RBA REFLECTIONS
“Endless thanks for all the work you did to create this wonderful space for bluegrass music in the Bay Area. Some of my best memories growing up were going to RBA shows and seeing incredible bands that I would never have exposed to otherwise. Playing RBA has been a big highlight and thrill of the last many years; I'll be so sad to see it go, but will always treasure the incredible memories!”
- Molly Tuttle
“Congrats on a wonderful run. DBFS always had fun with RBA. You stuck to the true vine.”
- Ron Thomason
When Redwood Bluegrass Associates (www.RBA.org) announced that they were ceasing operations at the end of the current concert season, a number of musicians (like Molly Tuttle, Peter Rowan, Ron Thomason, and Kathy Kallick), agents, and others who had been part of RBA presentations during the organization's 25+ year existence wrote to offer gratitude and support.
None of them asked why RBA is ending. Similar bluegrass-based organizations -- non-profit, volunteer-run and -staffed, inspired and driven by enthusiasm for the music -- are falling by the wayside throughout the country as the nature of the music and its presentation changes.
Since I've been involved in RBA for most of its existence -- and helped found and direct a similar organization in Vancouver nearly 40 years ago -- I'd like to provide a few reflections. The musicians don't ask, but audience members do: Why is RBA finished? Why now?
I think it's a combination of factors, which include:
- 1. Advanced age of board members
- 2. Rising costs
- 3. Declining attendance
- 4. Changing performance opportunities
- 5. Changing nature of publicity
- 6. Changing nature of bluegrass
- 1. Advanced age of board members
These types of organizations are, for the most part, products of a certain era. They're based on a somewhat idealistic notion -- If you build it, they will come -- and equally idealistic operational principles: everyone involved gets a say, work is shared equally, no one other than musicians benefits financially, the music (and how it's presented) always comes first.
This approach is not the exclusive providence of those who came of age in the 1960s, but a great many of us within shouting distance on either side of a 70th birthday believe in it, and have been guided by these often time-consuming and less-than-cost-effective principles for many years. But now we're facing health and lifestyle issues that challenge how we're able to continue such volunteer work. We're tired. Less able to get to every show. Less willing to contribute hours of work each month.
The RBA Board Of Directors recognized this developing circumstance at least 5 years ago, and has been actively trying to get younger people involved ever since. We've failed. The reasons for this will, of course, be part of the story told by successive generations, but are perhaps best summarized by a notable South Bay musician and fan who was asked to join the RBA Board: "Thanks, but I'd rather just get together with friends and pick."
- 2. Rising costs
Yup - there have been significant increases in travel costs and fee expectations for musicians, venue rental, provision of adequate sound, publicity/marketing, and other concert-related expenses. Well, duh.
- 3. Declining attendance
Ours is a music enjoyed by all ages, but paying a hefty ticket price for occasional concerts in a non-music facility (often a church) with few ancillary attractions seems to appeal primarily to senior citizens. We can afford it, we have the free time, coffee and pie now go with a musical evening better than beer and rowdiness, and a deep listening experience is valued by us. But (see #1) this audience is not always able to get to shows, has moved away from areas where concerts are held, has discovered new interests, is unhappy with some of the music now considered bluegrass, etc., ...
Whatever the reasons, the average RBA audience size is now ~150; it was at least 50% higher a few years ago. A large factor in our case was that we had to find a new venue after 14 years in one that worked very well for us. But this decline is, indeed, part of a national trend.
Like similar organizations, RBA has long made efforts to attract younger audience members (as well as volunteers) by presenting bands that include younger musicians and/or feature music that stretches the boundaries of what we consider bluegrass and old time music. And those shows have done pretty well. But our setting, environment, and methods of presentation haven't changed -- and declining attendance also remains consistent.
