Fauxchella VI Recap

Yours truly, about to have the weekend of his life.

First off, this is going to be much more of a “multimedia” post than this blog is used to. I don’t know if you’ve noticed, but I haven’t been publishing many things on Swim Into The Sound lately. In fact, I haven’t posted anything since August. Whoops. At first, that was kind of just a lack of inspiration. Then, I moved across the country, and that took a fair amount of brainpower, energy, and attention. After that, my excuse was that I was “settling in” to this new part of the country and enjoying life in my newly-no-longer long-distance relationship. Lately, I’ve been thinking it’s some combination of all those things. My life has shifted around massively, and sometimes things take a while to equalize. 

As I write this, I’m still recovering from Fauxchella VI, which happened smack-dab in the middle of October. If you didn’t read my massive 5,000-word Fauxchella interview/retrospective back in April, I don’t blame you (after all, it was 5,000 words). The gist of it is that Fauxchella VI was a three-day 69-band DIY punk festival that took place in Bowling Green, Ohio. This sixth iteration of this festival kicked off at 2:00 PM on Friday, October 13th, 2023, and played its final notes sometime around midnight on Sunday, October 15th. 

The days were packed with an overwhelming slew of talent, from plucky, fresh-faced newcomers like Saturdays at Your Place to seasoned scene vets like Dikembe. I got to shout along to Equipment, Ben Quad, and Michael Cera Palin. I got to see Carpool fight Summerbruise in a battle set I’ll never forget. I got to shout along to “Pepe Sylvia” and “Fight Milk!” on the same stage on the same weekend. It did my Midwest emo heart good.

The short version is that Fauxchella VI was a three-day all-you-can-eat buffet of riffs and infectious energy, and I wouldn’t have missed it for the world. There was popcorn, Jell-O shots, and an endless sea of merch nuzzled in the back, and if you’re anything like me, you are not immune to popcorn, Jell-O shots, or cool t-shirts.

The draw in both fans and talent was immense. Some bands traveled from neighboring Ohio towns, while others hopped on planes just for the opportunity to rip a 30 minute set in front of an adoring sold-out crowd. In my case, my girlfriend and I drove up 12 hours from North Carolina the night before just so we could be there all weekend. I’ve spent the last half-decade of my life listening to, loving, and writing about this type of music, and the opportunity to hear so many essential songs played loud-as-fuck and in-the-flesh was nothing short of life-affirming. 

The whole weekend was a constant stream of seeing bands I’ve loved for years, meeting people whose art I’ve written about, and finally putting faces to the names of Twitter avatars I’ve seen the whole pandemic. It was a beautiful, communal moment, all put together by the lovely people over at Summit Shack. Thank you, Conor, Ellie, and the whole crew, for everything you do, everything you’ve done, and everything I know you will put together in the future. You are the best of us, truly. 

I wanted to recap some of my favorite moments that I happened to catch on video because

1. I want to document this weekend while the events are still fresh.

2. I have COVID, so there’s nothing better to do than watch videos on my phone and reminisce.

3. I want to keep this to the blog so I don’t annoy people on Twitter with an endless spool of emo music posting (at least more than I already do).

Also worth noting that this is not comprehensive, just some of my favorite sets as I saw them and captured them on video. Before we get into my little collection of homemade videos, I’d also like to share that I made this Spotify Playlist of (almost) every band’s most recent material in performance order if you’d like to listen along or just need 39.5 hours of emo music to fill your day. Let’s get into it.

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Saturdays At Your Place

Going into Fauxchella, Saturdays At Your Place was one of the bands I was most excited to finally catch live. I’ve had always cloudy on repeat since January, and over the last ten months, it’s emerged as one of the strongest emo EPs of the year. At first, I was drawn in by the undeniable singalong emo anthem that is “Tarot Cards,” but I soon grew to love every track on the 18-minute release just as much. These days, I’m especially drawn to the cresting bombast of “eat me alive,” which was a marvel to scream along to live. If “pourover” is any indication,” the band’s upcoming split with Summerbruise and Shoplifter means we only have more heaters in the future.

