Mark Twain wrote the famous adage “familiarity breeds contempt.” But then again, he never saw a rock band.
The proverb–as well as that of the modern variant “how can we miss you if you never go away”–is being challenged today by many musicians. (And if there really is no such notion as seeing the same act too many times, then Deadheads, the world owes you an apology.)
Time was, music lovers used to have just one opportunity to see an artist before he or she packed up and moved on to the next town. Miss the gig, and it might be a year or more before the band returned.
That’s still the case when it comes to most big-name shows, but the growing trend of club residencies–which feature the same artist performing at least once a week at a fixed location, usually for an entire month–is allowing audiences, pop/rock musicians and intimate venues opportunities to get to know one another like never before.
This winter, concert-goers can cure cabin fever by heading out to catch artists playing residencies at Empty Bottle, Hideout, Schubas and Green Mill. And having established the tradition years ago, Chicago blues icon Buddy Guy is in the midst of performing a January residency at his namesake Legends club. While the guitarist tends to hold back and cater to casual audiences on tour, he’s grittier, bolder and looser at his home confines.
The residency concept is neither new nor unique to Chicago, but as local club owners and musicians are increasingly realizing, extended stays provide creative, financial and scheduling benefits for everyone involved.
While residencies let artists polish material and branch out, what’s in it for concert-goers who attend multiple performances? In addition to seeing a favorite act in a small club, they usually hear unique arrangements and rare songs that don’t surface on traditional tours.
Moreover, at residencies, odds are higher that a band will indulge audience requests. Fans also like watching artists evolve, an opportunity that’s often impossible at arena shows. Part of this process involves musicians demonstrating they are human, even if it means they make mistakes. When a beloved name flubs a lyric and laughs about it with the crowd, it’s a natural that the bond is deepened.
Honky-tonkers the Hoyle Brothers have been performing weekly since July 2002, breaking only when they have gone on brief tours. While the quintet originally started at the Hideout, the Empty Bottle has hosted the group on Friday and Sunday afternoons for three years running. Jacque Judy, the band’s vocalist, says that the experience has been great.
“I think it’s proven to be a really good thing for us. We get the young hipsters, neighborhood folks and people not afraid to go into the joint,” the DeKalb native notes. “Residencies let you really get to know your audiences. If you’re playing once or twice a month, you can’t connect. We have twice a week to reach out and touch people.”
That kind of connection is exactly what Schubas promoter Matt Rucins hoped to achieve when he established the program Practice Space at the North Side club more than four years ago. Just as the Hoyle Brothers are the city’s current reigning popular-music residency champs, Rucins’ program appears to be the only official club residency program in Chicago.
Held on Mondays, Practice Space has attracted up-and-coming acts such as The M’s, Rachael Yamagata and The Sun. Headliners are booked for a month and get to handpick their openers. No matter who is playing, all tickets cost $6.
“I like the idea of a band getting comfortable at Schubas,” explains Rucins. “They get to know the staff, the regulars and [the club] as a good place to play consistently. As a talent buyer, I’m able to fill up four Mondays with a good band that’s going to attract press and a crowd as well.” While it depends on the artist, Rucins says the first Monday of a month-long stand generally draws upward of 50 people while the final night, due to word-of-mouth buzz and procrastination, can bring in anywhere from 75 to a capacity audience of 200. “Residencies provide a fan base with options. They might really want to see a band, and can’t go this Monday but can go next Monday.”
The unusual flexibility also appeals to Judy. “People like the ability to see artists they like when they want to,” he says. “It’s great for the community as well.”
Since the Hoyle Brothers go onstage no later than 5:30 p.m., the hard-country group plays during a time slot that has little or no competition. Consequently, the band attracts music fans who would like to but otherwise don’t attend shows because of their need to get up in the morning. A fellow working professional and early riser, Judy praises residencies for giving “people an opportunity to go out early and have a good time without a huge financial and late-night commitment.”
Rucins is sensitive to both of these issues, which account for some of the reasons Practice Space concerts are inexpensive and end before midnight. He’s also aware that playing multiple gigs over a short time span introduces artistic challenges, and tries to offset any concerns by allowing participants generous freedom.
“The way I present it to bands is that they can use Schubas as their practice space for a month and do anything short of burning the place down,” says Rucins. “Some bands get really creative with it, with the stage show and support. Bobby Conn will probably be one of those.”
An outlandish performer who dreams of having his own revue in Branson, Mo., Conn has two remaining January shows and isn’t about to disappoint. “I’m very excited about it, and it’s coming at the perfect time,” acknowledges Conn, who’s heading to a recording studio in February. “The shows are a dress rehearsal for the [upcoming] studio album. We’ll be playing all new material in the album sequence every week, with a few oldies thrown in to vary it up.”