- 4. Changing performance opportunities
#2 and #3 notwithstanding, there are places where bluegrass draws a sizable audience and big bucks are involved: festivals. Of course, they’ve been around for more than 50 years (including more than 40 in Grass Valley), but doesn't it seem like there are more large festivals (albeit fewer smaller ones) these days? There is a certain logic for a potential ticket-buyer to committing money and time for one long weekend rather than 6-8 Saturday nights, to a single event that can include socializing, jamming, eating/drinking, and concert attendance.
As expectations, especially among younger fans, change, the listening-to-music aspect has become a lesser component, and nowhere is that clearer than at the Bay Area’s own Hardly Strictly Bluegrass Festival. Yes, there are multiple stages of top-tier (albeit non-bluegrass) talent, but the real draw seems to be all the sideshow attractions, refreshments, opportunities to socialize with friends and dogs while the music’s happening, a gorgeous park setting, … and no admission fees.
Like festivals, there have always been bars and restaurants that feature bluegrass, and this remains a viable option for bands not worrying about getting paid much to play and patrons not worrying about good sound and creature comforts.
A more recent alternative is the house concert. These provide even greater intimacy (although often with inferior or no sound system), can be organized and run by an individual (thus eliminating the lengthy consensus process), and offer just enough compensation to be a viable option for a certain level of touring band.
Each of these performance alternatives to RBA-like small hall shows has pros and cons, but none provide the high-quality listening experience and audience involvement that are hallmarks of RBA shows. But perhaps these aspects of music events have become less important.
When I began (in 1979) helping to present these sorts of concerts, it seemed that attendees were there for at least one of three reasons: (1) to connect with friends and/or jam;
(2) to be moved by the music; and
(3) to learn from the performing musicians.
In the contemporary climate of music camps, online instruction, and readily-available concert footage, that last one is no longer valid. So poor sound, distant seating, and a myriad of distractions (see: large festivals) are not so problematic these days.
(1) is certainly possible in any situation. (2) might be as well -- although I don’t see much evidence of this as a particular motivator these days. If it is there, small-hall concerts offer the greatest possibility for this happening.
- 5. Changing nature of publicity
How the word is spread about bluegrass concerts has changed as much as anything else over the past 40-50 years. Social media and other digital options are obviously cheaper than snail mail and more efficient than generating newspaper stories or radio airplay, but they've become part of the endless stream of emails, posts, and other messages confronting us constantly. How often are they noticed or considered? And, even when that happens, they're often not particularly informative.
RBA's heyday coincided with a San Jose Mercury News reporter being assigned to write about one of our concerts -- what a quaint notion these days! -- and becoming so enthusiastic that she convinced the paper to let her provide previews to, as well as reviews of, subsequent shows. Attendance soared. But that reporter moved out of the area, newspapers no longer cover relatively small-scale acoustic music events, and people stopped reading the papers.
I like to think radio still has an impact, although current studies belie this notion. I am heartened by not only the response I receive from listeners to music/event listings presented on “Bluegrass Signal” but also by the fact that two talented and enthusiastic 20-somethings have begun producing and hosting the show with me on a regular basis. Hope springs.
Clearly, RBA could have done more community outreach, developed partnerships with local businesses, been more aggressive with involving school programs, developed connections with colleges and universities in our area, and found other ways to publicize our events. But all that represents considerable volunteer effort.
- 6. Changing nature of bluegrass
The template is there for RBA’s successors: a group of relatively youthful music lovers finds a venue that permits beer and wine (and, perhaps, dancing), markets their events to their peers in some new ways, cuts costs wherever possible, and books bands who will appeal to Millennials.
Will those bands also appeal to us geezers? The jury’s out. Much of what passes for “bluegrass” these days sounds to me like rock bands playing acoustic instruments: the singing has no connection to the bluegrass approach, instruments are plugged in so have erratic sound quality, and the songs often sound like rootless “product” rather than expressions based in honest emotion.