NATL PARK SRVC

Only one band dared to cram eight of their own musicians onto the stage, and that was Minneapolis’ NATL PARK SRVC, whose excellent album Magician comes out in just a matter of days. For 30 minutes, the indie rock septet blessed us with hits from their upcoming record, including hit singles “Smiling” and “Dizzy.” Adorned with trumpet, violin, lap steel, and backup vox, these songs sprawled out into exciting, danceable bits of indie rock that sounded like no other band on the weekend’s lineup. The group also doled out CD copies of their album early so attendees could get a sneak peek at the double album before it hit streaming services. 

Thank You, I’m Sorry

Keeping the Minneapolis train going, Thank You, I’m Sorry took the stage at 6 pm for an absolutely triumphant set. Things began with a stripped-down rendition of “how many slugs can we throw against the wall until we question our own mortality,” which mounted into a gazy full-band wall of noise in the back half. After that crowd-pleasing classic, the band mostly played songs off their excellent sophomore album, Growing In Strange Places, which was released only a few weeks prior. There were fun little dance numbers (Chronically Online), fist-balling ragers (Head Climbing), and a solitary closing number where half the band walked into the crowd to spread a bouquet of flowers. A lovely, intimate, and affirming set from a band that just put out their best work yet. 

Funeral Homes

Chalk this up under “band I never thought I’d be lucky enough to see live,” Funeral Homes is my under-the-radar choice for best shoegaze band currently working. Performing as a three-piece, the trio launched through hit after hit off Blue Heaven, their hazy masterpiece from last year. These songs hit like a truck, and bobbing my head along to “Double Vision” is something I have been wanting to do since this time last year. It’s not often you get to hear one of your favorite shoegaze albums of the year played directly in your face for 30 minutes, and I wouldn’t have it any other way.

Equipment

While their members have moved around a bit in recent years, Equipment may, for all intents and purposes, be a Bowling Green band. With Toledo just a short 20-some-minute drive up the road, it’s fair to say Equipment had home field advantage when they took the stage at Howard's at 7 pm. The fact that they dropped an excellent EP earlier this year and a killer album just weeks ago meant that this might as well have been a hometown album release celebration, and it certainly felt like it. 

Perspective, A Lovely Hand To Hold

After a short pizza dinner break, we got back just in time to catch the career-spanning set of Perspective, A Lovely Hand To Hold, who made Fauxchella one of the stops on their farewell tour before putting the band to rest. The band took listeners through their discography backward, starting with some cuts off last year’s Phantasmagorialand and winding all the way back to crowd-pleasing classics like “Pepe Sylvia.” The band’s final show will take place at Fest 21 later this month, but I’m just glad I was able to see the New Hampshireites one last time before they put the project to bed—Perspective, Forever. 

Carpool vs. Summerbruise

In what I consider my personal “Main Event” of Fauxchella Day 1, we had a battle set between Rochester’s Carpool and Indianapolis’ Summerbruise. If you’ve read this blog even a little, you’ll know I have a storied history with each of these groups and loving their music. Between Erotic Nightmare Summer and The View Never Changes, these two bands have made some of the best collections of emo music this side of 2020, and to see them both on stage together was practically too much for my heart to bear. For an hour straight, the bands took turns ripping through their hits, trading blows, and swapping insults. After raging at each other and with the crowd for nearly an hour, the two bands squashed their beef, joining forces for a group cover of Limp Bizkit’s “Break Stuff,” which electrified the whole room. Two titans at the height of their power. 

Ben Quad

Ben Quad released the emo album of the year in 2022, and you could really tell as hordes of fans packed in so they could scream every word and note back at them. Pits were opened, fingers were pointed, and guitars were tapped. Performing against a backdrop of Dumb & Dumber clips, the band ripped through the high points of I’m Scared That’s All There Is, as well as their hardcore one-off “You’re Part of It” and songs off their freshly-released two-piece single. If you haven’t been riding the Ben Quad train, this set could have convinced even the most cold-hearted emo hater to jump on board. 

