Beyond the scene

It's the art (and ideas) that matters at AS220

by Bob Gulla

Lizzie Araujo

Lizzie Araujo is the associate art director at one of the city's cultural gems, the live music and art space called AS220. Located at 115 Empire Street, downtown around the corner from Trinity Rep, the all-ages joint provides, in the words of their mission statement, "an open and permanent venue for artists . . . [with] an ever-changing host of programs that provide artists with a context and community for their work." AS220 makes basic resources like a darkroom and a computer lab available to anyone interested. Not only that, the space also serves, to paraphrase again, informally as a networking and community-building center, with doors open to people seeking opportunities, resources, and simpatico personalities. With so much activity in the building, it may be easy to lose sight of the fact that any RI performer -- musician or otherwise -- is guaranteed a show on the AS220 stage.

Araujo and the rest of the staff pride themselves on providing an open-minded and valuable outlet for unjuried performance and exhibition, offering everything from figure drawing, writers groups, poetry slams, and game nights, to any and all types of musical performance, including jazz, traditional, electronic, and avant-garde. Check out their website at http://as220.org/. Here's some info about their booking policy and philosophy.

Q: Do you provide sound and lights?
A: Yes, flown high packs, subs under the stage, two monitor mixes, live recording capability, and a Mackie 16-channel board.

Q: Do you have dance/DJ nights?
A: No, but they do have an electronic music night for original electronic music, which often is in a dance music genre and dancing is encouraged. Called am*be*thang, it's once a month.

Q: How often do you book local bands?
A: About 80 percent of the time, regional bands and national acts about 20 percent. We never promote cover bands and all that. We're a not-for-profit organization promoting original ideas.

Q: How do bands get paid?
A: It's a negotiable door deal. All money for the artists comes through the door.

Q: What kinds of local bands do you book?
A: All kinds. Acoustic, folk, rock, alternative, new music, experimental, conceptual, spoken word, jazz, traditional, gospel, and spiritual, ethnic, klezmer.

Q: In your opinion, what makes people like a band?
A: We are a not-for-profit arts agency. We are not a nightclub so people are more receptive to shows. We have a great sound person in Amy Zimmitti. I'm just happy when people play here. You enjoy the interaction with musicians more than the shows. The space is very intimate.

If bands are persistent, I will be more receptive. But getting a booking requires a bit of forethought. I have outside promoters booking into the calendar. In-house production does four to five weekend nights a month. Thursday nights we have Improv Jones, which is an improvisational comedy troupe. Tuesdays we have internationally acclaimed trombonist Hal Crook. The Hal Crook show is only $5.

Q: What are some of the biggest mistakes that bands make in regards to performing?
A: Volume is a big issue. This is a real small room. Acting like the audience doesn't exist isn't a good idea either. I like it when bands interact with the audience. Apologizing. I hate it when there is a smaller crowd and the band keeps apologizing for the lack of attendance. I start to think, "Why am I here, then? Do those that didn't show know something that I don't?" It's no fun when there is very little unity with the audience. Certain groups connect really well with their audience. The Make Up and Drop Dead really connect with the room. You have to see their show.

Q: What does it mean to book your venue successfully?
A: We book national, local, and baby bands. Strong locals are not assisting new bands in getting seen. Those local acts with even a moderate following are afraid of caring about a new band with no following. They think it hurts their show. They want to be put with an as strong, if not stronger, band.

I find a lot of young kids who want to play because bigger acts locally won't bring new openers. I want to foster a community of musicians, where they can find and help each other. When I have a national act, I want to put a local act to support it. The talent here is incredible. Almost every time I see a show I throw up my hands and yell, "Oh my God, they're so great!"

If I believe in an act, I can promote it. So I always try to book something I believe in. We are unjuried, so everyone will get a chance. We have to book local performers, because it is proudly in our charter to do so. I am still learning how to craft a show. How to put the right order and types of acts together for the best exposure. I did work as a booking agent at the Met, but I didn't have enough dates to really see how the calendar works. Now I am much more aware of that part of the job.

Q: If you find talent that is really hot, but completely unknown, how would you develop them?
A: Try to talk them up to my friends. I poster a lot. I encourage our communications director to give them a mention in print. A lot has to do with the artists in terms of publicity. Artists are always encouraged to send their press kits to a media list that we provide for them.

Q: How much responsibility is on the shoulders of the band to draw?
A: A lot. I want to believe that they care about their show. There is a small built-in crowd that comes here. And that crowd is growing. But I want to know that the band is with me in publicity. If they can work with me, it's always a better show.

Q: Why is it so hard to break a scene?
A: Don't admit there is a scene. Ignore the idea of a clique. Once you identify a scene, you're already excluding something that is outside the scene. That's when it becomes hard to break in to one -- when there are walls built up around "the scene."

Q: What would you do in your club if you had the budget?
A: I would expand the venue. We need more space, a lot more space. I would love to have two performance spots. One for quiet music and one without restrictions. A new sound system, rehearsal space . . . .

Q: Where is the music scene here heading?
A: I am scared about a lot of the programming that goes on in this city. Lupo's does big, giant rock shows and there are so many dance parties in town now. [The Green Room's] Bill Keough and the Safari Lounge are trying hard to make stuff happen. And Bill has a great pulse on the whole local scene. I wish there were more acts out there. Not just rock shows, but comedy and skits and wacky stuff, too. Why does entertainment have to be just dance parties and rock shows?

Q: Are you making a living from it?
A: I [have] a salaried position. My living does not matter if people don't walk in the door. I'm not bound by the issues of profit, which is possibly why other agents don't do other risky acts, because it affects their reason for garnering an income. I really do think the music scene is getting better all the time. Really, I am not just saying that.

WANDERING EYE. Big doings this Saturday when Christian Blaney and the M-80 gang celebrate the release of their new disc, Don't Take It Away, at the Met at 9 p.m. Turning Blue and Glenn's Army open. It's an all-ages show and only $7 for entry.

Blueblood will be busy this weekend. On Friday night, they will take the stage at Billy Goode's in Newport, an intimate bar and a fun place to play. On Saturday, Blueblood will be at the Call, in an important opportunity for the band. Check 'em out. They're on the rise.

Bob Gulla can be reached at b_gulla@yahoo.com.