[Jim Price]

MILLENIUM MUSIC CONFERENCE – PART III

SATURDAY 2/15:

The final day of the Millenium Music Conference began for me as it did the day before, with my arrival at the Pennsylvania Musician Magazine “Schmooze Room” and acoustic stage for some breakfast. Although a number of bands and artists had signed up to perform on the acoustic stage this day, none of them were showing up in the early going (of course, musicians traditionally don’t tend to be an early-rising bunch, especially any who took in the overnight parties on the Hilton 4 th floor the night before!). So Pennsylvania Musician patriarch Whitey Noll broke out his ukulele and entertained the breakfast crowd until the next musician showed up. We heard tunes from Whitey’s “Between the Curtains and the Clouds” CD such as the title track, “Future Questions,” “Ukaboom Man” and more, plus Whitey’s rendition of Bob Dylan’s “Blind Willie McTell.” Along the way, it was typical Whitey, bantering and joking with the audience, and even offering up Pennsylvania Musician T-shirts as consolation prizes for audience members (he reminded me a little of David Letterman). Whitey provided a lighthearted, fun way to get the day started.

Whitey Noll entertains the breakfast club contingent at the Pennsylvania Musician Acoustic Stage.

Bright-eyed and bushy-tailed, Robin Noll and Andrea Greene at the Pennsylvania Musician table.

Eventually, another musician showed up and relieved Whitey on stage; Vitu, the singer and guitarist from the Harrisburg-based band No Refill. Vitu played several acoustic songs with a slight funk/reggae leaning. I only caught one song title, Vitu’s last song, “Stand for Your Rights.” Vitu’s songs sounded solid, and his presentation was relaxed and friendly. Fellow Pennsylvania Musician writer John Train told me that Vitu’s band, No Refill, delivers an impressive live show. While I was not able to catch No Refill’s showcase performance at Harrisburg’s Whitaker Center this weekend, I’ll definitely keep this band’s name in mind in case I have a chance to see them again later on.

Vitu of No Refill.

Following Vitu was New Jersey-based singer/songwriter/guitarist Mark Bodino. Mark’s base sound was folk-geared rock, flavored with displays of his fretboard virtuosity. Mark introduced songs such as “Who Will Take Care Of It,” “Drifting,” “Good-bye,” “”No Roads To Juneau” and more. Along the way, Mark would suddenly break into guitar solo side journeys on his acoustic, displaying dazzling fingerwork as he went. Besides having an album of his original folk/rock-geared song material, Mark also has released a classical guitar album. Based on what he demonstrated in this mini-set, Mark is skilled in several genres.

Mark Bodino entertains on the Pennsylvania Musician Acoustic Stage.

I then saw a repeat performer from the previous day, Dustin Dwyer of the Dustin Dwyer band. I caught two songs from Dustin, the first entitled “Don’t Look Away.” Again, I noted Dustin’s clear high-ranged voice and solid melodies. After two songs, I decided to go see what was up out on the main Trade Show floor, so I left the Schmooze Room to check things out.

Dustin Dwyer of the Dustin Dwyer Band.

The Trade Show floor was busy, although it didn’t seem as crowded as the year before (I think traffic at the Trade Show in general was lighter this year). I perused several tables to pick up literature and touch base with a few folks, before being alerted that Halestorm was getting ready to perform over at the 105.7 The X stage.

As I arrived at The X stage, another performer was stating his case for catching his showcase later this evening; Souderton-based singer/songwriter Frank Porter. Frank was in the midst of an instrumental piece as I arrived, and he then finished his mini-set by singing an original tune called “So Alone.” One song and half an instrumental isn’t a whole lot to determine a performer’s musical persona by, but Frank sounded fluent on his guitar and was solid on the vocal end.

Frank Porter entertains on the 105.7 The X stage.