Charmer

I first saw Charmer at Fauxchella III back in 2019, and that set converted me into a lifelong fan. To see the band live again in the same spot four and a half years later only affirmed that they are masters of their domain. We were treated to songs off both their LPs, plus sneak peeks at a couple of upcoming tracks. The cherry on top came when they played “Topanga Lawrence” with live horn accompaniment courtesy of DIY Emo stalwart J-Fudge. A transcendent way to end day 1. 

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Brown Maple

A band that feels primed to be the next Equipment, Brown Maple kicked off day 2 with a rockin’ cover of Katy Perry’s “Last Friday Night,” which made me feel like I was living in an unreleased copy of Punk Goes Pop. Despite some grogginess from the day before, the band quickly whipped the crowd up into a frenzy with their tap-happy riffage, pulling mainly from last year’s EP and recent singles. By the end of the set, a group of fans had stormed the stage, commandeering the mic, getting the day off to a great start in the process. 

Kerosene Heights

Kerosene Height’s first official album, Southeast Of Somewhere, has been a mainstay on my weekly charts and regular listening ever since it was first released at the beginning of the summer. I don’t even really have a great video to share because I spent the entire set up front screaming along to every word, and I guess that’s an endorsement enough on its own. 

Smoke Detector vs. Gwuak!

Early on in day 2, we had our second battle set of the festival as the twinkly Smoke Detector went head to head with the tap-happy Gwuak. Each two-piece commanded their half of the stage, bouncing through hits from their recent records, but the room truly came alive when Smoke Detector pulled out the big guns: a cover of Natasha Bedingfield’s “Unwritten.”

Aren’t We Amphibians

Scheduled up next were Aren’t We Amphibians, who were traveling up from San Diego and just dropped a fantastic little EP, which I was excited to see live. On Friday, their van broke down, stranding the group somewhere in Arizona. But fear not! The DIY community is a vast support network. By the next day, the group had met their Go Fund Me goal and were back on the road to kick off a tour with Equipment… but they would sadly miss their Fauxchella set. This was a bummer until the spirit of DIY camaraderie provided a miracle of a fill-in band in the form of…

MooseCreek Park

I wouldn’t have known about MooseCreek Park if it wasn’t for Swim Into The Sound’s very own Brandon Cortez, who reviewed the band’s new album for this site back when it dropped in July. Thanks to Brandon’s glowing review, I felt like I was in early on the frantically-tapping New Jersey weedmo group. I was ready to witness the frantic tapping of “Ok Dylan” and belt out the chorus of “Pieces,” and while I was sad to miss AWA, swapping them with MooseCreek wound up being a more-than-suitable consolation prize. 

Dad Bod

Yet even more Minneapolis representation, let’s talk about Dad Bod. I hope we’re all in agreement that “Rot” is one of the greatest songs of the 2010s because that’s a given to me. Hearing that song live was an absolute revelation; even though I still want to hear the band blow that instrumental at the end into a wandering outro, but I’ll take it. Aside from that, the band’s live presence created a crushing and engaging wall of sound, all backed by School of Rock’s invigorating middle act. 

Brewster

On from the sad stuff to the yee-haw stuff, Brewster brought the country-fried excellence for a twangy alt-country sway that made me miss the sweet tea back in North Carolina. Interestingly enough, the band is based in Jersey, which is funny since the record feels like an easy recommendation for anyone who used to like Pinegrove. If that’s not enough for you, Brewster also manages to drawl things out into a My Morning Jacket or even Drive-by Truckers-esque bramble, which I always appreciate. 

Okay, rapid-speed through the rest of Day 2 because whew…

Riley! 

Incredible to witness live. Their energy and proficiency know no bounds. The new stuff sounds great 👀

Cheem

Felt like I was witnessing history watching this band play these songs live. People packed in to shake their asses to “Smooth Brain,” as they should. 

