New Music Alert: Egg Drop Soup's "Hard to Hold On"

Egg Drop Soup has a new music release in the song "Hard to Hold On." 

Here's part of the lyrics that I find so compelling:

I'm so scared of getting older

But I'm not getting any younger

I'm just doing what I oughta

But I'm not gettin' what I'm 'sposed to

It speaks to the struggles of reaching those personal goals. It also speaks not to just a struggle, but a fear of never getting to those goals.

I'm not sure the above video is considered an official video release. It is listed as a lyric video. Even so, the video takes you on a tour of visuals from the band performing to individual bandmembers having fun in front of the camera to road trip visuals to street protests. All this against the pulsating beats of this punk rock band that has grown a loyal following in the Los Angeles music scene.

photo take at the Zebulon

Quick Hit Band Interview: Bandie

Bandie at The Satellite

Interview with the artist. Enjoy:

What's the story behind how the band started? I (Brian) have been drumming in my friends' bands for years, but I recently started writing my own songs, so now my friends are playing in my project too. They're the best. 

Where is your favorite spot to write music? And why the spot? I love writing music at home. I can explore, make mistakes, record demos, and sing a lot. I also love writing songs at my friends' houses and collaborating with them. Their ideas are always so great. 

Own final thoughts: Bandie is my dog's name.

Online Quarantine Sets: Version 88

Young Winona hit The Satellite's Instagram Live this past Wednesday. They opened up the set with a rocking acoustic piece. "We are 3 Kiwis and this is our song about living in LA," was their introduction to their song "LA Waste." Their last song had me wanting to dive into a mosh pit right through my computer monitor. 

Highlight: Got to say I loved the use of the steel wire drum brushes along with the use of various percussion instruments. 

Los Angeles Music Scene: music venues waiting for stimulus

The LA Times (Mar 23) chimed in on the music venue shut down due to COVID-19. The article explores similar themes that I explored in previous blog posts here and here

Why did it take so long for Save Our Stages to get off the ground?

The logistics are indeed complex, as the SBA has had to get a national application system in place and must verify which music and arts venues can qualify. Venues will be placed in line according to the level of income they’ve lost. Meanwhile, the American Rescue Plan allowed venues to take a second dip into PPP money to pay salaries while awaiting these grants — which can be used for various expenses including rent, utilities and inventory — to come through.

. . . Though no exact date is set for when venues can expect to see the funds arrive in their bank accounts (a process that will likely take weeks, at least), Chu hopes that venues can now plan for the future with greater assurance.

Applications are accepted April 8th for those that have lost at least 90% of their 2019 income. Then the application process opens up from there. So maybe LA venues will start communicating their financial situation via social media come late May, early June?

And what do venues think about partial re-openings?

Although low-capacity reopenings might help restaurants and retail stores, music venues can’t profitably put on shows with a fraction of the usual crowd. “When we have vaccines in everyone’s arms, that is when the industry can reopen fully,” [Audrey Fix Schaefer, spokesperson for NIVA] said. “Venues are built on national tours, and I don’t know who a 30% capacity show will help. The only thing worse than being shuttered is being partially open.”

This is not as negative as what the Teragram Ballroom said about needing 100% capacity. But I'd think the Teragram Ballroom knows more about how to turn a profit versus someone who works for NIVA. 

Los Angeles Music Scene: Indoor Venues need 100% Capacity?

This is a dated article, but I just happened to come across it. It deals with the business dynamics for smaller venues. From the Rolling Stone via Yahoo (Feb 26):

Paul Rizzo, owner of Greenwich Village’s 230-person-capacity The Bitter End, says his monthly Manhattan rent is around $22,000, with the next-biggest expenses being employee salaries and insurance. A community GoFundMe helped him stay afloat during Covid-19, but much of that money went toward safety inspections, frontage, real estate taxes, and other things that don’t go away even when the venue is closed. “For a small venue like mine, the only thing that really dictates if you can be successful or not is your rent,” Rizzo tells Rolling Stone, adding that he currently owes his landlord $244,000 in delayed rent.

