19th Annual Detroit Music Awards

Other Prior Events

by: Kendra Ray
photos: Melanie Gambee-Halgren and Kuba Ingram

It’s the evening of March 16th. The wind is sweeping through the streets of Detroit, pushing passersby into dma the nearest establishments for shelter. For the dedicated followers of home-grown music, Cliff Bells is the place to start the night. Cracking open the door of this historical downtown venue, a thick cluster of bodies crammed in its luxurious quarters keeps me in the cold a bit longer. Fortunately, those stalling my entrance are local music aficionados preparing for the 19th Annual Detroit Music Awards.

A result of the “speakeasy” era, this historical jazz club served as the first stop on the DMA itinerary before heading to The Fillmore for the ceremony. Music industry veterans rub elbows with newcomers to the scene as the first round of award winners is announced. To the untrained eye, this would appear to be a giant family reunion, and frankly, the comparison wouldn’t be far off.

As the crowd migrates to the theater for their second stop, one man observes the preamble, camera case in hand. Seasoned from years of photographing rock legends, Tom Weschler is preparing for a night honoring Detroit music, past, present, and future. As a way to preserve an icon in “Rock City” history, Weschler has teamed up with DMA board member and music journalist, Gary Graff, to publish Travelin’ Man: On the Road and Behind the Scenes with Bob Seger.

Weschler worked his way from roadie to road manager and photographer for Bob Seger during the musician’s earliest days. With over ten years with Seger, the detailed book provides a unique industry perspective, complete with a foreword by John Mellancamp and afterword by another well-known Detroit artist. The story continues as we walk next door to The Park Bar.
“Kid Rock gave us a wonderful story about how he grew up.” Weschler says with a smile. “His parents would have barn parties. He’d be going to sleep listening to Seger’s music.” While this attribution reflects the city’s tightly-knit music community, the Park Bar environment affirms it even further.

Sitting just a few feet away is Ty Stone, an artist signed to Kid Rock’s label, Top Dog Records. Coincidentally, one of Stone’s original songs is titled “Bob Seger”.

This year, Stone took home two awards from the DMA’s- in-between recording his debut album at Atlantic Records, touring with Uncle Kracker, and heading to the Caribbean to perform on a cruise ship hosted by Kid Rock. In addition, Stone and his band The Truth just wrapped up a unique bus tour with the crew of Boondock Saints II: All Saints Day, after two of their songs were prominently featured in the film.

Stone’s transition into film is a natural one, as music plays an integral role in the movie-making process. Furthermore, music in Detroit has had a tendency to parallel the state’s economic climate throughout its history. From the Black Bottom to Motown, punk to hardcore, techno to hip-hop, diversity in the city’s music is as evolutionary as its inhabitants. Following suit, the growing film industry is affecting the next wave of local artists.

God’s Army, DMA winner for Outstanding Gospel/Christian Act, is no stranger to innovative music marketing. According to the “army”, they are the first and only rap group to write a book which acts as a companion to an earlier album. To step their game up, they are looking to develop a movie to accompany their next CD release.

Along with the encouraged video production, many acts explore multiple genres to broaden audience appeal. Carolyn Striho, winner of three DMA awards this year, is touring internationally but filming a music video locally with her band.
The six DMA nominations held by BUMP included recognition for an orchestrated, one-shot music video filmed in Grand Rapids. To further their film endeavors, the band made a cameo in the movie Little Murder.

Critical Bill was also nominated for a music video, and took home the award for best Metal/Hard Rock Artist/Group. While awaiting their award status was nerve-racking enough, the band was also preparing to take the stage to entertain the DMA crowd. “Living legends are all here tonight so it’s cool to just be on the same stage with them,” said CB guitarist Michael Scott.

One of these legends is Muruga Booker, a drummer whose stage presence is almost as eccentric and colorful as conversing with him. “There’s a lot of great musicians [here] that I really respect,” Maruga says. “Along with Jim McCarty and Johnnie B. We used to rehearse in my dad’s shoe shop. So this is beyond stardom; this is down-home!”

As the night commences, my observations can’t help but take me back to the first conversation of the evening with Weschler. Both the musicians referenced by Muruga worked with Bob Seger. Moreover, nearly every artist I spoke with at the event seemed connected in some way. I’m with an overwhelming impression that the Detroit community of artists appears to be diversifying, collaborating, and adapting to the times more so than ever before.

“A lot of people, they talk about Detroit as Motown; that was a stepping stone,” says White Owl of The Gun Line Band. “We have to provide the future for the next movement that will be recognized as that.”