An interview with B. Ryan B. (FAI Tips 7)
At FARMette conference last year, I met B. Ryan B., a multi-instrumentalist from Cleveland; “B” was a great emcee at the conference. His positive attitude was contagious!
B has been a volunteer for Folk Alliance Regional Midwest for a while, and he offered some unique points about being prepared for song circles, the benefits of volunteering, and standing out:
MV: Hi B. Ryan B. How’s winter going in Cleveland? Hopefully it’s like this in a few weeks for the FAI commute. Any tips on how to approach Folk Alliance for the first time?
B: The snow’s newsworthy over here, though mostly just because we had mild weather so long.
So…tips? Know your goals going in: pickin’ and grinnin’, or honing certain skills, or networking, or getting exposure. So much awesomeness is going on, don’t expect to do it all the first year.
MV: I’ve learned that the hard way even with the regional conferences. Have any tips on how to keep calm and costs affordable?
B: Here’s a big one for me: get there a little early, just to get oriented with the venue and neighborhood, so you’re not spending conference time getting un-lost. Buddy up! Sharing the drive and lodging saves money. Sharing the drive is safer and makes the miles go faster. You can also then “tag-team” the concurrent workshops/seminars, and exchange notes later.
MV: That’s smart. Music conference can feel overwhelming.
B: Another biggie: retreat at least once a day to decompress, and take notes.
MV: Any tips on standing out?
B: Bring your niche instruments. They add color to the song circles. Biggest tip by far: volunteer. If you’re looking for networking opportunities, there’s no better way to get in the public eye.
MV: [chuckling] That’s relieving to hear! That’s my hope with volunteering. Plus, I’m trying to keep costs down.
B: We’re all poor. There are deals to be had. Register early. Look a block or two away from the venue for cheaper restaurants and lodging. Bring food from home like granola, apples, bagels, and other stuff.
MV: Just like touring! Sounds like doing the research can go far. Any tips that get overlooked?
B: If you come to the song circles, and you should, have a couple songs ready that are either well known (“trads”) or at least easy to pick up.
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B. Ryan B. just posted a new song video, “Cleveland Is Your Land”: ClevelandIsYourLand.com.
- Give your art a snack, an example from Lyal Strickland – read here
- Take the NERFA first timer pledge: I am not here to book gigs. read here
(Quotes by Brad Cole, Josh Rose, The Young Novelists, Andrew McKnight, Camela Widad, and Al Kniola) - It’s not the gatekeepers, but those at the gate – read here
- Overcoming burnout, with a quote from Josh Harty- read here
- An interview with Al Kniola from WVPE 88.1 FM – read here
- An interview with music manager Ralph Jaccodine – read here
- An interview with multi-instrumentalist, B. Ryan B – read here
- Considering the history, a quote from Jana Holland – read here
An interview with Al Kniola from WVPE (FAI Tip #6)
I’ve been playing in South Bend regularly over the last year, and one of my favorite moments during my commute is crossing into Michiana, getting to WVPE’s broadcast radius.
WVPE is one of those NPR stations that we shouldn’t take for granted, with unique programing between the nationally syndicated favorite NPR shows.
Al Kniola has been hosting one of those unique programs since 1995, the Back Porch. This month, I interviewed him, seeking tips for songwriters attending Folk Alliance.
MV: Al’s what’s the most important event at FAI songwriters should attend other than their showcases?
AK: For Folk Alliance, the number one priority for artists is to attend the Folk-DJ Reception, usually on Thursday, the first full day of the conference. Have bunches of your CD(s) on hand and don’t be shy about approaching every single DJ in attendance, introduce yourself and give them an airplay copy.
MV: What if you don’t have professional CDs replicated for a new record yet?
AK: If you don’t have any CDs to distribute, make an EP on a CD-R and bring a bunch of them. Don’t forget a business card or one-sheet, especially if you don’t have good liner notes in your CDs.
MV: What about digital releases?
AK: Don’t count on passing out download cards; few DJs will bother with them.
MV: Gotcha. It sounds like the Folk DJ reception is essential.