Newgrounds Death Rugby

One of my biggest surprises of Fauxchella was how incredible NGDR sounds live. The perfect balance of dancing and moshpitting.

Short Fictions

Also having just put out an awesome album, the Short Fictions set was half new, half tried-and-true oldies. 

Oldsoul

Yeah, there was a Macarena in the pit. You read that right. They started with “High On Yourself,” and I belted along with every word.

Michael Cera Palin 

I’ve been waiting about five years to finally see this band live. They have two EPs, a single, a song on a comp, and a goofy cover of “Soak Up The Sun.” Every song is incredible. I know every molecule to these songs, and part of me couldn’t even believe I was taking them in live. They played the obligatory cover, but everyone knows it’s way better to scream along to “GodDAMN, I need a cigarette!” 

Next, I watched Camping in Alaska and Dikembe respectfully, tiredly, and excitedly, from the sidelines. Good, because the next day started early with a last-minute solo acoustic house show at 10 am from…

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Equipment

Celebrating the five-year anniversary of their (loosely) disowned first album, Ruthless Sun, Nick Zander from Equipment led a basement full of about two dozen fans through a full-album playthrough early on Sunday morning. We huddled up with our coffees and sang along with this rudimentary form of Quippy as Zander padded the time between songs with color commentary and easter eggs. A few lyrics were forgotten, and a few other, newer songs were slipped into the mix, but this felt like a beautiful moment of homecoming and celebrating the album that got the band to their new album, which is the culmination of years worth of touring, songwriting, and turn-grinding. A special thing to be a part of. 

Mango Tree

Two of the members of Mango Tree had just gotten married weeks earlier, but they put off their honeymoon just to play a hometown show surrounded by friends, and lemme tell you, it was worth it. The second time I teared up on Sunday alone, this alt-folk punk set was intimate, therapeutic, and love-filled. A brilliant high note to start the day out on.

Hummus Vacuum

AKA Rivers Cuomo

Yes, that’s the name of the band, yes we brought them hummus, yes they have a song about getting your foreskin taken. Any more questions?

See Through Person

I’m not in the business of betting on the success of a band; I just write about shit that rips. However, if I were to be making bets on who’s preparing to have a big 2024, it’s See Through Person. The Florida-Michigan transplants only have six songs released across two EPs, but not only do they all rip, but the kids came out for this set, making for a sweaty 2 pm prelude to the final battle set of the festival…

Ben Quad vs. Arcadia Grey

Going into this, I thought for sure this was going to be a clean sweep. Then I saw how many people packed in for Arcadia Grey’s set the night before, and I wasn’t so sure. The set began with a kidnapping and ended in a kiss. I love happy endings, especially when a Modern Baseball cover comes before the finale. 

Honey Creek

Easycore is back, and we have Honey Creek to thank for that. I definitively fucked up my voice during this set, screaming along to every word of the band’s just-released Self Preservation. Plus, I always respect a band adopting a uniform, and the all-white get-ups were a nice touch that tied everything together. 

Innerlove.

Another country counterpoint to Fauxchella’s typically-emo-leaning lineup, Innerlove brought the twangy goodness as they played hit after hit off their summery Roscoe. A prime example of the Emo To Alt-Country Pipeline, Innerlove specalize in songs about drinking (negative) and bad decisions (also negative). Luckily, the songs are so fun to sing along to live that you almost forget all that. Bonus points for having the hardest, loudest drummer of the whole weekend. 

Excuse Me, Who Are You?

Earlier this year, I spent about 1k words waxing poetic about the awesome four-track EP from Excuse Me, Who Are You?, so if you want to know my specific thoughts on this band, go read that. In what might have been the most hardcore set of day 3, EMWAY ripped the roof off Howard’s as hordes of fans screamed along to every anguished turn of the band’s screamo set. Fists were swung, pits were opened, and minds were blown. 

