Tracking the solid state of Knoxville’s Diverse scene
At the beginning of each new trip around the sun, the staff at BLANK, like those at many publications, loves to reminisce about everything that has happened within the past calendar year. In presenting our favorite media releases, we intend to include with them an inherent, unifying, contextualized analysis of the last year. This typically results in the emergence (in our eyes, at least) of various themes related to the state of the field we’re discussing.
Scholar Marshall McLuhan once said of culture and communications that “the medium is the message.” The pandemic era’s medium and message both seem to scream, “Don’t get comfortable – except with change!” When it comes to Knoxville’s local music scene, 2021 seems like the year that the makeup of the scene shifted: Its borders expanded farther, many established acts worked on legacy projects and up-and-comers pushed harder than ever before, with better results than in recent memory. And artists found new ways to create and share their music.
Our last few annual lists already started the transition toward the concept of an ‘album’ being fluid and flexible to the whims of the moment. We also realize that not all artists were on schedule with their average album/tour game, but many contribute meaningfully to the music scene at large, often in innovative and exciting new ways. So, for lack of a better term, let’s say that the 2021 list comprises the year’s best local musical moments.
One phenomenon that was difficult to ignore was the rise of the suburban scenes in West Knox and in other communities surrounding the fringes of Knoxville proper. From Union Place to Clinch River Brewing to Mind Yer P’s & Q’s, bars and breweries out on the edges of town booked more fresh new faces than seemingly ever before. Singer-songwriter/cover artists like Jonah Tran, Steph Cabell, Slade Hunter Adams and many others earned regular bookings at establishments where they’ve built followings before ever officially releasing an original song. (At the time of this writing, Adams had just released his first single, “Pour Some Whiskey on My Grave.”)
Similarly, talent-incubating jams and open mics had a renaissance under the steady hand of folks like Chris Marshall, who helms a few jams at various spots around town, and Travis Tench, of the band Tinca Tinca and who started a new mic night at Next Level Brewing Co. Newer downtown-adjacent spots like Geezer’s Brewery, Central Depot, Gypsy Cider Barrelhouse and South Press Coffee cultivated strong singer-songwriter scenes, as well.
2021 was the year that some local artists decided to really go for it, with different meanings of ‘it’ depending on the individual. Adeem the Artist, for example, hot on the heels of their critically acclaimed “Cast-Iron Pansexual,” toured with American Aquarium and made an appearance at Nashville’s legendary Bluebird Cafe. They then capitalized on that heat by hosting a successful “Redneck Fundraiser,” in which fans and friends put up $15,000, one dollar at a time, to fund the artist’s next ambitious project. Another artist who had a banner year is Redd Daugherty, who prepared first vinyl releases and played out of town more (in addition to performing at Knoxville’s own New Ground Festival).
Other music folks in town focused on diversifying into different segments of the industry. Former 10 Years guitarist Tater Johnson took a turn as producer and label runner championing the next generation of hard alternative with Tatervision Records, which didn’t start in 2021 but dramatically increased its output. ProMotion LLC, which is comprised of multiple local music/business people like James Gilley, signed artist after new artist and proved their mettle by getting those local faces on the road almost nonstop and producing high-quality live music videos from their Market Square studios for artists like Josiah and the Greater Good. Longtime journalist, author and BLANK contributor Lee Zimmerman introduced “Songs and Stories,” a new monthly series at The Bird & The Book in Maryville in which he conducts extended interviews with musical guests who also perform on the shows.
Some veteran artists released works in new mediums, as well. Tim Lee, for instance, published “I Saw a Dozen Faces … and I Rocked Them All,” a memoir that chronicles him touring as an indie rocker from the ‘80s through present day. (The highly recommended tome is available for purchase at local record stores and at cooldogsound.com. It’s also carried by major online retailers, but Tim would encourage you to put the dollars in local pockets.) Matt Honkonen (Peak Physique) and Christina Horn (Hudson K) hinted at an upcoming project in recent posts. Wil Wright (Senryu, LiL iFFy) did more film scoring and composition work at a higher level, with some live orchestral productions of his work presented in unique venues around town. Marble City Opera’s Brandon Gibson co-penned “I Can’t Breathe,” a stirring piece of musical theater debuting soon with actors from cooperatives in several other towns joining in the debut cast.
If this were a State of the Union-type address, we would declare that the state of the Knoxville music scene is stronger and more active than ever before, and that there is an irrepressible energy bursting out of our Southern city that will not soon or easily be stifled.