I'm just going to do a back of the envelope here. The Bootleg Theater has 3 rooms (one, I believe, is being given up by the venue.) The Bitter End capacity is about the size of the Bootleg Bar room. The Bootleg Theater room is about twice the size of the Bitter End. Let just assume that the third room is being abandoned by the Bootleg Theater. Back of the envelope would say that the Bootleg Theater's rent is $66,000 a month. At this point in time, the Bootleg Theater might be behind by close to $800,000 in rent. I would think that real estate taxes would be paid by the property owner, but maybe like The Bitter End, they need to pay those types of taxes. There would also be additional costs such as insurance and electricity that have certain costs even if the venue has been shut down for over a year. I wouldn't be surprised if they owe over $1,000,000.

Let's continue:   

Michael Swier, who co-founded New York’s Bowery Ballroom and also runs the nearby Mercury Lounge and L.A.’s Teregram Ballroom, says his venues don’t have any plans or hopes for partial-capacity shows. “You give us 25, 50, or 75 percent but we have to socially distance? That brings us back down to 15 percent,” he says. “Those numbers don’t really mean anything if there’s a social distancing condition to it. I don’t see us being able to open at all unless the social distancing is gone, but it doesn’t really matter at that point. I think for most independent, GA music venues, 100 percent is probably where you need to be [to profit] . . . 

A discussion with a Los Angeles venue owner (left out was that he also owns the Moroccan Lounge) and it doesn't look good. He needs 100%. The Teragram Ballroom capacity is 625 so they book larger bands then say the Bootleg Theater, Hotel Cafe, and Zebulon. The financial splits are likely much lower for smaller bands and artists. Yet the key here is his belief that even 75% capacity still results in 15% capacity if there are social distancing requirements. So it looks like Los Angeles music venues need social distancing restrictions lifted before it makes sense to re-open. He mentions that his hope is that venues can reopen in the fall.  

Los Angeles Music Scene: Save Our Stage Starting April 8th

A couple weeks back, I wrote that it was taking time to get the Save Our Stages money out to the music venues. The gears of Washington DC run slow. The New York Times (March 19) reports that applications will finally be accepted starting April 8th. Of course, when will money actually get to the venues? Well, who knows how long that process will take, but here's what the newspaper reported:

Applicants are eligible for grants of up to $10 million from the Shuttered Venue Operators Grant fund, which Congress created in the economic relief bill passed in December. Applications will be taken in phases, starting with a two-week period exclusively for businesses that lost at least 90 percent of their revenue after the pandemic took hold last year. 

Groups that lobbied for the relief money are desperate for it to start flowing, but also nervous about how long it will last. With an estimated 30,000 or more businesses eligible for the grants, those in the industry fear the available funding will quickly be consumed.

First question is: will any Los Angeles venues get to apply for funding in the initial two-week period? We know that Los Angeles venues stayed open for 10 weeks in 2020. If you assume straight line revenue, that indicates that 19% of their revenue would have been recognized. Of course, summer likely brings in more revenue than the early part of the year so I'm sure that 19% is over-stated. It might be borderline to hit that 90% or greater revenue hit.

Second question is: as mentioned in the quote, is there enough money to go around? I also wonder about in my previous blog post:

My current belief is that Los Angeles music venues will open up between September and early 2021. If I am correct, music venues in Los Angeles will have been shut down at least 18 months before being able to operate. How do they even survive that long even with Save Our Stages funding?

The New York Times articles puts some doubt in that. The article mentions that there is $16 billion available to be spread across 30,000 venues. That would be $533,000 per venue, if spread evenly. That seems like a lot of money, but we know based on this Los Angeles Times (Sep 1) article that the Bootleg Theater needed in the six figures to survive through the end of 2020. How much into the six figures? Well, we know that the much smaller Silverlake Lounge is attempting to raise $150,000 (unfortunately, they're not anywhere close to that amount). I think 5 or 6 Silverlake Lounge's could fit inside the Bootleg Theater. The Bootleg Theater needs may be in the low seven figures by the time Los Angeles music venues open up. That might not be an issue as up to $10 million can be provided, but it just indicates how quickly this money can be used up.

