.noisepop founders Kevin Arnold and Jordan Kurland discuss the trials and tribulations of promoting the long-running festival in the competitive Bay Area.
. What began as a $5 show at the city’s Kennel Club , rapidly grew into a citywide celebration of the city’s lesser known venues including the Bottom of the Hill, the Great American Music Hall and rooms across the Bay in Oakland and Berkeley.What has followed are thousands of bands, decades of nurturing the Noise and an enduring legacy that embraces San Francisco’s unique past as one of the best live cities in the world.
Arnold: We really made an effort to dig up some old favorites and pay tribute to some of our influences and heroes. For the last five years we’ve tried to double-down on emerging talent to push boundaries for our audience at large. We’ve got a film festival and a new office that’s right in the heart of the Mission District and we’re hosting a gallery there that shows the history of Noise Pop through design, topography and posters.
If there was a show at the great American Music Hall on a Wednesday night, there wasn’t another show at the Bottom of The Hill at the same time. It was basically one or two shows a day, you know, but they didn’t compete.at the time. Primus was his big client. They’re a platinum-selling act that just headlined Lollapalooza. He had the Melvins and Charlie Hunter and some other stuff. I was doing some freelance journalism and I wrote an article for theon Noise Pop and I interviewed Kevin for that.
We’re immune from some of those things because it’s not the game we play day-to-day. We’ve always kind of positioned ourselves from the very beginning to move slowly over time and react to how the market is changing and continue to cooperate with everyone involved in venues and music. We’ve always found a way to be collaborative. And we’ve gotten pretty good at diversifying our business in ways that most promoters don’t.We really became a business in 2006.
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