02/03/2010
9 Questions with Blowout’s Eve Doster Knepp
You probably don’t know Eve Doster Knepp, but in all likelihood that hasn’t stopped you from talking shit about her on one of the local music blogs. As proprietor of Norwegian Blue Public Relations she helps many local bands, artists and events with promotion. But, I’m guessing you probably never complained about the work she’s done for the Hamtrack Labor Day Festival or Ghetto Recorders. What gets most people’s attention is the work Eve does for the Metro Times Blowout.
Through the magic of Internet 2.0 social media technology, Eve and I recently discussed her role with Blowout and the best job in Detroit that everybody thinks they could do better, but nobody else really wants.
DG: Describe for my reader a little bit about your history with Blowout and your current role with the event.
EDK: Well, I worked for the Metro Times for six years as the listings editor. That’s how I got to know the folks over there. I left in 2006 to start my own PR Company, Norwegian Blue (named from my all-time favorite Monty Python sketch). [ed note: Naming your company after a bird that has “ceased to be” is a bold PR move]
This is my third year with Blowout.
Basically, the MT was going through some staffing changes so the then publisher, Lisa Rudy, hired me as a contractor to produce the 2008 Blowout. That first year, I worked with then Publisher’s Assistant Maria Stella on all aspects of the event. Stella was so adept at her job, she was actually promoted to Promotions Manager and went on to produce many more MT events (she still does, in fact!)
For the last two years, I have basically been in charge of the music end of things — booking, sound, venues. Maria and the MT does all the PR, planning, advertising, etc.
DG: Intuitively, the size the event makes you job complicated — but could you put that in perspective with some of the facts about booking bands and working with venues?
EDK: I mean, logistically, it is pretty complicated, as I am dealing with so many bands but what I have learned to do is book the Blowout in waves.
First, starting in October, I personally contact the artists who I know I’d like to see play the event. For context, these are usually bands I believe have proved themselves to be, I dunno, the “tastemakers” in town. Also, these folks tend to be known to have a following and/or something interesting going on.
Next, I begin poring over all the submissions and email requests — this can be well over 1500 inquiries to sift through. My rule is to listen to at least 3 songs (when available), try to catch a live set and…watch any footage available. From that, a wish list is made.
There’s a ton of variables involved, including bar owner’s band requests, booking agent negotiations, availability, etc — so after that, it’s just a matter of filling in the holes.
As far as why a bands gets picked goes — that too is rife with variables. Sometimes I don’t know what to tell the bands who sound like Daughtry regarding why they didn’t make the cut. I’m not here to judge Top 40-influenced music, but that type of music just isn’t what the Blowout is about. While I have booked some pop music-influenced acts, in my opinion, Blowout represents some of the best in soulful, smart, daring and interesting Detroit music. Sometimes we even flirt with the avantgarde.
It’s *extremely* important to me to represent as many facets of the Detroit “rock ‘n’ roll” music scene as possible. Since I was a kid in the scene (way back in the early 90s), I have always seen this town’s music scene a sort of buffet of the best of the best. Our roots music is authentic as hell, we INVENTED techno, Detroit garage rock took over the world, we have amazingly awesome metal, electronic music is at an all-time high, popularity-wise. And then there’s bands like Zoos of Berlin who defy every cliche in town.
I am always surprised by how myopic people can be about what kind of music they will listen to. Blowout is one of those rare opportunities to see bands you never would have before. I hope more people challenge themselves to do that this year — it makes for some pretty happy accidents!
DG: A lot of the negative reaction and hurt feelings that I read out there seem to believe that the first stage you describe is somehow insidious or otherwise anti-American. Out of the 200+ bands at the event, how many are booked out of that first phase?
EDK: I’d say, like 30.
DG: So you have to find another 170 bands by going through the 1500 submissions. I mean it’s no wonder there’s a lot of sour people out there; 90% of the bands that submit aren’t going to be able to play. Honestly, I’m always a little shocked there are 200 bands available to play — the idea that there are 1500 active bands that would like to be at Blowout is kind of shocking.
I’d like to go back to something you said earlier about the “many facets of the Detroit ‘rock n roll” music. Is it fair to characterize that viewpoint as fundamentally opposed to those posited by Sammy Hagar?1
EDK: HAHAHAHA. Exactly.