Next was Halestorm, at least the bare bones version of the group. In the midst of seeking a new guitarist and bassist, Halestorm decided not to showcase at this year’s Millenium, but instead attend, network and get the word out about their search for new members. Lzzy and Arejay Hale haven’t been idle during their break from live stage action; Lzzy has been working with veteran producer David Ivory, who has been assisting with her songwriting. With Lzzy on electric guitar and vocals and Arejay taking position behind the drum kit, the duo performed one song, written after the departure of their guitarist and bassist. The song, “Something Good,” was a rocker featuring a solid hook and Lzzy’s high-powered vocals. And while it was only voice, guitar and drums; the song showed me that the Halestorm songwriting machine is still going strong, and reminded me that though guitarists and bassists have come and gone, that Lzzy and Arejay are and will always be the heart of this band – and as long as they believe and keep the faith in their musical abilities, ‘something good’ is bound to happen in their career path.

Halestorm's dynamic duo, Arejay and Lzzy Hale, entertain on the 105.7 The X stage.

Lzzy Hale of Halestorm.

Arejay Hale of Halestorm.

I remained at The X stage to witness some more performers. Next was Pittston-based rock group Electric Candy Shop, or at least two of the members who were awake. This group had showcased the previous night at Remy’s XO Club (I had left before their set), and according to their manager, they went over well. In this acoustic setting, the duo performed two songs, “Stubborn” and “Fallen.” While two unplugged songs doesn’t shed much light on this group’s full (5-member) electric incarnation, both songs showed strong melodies, and I detected a slight Matchbox 20 flavor. And though still battling heavy eyelids at this point, both band members quickly powered up and demonstrated emotion as energy as they progressed. A good display; hopefully I’ll catch the electric version of Electric Candy Shop sometime soon.

Two members of Electric Candy Shop, opening up shop on the 105.7 The X stage.

Next was New York-based singer/guitarist/songwriter Jenn London, who had already showcased the night before at the Hilton downstairs café. Jenn introduced and performed three songs: “It’s So Wrong,” “Brutal Evolution” and “This Craving.” I was immediately taken by Jenn’s clear, powerful and rangeful voice; and her pointed, direct delivery and style. Her lyrics displayed some Alanis-like acidity and bite, and Jenn sank heart into her presentation to make those words ring out. Based on these three songs at least, Jenn London is an up-front, passionate performer; and hers was one of the more memorable mini-sets I witnessed on either of the Trade Show acoustic stages this year. (I checked out her website, and found out that this lady is heavily involved in entertainment in general, from multi-media to theatre and acting and more; and has shared stages with several national names. Impressive resume!)

Jenn London.

At this point, I had contemplated attending one of the day’s first panel sessions, but none of the first ones really intrigued me, so I decided to instead catch some more acts on the acoustic stages. En route back to the Pennsylvania Musician Schmooze Room stage, I ran into Kent from The Grimm, in attendance to put the word out on the group’s soon-to-be-released “Resurruption” CD and to take in one of the mentoring sessions. (Throughout the course of Millenium weekend, bands and musicians could sign up to have a private mentoring session with a music industry professional, who would listen to recordings and offer insight and suggestions on how to improve each band’s product.)

As I arrived back at the Schmooze Room, New Jersey-based singer/songwriter Patrick Fleming had just commenced his mini-set. I watched as Patrick performed three songs: “Ghost Town,” “Mexico” and “Breathe.” Patrick demonstrated an expressive, energetic style and a powerful midrange voice on songs that showed melodic and lyrical detail. Patrick’s lyrics were edgy, intelligent and honest. Again, another good teaser as Patrick stated his case for audience members to catch his showcase set later that night.

Back at the Pennsylvania Musician Acoustic Stage, Patrick Fleming.

While Josh Noll maintains a vigil over the sound gear, Patrick Fleming continues his performance.