Swiss Army Wife

Look, I’ve lived in the Midwest, up in the mountains, and down south, but in my heart of hearts, I’ll always be a Pacific Northwest boy from Portland, Oregon. The same goes for Swiss Army Wife, a tall-as-hell emo crew who flew out from my home state just to give the Midwest a taste of their fucked-up dance-punk. 

Palette Knife

I’ve been a fan of Palette Knife since their first album, but their music sounded almost too precise and too acute to be real. I’m happy to report that, when playing live, these guys can bang out every riff you hear on the record and make them sound even more full of life. It probably helped that a few dozen fans crammed up against the side stage to help scream along to every lyric and thrash along to every breakdown, but wow, sometimes seeing is believing. 

Khaki Cuffs

In one of the most novel arrangements of Fauxchella, Khaki Cuffs’ set found bandleader Brody Hamilton behind the kit as a standalone mic allowed the crowd (and a couple guest stars) to take up vocal duties as the guitars and bass played along with Hamilton’s live percussion. This was my first time seeing Khaki Cuffs live, and it was fun to see these songs in such a novel way. 

At this point, I was drained and practically dead on my feet from three straight days of music festing. The breathtaking Jetty Bones played Fauxchella VI out with their confessional brand of indie rock, and the next day, we were all back to our normal lives. In my case, we were waking up early to check out of our Air Bnb and settling in for a 12-plus hour drive back to North Carolina. We were drained physically, emotionally, and financially, but infinitely satiated by three days of meeting friends and taking in incredible set after incredible set. I felt blessed to see so many of these bands in their best form and watch a countless number of my own favorite emo songs played directly into my face. I may have gotten sick as hell and spent the next three days sleeping off COVID, but Fauxchella VI was everything I ever would have wanted and then some. Thanks to everyone involved, every band that played, and every friend that said ‘hi,’ you make this all worth it, and I can’t wait to do it all again someday. 

Fauxchella: The Only Music Festival That Matters – An Interview with Conor Alan of The Summit Shack

If you’re a big enough music geek, you probably have a favorite music festival. Maybe you long for the bygone days of Warped Tour and its sweaty Monster-scented mosh pits. Maybe you’re a Chicagoan who is lucky enough to take their pick from Lollapalooza, Pitchfork Music Festival, and Riot Fest. Maybe you just have an affinity for whatever happens to come close enough to you. For my money, there’s no better music festival on Earth than Fauxchella.

Fauxchella is DIY music’s response to California’s biggest and most insufferable music festival institution. It’s kinda like that infamous pic of the crowd surfer from Title Fight’s 2015 Coachella set, but if every attendee was that crowd surfer. Taking place in the exotic, 30k-population college town of Bowling Green, Ohio, Fauxchella is decidedly smaller and much more exciting than the quarter-million-attendee festival from which it gets its jokey name. Centered primarily around emo and indie rock bands based out of the Midwest, Fauxchella is organized by the Summit Shack, a DIY venue that bills itself on Twitter as a “premier, high-end, all-media entertainment conglomerate (aka friends with a garage).”

The Summit Shack first opened its doors in 2017 as a house venue run by several members of the emo band American Spirits. After putting out a couple of EPs and farewell singles, American Spirits called it quits in 2019, yet Summit Shack remained. Select members of the group went on to found the awesome (and far less emo) band Half Kidding whose 2022 album, Bonk, is both underrated and underappreciated in the larger DIY music scene. 

The Summit Shack has been hosting incredible shows out of their garage venue for over half a decade, but the festivals are a different beast entirely. The first Fauxchella took place in 2017, billing itself as a day of “cookouts, comedy, and live music,” boasting a modest 12 acts ranging from musicians and standups to DJ sets. The second iteration occurred in 2018 and doubled the lineup to 12 bands, four DJs, and seven comedy sets. While still mostly contained to Ohio, this sequel also boasted a more prominent lineup that included the likes of Heart Attack Man and Sonder Bombs, increasing the show’s draw and star power from its first hyper-local incarnation.

