Since I started bringing my very first songs to open mics in 1999 (it’s been ten years, how about that?), I’ve found the scene for songwriters in New York City to be sometimes overwhelming, often welcoming, occasionally cliquey, usually fun and always challenging. Maybe some of the challenges are that there is so much going on musically in all the five boroughs, or the fact that songwriters — particularly the acoustic kind — are not front and center these days in Manhattan as they were back in the days of Greenwich Village and Bob Dylan.
Still, I believe there are lots of opportunities for aspiring and experienced songwriters to share their work, gain new fans and meet fellow songwriters in NYC, if they know where to look. One resource I’d immediately list off the bat is Acoustic Live, which lists venues and open mikes friendly to songwriters in the five boroughs and the entire metropolitan NYC area.
I also took the time to chat with my friend Emily Zuzik, a very talented and well-known NYC-based singer-songwriter who’s played with a wide variety of artists and bands over the years, and also does a fair amount of booking and promotion. In addition, these days she runs a showcase at Googie’s Lounge Above the Living Room, called “What’s in a Name?” It’s a songwriter’s challenge in which a word is thrown out in advance of the evening and songwriters write a new song using the word to present at the evening. I’m hoping to attend the next one on Sunday, August 23rd!
I asked Emily for some of her opinions on the New York City songwriting scene, and here’s what she had to say:
Q: How would you describe the NYC songwriting scene?
A: I think any songwriter who’s dedicated to the craft will find enormous inspiration and support in NYC. I have been to a number of songwriter circles, dedicated songwriter performance nights and host one myself. Of course, they run the gamut of quality and strictness of criticism, but there’s bound to be one that fits an individual’s needs. I also find that the NYC scene is open to a lot of co-writing opportunities if you seek them out. I’ve worked with a number of folks around town–both strictly songwriters and other producers to make new songs for both the joy of it and for commercial release or use.
A: I think any songwriter who’s dedicated to the craft will find enormous inspiration and support in NYC. I have been to a number of songwriter circles, dedicated songwriter performance nights and host one myself. Of course, they run the gamut of quality and strictness of criticism, but there’s bound to be one that fits an individual’s needs. I also find that the NYC scene is open to a lot of co-writing opportunities if you seek them out. I’ve worked with a number of folks around town–both strictly songwriters and other producers to make new songs for both the joy of it and for commercial release or use.
Q: What are the best venues for songwriters in NYC?
A: I think there is a list of them–hand’s down–Rockwood Music Hall and Living Room top the list. Beyond that, I’d throw some attention to Banjo Jim’s, The Bitter End and Cornelia Street Cafe too. Various sizes and vibes, from rock to strictly acoustic to Americana genres, all these rooms are good for meeting other songwriters and working on your craft.
A: I think there is a list of them–hand’s down–Rockwood Music Hall and Living Room top the list. Beyond that, I’d throw some attention to Banjo Jim’s, The Bitter End and Cornelia Street Cafe too. Various sizes and vibes, from rock to strictly acoustic to Americana genres, all these rooms are good for meeting other songwriters and working on your craft.
Q: Do you feel the songwriting scene in NYC has changed over the years since you’ve been involved with it?
A: That’s difficult to say. I think it depends on how actively a songwriter wants to meet others to work with or to hear others doing well. It’s as much work being aware of what other’s are doing in the world, as it is to be working on your music in an isolated setting. Many musicians don’t think about that side. I’m more a public relations type of musician so I tend to want to know what’s happening outside of what I’m doing at any given occasion. When I first got here, I would frequent open mics to poach talent for nights I booked and to meet others and hear what they were doing. I think it helped me develop my own style in contrast or in synch with other’s or with what I found listening around town.
A: That’s difficult to say. I think it depends on how actively a songwriter wants to meet others to work with or to hear others doing well. It’s as much work being aware of what other’s are doing in the world, as it is to be working on your music in an isolated setting. Many musicians don’t think about that side. I’m more a public relations type of musician so I tend to want to know what’s happening outside of what I’m doing at any given occasion. When I first got here, I would frequent open mics to poach talent for nights I booked and to meet others and hear what they were doing. I think it helped me develop my own style in contrast or in synch with other’s or with what I found listening around town.
Q: What advice would you give to aspiring songwriters looking to get involved in the NYC songwriting scene?
A: Well, it depends on whether the songwriter also wishes to perform… If the songwriter is also the performer, then I would say play everywhere you can, seek out songwriting opportunities ( like my event, “What’s In a Name” each month at Googie’s Lounge Above the Living Room) where you can meet other songwriters and put new material in front of them and an audience without the pressure of a gig, or see who is playing regularly and listen to what they are doing.
If the songwriter is more interested in writing for others, find the people playing regularly and talk to them after their sets. Ask if they perform other’s material or if they are interested in trying it out. Maybe there will be a fit. Come out to songwriter’s events and put your work in front of people for critique. No one gets better at this from hiding away in a room, so check the ego at the door and learn from others.
A: Well, it depends on whether the songwriter also wishes to perform… If the songwriter is also the performer, then I would say play everywhere you can, seek out songwriting opportunities ( like my event, “What’s In a Name” each month at Googie’s Lounge Above the Living Room) where you can meet other songwriters and put new material in front of them and an audience without the pressure of a gig, or see who is playing regularly and listen to what they are doing.
If the songwriter is more interested in writing for others, find the people playing regularly and talk to them after their sets. Ask if they perform other’s material or if they are interested in trying it out. Maybe there will be a fit. Come out to songwriter’s events and put your work in front of people for critique. No one gets better at this from hiding away in a room, so check the ego at the door and learn from others.
Q: Does it differ by borough? Is the scene different in Manhattan than, say, Brooklyn?
A: That is another difficult one. Manhattan has more places to play but not all of them apply. Brooklyn has some gems of rooms–many I haven’t even been to yet like Jalopy in Red Hook. Other great rooms are Pete’s Candy Store or Barbes for world or jazz. I think the best advice is go out, listen to what others are doing, talk to people, ask others to try cowriting and then if you’re a performer, take it to the stage and let the people decide.
A: That is another difficult one. Manhattan has more places to play but not all of them apply. Brooklyn has some gems of rooms–many I haven’t even been to yet like Jalopy in Red Hook. Other great rooms are Pete’s Candy Store or Barbes for world or jazz. I think the best advice is go out, listen to what others are doing, talk to people, ask others to try cowriting and then if you’re a performer, take it to the stage and let the people decide.
