Cities’ economic conditions shape local music, character

By Britta Snowberger

Special to The Vindicator

“Filling out forms, standing in line,” Billy Joel blazed up the charts with his 1982 ballad, “Allentown,” in which the singer/songwriter described the downfall of the steel industry in the thriving Pennsylvania city.

A decade later in “Youngstown,” Bruce Springsteen was “sinkin’ down” with the end of local steel manufacturing, cementing the Ohio city’s name in national infamy.

Although the majority of Allentown-area steelmaking corroded at a later date than that of Youngstown’s mills, both mid-sized cities reeled in the loss of a dominant industry.

Boasting greater financial preparation, Allentown maintained stability following its forging crisis. However, Youngstown experienced economic deterioration into the 21st century, according to “Why the Garden Club Couldn’t Save Youngstown” by Sean Safford, University of Chicago business professor.

“Allentown has emerged as a community on the ‘high-road’ of economic growth while Youngstown remains a poster child for post-industrial decline,” said Safford, noting that, since 1980, Allentown’s central cities have expanded by 35 percent, while Youngstown’s chief cities have dwindled.

Considering these dissimilar economic situations, each city offers its residents unique opportunities. From these experiences, local musicians — in the spirit of Joel and Springsteen — generate music as a reflection of their respective cities.

Regardless of their musical styles or venue choices, Allentown musicians maintain positive feelings about, and an admiration for, their now-thriving city.

“I think the local music scene is largely pro-Allentown,” said Brian Follweiler, vocalist and guitarist from The Saint Cloud, an Allentown-based roots rock band. “I think many bands, including my own, have ambitions to eventually play in different parts of the country, but many people have a great respect for the place they call home.”

The local music “soundtrack” of Allentown acknowledges the city’s richer environment, but often criticizes the area for its economic certainty.

In Steve Brosky’s song, “In My Neighborhood,” the Allentown roots rocker expresses his opinions of the city’s condition.

“From my window, I get to see the show/ Watchin’ pretty people come and go/ In their Benzes and their Cadillacs/ You’d think they were somethin’ with the way they act,” he sings. “By now I know it’s understood/ My neighborhood is so Hollywood.”

Like Brosky, acoustic folk singer Brittany Ann questions Allentown’s economic confidence, and she expresses how the demands of a thriving city can hinder its artists’ originality.

In her song, “Astounding,” the solo artist mentions the city in her first verse — “Look around in the town where I’m living/ They take down everything that’s real/ And turn it into a subdivision/ But can they understand this freedom that I feel?”

In a financially stable Allentown, sizeable venues and national headliners dominate the music scene.

“For our relative size as a metropolitan area, we attract large acts,” said Follweiler, “We have good venues and a number of publications to promote what’s going on in the scene.”

Allentown folk singer/songwriter Brittany Ann placed Crocodile Rock and Stabler Arena atop the list of Allentown’s most successful venues.

“Crocodile Rock features some very famous metal, screamo, emo and rock bands,” she said. “A lot of American Idol-type shows come [to Stabler Arena], and lots of big-name Christian rock bands play there too.”

At these popular venues, Allentown-based artists shell out great amounts of money to open for touring bands, and these local musicians are encouraged to perform only music previously made famous by national acts.

“At Croc Rock, local bands have to ‘pay to play’ to open for big artists,” said Lehigh Valley Rocks founder Butch Maloney, who described Allentown local music as being underappreciated. “Then they don’t play original songs, because most clubs want you to play covers.”

“‘Original’ often means ‘lousy’ or ‘passable,’” added Ian Bruce of Lehigh Valley Music Awards. “The scene encourages bands to perform cover slash original music.”

Not only do Allentown’s local music promoters cringe at the fact that their area’s artists are often unable to express themselves in a city bursting with opportunity, many artists writhe beneath the constraints as well.

“Unfortunately, there really is no market anymore for original bands in this area, so you’ll never hear of them,” said rock band Eighteenth Hour’s drummer, Tom Chaffier. “There is little or no support from the clubs and media. Even the bands themselves seem to barely lift a finger anymore.”

