Brief History of the Minneapolis Music Scene; An Exploration of the Unique Sound Created in Mill City.
Rock and roll was the sound of the 60s in Minneapolis, taking the midwestern city by a storm. One of the most notable songs coming from this period was Surfin Bird by The Trashman, which was recorded in Minneapolis at the local label Soma Records. Soma records began by mostly putting out country and rockabilly songs, reaching weak local success with no real hits. However the 1963 release of Surfin Bird changed this, with the song reaching #4 on the hot 100 billboard charts and taking the national music scene by a stride. Interestingly, this popularity didn’t take place until after the assasination of President Kennedy. This illustrated the changing landscape of both local and national music, as a seemingly loud, pointless song took hold of a society, indicating the want for more fun and entertainment in music.
On April 3rd, 1970, the historic venue First Avenue opened in Minneapolis. This marked a clear change had taken place. Rock concerts got larger, and became increasingly commercialized events. People lined up for hours, with obsessive fans cheering in the stands, declaring their undying love for whoever found themselves on stage. Larger venues were needed to support the hoards, and so indoor arenas were constructed in Bloomington and Saint Paul. At the same time, built off of the rock and roll popularized in the 60s, new, divisive sounds were forming. One example was the beginnings of heavy metal, gaining a mainstream audience and expanding into the public eye. Heavy metal is characterized by distorted, loud, even sludgy instrumentals that horrified the older generations and enticed the youth. Rapid urbanization and the creation of a modern middle class lead to the emergence of garage bands, made up equally of rebellious teens and college kids looking for an escape. With this, a homegrown music scene that supported a rise in black musicians took hold.
During this period, the first record label owned by black people was founded, Black and Proud Records, which produced five albums between 1968 and 1969. Although a small percentage of the Minneapolis population, the black community contributed greatly to the music scene, even while navigating the struggles of racial discrimination and segregation. There were many venues that were white only, leaving the black population to create their own musical community. The Way was a community development center formed in the late 60s after racial unrest in the north side. It gave black youth the opportunity to cultivate a community, and music was a big part of their work. Using music to bring together black community created a powerhouse of talent, leading to undeniable changes in how the world interacted with black culture and musicality.
The first hit of the 80s was Funkytown, which marked the end of the notorious disco craze, leaving the grounds for innovation and further advances in the scene. Most notably, institutions such as The Way shaped what was known as the Minneapolis sound. The Minneapolis Sound had its roots in Funk and R&B, also weaving in rock, rhythm, blues, jazz, new wave, and punk. This new sound brought together a wide audience, with black R&B fans and white rock fans joining together to enjoy the fresh wave of music. Growing up in the 60s and 70s, Prince was shaped by the diverse music scene present in those times, and is largely credited with the creation of the Minneapolis Sound. His musical touch spread wildly, both through inspiration and collaboration, as he worked with many other artists during his time. His impact on both local and international levels cannot be understated, as his affect on music is still seen today.
The 90s were the years of the underground, defined by the popularity of Nirvana, leaving record labels looking for the next best alternative. Many were seeking to part from the “mainstream”, and the popularity of underground artists and venues exploded again. One memorable alternative rock band from this time was Babes in Toyland, a female band founded in 1987 by Lori Barbero and Kat Bjelland. Releasing three albums along with many singles and EPs, Babes in Toyland was a defining part of the Minneapolis music scene in the 90s, illustrating the darker and grungier turn many were taking at the time. At the same time, the punk scene was taking Minneapolis basements by a stride. Loud, peace-interrupting guitar and drum sets could be heard from nearly every basement while walking through your average neighborhood. The counterculture music movement prided itself in its unconventional venues, with one of the most famous examples being Green Day’s pre-fame performance in “Josh’s Neat Basement” in the Marcey-Holmes neighborhood.