In the Winter/2017 issue of No Depression, Noam Pikelney suggests that “bluegrass” has become a somewhat meaningless buzzword to describe bands that “suggest authenticity or something handmade. These days, almost anything that’s acoustic falls under the term of ‘bluegrass.’ I think people are in search of a term to apply to music that’s a little less plastic than a lot of the music that’s happening in the mainstream.”
Simply presenting yourself as “a little less plastic than the mainstream” sets the bar pretty low, and is likely insufficient to win over people who have been listening to real bluegrass. The younger, edgier bands that RBA has presented have had identifiable connections with what’s recognized as bluegrass, but that’s becoming a less relevant consideration. Most of us still excited about the Real Deal are relatively uninterested in a concert series with younger musicians playing acoustic rock and calling it bluegrass.
So it’s probably time to end it. I’m proud that we stuck with music from the true vine.
"I've done a show for RBA almost every year for many years now. They've been really supportive of me doing bluegrass my way, and open to some of my more experimental things that go beyond bluegrass in some ways."
- Peter Rowan
“There are many concert series all over the world, presented in a church or lodge or club or wherever a group can gather on a dark night with a sound system and a bunch of chairs. The RBA is so much more than that. It's a very high quality music experience that will be sorely missed by musicians and the audience.”
- Kathy Kallick
~~~~~~~~~~~~~~~~~~~~~~
In addition to producing and hosting “Bluegrass Signal” on KALW and WAMU and acting as Bay Area bluegrass cheerleader and chronicler via this website, Peter Thompson has been involved with Redwood Bluegrass Associates since 1994, serving as their booking agent, publicist, and secretary for the past 15+ years.
Peter also co-founded Vancouver’s Pacific Bluegrass & Heritage Society in 1979, and served in the same roles there until moving to Oakland in 1992. The story of that organization’s origins is here.
Peter wrote an account of RBA’s presentation of Travers Chandler & Avery County in Nov., 2013; some of the issues raised in that piece are relevant to this one.
A complete list of Redwood Bluegrass Associates presentations can be found here.
“Endless thanks for all the work you did to create this wonderful space for bluegrass music in the Bay Area. Some of my best memories growing up were going to RBA shows and seeing incredible bands that I would never have exposed to otherwise. Playing RBA has been a big highlight and thrill of the last many years; I'll be so sad to see it go, but will always treasure the incredible memories!”
- Molly Tuttle
“Congrats on a wonderful run. DBFS always had fun with RBA. You stuck to the true vine.”
- Ron Thomason
When Redwood Bluegrass Associates (www.RBA.org) announced that they were ceasing operations at the end of the current concert season, a number of musicians (like Molly Tuttle, Peter Rowan, Ron Thomason, and Kathy Kallick), agents, and others who had been part of RBA presentations during the organization's 25+ year existence wrote to offer gratitude and support.
None of them asked why RBA is ending. Similar bluegrass-based organizations -- non-profit, volunteer-run and -staffed, inspired and driven by enthusiasm for the music -- are falling by the wayside throughout the country as the nature of the music and its presentation changes.
Since I've been involved in RBA for most of its existence -- and helped found and direct a similar organization in Vancouver nearly 40 years ago -- I'd like to provide a few reflections. The musicians don't ask, but audience members do: Why is RBA finished? Why now?
I think it's a combination of factors, which include:
- 1. Advanced age of board members
- 2. Rising costs
- 3. Declining attendance
- 4. Changing performance opportunities
- 5. Changing nature of publicity
- 6. Changing nature of bluegrass
- 1. Advanced age of board members
These types of organizations are, for the most part, products of a certain era. They're based on a somewhat idealistic notion -- If you build it, they will come -- and equally idealistic operational principles: everyone involved gets a say, work is shared equally, no one other than musicians benefits financially, the music (and how it's presented) always comes first.