Three members of Winchester, Virginia’s Idle Ride took the stage next. I liked this band; their style was song-oriented, heartland-styled roots-based rock. The group did four songs in all. After opening with a ballad, singer Jason Trenary introduced “One Sweet Moment,” which he explained was inspired by a 9th grade rendezvous with a bikini-clad lady in a quarry(!). The group also did the songs “Somewhere To Go” and “Bench.” Idle Ride gave the Schmooze Room audience a lively ride, with songs that were bright and upbeat. The band told me they play Winchester’s annual Apple Blossom Festival later in the spring; if I make it down to that event this year, I’ll try to catch their full set.

Winchester, Virginia's Idle Ride.

Setting up next was half of the Harrisburg-based group Milkshake Jones. John and Marni Micek demonstrated a rural-leaning brand of acoustic rock on tunes like “Save You Now” and “Sleepwalkers.” Their mood was relaxed, laid-back and comfortable, and the Schmooze Room audience seemed to enjoy them.

Marni and John Micek of Milkshake Jones.

At this point, I decided to step out and see what else was happening around the rest of the Trade Show. After a quick lap around the Trade Show floor, I wound up at the 105.7 The X stage once again, where a Baltimore/D.C.-based artist named Nefrit El Or and her band were performing. Originally from Israel, Nefrit sang and played guitar, and was flanked by a bass player and a drummer. I only got to see most of her final song, which had a slight Edie Brickell flavor.

Nefrit El Or and her band entertain at the 105.7 The X stage.

I returned to the Pennsylvania Musician stage, where St. Louis-based Poppies 3 were just under way. This was one of those instances where a band’s sound just grabbed your attention right off the bat. This bespectacled punkish-looking trio did an infectious brand of upbeat, witty punkish pop. Their vibe was fun and lighthearted, and all three songs I witnessed – “Make It Alone,” “And So It Goes” and “Apple Tree” – sounded crisp and featured good vocal harmonies. These guys drew a good response from the Schmooze Room audience, and were among the bands I remembered the most from the Trade Floor stages this weekend.

St. Louis trio Poppies 3 lighten the mood on the Pennsylvania Musician Acoustic Stage.

I stuck around to see the next performers, too, Ed and Lee of Kiwi. I first met and experienced this duo’s music a year ago at this very stage. Ed and Lee performed six songs, including their humorous ode to a close encounter with a truck driver’s CB radio “Metal Things,” “Let You Go,” “Canada” and more. As expected, their vibe was friendly and upbeat.

Lee and Ed of Kiwi.

Up until this point, none of the scheduled conference panels this day really aroused my attention, so I was content to lounge around the acoustic stages and peruse the Trade Floor show for most of the afternoon. But one of the day’s last panels did interest me, and at this point I attended what turned out to be my favorite panel of this year’s Millenium, entitled “Hit Or Miss!” The premise was compelling – bands and artists were invited to bring along unmarked one-song CD’s or CD-R’s and drop them off in the front of the room. A panel of radio savvy industry pros would then listen to each demo, and critique it based on its potential for receiving radio airplay and becoming a hit. The panelists were all heavy hitters, including moderator Claudine DeLorenzo, program director of 105.7 The X; also Lenny Diana of Buffalo rock station WEDG (and formerly of 105.9 The X in Pittsburgh), and a number of record label representatives including Cheryl Valentine of Epic Records, Joanne Grand of TVT Records, Dave Lombardi of Arista Records, Fred Shade of Virgin Records, and Joe Rainey of Capitol Records. The panel proceeded to listen to the demos one by one, identifying good points, but also pointing out why certain songs weren’t ready to be radio hits. On one song, the chorus needed to be stronger. On another, production wasn’t up to snuff. I recognized one song as being from Duncansville artist Summeoyo; the immediate three-syllable verdict was “NO-VEL-TY;” with the panel suggesting that the song might have a future with morning radio. (I had spoken with Summeoyo prior to this panel, and he was already planning to market his music for use on morning radio, so this was probably just what he wanted to hear!) One harsh reality which came forth during the critiquing session was that it was more difficult for female artists to be taken seriously for rock radio airplay, as a few female-fronted songs were given almost no chance to have a future on the air. A few songs passed with flying colors, including submissions by Negative Space and Spinebelt. It was possible that several careers may have been made or broken during this panel discussion. But a few panelists advised the audience of an important point – that a number of bands and artists faced rejection from similar critiquing by record industry ears, only to stick to their guns and become famous in spite of the naysayers. And history shows that some of rock’s most compelling music came from bands and artists who painted outside the lines of what the industry wanted to hear. So while this was an interesting and intriguing panel, it hopefully wasn’t taken too seriously by anyone; and if artists believe in their music, they should stick to their guns even if they did receive less than favorable reviews from this particular panel.

