Arts Professional Story: Joe Shanahan, Metro/Smart Bar and Double Door

Joe Shanahan, Owner of Metro/Smart Bar and Double Door

An Interview with CAR Artist Researcher Temple Schultz

Temple: You started Metro out of your personal love for music. When booking bands, how do you balance artistic and commercial concerns and also your own taste vs. representing the local/national scene accurately?

Joe: The balance between art and commerce has always been a difficult ball to balance. ‘Music first and the money will follow’ is the way we look at it. Because we’re an independently owned and operated business, we have to be aware that the music needs to be the main message. The first time a band plays here, they might be supporting a band with a bigger draw. The new band reaps the benefits of playing in front of a larger audience and the idea of piggy-backing is a smart one. It’s a formula that can translate to other markets as well. It’s always a challenge to find those opportunities for the local bands, but it can be done and we constantly look to make sure that those things happen.

TS: What advice do you have for new / emerging artists trying to find a venue in which to perform?

JS: Simple. There’s that old adage where someone stops a person on the street in New York and says, “How do I get to Carnegie Hall?” and the music savvy person says, “practice, practice, practice.” The idea is that even on the local scene, it’s about being the best you can be. You may only get a few chances to play a club like Metro, and who knows who will be in the room that night. During your twenty minutes on stage you have to give your absolute best, be well rehearsed and mistake free.

TS: What chance does a local band or solo artist have at being booked at Metro and what proper steps should a local musician take to foster a working relationship with Metro's booking people?

JS: We still like a demo package; We still enjoy getting a CD, photo, and maybe a bio so we get an idea of a band, especially if they’re not currently working the club circuit. It still comes down to the music. The CD should be anywhere from three to six songs that represent a band’s overall body of work. If it’s something that they’ve put out themselves, it’s good to send the whole thing so we get an idea of the creative packaging as well as what the music reflects.

I will say the criterion for recording is important and while it doesn’t need to be a million dollar production, the “basement tape” idea is a thing of the past. The photo is also important; It doesn’t need to be a fashion shoot, but it needs to represent the band’s look. It’s important to know whether the band is four or six people. Photos also give an idea of the genre or overall intention of the band. Any kind of flyers or posters that they have would also help, especially if they’re a regional band. It gives us a map to help figure out who they are. If it’s a band that’s currently working the club scene of Chicago, we need to know when and where they’re playing. Then we may be able to send someone to see the band live. Seeing them live may also help them land an opening spot on a show at Metro quicker.

We also tell bands not to call, and call, and call. We may get fifty demos per week, so the turnaround time can be a month or two. We listen to them as we have time. It’s very important to include an email address and contact info so it’s easy for us to contact the band once we’ve received the demo and have listened to it.

TS: What genre of music is missing most from Chicago's music venues and what could remedy the situation?

JS: I don’t think that any genre is missing. I think that every possible genre hybrid is covered by this great and diverse city. If there is one, let me know.

TS: Why is Chicago a good city to be a musician?

JS: Number one: quality of life. It’s a great city to live. While it’s expensive to live anywhere, Chicago still has affordable rent. This city has a vibrant and nurturing club community – from small neighborhood clubs to Metro where we promote local, regional and national music five nights per week. There are a wide variety of venues and we believe that this is a place where musicians have a good chance of getting in front of an audience. There’s a nice path you can follow and it’s a good community of support, from your Uncommon Ground showcase to your Schubas residency to a Double Door week day show to a Metro weekend show. Other major cities can be cost prohibitive or have fewer opportunities due to population alone.

Joe Shanahan has been exploring music and dance culture since the purchase of his first 45 (that’s vinyl), the Rolling Stone’s “Under my Thumb.” At the conclusion of some time in New York, Joe returned to Chicago determined to fill a void in the art scene: there wasn’t a club that brought together arts communities. In 1982 he opened what became Smartbar and Metro. Over the past twenty-five years many emerging artists have “cut their teeth” on the Metro stage. Groups like New Order, Depeche Mode, Ministry, Smashing Pumpkins, Urge Overkill, Liz Phair, No Doubt, Pete Yorn, The Flaming Lips, David Gray, Indigo Girls, Fall Out Boy, Korn, and Moby have graced the stage…just to name a few.

Joe opened Lincoln Square’s Daily Bar and Grill, and in 1994, he opened Double Door with Andy Barrett and Sean Mulroney. He serves on the boards of several charities, including Rock for Kids. He also serves on the Arts Council for Sacred Heart Schools. Additionally, he assists dozens of charitable organizations each year by hosting benefit shows at Metro and SmartBar. Shanahan is married to Jennifer, and has two children, Tara and Michael. In his spare time, Joe enjoys fishing and photography, and is an avid collector of vintage photography.