Young music kept alive with a little DIY
House shows—small, intimate spaces for music, oftentimes organized in the basement of a host—fell out of fashion in the years following the decline of the emo scene. However, these spaces remain an important aspect of local music.
They aren’t exclusive to any one scene, however, house shows have a long history, extending back to the days of salons in pre-revolution France. While never completely obsolete, they’ve been making a recent comeback into the music scene, particularly in small, rural, or “niche” musical communities.
In cities and towns with limited venue space for smaller, lesser-known acts, it can be difficult for young musicians to find a playing space willing to take on acts which may bring in little, if any, profits. As music becomes increasingly accessible—and through illicit means, free—the necessity of live events, and in particular, smaller events has been questioned. But house shows, often associated with the ideology of “pay what you can,” offer a way for fledgling bands to gain experience, but also a little bit of funding.
The atmosphere of a house show can prove drastically different from that of an official music venue because house shows are usually invite-only, and guests almost always follow the golden rule of “Don’t do anything in the host’s house you wouldn’t want done in your own.”
I’ve attended several house shows during my adolescence and into my adulthood. Lately, throughout the northeastern United States and Southern Ontario, the intersectional genres of emo and pop-punk have undergone a recent revival.
Back in the white, heterocentric glory days of Northstar, Brand New, and Taking Back Sunday, house shows were a staple of the northeastern tri-state areas of the States. With this roughly-hewn and often misrepresented genre, venues were reluctant to book bands because—thanks to America’s comparatively high drinking-age—the young musicians were unlikely to draw in large enough crowds able to purchase alcohol and turn a decent profit.
Due to the youthful edge of the emo or pop-punk genres, most of the bands at this time were often in high school or university and lived at home, in student housing, or had extended social circles with available space.
In more recent times, house shows serve a slightly different, and potentially more altruistic purpose. Bands comprised of or containing minority musicians are seldom represented in traditional venue spaces, tours, or festivals.
Pop-punk band Modern Baseball and their tourmates have recently come under fire for espousing inclusive views and demanding female presence in the scene while simultaneously failing to book a band for their upcoming tour with any female, trans, or non-white members. Some members of minority groups have also revealed that many venue-owners, being older, are a part of a sort of “old boys’ club” and as such are reluctant to give space to “chick” or queer music.
House shows remain an important aspect of live music and artistic creation. The necessity for creative space, and the willingness for young artists to go above and beyond to share an experience continue to influence the popularity and omnipresence of house shows. At times, they may seem a little seedy or a little strange, but they are arguably one of the best ways to support young artists.
Photo by Dana Bellamy/The Ontarion.