't really fit the format. Then again, Blitzen Trapper, Dawes, and the Avett Brothers are all boring. Mumford and Sons, too. But I digress.)

Of course, the same is equally true of what gets written here, and at other local outlets, as well. In fact, while this writer is baffled by the suggestion in some quarters that we "need to be tastemakers" (a meaningless term), the local media should toughen up a bit, and give some honest, constructive criticism. It's better for the bands that way, and it would ease the perception that we're just a little too buddy-buddy for our own good. Ironically, when someone like Gatesmith says just this thing, the claws come out. Or, come to think, not ironically at all.

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10 comments
Justin Doescher
Justin Doescher

He makes good points, and he's only getting bashed because of his age. If he were 10-15 years older that his points would be accepted. He knows more about the music scene at his age (actually being a part of it) than a bunch of 30 something scenester barflies.

Taylor Cisco
Taylor Cisco

We don't need a scene (that 20 year old tool otherwise known as the Internet made the scene concept obsolete) but we do need to stop letting high school cafeteria politics determine who flourishes. Artistic success should be determined by the audience of the artists, not a handful of tastemaking gatekeepers. I've seen bands with solid, significant draws getting denied booking and/or airplay (even though the station receives dozens/hundreds or requests) because they weren't part of the 'clique.' That's just bad business. If an act meets business requirements (draw minimums, airplay requests, etc) then they should be entitled to reap the same benefits and coverage as the "cool kids."

DHanners
DHanners

That a local music critic would write, "Some of the best local music in recent years has happened through collaborations and cross-pollination" just kind of proves Lang's point about "having a lot of friends in the local journalism/music scene who will support you" as being one of the determinants of local music "success," doesn't it?

Magus
Magus

"Social points for attending" and "Twin Cities is too incestuous" BRAVO! Enough said. The Minneapolis music scene is dead. Anything good, especially events, to have come out of the area in the past few years have been ripped off from others who have been blacklisted for their creative intuition in regard to what needs to happen to revive this dull "backwater" area you all deem to be forward. We lifted you up once, we will not be doing it again. It is better to watch you all burn in your own egotistical miseries.

Jared
Jared

the best bands in the twin cities are the ones who dont get hyped locally but yet tons of people always show up for their shows. Whens the last time y'all went to a SKOAL KODIAK show? This kid has no idea about the music scene in Minneapolis, because we was never really apart of it... he's not even old enough to get into most of the best shows. Howler is just another hype story. Redundant music.

Where's the story?
Where's the story?

There's absolutely no difference between this scene and any other. They all have their cliques. What a shocker, you have to know somebody to get noticed? This kid is just that: a kid. When he can legally have a beer maybe I will then listen, or pay attention, to his opinions.

DDD
DDD

Very true. Take a look at The Current's on air playlist for a week period. That alone speaks volumes. Everyone really likes to "play it safe" here in the Twin Cities. The sad thing is that there are so many really great local bands that just never get press or airplay because they do not fit into the mold that has been created by the largest voices of the local music press.

Matt The Bat
Matt The Bat

It never changes.In the 80's Mike Walsh from C.P wrote and wrote about Trip Shakespeare. Years later B. Batson told me he was roommates with one of the members. Come to think of it, I have never read a bad review on ay records put out by labels, Afternoon, Rhymesayers, Twin Town,Susstones. Is it because they have a perfect track record? And the only Cover tribute band that gets any press Is one that a member is a D.J. at the current. Now L.A. Guns awhile back did a show at The Entry and they got press. If that same show would have played out at Pickle Park would it have gotten press? I don't think so. And the local hipsters I have found out over the years, can dish it out, (Oh those hair bands suck), but they cant take it.Horn rimmed glasses are to bands in the 2000 what big hair was to bands in the 80's.

Mickey Davis
Mickey Davis

yo, this is one of the greatest articles I've read about the Twin Cities music scene, and I'm saying that even after getting mentioned recently on the Local Current blog.

 
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