Taprooms and Travel Through the Eyes of a Touring Musician
by Anna p.s.
What a touring musician wants brewery taprooms to know.
The following article by Anna p.s. was originally published in June 2023 in Issue 01 of Final Gravity, our print beer zine telling personal, human-centered stories about beer. You can order the print issue here, or subscribe here.
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One of the most common questions I receive as a musician who primarily lives on the road is, “Where do you sleep?”
The answer isn’t a simple one—sometimes campsites, occasionally in my car (though I try not to do that now as my back, and the rest of me, gets older), rarely an Airbnb. Most of the time I stay on couches, in spare rooms, in a little cabin owned by a friend of the venue.
When I began this journey in 2016, it was centered around people and places I already knew. As I expanded my tour routes throughout the country, I stayed with people I met at shows, or the siblings of people I met at shows, or with the staff (I’m working on a song that talks about this).
A follow-up question addresses a concern for my safety (or lack thereof) on the road. I can honestly say, the road is the safest place I’ve ever lived. Most people are good.
While it is true that the life of a touring musician is dynamic, there is also a certain rhythm and routine that develops out of life on the road. Achieving work/life balance is always a challenge, as is balancing creative work with more tedious administrative work. I try to limit my driving days to no more than six hours on a show day, and no more than an hour after a show. Ideally, I don’t have to drive every day. Many hours are spent behind a computer screen booking shows, sending emails, and doing the social media work that is required today.
In 2022, I spent only 100 days at home. That number solidified an idea that had been brewing in my mind for some time: moving my belongings into storage and hitting the road indefinitely. I still have a few landing zones where I spend a few weeks at a time, which helps me feel a little more grounded. Something else that aids in feeling connected while I’m constantly on the go is my regular correspondence with a few penpals, and the rotating addresses friends have offered me so I can receive mail during my travels.
I try hard to be prepared, but often find I am buying duplicates of things I either left at home, or the last place I was staying (which I also often refer to as “home”). I have labeled bins tucked into the cracks and corners of my car with a travel kitchen, spices, laundry detergent, granola bars, sunscreen, tools, hair dye, emergency lights, and of course a sleeping bag and tent.
I don’t spend as much time as I’d like exploring new places beyond the venues I’m playing and the people I meet through my shows. My spare time is usually reserved for checking out some new hiking spots, resting, or working on new music. When I have the opportunity to stay somewhere longer, I try to participate in open mics to connect with the local music scene, and also work on creating more merchandise (though I am trying to limit new projects as well).
My only complaint about touring is not getting to spend enough time in each place or visit all of the breweries in every town. I wish I could plug in for longer and pour my energy into getting to more deeply know all of the music, artist, and beer communities that have converged. I am working to slow my pace by playing fewer, higher quality shows at the breweries and venues that are focused on making music a part of their culture.
Over years of touring, I’ve compiled a list of things I wish more breweries would do when booking musicians.
Things Anna Wants Brewery Taprooms to Know
Don’t leave all of the promotion up to the artists. It’s easier for the brewery to promote in their own community than for artists from out of town to try to promote and build press lists for those locations.
Have the artist’s name on the chalkboard/marquis/sandwich board. I have to introduce myself. A lot.
Provide a sound system that suits the room and is tuned to the room. This improves everyone’s experience.
Have a stage or a designated area cleared before I arrive. Sometimes I have to wait around till tables are cleared and then have minimal time for setup.
Turn off TVs behind or next to the stage.
Pay artists without making us ask. I once had to wait on a paycheck to get mailed because after asking for payment, the brewery couldn’t find my check, and didn’t have anyone there who could remit another. When you live on the road without a permanent address (see above), this is a problem.
Create a culture of music. Host it regularly on the same night(s) of the week. Patrons are annoyed when they come in not expecting live music, and turnout will be lower if fans don’t know when to expect shows.
Communicate! I have a set list of questions I ask each venue related to the sound system, payment amount, payment process, who manages social media promotion, date, set length, time, etc. Often, I’ll receive an email response only answering one question. It can take a tremendous amount of time to confirm all of the details for a gig.
While I’ve played at more breweries than I can count, a few have stood out as favorites for their ambiance, internal culture, and attentiveness.
My second time back in Iowa’s Quad Cities was a quiet weeknight concert at Contrary Brewing in Muscatine. As I got started playing, the whole room grew as quiet as a listening-room show. They always request originals and are eager to hear new music I’m working on. I go out of my way to stop in eastern Iowa whenever I get the chance.
I had the opportunity to play a new-to-me brewery in Marquette this past March. Ore Dock Brewing has done a brilliant job maintaining the historic architecture of the
building they occupy while modernizing where necessary. They are a prime example of a brewery that has created a culture and atmosphere to showcase live music and art. The brewery is divided between two levels, each with very different vibes. Downstairs is split into several small, cozy spaces, while upstairs is a wide open floor plan with various seating options all oriented towards the lit-up stage in the corner. You can choose to be up front and close to the musician, or secluded in a booth to carry on conversation while still being able to listen to the music. They also have a built in lighting and sound system that suits the room, and keep a sound person on staff who is familiar with the equipment, great to work with, and knowledgeable in their field.
At Big Barn Brewery in Mead, Washington, I felt like I was a guest at a grand public picnic.
I have been based in northern Indiana for the better part of the last 17 years. My travels rarely return me to the vicinity, but it feels like a homecoming when they do. I have had the privilege of witnessing Goshen Brewing Company’s journey through the years both as a patron and a performer. When they opened their doors in 2014, they occupied a quaint, recycled space in a powerhouse. In the early days, I played a quiet acoustic show on their tiny patio where the Beer Hall now stands. Since then, they have continued to host music every Wednesday night, with an occasional Sunday in the summers. Musicians used to provide their own sound systems, but the brewery has grown enough to hire a company to provide this service. They’ve cultivated a regular base of patrons who attend consistently for the music, amazing farm-to-table food, and craft beverage options to meet all of their customers' needs (recently adding cider, non-alcoholic beer, and vegan items to their menu).
Some other favorite breweries I’ve played:
Brickside Brewery - Copper Harbor, MI
Hidden Trail Brewing - Garden City, KS
Blacksmith Brewing - Stevensville, MT
McFleshman’s Brewing - Appleton, WI
Urban Artifact - Cincinnati, OH
Silver Moon Brewing - Bend, OR
Fetch Brewing - Whitehall, MI
The local brewery is the pulse of a town and community. I’ve found this to be true in small towns along the river in eastern Iowa, in busy cities outside Seattle, in the rolling hills of Pennsylvania, and beneath the endless skies of Kansas. Some of these breweries feel like the very living room of a neighborhood or region.
I no longer have a permanent address, but I’ve found Home all over the map.
Anna p.s. is an indie folk artist touring nationally since 2016, entertaining audiences across the states as a one-woman-symphony with guitar, foot percussion, flute, and more. She plays original tunes alongside a unique mix of covers across multiple genres and eras. You can follow her on Instagram @annapsmusic.