The panel listens to another CD during the "Hit Or Miss!" panel.

As this panel drew to a close, so did the business end of this year’s Millenium Music Conference. Another complimentary keg of Rolling Rock was tapped on the Trade Show floor as vendors dismantled their tables and displays, and I chatted with a few musicians while sipping a few Rock drafts, including members of Gemstone, Halestorm, Spinebelt, and – stopping by to see what was up – Carrie from Juiced. Evening was arriving, and the Conference’s final showcases were set to get under way…

A dangerous duo…Carrie from Juiced and Butch from Spinebelt.

A musician's summit as the conference draws to a close; Carrie from Juiced, Lzzy from Halestorm, Butch from Spinebelt and Arejay from Halestorm.

SATURDAY NIGHT 2/15:

Again, I was largely undecided about who I wanted to go and see as the Conference's last night of showcases was set to begin. I had entertained the thought of journeying to the S.S. Lighthouse to offer moral support to fellow 'Toona homeys Broken Neck. But there were other bands I wanted to check out as well this night, and ultimately, it came down to the realization that I could and likely would see Broken Neck a number of times throughout the rest of the year; but a lot of other bands here at Millenium I might not get to see again any time soon, if ever. So I instead headed to Gullifty's Underground to kick off the evening. Although the Harrisburg Interstate highway system did its best to thwart my attempts at arriving there, I eventually did trial-and-error myself off the correct exit to locate Gullifty’s and begin my evening.

Launching the action on Gullifty's stage this night was New York-based rockers Eve To Adam. I quickly realized that I had made a good choice, this band smoked! Eve To Adam did stern, melodic-geared modern metal originals, executed with fierce energy and instrumental precision! Songs like "Disgrace," "Antidote" and "Don't Let Go" were all lethal, featuring stinging lead guitarwork from Guarav Bali and rapidfire, technical drumming from Alex Sassaris. At one point, singer Taki Sassaris described Eve To Adam's presentation as "public therapy mixed with a little bit of soul." Towards set's end, Wound" featured more stunning guitar and drumwork. Stern and hard-hitting, yet melodic and accessible. Eve To Adam made a strong first impression on me, and got the evening off to an energized start.

Taki Sassaris of New York's Eve To Adam.

Alex Sassaris of Eve To Adam.

Eve To Adam commences the action on the Gullifty's Underground stage.

A.J. Pappas of Eve To Adam.

Philadelphia's Lowjack was next. This band’s base sound was dark and heavy, not too far removed from early Soundgarden or Down. Their songs were hard-hitting and powerful, although I only was able to catch two titles, “The Voice” and “Silver.” Lowjack was constant action, as singer Kevin Diehl, guitarist Jack Gillespie and bassist McClintock moved about the stage, with drummer Andre Calilhanna levying the hefty beats behind them. Lowjack also drew a good response from the Gullifty’s crowd, and their set likewise made a good first impression on me.

Kevin Diehl of Philadelphia's Lowjack.

Bassist McClintock of Lowjack - note the lighted bass!

Andre Calilhanna of Lowjack.

Jack Gillespie of Lowjack.

Philadelphia's Lowjack throttles Gullifty's Underground.

Once again, Jack Gillespie of Lowjack.

By this point, I had plotted out the rest of my showcase itinerary for the evening, and was set to leave for my next destination. But I decided to stick around for a few songs from Gullifty’s next band, DownCircleBack.
A four-piece, this band too was hard-hitting, but more melodic. DownCircleBack displayed good energy and enthusiasm on the four songs I heard; my favorite of the four was “I Wrote The Story.”