Side note: maybe my September date for music venues was too pessimistic. Supposedly, vaccines will be available for everyone starting in May. It isn't like everyone can get a shot in the arm starting May 1st, but maybe we can think positively and venues can open up in July or August. I'll stick to my September forecast for now. 

I guess what I am saying is that it is safe to assume that venues will max out their requests and that there might be some significant short-falls in funding. It looks like Los Angeles music venues have already come to that conclusion, as well. Pollstar (Mar 12): recently reported:

Legislators are taking notice. In February, Assemblywoman Laura Friedman, who represents Burbank, Glendale and Los Angeles neighborhoods including Los Feliz and Silver Lake, wrote along with a handful of her peers to legislative leadership to urge relief for the sector.

. . . “We saw the success of federal-level [advocacy], and it’s easily translatable at local and state governments,” [Another Planet Entertainment’s Casey Lowdermilk]  says. “Regardless of what party you’re in, the economics of venues speak loudly. For every one dollar spent at a venue, $12 is generated in the local economy. Regardless of what side of the aisle you’re on, you get that and you understand the value to your community.”

What might state-level relief look like in California? Approaches have varied from state to state in scope and size, but points to Indiana, which assessed the SOS Act’s Shuttered Venue Operator Grants – providing up to 45% of a venue’s 2019 revenue – and pledged to add an additional 20% in relief.

As another side note: Another Planet Entertainment owns a lot of venues in the San Francisco area.

We'll have to see how it all plays out and what finally happens to many of our venues. Key questions to be answered in the next couple months:

1. How much money will our Los Angeles venues get from the $16 billion Save Our Stages funding?

2. What will the timing look like in terms of venues opening up? The longer they stay closed, the more funding they need. We do know that a lot of the major theme parks in Southern California are opening up at limited capacity starting late April / early May. This isn't exactly comparable as venues are indoors, but at least we're seeing large gatherings get approved. 

3. Will California or Los Angeles provide additional funding? There are no doubt a lot of requests for funding out there. If music venues get put to the back of the line as the thinking is that Washington DC just passed the Save Our Stages, but additional help is actually needed, California or Los Angeles might have already allocated funding to other areas and might have nothing left to give.

Online Quarantine Sets: Version 87

The Satellite's Instagram Live is having bands on Wednesdays during the month of March. Duderella was the third band in that series. I first caught this band at Echo Park Rising 2019. Then I caught them online in 2020 via Los Angeleno when they were doing Instagram and Facebook videos. Now I got to catch them again in 2021. The set was played during a cold and chilly early evening. (Too chilly for me to go out and exercise that day.) Jackets were worn by the band, one being a yellow jacket that got some positive comments. The set had an Elton John style: eccentric and no fear in letting those vocals fly.

Moment of the set: For their song "Money," which they said was about "all the horrible things money does to this world" the lead singer took out a couple $100 bills. Taking out a lighter, the bills were set on fire. Ha ha, I'm sure they were fake bills.

Noticed: the band played the set standing.  I think like 80% of The Satellite's Instagram Live sets are done with the musicians sitting.

The set was finished with a side hug.

Quick Hit Band Interview: Twin Oaks

Twin Oaks at The Satellite

Interview with the band. Enjoy:

How would you describe your music? Though there are quite a few heavy influences that can be found in how we write, we like to draw things out from quietly plucked guitars to layered electronics to the hazy dream pop sounds and dynamically driven post-rock. 

What inspires you to write/compose your songs? We often try to write what comes to us naturally, which is often tied to personal experiences that we hope people can find some sort of connection to and maybe find their own interpretations of the songs. The musical textures often come from old lo-fi tape aesthetics and audio degradation while playing from quiet folk-style guitar stuff. Sonically, we like to draw out the feeling of open spaces whether it be wandering through an empty house, passing by a desert field, or a late night drive through downtown streets. There are loads of modern inspirations like Daughter, Frightened Rabbit, Boards of Canada, The National, & Sigur Ros . . . but also Carole King, Nina Simone, Nick Drake, & Judy Collins.