This approach is not the exclusive providence of those who came of age in the 1960s, but a great many of us within shouting distance on either side of a 70th birthday believe in it, and have been guided by these often time-consuming and less-than-cost-effective principles for many years. But now we're facing health and lifestyle issues that challenge how we're able to continue such volunteer work. We're tired. Less able to get to every show. Less willing to contribute hours of work each month.
The RBA Board Of Directors recognized this developing circumstance at least 5 years ago, and has been actively trying to get younger people involved ever since. We've failed. The reasons for this will, of course, be part of the story told by successive generations, but are perhaps best summarized by a notable South Bay musician and fan who was asked to join the RBA Board: "Thanks, but I'd rather just get together with friends and pick."
- 2. Rising costs
Yup - there have been significant increases in travel costs and fee expectations for musicians, venue rental, provision of adequate sound, publicity/marketing, and other concert-related expenses. Well, duh.
- 3. Declining attendance
Ours is a music enjoyed by all ages, but paying a hefty ticket price for occasional concerts in a non-music facility (often a church) with few ancillary attractions seems to appeal primarily to senior citizens. We can afford it, we have the free time, coffee and pie now go with a musical evening better than beer and rowdiness, and a deep listening experience is valued by us. But (see #1) this audience is not always able to get to shows, has moved away from areas where concerts are held, has discovered new interests, is unhappy with some of the music now considered bluegrass, etc., ...
Whatever the reasons, the average RBA audience size is now ~150; it was at least 50% higher a few years ago. A large factor in our case was that we had to find a new venue after 14 years in one that worked very well for us. But this decline is, indeed, part of a national trend.
Like similar organizations, RBA has long made efforts to attract younger audience members (as well as volunteers) by presenting bands that include younger musicians and/or feature music that stretches the boundaries of what we consider bluegrass and old time music. And those shows have done pretty well. But our setting, environment, and methods of presentation haven't changed -- and declining attendance also remains consistent.
- 4. Changing performance opportunities
#2 and #3 notwithstanding, there are places where bluegrass draws a sizable audience and big bucks are involved: festivals. Of course, they’ve been around for more than 50 years (including more than 40 in Grass Valley), but doesn't it seem like there are more large festivals (albeit fewer smaller ones) these days? There is a certain logic for a potential ticket-buyer to committing money and time for one long weekend rather than 6-8 Saturday nights, to a single event that can include socializing, jamming, eating/drinking, and concert attendance.
As expectations, especially among younger fans, change, the listening-to-music aspect has become a lesser component, and nowhere is that clearer than at the Bay Area’s own Hardly Strictly Bluegrass Festival. Yes, there are multiple stages of top-tier (albeit non-bluegrass) talent, but the real draw seems to be all the sideshow attractions, refreshments, opportunities to socialize with friends and dogs while the music’s happening, a gorgeous park setting, … and no admission fees.
Like festivals, there have always been bars and restaurants that feature bluegrass, and this remains a viable option for bands not worrying about getting paid much to play and patrons not worrying about good sound and creature comforts.
A more recent alternative is the house concert. These provide even greater intimacy (although often with inferior or no sound system), can be organized and run by an individual (thus eliminating the lengthy consensus process), and offer just enough compensation to be a viable option for a certain level of touring band.
Each of these performance alternatives to RBA-like small hall shows has pros and cons, but none provide the high-quality listening experience and audience involvement that are hallmarks of RBA shows. But perhaps these aspects of music events have become less important.
When I began (in 1979) helping to present these sorts of concerts, it seemed that attendees were there for at least one of three reasons: (1) to connect with friends and/or jam;
(2) to be moved by the music; and
(3) to learn from the performing musicians.
In the contemporary climate of music camps, online instruction, and readily-available concert footage, that last one is no longer valid. So poor sound, distant seating, and a myriad of distractions (see: large festivals) are not so problematic these days.
(1) is certainly possible in any situation. (2) might be as well -- although I don’t see much evidence of this as a particular motivator these days. If it is there, small-hall concerts offer the greatest possibility for this happening.