Known to pull out every stop, the flamboyant vocalist assembled an eight-piece band comprising members of the Glass Gypsies, Detholz! and Mahjongg. With plans to rent a wireless microphone just for the occasion, the mobile singer promises the spectacle “will make for a real schizophrenic piece of mayhem onstage. We’ll change styles and genres from song to song by using different people and combinations of players and personalities. My biggest worry is if we can fit it all onstage.”
Chris Mills also is playing with a large ensemble. At his present Wednesday residency at the Hideout, the power-pop whiz is being supported by his ten-piece City That Works Orchestra. Having completed residencies in other cities, Mills is familiar with the degree of creative autonomy they afford. “When you’re usually on tour, you get 40 minutes and you’re supporting a particular record so you play a lot of the same songs every night. I’ve got recorded stuff and stuff that’ll be on the next record, so I have 60 or 70 tunes to choose from,” he says. “Residencies are a chance to revisit and explore songs you might not get to play if you’re going out on a two-week tour. It’s working on stuff every week versus just having one shot at it.”
Like Mills and Conn, short-term residency artists need to concern themselves with pulling off a handful of shows. But how does an ongoing act like the Hoyle Brothers stave off repetition in a single market? For Judy, it’s all about keeping the music fresh: “There are a few pat songs that have to be in the repertoire. You hit those every week. I need to bring new material in not only for the crowd, but for the band, which gets bored really quickly. If you come and see us, you’ll never see the same show twice.”
What’s more, since they play for tips, the Hoyle Brothers don’t have to worry about giving the crowd its money’s worth. “We’re the best [expletive] country band in your price range. You just tell us what it costs,” says Judy. “We don’t begrudge you if you can’t afford to tip–we don’t care. Just come out and listen to the music. It’s easier to play a full rather than an empty room.”
For the Hoyles, everything boils down to vibe. “It’s really about the groove and giving people an opportunity to dance.”
Or offering them a chance to hear some unexpected surprises. The Hoyle Brothers know about 300 songs, any of which might be played on a given night. Mills says he is dusting off back-catalog gems that haven’t been heard of late, and though he isn’t ignoring his new album “The Wall to Wall Sessions,” he plans on modifying the combinations. One week, he might play a tune solo, and the next, try it with a three-piece band. The M’s took a similar anything-goes approach at their stand at Schubas in December when they debuted their forthcoming “Future Women” album with a horn and string section.
Other residency artists seem to share the vibe-is-everything attitude, either because they want to make a living doing what they love and though they might rather, can’t afford to always be on the road. Patricia Barber has enjoyed long stints at both the defunct Gold Star Sardine Bar and Green Mill. She recognizes both the draw of residencies and importance of touring.
“Certainly, staying at home is a wonderful thing,” says the local jazz pianist-vocalist. “But on the road is in fact where the best music is made. You have no life, no bills, nothing. All you’ve got going on is 8 p.m. on the downbeat.”
Mills doesn’t have a preference. “I get to do a lot of traveling, so staying in one place is sort of nice but it really doesn’t matter,” he says. “As long as I can get onstage and do my thing, it could be anywhere, really.”
With a second child on the way, Conn is also divided, yet sounds like a man ready to pitch his tent in one spot. “I plan on doing a lot of touring for the new record, but as a guy with kids, stuff like [Practice Space] is a lot more appealing than being on the road for six months. We’ve taken our son on every tour but I don’t see how we can do it with a 4-year-old and a newborn. Everything is crazy enough.”
Maybe Branson isn’t so far off after all.
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Musicians in residence
Want to catch an artist or band in residence? Check out these opportunities:
Patricia Barber plays 9 p.m. Mondays at the Green Mill, 4802 N. Broadway. $7; 773-878-5552.
Bobby Conn plays 8 p.m. Mondays in January at Schubas, 3159 N. Southport Ave. $6; 773-525-2508.
Buddy Guy plays Friday-Sunday and Thursday-Jan. 29 at Legends, 754 S. Wabash Ave. Showtimes vary; all tickets sold out except for 9 p.m. Thursday ($35); 312-427-0333.
The Hoyle Brothers play 5:30 p.m. Fridays and 4 p.m. Sundays at the Empty Bottle, 1035 N. Western Ave. Free; 773-276-3600.
Chris Mills finishes his January residency 8:30 p.m. Wednesday at the Hideout, 1354 W. Wabansia Ave. $8; 773-227-4433.
Jason Molina plays 8 p.m. every Monday in February at Schubas, 3159 N. Southport Ave. $6; 773-525-2508.
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