Beneath its money-hungry, mainstream exterior, Allentown flaunts a few original music gems, proving that the city is not devoid of all local music creativity and flair.

According to Maloney, The Sterling Hotel, a popular downtown venue, holds original nights for local musicians. In addition, many smaller bars and coffee shops hold open mike nights, a few of which require all performed music to be written by the performers themselves.

“For the kind of music I do, people want to hear originals,” said Brittany Ann. “Some places don’t allow covers or put a limit on how many you can do. In a folk music listening room where your audience is attentive, people want to hear new and original material.”

For some Allentown musicians, the pressure to play cover songs — coupled with limited show opportunities — is not great enough, and these artists find accomplishment in performing only their own material.

“An original band has the obstacle of cultivating an audience who knows and enjoys their music, so it’s more of an uphill battle at first,” said Follweiler. “Ultimately, though, that path can have greater rewards, because a cover band can only go so far.”

Across the state border, local music takes on a different form in a vulnerable Youngstown. With fewer venues and a greater demand for original compositions shaping its audio identity, the city possesses a successful artistic outlet despite its faltering economy.

“Youngstown lacks music venues; however, each band locally has more than enough opportunities to express themselves through music,” said Youngstown Local Music founder and Jones for Revival guitarist and vocalist Jim DeCapua.

Rallying against its underdog status, the city’s musicians maintain a genuine camaraderie and acceptance, forcing the local scene to shine in a dreary city, and creating a soundtrack of rebellion against adversity.

“Every band in Youngstown is definitely pro-Youngstown. That’s kind of what we thrive on here,” said DeCapua. “We all accepted that Youngstown isn’t the best area in the world, but we deal with it, and through music, we make it a better place.”

Demonstrating the tenacity of local musicians, Youngstown punk rock band You Are the War That I Want expresses hometown pride in “Fuck You, Bruce Springsteen,” the band’s response to “The Boss’s” 1995 song about the city.

“They say there’s not much to do here but drink and do drugs/ So what? Youngstown is our home,” sings lead vocalist Lenny Crist. “We will make it ourselves. We will make this town great/ Yeah, Youngstown is our home.”

In its current state, Youngstown inspires creativity and emotion in its musicians, forging a unique local music scene, said Valley24.com’s Katie Libecco.

“It’s no secret Youngstown has had a vicious past, and as we endure, the ‘Youngstown’ personality becomes more abrasive,” she said. “That grittiness translates to an aggressive music style and tonal quality that the scene here embraces.”

Although the city exhibits limited venues, its opportunities for local musicians are endless, and its respect for individuality is unfailing, said Libecco.

“The scene really does provide so many opportunities here,” she said. “Cover bands get a lot of grief in Youngstown, and any band writing original music gets more respect.”

“We have one of the most loyal fan bases,” said The Devotees’ keyboardist and trumpeter, Justin Hite, of the indie folk band. “I can guarantee to see the same 20 to 30 people at any show my band plays, and that’s true across the board for Youngstown bands.”

Life for Youngstown-area residents may be more difficult as a result of the city’s economic status; however, its musicians maintain a staunch pride and a determination to enhance their hometown.

Scheduling large music events like Vexfest, ruKus Festival, Noveau Rock Fest and Jonesfest, these artists, often performing for free, aim to “bring the community together and bring musical growth to the city of Youngstown,” said DeCapua.

This musical growth may be inspired by the city’s own development challenges and shaped by the artists who experience those complications.

“I think the pro-Yo’ movement and the evolution of the Youngstown music scene are tied together,” said Libecco. “The aggressiveness of the Youngstown sound comes out of the frustration of living in the area.”

For Youngstown’s local music scene, facing daily adversity only proves to be fuel for the originality fire, according to DeCapua.

“Some bands know that Youngstown only has so much to offer as far as jobs are concerned,” he said. “Through music, they can channel their aggressiveness in a positive and effective way.”