The third Fauxchella took place in 2019, and this is when things really started to get wild. This was also the first Summit Shack event that I attended, having just moved out to Detroit the year prior. Fauxchella III had a lineup of Charmer, Origami Angel, and Stars Hollow, just to name a few. Little did I know it at the time, but these were all bands that would go on to define the next few years of my life and eventually become synonymous with the “5th Wave Emo” sound. 

With a 21-band lineup, a two-stage setup, a pre-show celebration the night before, and a post-show afterparty, Fauxhella III was a genuine event. I crossed state lines and got an AirBnb just for this show, it was that unmissable. At the festival, the energy was infectious; every band cranked out one incredible set after the other, all attempting to keep the energy from the previous act going. Quite honestly, it blew my fucking mind. Coming from the West Coast, witnessing this kind of Midwestern camaraderie and do-it-yourself ethos felt revelatory. It affirmed that I was in the right place and that these were my people. 

Around the same time in 2019, Summit Shack joined forces with Loonbase Studios, a DIY video production company dedicated to filming and documenting these shows. As a result, several of the sets from Fauxhella III (and each subsequent fest) exist online for all to see. This kind of documentation is rare for music of this scale, and a beyond-worthy effort to capture a moment in a specific music scene.

2019 wound up being a banner year for the Shack. In June, the venue hosted Swordfest, featuring a nine-band bill including Pool Kids, Mover Shaker, and more. In September, they put on DIY Prom, a 24-band affair that encouraged Midwest emo kids to recreate the prom they never had. These bigger, more festival-like lineups became buzzy events for Summit Shack, acting as big, scene-wide celebrations that drew fans (and bands) from all over the Midwest and East Coast. These fests became tentpole events that existed between strings of ongoing local shows that Summit Shack continued to host out of their garage. For a while, Summit Shack almost single-handedly made it feel like Bowling Green was the Place To Be if you were tapped into the Michigan/Ohio music scene.

As you could imagine, 2020 wasn’t kind to touring music or the Summit Shack. Aside from “Snowchella,” which happened in January, Summit Shack essentially went into hibernation when it came to routing touring bands or hosting these larger fests. The Ill-fated “Fourchella” was set to happen in April 2020 and fell apart for reasons that should be obvious. Not content to let COVID ruin their efforts, Summit Shack instead conceived of “Minechella,” a Minecraft-based celebration featuring a smattering of bands, including one set immortalized on the Origami Angel Broke Minecraft EP.

By 2022 things were once again full-steam ahead as Fauchella V happened in July with a staggering 33 bands, including personal faves Ben Quad, Carpool, Summerbruise, Riley, Seaholm, and Equipment. As with lots of these lineups, I suppose your mileage may vary depending on how much you’re tapped into the Midwest emo scene, but for a hyper-online fifth-wave fuck like myself, these lineups are pulled straight out of my Spotify playlists and last.fm grids. Always a nice mix of bands I already love and a handful that I’m about to love, Summit Shack continues to kill it with stellar shows that showcase the best our DIY community has to offer. 

This brings us to 2023. 

If I could describe to you the joy I saw looking over an early iteration of the Fauchella VI lineup, you could bottle that up and sell it for millions on the internet. Honestly, I don’t even know where to start with this lineup.

First off, you’ve got the aforementioned Ben Quad, aka purveyors of the Emo Album of the Year for 2022. You’ve got Equipment and Saturdays at Your Place who have each released two of the most exciting EPs of 2023 so far. You’ve got kids pushing the boundaries in fun and exciting ways like Newgrounds Death Rugby, Hey, IlY, and Cheem. You’ve got the Minneapolis legends NATL PARK SRVC and Dad Bod. You’ve got some of my personal album-of-the-year regulars with Carpool, Summerbruise, and Short Fictions. You’ve got bands that weirdly feel like “legacy” acts in relation to some of these, with fifth-wave groups like Dikembe, Charmer, and Michael Cera Palin. There are tap-happy rippers like Riley, Kerosene Heights, and Aren’t We Amphibians. You’ve got some certified ass-beaters like California Cousins, Arcadia Grey, and Smoke Detector. You’ve got local legends like Teamonade, Ellie Hart, and Half Kidding (the band, for all intents and purposes, hosting the event). 

