Resurrecting the DIY music venue

By: Clay Adamczyk

Lets face it. We live in a time of very little financial prosperity – and the music industry is not exempt. Luckily, the word “industry” refers more to a mainstream, corporate side of music – a side we can now stand to do without – and music continues to thrive despite a lack of lucrative production within the “industry.”

The culture of DIY music has been around since the punk-rock and experimental tape making days of the 80’s, but has seen a recent post-millennial resurgence in the (not-so) unlikeliest of places: houses and basements.

Boston is home to many a great DIY art and music show space. Most are situated around Allston and Jamaica Plain, those neighborhoods that offer a home to local musicians and touring artists from across the globe. Most of the spaces never charge admission or seek any kind of financial earnings.

More and more house venues have begun to surface in and around Boston because “it’s nice to create a space for culture to thrive and where people can come and not worry about money,” and because “everything in Boston costs money, which is fucked up,” says Quinn, a 23-year-old from Situate, Mass.

Quinn is one of 12 curators of one Allston basement venue, which the group has run for four years now. He went on to say that if he “wasn’t in this position, [he’d] probably be in a dark hole somewhere.”

While the concept of the DIY venue may have been born with the Boomers, Millennials’ resurrection of the scene is happening all over the country, especially in cities that have expensive nightlife. When you’re an out-of-work member of Gen Y and can’t afford to pay money to see a band, just have the band come to you. And every curator of DIY spaces seems to share Quinn’s enthusiasm, despite earning no profits.

Though money is not important to the curators of the venues, there is still room for personal gain. Networking with touring bands becomes beneficial to residents of the spaces, as well as the out-of-towners.

Shane B., a 22-year-old who co-curates another Allston collective, commented that he has been able to take his own various musical endeavors across the country by finding other DIY locations in other cities through the contacts he’s established from booking shows at his own place. “The best thing I think about the DIY scene is that bands that aren’t well known in different cities, get the chance to play for larger crowds without people having to pay money.” Shane said. “It’s a huge step for bands.”

While most of these venues never charge a mandatory admission, they still accept donations, with 100 percent of the money collected divided up amongst the bands. And these bands prefer to play these spaces, even with no figure of pay ever promised.

Jason Michael Verdone, the 28-year-old guitarist of the South Jersey and Philadelphia- based cosmic post-metal band, Ominous Black, has been performing at DIY venues for over five years now. “I prefer playing basement shows due to the lack of rules, lack of regulations and security. I’ve preferred playing house venues pretty much since I started playing music.” said Verdone. “There’s not a lot of money in it, just a lot of fun.”

Though Ominous Black still gets their share of legitimate venue gigs, it is the house shows that are most rewarding. “[At venues] the audience goes to a bar to get drunk and they’re like ‘oh there’s a band playing. Cool.’ As opposed to played a basement show, where people listen to what you have. People are drinking and having a good time or whatever, and they’re definitely more attentive to the music and appreciative to what’s going on.”

I run an Allston basement myself, and there are risks for these venues as well. There’s always the chance of being cop-blocked if the spot gets over-blown, which is terrible, especially if a touring band doesn’t get to perform. If you are seen taking donations –though not mandatory admission – the police can try to charge you with operating a venue without a license. And it is impossible to gauge if everyone with a drink in their hands is of age.

Still, this is something that people like myself do. We do it for the bands who just want to perform, the people who want to share ideas and have a place to express themselves with out having to empty their wallets. The environment is welcoming and free. Free of racism, sexism, homophobia, age restrictions, and discriminations of any kind. Quinn best summed up the idea in one simple statement: “When you just do it, it’s beautiful how it all just come together.”

All photos by Ethan Long