Noel of DownCircleBack.

Tony of DownCircleBack.

Mark of DownCircleBack.

Although I was enjoying DownCircleBack, I knew that Pure Grain (who impressed me on the Pennsylvania Musician acoustic stage earlier in the weekend) was showcasing not too far away at Angelina’s in Wormleysburg (just across the Susquehanna River from downtown Harrisburg), and I pried myself away from Downcircleback and Gullifty’s to make my way there. Alas, I waited a little too long to make my jump between venues, as Pure Grain was finishing the last song of their set as I arrived in front of Angelina’s stage.

But I had arrived in plenty of time to catch the next band, State College’s Katsu. This foursome delivered an enthusiastic, high-energy performance, as they showcased many of the songs from their recently-released debut CD “Gorgeous Mess.” I recognized driving modern rock songs such as “Jenny,” “David & Goliath,” “Working Class Blues,” the popular “Walkaway” and “Brand New World;” and the group also played a few newer songs as well. Singer/guitarist Dennis Fallon was feisty and charismatic on the vocal end, exuding personality and delivering full-out voice. With members of Harrisburg’s Something Fluid looking on, Katsu made their showcase performance count, and likely won some new fans this night.

Keith Linkenfelter of Katsu.

State College's Katsu, lighting things up at Angelina's.

Dennis Fallon of Katsu.

Frank Stone of Katsu.

I stuck around Angelina’s for the final band of their showcase, Connecticut foursome Famous Blue Raincoat.
This band played a refreshing brand of piano-driven, melodic modern rock in the Train/REO Speedwagon vein.
The band’s main focal point was teenage frontman Erik, who sang and tinkled the ivories; Erik had a solid voice with decent range; and a bold, upfront vocal style. Famous Blue Raincoat sounded good on a number of their original songs, including “Far From Here,” “Point of Mind,” “Temporary Worry,” “Maybe Not At All,” “Miss You” (NOT the Stones classic), “Paperfaith” and “Sunny Day.” The group also performed one cover, finishing their set and the evening’s showcase with a version of the Beatles’ “Let It Be.” The group had fun busting on a group of Angelina’s patrons who were paying more attention to their fooseball game than the band onstage; overall it was a fun, energetic set.

Erik of Famous Blue Raincoat.

Erik and Spike of Connecticut's Famous Blue Raincoat.

Drummer Nick of Famous Blue Raincoat.

Guitarist Steve of Famous Blue Raincoat.

Famous Blue Raincoat wraps up the Angelina's showcase.

I then returned to the Hilton with the idea of catching The Act from New York, one of the primary industry “buzz bands” of this year’s Conference. But some imbecile back at the hotel had other ideas. As I arrived in the hallway leading to the Hilton, I could hear a siren. At first, I thought it was part of a band’s onstage sound effects. But as I arrived at the Hilton mainstage area, fans were being ushered out of the building, and Phil from Broken Neck informed me that the fire alarm had been tripped, and the showcase was declared over. Nice.

But I had other options. I also had wanted to see New York’s Temptress, showcasing nearby at Crowne Plaza; so I proceeded there. Upon arriving, I noticed strobe lights flashing throughout the building, and learned that somebody had tripped the fire alarm there, too. But unlike the Hilton, the band was able to continue their set, and I was able to catch the last few songs from the onstage spectacle that was Temptress. This was hard-rocking, gender-bending, theatric glam rock very reminiscent of the “Rocky Horror Picture Show.” In fact, the last song of their set was “Time Warp” from Rocky Horror! Temptress performed ‘sex, drag, rock’n’roll,’ featuring a cross-dressing gravel-voiced lead singer. It was loud, bawdy, rowdy, theatric, rocking fun! Not surprisingly, this band has appeared on the Howard Stern, Jenny Jones, Jerry Springer and Regis & Kathie Lee shows. The only disappointment here was the light attendance for this showcase. But among those witnessing the spectacle was the Halestorm contingent (the Crowne Plaza was one of the all ages venues), and we spoke with Temptress after their set. Their singer (their web site says “she,” but I’m still not sure) said the band goes over particularly well at biker bars and parties. They play the Harrisburg area periodically as part of their East Coast travels; I might have to catch this spectacle again sometime soon if the opportunity arises!