Q&A with an Upcoming Minneapolis Musician
Written with Brody (RAYMND)
Q. Why did you start making music?
A. Well, I grew up surrounded by music, I mean a lot of my family played instruments, and it was something expected that I’d like too. It turns out I did. As I got older, I started experimenting more, making my own stuff. It gave me a place- an outlet for my feelings.
Q. How do you balance being a musician and working?
A. It’s easy when you love your job (laughter). No but honestly, it takes a lot of consideration, especially now, when I have to decide between working a shift or going to a gig. Right now, as things are taking off more, I try and prioritize my music stuff, but it gets tough honestly, I mean these things are important decisions, so yeah it’s hard. I think the best way to balance stuff like this is to just focus on what you need, and build yourself up from there.
Q. What’s the most fulfilling part of creating music?
A. Oh god, uhm, that’s tough. For me, personally, I love sharing what I’ve made- created with my family or friends, it really feels worth it then, you know to have something to show for what you’ve been working on. Also, I like, getting to know what people think, cause sometimes you really get caught up in your own stuff, and hearing those other feelings helps me understand what I’ve made, if that makes sense. (Laughter)
Q. What is your experience working with venues in Minneapolis?
A. It has its moments, yeah. I mean it’s great when it works out, but reaching out and getting those rejections, or like no response, it sucks. But I do appreciate what they do for the community, and I haven’t had a bad experience actually playing at them so, it’s tough to say.
Q. Do you have any advice for someone who wants to start making their own music?
A. Well, first I’d say have fun (laughter). A lot of people lose this, you know, they get caught up in being famous or something, and don’t go into it with good—pure intentions. It’s hard to give advice, I mean, I’m no expert, so I don’t even really know what I’m doing most the time. But mostly I think it’s important to have fun, yeah, and just treat it like a hobby, I mean, I think when you put too much pressure, it gets, uhm, stressful, and you feel like, or you lose why you started in the first place.
5 Unique Venues in Minneapolis
Large stadiums with thousands of seats aren’t for every artist, and certainly aren’t where most people go to discover new music. Small local venues create a unique environment, where meeting new people and good times are almost always guaranteed. The charm of a quaint, local place can frequently be forgotten about. If you are a small band, or a Minneapolis local looking for new music, these five venues could be perfect for you.
- Cloudland – 3533 E Lake St, Minneapolis, MN 55406
Cloudland opened in October of 2023, however the building it is located in has plenty of history, predating back to the 1900s. It’s a small venue, with a standing capacity of 150, creating the perfect scene for connections, and to be closer to the acts performing. The owners of Cloudland are musicians themselves, meaning the venue has people experienced with the independent music scene in charge.
- Eagles 34 – 2507 E 25th St, Minneapolis, MN 55406
Hosting 3 separate rooms, with capacities of 200, 150, and 49, there is plenty of opportunity to be around live music and witness the local scenes. Eagles 34 has a rich history of supporting Minneapolis artists since 2003. With a welcoming atmosphere, there is almost no end to what kind of music you can find here, ranging from elaborate techno to classic folk.
- Driftwood Char Bar – 4415 Nicollet Ave, Minneapolis, MN 55419
Driftwood is a bar located in South Minneapolis, with a friendly atmosphere and live music on Wednesdays, Fridays and Saturdays. It is open to all ages, making it the perfect spot for younger people looking to get into the local music scene. The venue itself is small and cozy, promoting more connections between artists and fans.
- Hook and Ladder – 3010 Minnehaha Ave, Minneapolis, MN 55406
Converted from an old firehouse, Hook and Ladder is the perfect place if you want an exciting ambience with lots of character. Additionally, it hosts a wide variety of music, from metal to bluegrass, meaning no matter what you’re into it is certain you will have a good time.
- Aster Cafe – 125 SE Main St, Minneapolis, MN 55414
Aster cafe is more centralized on their great food, however this charming spot is also a great place to discover new music, as they host local bands almost every night. If you’re looking for a more refined and elegant location, this could be the place for you! It contains a European style courtyard and overlooks both the Mississippi River and the downtown skyline.
