Amidst rising ticket prices and corporate-backed festivals, a growing movement of independent and DIY venues is redefining what it means to ‘make it’ in music. In backyards, basements, and warehouses across Arizona, this underground scene rejects typical industry norms and provides a space where artistic expression and community come first.
In recent years, the music industry has become considerably corporatized. Major companies such as Live Nation and Ticketmaster have been accused of monopolizing ticket markets and absorbing smaller, independently owned venues.
The impact of this has even been seen in the Valley, with Live Nation gaining ownership of the Van Buren in 2021. This is just one of the many independent venues that have either been bought out by a larger company or forced to close their doors permanently since the COVID-19 pandemic.
As these independent spaces are bought out or priced up, the options for smaller and aspiring artists become increasingly scarce. Venues being forced to prioritize ticket sales or overall profit to meet industry standards rather than focusing on artistic expression impacts both artists and the relationship between musicians and fans.
As large record labels and ticket companies continue to dominate the music industry, independent venues provide a critical counterbalance against the corporatization of music. These DIY and underground spaces are not bound by the same commercial expectations of the industry and, therefore, can focus more on building community and creative freedom.
“DIY venues help foster a sense of community in the scene because everyone contributes to the environment. People make art and music and express themselves however they want in these spaces,” said music photographer and journalist Kendall Makuta in an interview.
Makuta has been heavily involved in Arizona’s music scene, covering local bands and larger touring performances.
“Stadium shows don’t have that intimacy–everything feels rigid. But when I go to shows at venues that have been built by the local scene and community, I feel closer to the artist, and the experience feels more wholesome,” she said.
Ground Zero Studios, an independent venue recording studio, is one of those spaces. Located at 9850 N 19th Dr. in Phoenix, it has become a pillar for local artists and musicians in the community.
Three years ago, owner and co-founder Monica Quintero began hosting shows in her backyard. She and her partner, who had 15 years of prior experience hosting shows at his home, wanted to provide a place for artists to share their art. The two were given the opportunity to move their shows to Central Phoenix, and after outgrowing their new spot, they settled in the warehouse they have been at for over a year now.
“It’s a perfect spot for bands that are starting out to have the opportunity to play with established bands,” said Quintero. “They get exposure to new fans and learn the ins and outs of putting on a great show. It also allows bands with members and fans under the age of 21 to have an established spot to perform and get paid. The DIY atmosphere is something that is rare these days.”
In an industry where traditional opportunities to pursue music seem increasingly out of reach, settings like Ground Zero are vital for local bands and artists. For many emerging musicians, these places serve as their first platform.
“We respect the art and the hustle that they’re doing because it’s definitely not easy to make it in the music scene, I’ve noticed,” said local business owner Lyndelle Sanjuanero Puente in an interview. “We try to promote their stuff because we talk to them, and some of the bands are like, ‘Oh, we’ve just started our band three months ago,’ and some of them like, ‘We’re on tour. We’ve been doing this for 10 years.’”
As the Owner of Olla Olla Crepes, located on Van Buren Street, Puente allows local bands to perform on the premises. She explains that, in an effort to make the creperie both a cultural and community hub, they welcome musicians of all genres and statuses.
Victor Clark, a local musician, recently made his band’s debut at Olla Olla, explaining that the setting was both welcoming and enthusiastic despite not drawing large crowds.
“We had a very nice response, everyone was into it,” Clark said. “We brought the energy, and this was a successful first show for us.”
These DIY spaces allow musicians like Clark to perform regardless of album or ticket sales, which they might not get at larger or corporate-backed venues.
However, running a DIY space or venue has opportunities and obstacles. Every show can be a financial gamble for independent venues or booking agencies. It can also take several hours of meticulous planning to ensure that shows run both smoothly and safely.
“There is so very much when it comes to planning,” said Quintero. “There is calendar coordination, band communication, staff organization, vendor coordination, security, hydration stations, inventory upkeep, and more.”
But the barriers these DIY spaces face go beyond finance, and even the most cautiously planned, fine-tuned event can go south. Noise complaints are a fact of life for some DIY events which can mean a quick shutdown.
“Cops can be a really big problem. Cops and permits, you know? I think that’s pretty self-explanatory, though,” said local artist Cody Johnson in an interview. “If your show gets too loud or too heated, then the cops are gonna be called and may be a problem.”
Having been involved in numerous different local scenes as well as booking numerous gigs and even a local festival, Johnson explains that these obstacles are incredibly common for DIY bands and booking companies especially. Not only must they serve as event promoters, but they must also consider legal factors such as noise ordinances and building code violations.
“You’re just gonna have to start booking to see the problems that you have to deal with. It just comes with experience. You have to roll with the punches,” said Johnson. “If you’re not good at improvving, it’s not gonna work out with your booking career.”
The obstacles associated with independent booking and shows can be incredibly challenging. However, adapting and overcoming these barriers allows these DIY spaces to help foster tight-knit communities.
“It’s, like, finding the scene, finding the community, like, other people that like dress up crazy, that inspired me,” said scene photographer Jason Brown in an interview. “I’ve had so many people tell me, like, the impact I’ve made on them, and I tell them the same.”
Brown suggests that the local scene isn’t just about meeting new people but forming lasting connections that are rooted in a shared love for music and art. This passion helps foster a space where individuality and artistry are celebrated.
“I think the most prominent aspect of the scene that unites the people in it is the undying creativity and open-mindedness to everything that everyone possesses,” said Makuta. “When a band has a new sound, everyone welcomes it. People can dress up in whatever they want and show it off in the pit. and dance however they like. Personally, I never feel alone at small shows, even if I don’t know anyone there in my personal life.”
Edited by Shi Bradley