New Song Alert: Johanna Samuels' "Hide Tide for One"

Johanna Samuels has a new song out called "Hide Tide for One." It is a song that was released prior to the November elections so I'm late to posting about it. But better late than never, I say. It is a tribute to Christine Blasey Ford.

Lyrics of the song goes as:

And I don't wanna talk to you. Even if you get the time to. I just don't need work to do. It's no help being sorry.

The tribute is set across the folk style of her Rhodes piano and twangy guitar driven music.

Photo take at the Bootleg Theater

The Satellite's Instagram Live: Trap Girl

I got an invite to catch Trap Girl play live this past Wednesday night. Lucky for us on that day, the rain hit hard at night, cleared up during the day and then hit hard late at night again. So a nice window of opportunity was provided.

The set opened up with Drew Sands of Trap Girl saying, "No double chins, I mean it, or I will leave."

And the lyrics of the 1st of 6 songs started with, "Once upon a time this woman lived and died. And no matter who you ask, she loved to fuck men up their ass."

Got to love the non-puritanical conversation and lyrics. 

Since it was a chilly night, I was wearing three layers of cloths as well as a knitted cap. My glasses kept on steaming up, but I was very comfortable.

A great six song set.

New Music Alert: Alaska Reid's "Big Bunny"

Alaska Reid is out with a new song called "Big Bunny." The song is in support of her EP release with the title "Big Bunny," as well. If a song called "Big Bunny" sounds a little strange, maybe similar to the book "Watership Down" or the movie "Donnie Darko," the song represents a diary glimpse of her life. Here is what she had to say in an Instagram post about the EP release:

Big bunny is a diary of my life — be it through lyrical journeys or the fact that some of these songs are like old friends that I’ve been carrying the bones of since I was 14 years old & playing bars on the Sunset Strip with my boots and my acoustic guitar. Thanks to everyone for listening.

The style of the song has me thinking Natalie Merchant and the 10000 Maniacs. As the song progresses, it still holds that Natalie Merchant style, but just with a tight rock edge.

Lyrics that stick with me are:

If it hurts Lil, just let me know 

I’ll do anything to help you let things go 

Going back to living slow 

Yeah if it hurts just let me know  

Sometimes one just wants to go back to when life wasn't as fast pace and one had simpler wishes.

Photo taken during Echo Park Rising for Buzzbands

Online Quarantine Sets: Version 86

The Regrettes hit the Dr. Martens Instagram Live for a quick 10 minute 3 song set on Saturday at 1 p.m. The set was done in the living room of someone's house. It had a clean minimalist feel to it (at least the part we were able to see). High ceilings. White paint and drapes. There was a single plant in the corner. The floor was wood. Part of a rug was in view. And three members of the band were sitting on Ottoman seats while the third sat on a Cajon drum. And was that a pair of skates hidden behind them all?

It was a three song acoustic set that was lively and fun. Too bad it was only 10 minutes. 

Statement of the set: I've forgotten how to speak to anyone for forever.

Online Quarantine Sets: Version 85

The Satellite's Instagram Live sets took a couple months break due to the explosion of COVID-19 cases in Los Angeles. But they returned this past Wednesday with a blast as Talker took to the stage. I've followed her for a couple years and love her passionate rock. She just puts it all out there. She mentioned that it was her first time playing in front of a live audience in a year (the live audience being those who were taping and photographing the set). Her last set was at the Bootleg Theater. 

One of her songs that put it all out there was "Sad Chick," which is a song about taking ownership of her depression.

What did I notice: those kicks she did at the end of her songs.

Los Angeles Music Scene: Save Our Stages in Delay?

In late December, Congress passed and President Trump signed the second COVID-19 stimulus bill. The bill included $15 billion for Save Our Stages. A couple months have passed and are venues still waiting for help? As of late February, that appears to be the case.

