In the early 2000s, Lexington music fans were still grieving the 1996 shuttering of The Wrocklage on Short Street. Lynagh’s Music Club, arguably perhaps, took up the mantle of epicenter of the local music scene before it closed in the early aughts. Later The Dame and neighboring venues on Main Street held sway until the 2007 razing of the block for the moribund development project now known disparagingly by locals as CentrePit.
In the years following the demolition of The Dame, Buster’s, Mia’s and more, several new venues stepped up to fill the void: Cosmic Charlie’s opened in the former Lynagh’s Music Club location, new owners took a stab at keeping the Buster’s magic alive with the new location in the Distillery District, and Al’s Bar transformed into a regular and beloved performance space for musicians and spoken-word poets alike. At the same time, Natasha’s Bistro and Bar became downtown’s go-to spot for an eclectic selection of live music. Willie’s Locally Known also carved a niche in the former Buffalo and Dad’s location on North Broadway.
But as seems to happen every 10 years or so, 2015 was another year of dramatic changes in Lexington’s music scene. Natasha’s abruptly closed in October. Willie’s closed its North Broadway location — with plans to reopen in the former Show Me’s building on Southland Drive — and Buster’s Billiards and Backroom fi nally called it a day, with that space recently reopening as the Manchester Music Hall. A new Euclid Avenue joint, Best Friend Bar, became a popular campus-area venue, hosting local and underground touring bands several times a month.
This pattern of sweeping changes to the music landscape brings forward some questions: What gives with the local music scene, and what does it take for a music venue to stick in Lexington? What will it take for Lexington to have a thriving, stable music industry that attracts touring talent while growing our own?
No one seems to have all the answers, but plenty of leaders in the music community are speculating about the challenges and opportunities facing musicians, venue owners, promoters and, of course, music fans themselves.
“Lexington is always changing,” said Mark Evans, a Louisville-based promoter who has booked talent in the Lexington market at places including Cosmic Charlie’s, the Kentucky Theater and other venues for the better part of the past decade.
“I think it’s sort of scary how quick venues open and close,” he said. “To me, it’s just going to keep changing because it’s hard to survive as a venue in Lexington.”
Evans, who lived in Lexington from 2000 to 2012, suspects that some of the struggles facing music venues come down to a cultural shift in how people – young people especially – engage with live music. He said he has noticed a significant decline in local audiences’ willingness to experiment with new bands.
“A lot of people don’t go to shows unless they know who the band is,” he said. “It used to be you just went out to see who’s playing and then you became a fan.”
Evans said this spirit of experimentation was a hallmark of anchor venues like The Dame, which was open most nights.
Local musician Maggie Lander has another phrase for this openness to experimentation: consumer confidence.
“One thing we need is more consumer confidence, people coming out to venues knowing the shows will be good regardless if they know who is playing,” Lander said.
Art Shechet, former co-owner of Natasha’s and longtime board member for the Lexington Area Music Alliance, said some of that lack of consumer confidence can be attributed to the Great Recession.
“People are watching how they spend their money, and they wanna know they’re going to have an experience they enjoy,” said Shechet, who added that some deeper cultural shifts may also be at play.
“I do wonder whether there’s something more fundamental going on,” he said.
“Louisville just lost a number of live music venues, and it’s happening in other parts of the country too,” Shechet said. “I think one wonders whether there is something more fundamental going on in terms of how people are accessing music these days. People can easily access music any time or any place.”
Over the same period of time when smartphones and music streaming services like Spotify or Pandora became ubiquitous, Lexington’s scene lost its geographical center of gravity, which had always been downtown.
Shechet said he also thinks the lack of a centralized music scene, where several venues are in walking distance, has been one of the ongoing barriers to a vibrant music scene in Lexington.
“If I go to the Green Lantern, ’cause that’s where my friends hang out, there’s nothing else around there in terms of live music, where if I stepped outside and heard music coming from another place, I could say to my friends, ‘Why don’t we see what’s going on over there,’” said Shechet.
“That’s the kind of music-going you can do in places like Austin, where you have this compact musical part of the city,” he said. “We never have had that in a lot of ways.”
However, downtown’s relative vacancy has been balanced by a resurgence of venues in other parts of town. It seems that in the near future, Lexington’s music scene is going to be cultivated in neighborhoods, new sectors of downtown and even alternative spaces like living rooms and churches.
Wilson Sebastian, who owns Willie’s Locally Known, said that although his bar succeeded in establishing a loyal clientele of music fans who enjoyed the venue’s Americana-leaning vibe, he felt like their North Broadway location was a little too remote to tap into the energy of resurgence in the North Limestone and Jefferson Street areas. He thinks he will be able to cultivate more of a scene in the Southland corridor, not to mention make major upgrades in space and both kitchen and sound equipment.