AK: If you don’t do anything else at the conference, don’t miss this event. It is tailor-made to get your music into the hands of the people who can play it on the air or Internet. At last check, there are 48 media people registered for this year’s conference. Meet every one of them. A handful of showcases to a handful of people does not come anywhere close to the opportunity you have at this reception. Did I say “don’t be shy”? ;!)
MV:Thanks for that nudge to be friendly! As an artist, I need to remember it’s OK to be direct–just not pushy–to remember that we are here to build some relationships. What else should we be doing?
AK: Otherwise, find every opportunity to showcase, including hallways, elevator lobbies, wherever. The object is to be seen and heard as much as possible. Don’t waste your time and money going just to hang out with your pals. Work at it!
MV: I’ve already emphasized this in other blogs, but I’ve found the networking opportunities with other like-minded artists was an initial reason to attend.
AK: Networking with your fellow artists is invaluable. And a lot of venue people attend the conferences, too. They’re looking for new people to book. Meet as many as you can and give them a CD, too.
MV: Do you think DJs will ever switch to a digital system, with streaming and digital singles becoming more popular in the country, pop, and hip-hop markets?
AK Part-time DJS (that’s all of them), unpaid (that’s most of them – not me, however) don’t have the personal time and money to download everything that comes out. And no one has staff to do it for them.
MV: Gotcha. My friend Anthony Spak–actually a former student from my teaching days–is now the music director of Oakland University’s radio station, and he told me the same thing. He showed me the music library at WXOU. I can see why that album format is still embedded in this process.
AK: We tell artists and labels that, if they want airplay, we need hard copies, or we just don’t play those people. Their choice.
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Read Al Kniola’s bio here, and listen to the Back Porch online at WVPE or your radio dial on Sundays from 7-11 PM!
I met songwriter Camela Widad at Folk Alliance (SERFA) in 2013. She’s a real-deal songwriter, a Falcon Ridge Emerging Songwriter finalist, and an experienced Folk Alliance showcase artist.
I’m lucky to also call her a friend.
In 2014, I went to my second SERFA conference, but was extremely unprepared. I hadn’t rehearsed very much, I was sleep deprived from constant gigging, and I hadn’t even packed enough clothes for the weekend.
It didn’t hit me how unprepared I was until the first night of the music conference, as I was standing in the foyer of the conference center, watching about 20 songwriters share songs by the fireplace. I was relieved when I saw Camela walk up. A familiar face!
Camela asked why I was sitting on the outside of the circle, watching and not participating; and I didn’t know how to answer the question, except share the struggles of that year. Trying to close on the house, the loss of the first pregnancy, my tiredness of the road…
“I’m not even sure if I should be here at the conference, Camela,” I said.
Camela offered these simple words of encouragement: “It’s going to be OK, even when it’s not right now. That’s why you’re here!”
That beacon of light is in her songwriting, too.
It’s inspiring for me to meet other parents who are touring songwriters. This is no easy road, and the people who find healthy ways to balance the music and family life are my role-models.
So I interviewed Camela, asking her to share thoughts about songwriting, family, and maintaining a creative life.
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MV: How was your experience at Falcon Ridge Festival? How has the experience of being an emerging finalist affected your songwriting this year?
CW: I had a great time at FRFF except there is so much to do that I definitely had to deal with the FOMO – Fear of Missing Out! Being an Emerging songwriter this year is an honor and more than anything it gave me a sense of affirmation. Knowing that my work is connecting to such a great community of music lovers and many amazing songwriters, felt like I am right where I need to be. And then somewhere inside there’s a little voice that says, “OK, next!” So, sitting down to write hasn’t changed much. Maybe it should, maybe more people will be listening but the process of digging in, listening to a song emerge from inside and trying to bring it to life; that is the same.
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MV: Being a new parent myself, I appreciate meeting songwriting parents! How do you maintain that work, creative, parenting balance? Any tips for new parents?
CW: Great question! When my daughter was born I took her to all of my shows with her Dad. She grew up with it until she couldn’t sit still. Then extended family, grandparents–if you have that available–are a great help.