- 5. Changing nature of publicity
How the word is spread about bluegrass concerts has changed as much as anything else over the past 40-50 years. Social media and other digital options are obviously cheaper than snail mail and more efficient than generating newspaper stories or radio airplay, but they've become part of the endless stream of emails, posts, and other messages confronting us constantly. How often are they noticed or considered? And, even when that happens, they're often not particularly informative.
RBA's heyday coincided with a San Jose Mercury News reporter being assigned to write about one of our concerts -- what a quaint notion these days! -- and becoming so enthusiastic that she convinced the paper to let her provide previews to, as well as reviews of, subsequent shows. Attendance soared. But that reporter moved out of the area, newspapers no longer cover relatively small-scale acoustic music events, and people stopped reading the papers.
I like to think radio still has an impact, although current studies belie this notion. I am heartened by not only the response I receive from listeners to music/event listings presented on “Bluegrass Signal” but also by the fact that two talented and enthusiastic 20-somethings have begun producing and hosting the show with me on a regular basis. Hope springs.
Clearly, RBA could have done more community outreach, developed partnerships with local businesses, been more aggressive with involving school programs, developed connections with colleges and universities in our area, and found other ways to publicize our events. But all that represents considerable volunteer effort.
- 6. Changing nature of bluegrass
The template is there for RBA’s successors: a group of relatively youthful music lovers finds a venue that permits beer and wine (and, perhaps, dancing), markets their events to their peers in some new ways, cuts costs wherever possible, and books bands who will appeal to Millennials.
Will those bands also appeal to us geezers? The jury’s out. Much of what passes for “bluegrass” these days sounds to me like rock bands playing acoustic instruments: the singing has no connection to the bluegrass approach, instruments are plugged in so have erratic sound quality, and the songs often sound like rootless “product” rather than expressions based in honest emotion.
In the Winter/2017 issue of No Depression, Noam Pikelney suggests that “bluegrass” has become a somewhat meaningless buzzword to describe bands that “suggest authenticity or something handmade. These days, almost anything that’s acoustic falls under the term of ‘bluegrass.’ I think people are in search of a term to apply to music that’s a little less plastic than a lot of the music that’s happening in the mainstream.”
Simply presenting yourself as “a little less plastic than the mainstream” sets the bar pretty low, and is likely insufficient to win over people who have been listening to real bluegrass. The younger, edgier bands that RBA has presented have had identifiable connections with what’s recognized as bluegrass, but that’s becoming a less relevant consideration. Most of us still excited about the Real Deal are relatively uninterested in a concert series with younger musicians playing acoustic rock and calling it bluegrass.
So it’s probably time to end it. I’m proud that we stuck with music from the true vine.
"I've done a show for RBA almost every year for many years now. They've been really supportive of me doing bluegrass my way, and open to some of my more experimental things that go beyond bluegrass in some ways."
- Peter Rowan
“There are many concert series all over the world, presented in a church or lodge or club or wherever a group can gather on a dark night with a sound system and a bunch of chairs. The RBA is so much more than that. It's a very high quality music experience that will be sorely missed by musicians and the audience.”
- Kathy Kallick
~~~~~~~~~~~~~~~~~~~~~~
In addition to producing and hosting “Bluegrass Signal” on KALW and WAMU and acting as Bay Area bluegrass cheerleader and chronicler via this website, Peter Thompson has been involved with Redwood Bluegrass Associates since 1994, serving as their booking agent, publicist, and secretary for the past 15+ years.
Peter also co-founded Vancouver’s Pacific Bluegrass & Heritage Society in 1979, and served in the same roles there until moving to Oakland in 1992. The story of that organization’s origins is here.
Peter wrote an account of RBA’s presentation of Travers Chandler & Avery County in Nov., 2013; some of the issues raised in that piece are relevant to this one.
A complete list of Redwood Bluegrass Associates presentations can be found here.