Remember also…these bands crop up from EVERYWHERE. Lots of Macomb County, which has a very strong emo/Christian/screamo scene and Downriver which has a lot of metal and rock. Also, we get tons of submissions from college towns, the Ann Arbor scene, the UP (Sisu Kid is from the U.P.), Grand Rapids, etc. It seems like the regional bands have a better shot, but when somethings cool from far away, I want to get it in.
DG: What about the venues. Year to year the list of venues is largely the same, but every year it seems like there are a few that drop out out or come aboard. Do you have to actively seek out participation from the owners every year?
EDK: No, bars are very glad to participate. Times are tough and there’s not a lot of weekends (except for Paczki Day) that bars are full like they are at Blowout. Basically, when there were bars in the past that were too far off the beaten path, they suffered attendance-wise — we have decided to keep it more streamlined, and to keep the quality of music as good as it could be. There’s no reason to book a band just to fill a showcase. Also, despite what other might think, we do this event on a shoestring. The more streamlined, the better we can pay artists. It’s kind of like a quality control thing.
DG: Wait, bands get paid? Is that just bands at the larger venues or headliners or something like that?
EDK: The only folks eligible are headliners and direct support. A few exceptions will crop up, depending on booking agents, slots changes, etc…but that’s the basic concept.
In case you didn’t know, every headliner and direct support has been paid for several years now. Like I said, the MT does this on a shoestring. It’s really an event for engagement with readers — not humongous profit.
DG: Do you have a favorite Blowout memory, maybe from the care free days where you weren’t in charge?
EDK: I wish I could remember this night in it’s entirety, but, I do remember seeing the Doornails at Roadruner’s Raft (now Atlas) in 4-inch heels (after running in said heels through the snow all the way from Paycheck’s) and thinking to myself “This is the greatest!” But…my all-time favorite Blowout moment took place a few years back at Kelly’s Bar. On that bill was a relatively newly formed Human Eye and the spoken word weirdness of City Chicken Orchestra, which was led by my hilariously acerbic friend, Dan DeMaggio. There was not — I’m not kidding — even a few inches of room in that joint. Human Eye blew my mind with their atonal awesomeness. I fell in love with that band that night. Also, I remember I was so effing hot I got nauseous. Whatevs. Dan DeMaggio — as always — disturbed and slayed me. Not a bad way for a hedonistic twenty-something to spend an evening.
DG: Do you have any recommendations for bands you personally are looking forward to seeing this year?
EDK: I’m super excited to see Invincible with a full band. I’m pretty sure the band is all or mostly ladies.
Also, Hi Speed Dubbing and Chapstik at the Pre-Party (it’ll be nice to see some super powerful rock that night…I can’t think of a better way to kick it all off!).
For the rest of the weekend:
Fur
WTCM Gold!
Pigeon (Leslie Hardy is the greatest, ever.)
Legendary Creatures
Bloodbird
The Sundresses
Bill Bondsmen — that whole showcase, actually.
Browtown & the Beefcaves (new thing from Audra Kubat include ukuleles and concertina)
Secret Twins
The Party Stompers
Child Bite (they are planning on throwing a crazy show)
Matt Jones
DG: That’s quite an ambitious list — do you think you’ll really get to see all those bands?
EDK: I can do it! I know it….
DG: Thanks again for putting up with my half assed interview technique and I’ll see YOU at the 2010 Metro Times Blowout.
EDK: I’ll see you there, sir!
The Blowout is an event sponsored by Metro Times in Hamtramck, MI. in case you just skipped to the bottom to read the footnotes.
Blowout goers should note that on March 4-6, Blowout Bracelets are only available at Detroit Threads and The Gates of Columbus Hall (formerly the Knights of Columbus).
1In his 1981 song, “There’s Only One Way to Rock,” Samuel Roy Hager issues three primary theories.
1.When it comes to rocking, there is but one correct method.
2.Drugs are a form of mental masturbation.
2a.Everyone should try every drug at least once.
3.The time to commence rocking is 8:05, no earlier, no later.
3a.It is unclear if Hager means AM or PM or is operating on military time.
3a1. The collected works of Michael Anthony, “THE harmony vocals of Van Halen,” would suggest PM.
Text posted at 11:54
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