I love being a parent and I love being an artist, so I made a decision to create a life where I could have both.
MV: Do you do other musical work to maintain that balance?
CW: I teach voice (self employed) so that I can be on the road when I want and be home with her everyday after school, or she is with me at the studio while I teach (kind of like the old-school family business, where the whole family grows up with the business).
MV: I imagine communication is really important.
CW: I give her plenty of time to talk about and process her feelings about me, my work, her life and sometimes have to give her “leading questions” to pull out what’s going on inside of her. As soon as she says what she needs to, when she is upset or feels she’s not getting enough time with me, she feels much better and then we can work on solutions to feel more connected when I am gone.
MV: Any tools help you stay connected while on the road?
CW: I make sure to check in, Facetime or Skype when I’m on the road. I did a lot of this early on so now, she’s 12, she’s says “Uh, Mom, I don’t need you to check in with me so much – OK!”
MV: Wow! I love that anecdote! Being a new parent where my baby is crawling, it’s hard to picture her future independence!
CW: My advice to new parents, to any new parents is this: listen to your inner wisdom and listen to your kid(s). You’ll know what to do.
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MV: The “Warriors of Love” theme is so consistent through your newest record. How did this theme emerge? Is it coming from personal experience?
CW: I have a soft spot in my heart for social justice. “Warriors of Love” was my exploration of a concept album based on principles I’ve learned and people I’ve met.
I took a peace keeping training in 2011-2012 where I learned conflict resolution as well as eye-opening listening skills. It’s amazing how much conflict we can resolve just by truly listening to someone without thinking of our response! I have also traveled extensively in the US and some parts of Europe.
MV: How have these travels affected your perspective on the world, let alone your songwriting?
CW: By far 95% of the people I have met are really good people, loving, generous, and a little bit heart broken that our political/economic world has gotten to this place, not representative of who we truly are. I wanted to give these stories a voice, give a voice to us, maybe connect us a little bit, people continuing to show up with love or compassion when it is so hard, when being bitter and cynical would be easier, those loving with the strength of a warrior.
I grew up listening to Americana music on vinyl so I wanted an album to feel like you were home listening to and telling the stories of our experience with that laid back Americana sound and some subtle ear candy thrown in! I like transitions on albums and WOL has some that I am really proud of.
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While writing personal themes can be cathartic, but scary! Any advice for songwriters scared to share such personal themes and events in their own songwriting?
CW: Leap and the Net will Appear… I was encouraged to write all the way into my darkest memories.
I remember thinking, “Who is gonna listen to this?” Telling a balanced story is different that using a song to be therapy but you have to start somewhere.
MV: That honesty is essential for songwriting, isn’t it.
CW: Get really honest, there is no other way. Play the songs out, see what happens, you’ll find out quick if it was too much or if it gives the audience their own experience of your honesty. To me that means I have to make the song universal sometimes and less personal.
MV: I was blogging about that debate, recently, when to go topical, universal or personal…
CW: It does depend on the market you are writing for but I have found the more universal the better my fans can hear their own story or experience in the song. I can’t get really dark with my music, it’s just not me. If I have to take on some difficult material, I end up creating the balance within the song, the yin/yang, darkness/light, that is what feels honest to me.
When I wrote a real humdinger of a cathartic song, “My Turn” track #6 on “Warriors of Love” I really did think no one would want to hear it.
MV: That’s one of my favorites! I still vividly remember hearing you sing that a SERFA. It sounds so great solo acoustic, but those strings on the track a beautiful. Did you road test it before recording it?
CW: So I tried it on the road for a Monday night show, about a year before we put it on the record. It was a smaller room just for me to see what would happen. Pin drop silence at the end. I thought, “Oh man, I really blew it on this one.” But then everyone was wiping their eyes, taking a breath and were thanking me for writing it. WHAT?! Lesson learned.
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Buy Warriors of Love on iTunes here.
Just a reminder: Kid Rock lives 26 miles from Flint
He also said, “let the mother——- business guy run it like a ——- business.”