Radio.com (Feb 26) reports:

The relief was from the "Shuttered Venue Operators Grant", a $15 billion allocation passed by Congress in December. At least $2 billion of the funds are intended to go to small employers with up to 50 full-time employees. Despite the grant money being signed into law two months ago, local music venues still can't apply for the funds because the Small Business Administration is not accepting applications.

One question I have is: Is this delay specifically related to the $2 billion set aside for venues with up to 50 full-time employees or related to the whole $15 billion? 

The site got a response from the Small Business Administration:

The SBA is building the SVOG program from the ground up and working expeditiously to ensure all the mechanisms required by law and the federal grant application/awarding process, as well as front-end protections, are in place to ensure these vital grants are delivered to those the law intended to assist. While the agency builds and prepares to open the Shuttered Venue Operators Grant program, the dedicated SBA webpage, www.sba.gov/svogrant, which includes frequently asked questions, video tutorials and other SVOG details, is the best source for information.

Okay so delays appear related to making sure that venues and other businesses that qualify for the $15 billion get the money. I'll wait for the story about the restaurant that got $1 million in grants, because they employed a violinist and they decided to call themselves a venue. And the kicker will be that the violinist was used to let people know that they were about to end up sleeping with the fishes.

My current belief is that Los Angeles music venues will open up between September and early 2021. If I am correct, music venues in Los Angeles will have been shut down at least 18 months before being able to operate. How do they even survive that long even with Save Our Stages funding? Based on the announcement from Texas and Mississippi, I assume that their music venues will be opening up (if they weren't already opened up). I'd assume they would apply for their piece of Save Our Stages funding. They have back rent or loan payments / property taxes as well as other expenses that need covering so it isn't like fewer venues will be applying for money, resulting in more funding available for other venues that are in states that are shut down for much longer.

I scan Instagram every so often wondering what the situation is at various venues. From what I can tell, venues aren't communicating much about their financial health. (Yes, Silverlake Lounge has recently been very open about their situation, but they're in a specific situation.)

Online Quarantine Sets: Version 84

Back in early January, Blackout Orchestra and I connected. They happen to be a band from Toronto. I finally got to catch an online set via Dropout Entertainment. They have an album coming out on March 5th. The album -- as described by the band -- deals with heartbreak, mental health, addiction and clawing your way out of it, making it so very pretentious. 

The band is so new that the duo formed during quarantine and this was only their second live show. Both members have been and are in other bands so the music had a very high quality to it. In fact, the person that was shooting the set belongs in one of those bands called Starship Experience.    

Their music was re-arrange for the acoustic set. This re-arrangement provided a blend of folk and pop. The duo's vocals worked wonderfully together. There was definitely Hotel Café power harmony vocals.  Those vocals really blew everything away when they soared during the more dramatic moments of their songs.  

At the end of the set, their video for "No Where Near the Looking Glass" played to given a fuller hearing of their sound. It is a pulsating shoe gaze sound with nightmare overtures.

 

Online Quarantine Sets: Version 83

I got to catch two WFNM sets last week -- different nights. Paper Idol popped up on Wednesday with their electronic hooks and pop undertones. They also showed up on stage with color clashing red and yellow fashion. It definitely got you to pay closer attention to their short 15 minute set. 

On Thursday, Calica (originally from Miami) and Daniel Loumpouridis (originally from Chicago) were doing a set from their Los Angeles couch. You know, I've noticed a lot of musicians moving out of Los Angeles. But here is one that decided to come to Los Angeles during the middle of a pandemic. It does make me feel better about the future of our scene. They did a nice little 1950s type start to their set where the two of them were just talking on the couch, acting like they were unaware that they were livestreaming. They provided fake shock when ther "realized" they were streaming on Instagram. Ha ha, anyways they have some dreamy vocals with the help of revert. Some simply strums on the guitar aligning with beautiful vocals. Their set just had them relaxing on the couch and when the set ended, the music drifted off into tender silence.