Definitely not your ordinary band…Temptress entertains at Crowne Plaza.

I had thought this would be my final showcase performer of this Millenium, but I was wrong. As I walked back to the Hilton, I noticed that while the Hilton mainstage entertainment had ended, the Hilton Market Square Café Acoustic Stage was still going, and there was somebody performing. So I proceeded inside and caught the last part of this showcase set. The performer was New York singer/songwriter/guitarist Evan Gold. Evan performed a passionate brand of soaring folk-geared sounds, demonstrating a voice that escalated in range and intensity as he delved deeper into each song. I witnessed Evan’s last 3 or 4 songs, including “Shadow,” and another song which worked in a portion of Neil Young’s “Like a Hurricane.” Evan’s female accomplice handed me his demo CD as I watched the waning moments of his performance; I’m glad I took the opportunity to stop in and catch this last performer of my Millenium 2003 experience.

Evan Gold puts the wraps on Millenium 2003.

At this point, I had a big decision to make. Almost as popular as the Millenium showcases themselves are the after-hours parties which take place on the Hilton’s 4 th floor, where most of the visiting musicians are housed during this weekend. Having heard the legends associated with these parties (and having met members of the Bloodhound Gang while attending one a few years before), I had given serious thought to catching the after-hours festivities one or both nights of this year’s Millenium. But there was a problem…The weather forecast was calling for a major snowstorm to hit Harrisburg the following day, with the predicted snowfall in the 1’-2’ range! The snow was forecasted to start in early afternoon, so to beat the snow I would have to make an early exit of the Hilton the following morning. Decision time; do I stay up late and join the party on the 4 th floor, or go to bed and escape Harrisburg early the next day before the snow hits? Caution and common sense took over, and I reluctantly decided to bypass the parties and get some rest instead. (I later learned that I had missed a total freakshow on the 4 th floor, complete with fights, a musician slicing open his forehead with broken glass, lapdances, a guy in a business suit talking on a phone that wasn’t connected to anything, overturned ashtrays and other debauchery…insane!)

But I made the right decision, as I quickly realized when I looked out my hotel room window just after awakening at 8 AM Sunday morning. The forecast was wrong, the snow had already begun and an inch already covered the downtown Harrisburg streets! Time to ski-daddle! I quickly showered, gathered up my belongings, and thanks to Robin Noll for helping me with my luggage, quickly checked out of the Hilton, loaded my car and was on my way home by 9 AM! Normally a 2 – 2½-hour trek, it took me 3½ hours to get back home to Altoona (Route 22 between Lewistown and Water Street was especially treacherous). But I made it back in plenty of time to grab my sleeping bag, head out to Q94 (where I camped out overnight) and do my “Backyard Rocker” Millenium Recap Special as scheduled, plus school cancellations for the next day as well! (I later learned that many of the out-of-town musicians, plus Robin and Whitey from Pennsylvania Musician, stayed at the Hilton and weren’t able to escape Harrisburg until Tuesday!)

EPILOGUE:

Another Millenium Music Conference come and gone and in the books. What did I think of this year’s conference?

As mentioned earlier, at least based on the performers I saw, the talent roster at this year’s Millenium was possibly the strongest overall I have seen in the six years I have attended. I saw no lackluster performances, and all the performers I witnessed clearly deserved to be there.