If that sounds a little overwhelming, that’s because it is. It’s a 60+ band bill stretched over an epic three-day weekend from Friday to Sunday, all crammed into Howards Club H, the local 200-cap dive bar. 

Practically all of these bands have released something over the past three years. Some of them focused on tightening their screws and honing in on the things that make them different from their peers, others took wildly exciting diversions into exciting new territories. It’s easy to make jokes about Fauxchella being “Emo Twitter Fest,” but the talent packed into this lineup is far too diverse and exciting to be summed up in such a diminutive way. 

While some of these bands are several albums or EPs deep into their career, others have only made their presence known within the last six months or have a few public songs to their name. Regardless, I’d say many of these bands released career-defining work over the past year or so. Lots of these bands could fit under the sweeping distinction of “Emo” or “5th Wave,” but those terms have been made flexible enough to fit almost all of these bands. 

It’s an exciting time to be an emo fan. Bands of this scale move quickly and can pivot on a dime, but as someone who’s had nothing better to do than sit inside his apartment and buy things on Bandcamp Fridays for the past few years, this feels like an explosively exciting synthesis of a moment-in-time, all caught in a room in Bowling Green Ohio. What the fuck. 

While this lineup might seem pulled straight out of Spotify’s The Sound of 5th Wave Emo playlist, there are very many people behind this. One of the key figures behind the Summit Shack is Conor Alan, the drummer for American Spirits, Half Kidding, and resident of the Summit Shack. I sat down with Conor over Zoom to get a better idea of the Shack's history and how Fauxchella has evolved each time since its first incarnation six years ago. 

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SWIM: First off, I’m curious, when you meet someone in the music scene, how do you articulate the Summit Shack to people? What do you lead with? Because you’re also in a band, you organize this whole fest, but you’re also doing regular shows out of the Shack. So how do you describe all of that succinctly to anyone? 

SHACK: I guess it depends on the context, but if I’m just vaguely describing the Shack, I call it a fest and video crew. The Twitter bio, which is more of a bit than anything else, is from Parks and Recreation: Entertainment 720, “premier high-end all-media entertainment conglomerate,” which, all jokes aside, isn’t too far off. The “premier high end” is a little subjective, but “all-media entertainment conglomerate” seems pretty succinct.

SWIM: I think that’s part of what attracts me to all of this. For the scale you guys are working on, it one hundred percent is, right? There are very few people documenting this type of music with as much production as you guys do. 

I’m super eager to hear you describe the inception of all this because you guys first wound up on my radar in 2019, which was a couple years into this, and I think comparing every Fauxchella to each other is pretty fascinating. But going chronologically, we can lay out how everything has grown, so if you wanna go all the way back to the beginning in your own words, I’d love to hear that.

SHACK: So basically, it would’ve been March 2017 when the first idea for it all sprouted. I had graduated college in the winter and had qualms about what I wanted to do with either my job or my hobbies. 

I took a trip to Los Angeles to visit with my friend Izzy for four days, and then I spent four days in San Diego with some family members. Just something about being in LA… like there wasn’t even a pivotal thing that I saw. It was more just the energy of everyone there.

I just kind of walked around LA cause Izzy had to work all day, so I was just killing time on my own and got to explore the city. When I had gotten back home, I realized there are so many musicians, graphic designers, rappers, producers, and DJs in Bowling Green, but there’s no collective that catalogs them all. I wanted to make it so that if you need a graphic designer or a song for something, you can reach out to this group, and they’ll have access to somebody. Just trying to make it so everybody could collaborate easier.

Once I got back to BG, I went to a DJ show at my friend Ashley’s house and ended up talking with Trey and Bails, who I had recently been introduced to through Dillon, who was the guitarist for American Spirits. Dillon’s friend was working on a mockumentary project about a music group, and she didn’t have a band to do it on, so we started American Spirits as a bit.

