Embracing the New Normal: Interview with Michael Patterson

While scenes like Nashville and L.A. may get the glory, there is an inspiring, diverse, and ever-growing community of musicians who call Northeast Indiana home. So when COVID-19 forced Fort Wayne’s vibrant music scene to stop suddenly, it was like hitting a brick wall at 100 mph. Overnight, we could no longer see live, local music; our legendary festival season was put on hold; and in the blink of an eye, our full-time musicians were out of work. That’s a tough break in any city. But in a smaller city like ours, it can be devastating.

Thankfully, we’re also blessed with many talented and philanthropic artists who are committed to keeping music in the air. Alicia Pyle has raised more than $11,000 to help out-of-work musicians, Metavari crafted a SoundWalk score for Fort Wayne’s McCulloch Park, and according to working musician Michael Patterson, the community is still finding ways to adapt and thrive.

Patterson is a veteran of the Fort Wayne music scene and easily one of the hardest-working musicians in our region. And thanks to his gentle spirit, respect for all forms of music, and love of others, he is also one of the most respected artists in town. Having seen this city through many economic and artistic changes, he has a unique perspective on the current climate. This makes him the perfect person to ask about where we came from, what we had, how we’re weathering the current climate, and what the future holds. 

How did you come to build a music career in Fort Wayne, Indiana?

Patterson: It’s interesting. I played in some African groups years ago. And in a traditional sense, African music is never played for the sake of playing music. It’s always to accompany some aspect of life. And that’s the way I look at it. Even if I’m playing a club or restaurant, the music is there to add something to a human endeavor. And human life takes place everywhere. So I’m not really hung up about where I do stuff. I happen to live here, and I’m here because my family’s here. 

You’ve managed to stay plenty busy here. What artists and projects are you currently involved with?

Patterson: Right now, I am working on a number of projects. One of them is a group called the RootFolks Collective. Ketu Oladuwa wrote a trilogy of poems about life in the era of COVID-19 that we’ve set to music and soundscapes. We’re going to be releasing that to a local record company here pretty soon.

I’ve also been working with Mathew Mccoy, Joseph Daley’s Tuba Trio out of New York, and I did a reggae tune with my partner, Kiwi Fingerle. 

I’m actually doing a lot of recording work remotely. I work with a lot of different musicians in town, and we’re just sending files back and forth. That’s given us an opportunity to do projects we otherwise would not have had the time to do. All this has closed a lot of doors. But it’s also opened some. 

How would you describe the Fort Wayne music scene to somebody from out of town?

Patterson: The scene here is very underrated. I think Fort Wayne is full of incredible musicians with diverse things going on. There’s a vibrant rock scene with an indie flavor, there’s metal here, there’s classic stuff going on, there are all kinds of different things. There are great pop musicians, great classical musicians, and great jazz musicians here. And some people are doing experimental things. 

This cross-fertilization gives rise to some very creative music. A guy named Ethan Coplin writes some of the most incredibly beautiful and strange music. It’s somewhere between jazz and Bernard Herman. Mylisa Kelly is an R&B singer who does amazing stuff and has tremendous ideas. And, of course, a lot of veteran musicians here are doing incredible stuff.

And I can’t forget Alicia. She has an amazing reach into musical worlds. I play with her a lot, and she turns me on all of these great local players. The pool is that deep here.

With such a healthy music scene, this quarantine has been hard to weather. What do you think it will be like as we come out on the other side of this?

Patterson: I’m not sure that the club scene will return in full force anytime soon. I think clubs and restaurants are going to have to observe different protocols. I do think the music will return, but I think it’ll return differently.

I think what we may see initially are smaller shows, solo performers, and things where people can distance themselves. But I would not be surprised to see some venues utilize technology to present music. Some venues are doing shows digitally. They’re giving bands an option to either play live or stream it. My friend out of Boston is doing these cafe shows the same way.

Do you think we’ll have to accept a new normal? Or do you think - at some point - we will be able to get back to the scene we used to have? 

Patterson: I do believe there’s going to be a new normal. Some musicians are already saying, “I’m not sure I want to go back to what I used to do.” I’ve talked to a number of people who were making a living on the grind. But it had gotten to be this thing where they were producing a product and not art. So I think what you may see is a resurgence in more individualized, original music. You may see people coming out and doing things that they’ve always dreamed of doing. 

That would be an extremely positive change. What other things do you think Fort Wayne musicians can look forward to?

Patterson: The first positive I see is that many local musicians have strengthened a lot of their family ties. They strengthened ties with friends and also community ties. A lot of us have been playing in the same places, and we know each other so well. But we’ve gotten to this point where it’s like, “Great set! But I’ve got to rush off. It’s been good to see you.” We weren’t having a chance to be friends, colleagues, and people who could sit down and chat. The fact that we can’t all get out and gig has had a lot of us talking to each other and reestablishing those ties. 

I also think that when some of the venues reopen, they’ll be glad to have their customers and musicians back. You know how it gets, man. You go and play in a place, and the people are so busy trying to run the other aspects of the business that everything was a bother. Now, I think folks will have some appreciation from being able to step back for a while and see what they had. I know musicians will appreciate going back to work. I also think that the venues are going to appreciate us being there.

How can people support and foster our music community during this downtime?

Patterson: There is a lot of local music on social media. Check them out, support the stuff, get online, and buy some of the excellent recordings by folks in this community. I like the physical product in my hand. But, like I said, the RootFolks Collective will be a digital project. You can go on and download some stuff like that. That does wonders for the artist community.

And people have done fundraisers for local musicians. Believe me, that’s a tremendous help. If somebody is in the position, I’d encourage him to donate to help out the people in the arts, and support industries that staff the venues, and things like that.

As always, you’re still working and playing music. What projects and releases do you have coming up? 

Patterson: I’ve got some projects that we’re going to be releasing, so I’ll post all of that stuff on that Big Apple Jazz Club social media.

But I’m sitting here, and I’m writing and recording material every day. I am on Spotify. I’ve probably got about ten singles out on various digital platforms; iTunes, Amazon Music, stuff like that. It’s a cross between country, blues, and bluegrass psychedelic music. Some are free jazz projects and poetry projects. And there’s something that sounds like sludge metal that I’m finishing up. 

And I will promise to have the YouTube channel up by next week. [Laughs]