I’ve heard and read naysayers blasting the conference for catering to more out-of-state bands and artists and less local/regional performers. There are pro’s and con’s to this argument. As a conference in part designed to help area musicians with their careers, I agree that Millenium should provide showcasing opportunities to DESERVING local and regional bands and artists who want to perform. But the key word is “deserving.” Part of this conference is teaching bands and musicians to help themselves and learn the art of self-promotion, marketing and improving all aspects of their game. And as the conference has become more widespread and better-known, more bands and artists are submitting applications and press kits to land a limited number of showcase openings. With increased demand for showcasing slots, the bar gets raised every year for bands that want to showcase. Logically, bands and artists who make the best impressions with those applications and press kits; as well as artists who succeed in generating “buzz” and name recognition with those on the selection committee; stand the best chance of getting selected to showcase. So bands wanting to get their foot in the door of showcasing at Millenium need to work the rest of the year at developing their game, not just musically, but developing their visibility and profile as well.

While I’d like to see deserving area and regional bands get the showcasing slots, I understand the rationale behind a more national roster of performers at this conference. To make Millenium an event that the national music industry takes a serious interest in, there need to be at least a few national “buzz” names the industry is interested in coming to see. Having those national “buzz” names showcase at the conference lures more national music industry heads to the conference, which in turn presents opportunities for area musicians to meet and network with and be seen by those folks. It ultimately is beneficial.

And while the showcases are an important part of the Millenium Music Conference, they shouldn’t be the primary reason for bands and musicians to take part in the event. Many musicians still mistakenly think the conference is all about showcasing, and their conference experience hinges on the “record label fairy” magically showing up at their showcase performance and signing them on the spot. Very unlikely. While it is possible somebody important might see you showcase; your best chance to get your music in the hands, ears and heads of music industry people is to attend the actual conference itself, and network, meet people, attend the panels and seminars, exchange business cards, “schmooze,” listen and learn! And if you play your cards right, show up and meet people, pass out schedules and flyers, and promote your showcase performances, you improve the odds that somebody you meet at the conference will make the attempt to come see you play. At least a few performers caught my attention at the conference by doing this, and prompted me to attempt to take in their showcase. And for a few others I didn’t get to see, I at least now know about them and will be on the lookout for them should they hit area stages later on.

No, this year’s Millenium wasn’t perfect, by any means. There were the Friday and Saturday Hilton mainstage showcase fiascos. The keynote speaker was a no-show. Some panelists, music industry names and vendors were no-shows. Some bands were no-shows. Some showcase venues were out of the ‘loop’ of Millenium traffic and saw light crowds. And inevitably, more than a few deserving bands got overlooked, either by the selection committee, or by their placement in less-than-ideal showcases where few people got to see them. And overall attendance for this year’s event seemed to be down from previous years, at least based on the traffic on the Trade Show floor.

At least for the short term, I do think the conference organizers need to make the conference friendlier and more appealing to the area and regional music community. While the national scope of the conference is a positive step forward that improves Millenium’s profile among the national music industry, it doesn’t seem to increase local traffic and registrants for the actual conference itself. Perhaps more of an effort needs to be made to solicit feedback and input from area musicians themselves about how Millenium can best serve their needs, in terms of resources, speakers, information, services and further networking opportunities. Some ideas which crossed my mind include panels about instruments and equipment (particularly new technology and innovations), music skills workshops (like the vocal workshop with former Kix singer Steve Whiteman at last year’s event), recording workshops (like the mobile studio brought in a few years ago), and perhaps an open “jam stage” during at the conference where musicians can plug in and jam with each other – a networking possibility that hasn’t been tried yet.

Ultimately, I still think Millenium’s good points far outweigh the bad. A lot of bands and musicians did get to meet new contacts, friends and other musicians, and got to broaden their fan bases and mailing lists. The event still succeeds in assembling a multitude of music industry people, resources and information under one roof for one weekend; when and where else in this region does that opportunity occur? And, if just for one weekend, it greatly raises the profile of live music and gives the public added reason to take an interest in it, which can ultimately win new fans to the live music scene in general.

No conference is perfect, and hopefully the Millenium Music Conference organizers will continue to brainstorm ways to make this one better, both for the regional music community and the national music industry as a whole.