So me talking to Trey and Bails at that DJ show combined with the fact that we were starting up the joke band and actually jamming and having fun. We didn’t have any real intentions behind it. Eventually, we conceptualized Same Co., which is the Same Collective. Our motto was, “We are all the same.” It was just a perfect example of too many cooks in the kitchen cause we had anywhere from eight to 20 people all directly contributing to the creative direction of things. None of us had any clue what we were doing. Eventually, we just thought, okay, how do we turn this into something similar with a more direct goal? 

We had done a few ciphers where we would put on beats and have groups of people freestyle over them. Just kind of hanging out. Eventually, we decided that we would start doing shows out of the garage. We had originally cleared out the garage for Same Co. as a collective space, but it ended up being turned into a venue, quote-unquote, cause I dunno if you could quite call it that at the beginning.

Dillon was really the person who spearheaded both American Spirits and Summit Shack in the beginning. The first show out of the Shack was August 2nd, 2017, it was Awesome Job!, an amazing band from Toledo that’s not playing anymore, but they’re all in other projects. Then the first Fauxchella happened on August 11th.

Fauxchella Poster

SWIM: I love that the first Fauxchella felt hyper-local, where it’s basically all Bowling Green people. The fact that you guys had DJs and comedians in there made it feel like the scope was already wider than just “DIY Music,” even if it was all just acts from nearby.

SHACK: I’m trying to find when we transitioned from Same Co. into the Summit Shack, which was originally gonna be called The Leaky Tarp, but then Ian talked us out of it and came up with Summit Shack. Way better. Leaky Tarp just says all sorts of negative connotations. Who wants to go to a place with a leaky tarp? But one of the first shows we had rained a lot, so we had set up tarps and stuff to try and keep people dry. 

SWIM: Humble beginnings. 

SHACK: Yeah, yeah, and then Ian changed it to the Summit Shack, which was the best decision anyone made cause I really do love the name.

But what started as an idea for a collective turned into an event space turned into us throwing a joke festival, you know… Fauxchella, we didn’t think we were ever gonna do another one. We were just kind of flying by the seat of our pants.

SWIM: So you had no expectations, but then you did all these shows where touring bands started routing through. Was it hard to convince people to come to Bowling Green? Because you’re between Detroit and Cleveland, and you’re kind of smack dab in the middle of all these other bigger cities. So what was the process like for getting bands to stop there?

SHACK: November 2017 was the first show we had with a band from more than an hour away. American Spirits had started playing out and doing more shows cause we realized it was less of a bit and more, “Hey, this is actually pretty fun being in a band and actually playing gigs.” So we started doing more gigs and then started meeting more bands from out of town and more musicians in general. 

The first real out-of-town band that we had play was The Sonder Bombs in November 2017. They came and played their first out-of-town show as well; that was the first time they played out of Cleveland. And then February 2018, we did the American Spirits EP release show. The Shack is definitely less American Spirits now than it was back then, but in the beginning they really were operating side by side.

In February 2018, we had some bands from Columbus come, and then just slowly started having more and more bands. We had Equipment play their first show at the Shack in March 2018 with a band from Michigan cause they had a tour that fell through.

Then in April 2018, Dillon had planned this gigantic show, essentially a reprisal of Fauxchella. We had the Sonder Bombs and Heart Attack Man come and play. If you look at the poster for it, I believe it says, “Melted Purple,” which dissolved but was basically the first Teamonade set that ever happened. 

SWIM: Oh, whoa, that’s cool.

SHACK: Dolphin Coffin is the band Secret Space. They were unable to advertise cuz they were still signed and touring at the time, so they played a secret set. They were kind of like the Toledo sweethearts that were a step below Citizen in a way. They did a bunch of tours with Turnover and bands like that. 

But Fauxchella II happened at the Shack. We fenced off the whole yard cause we knew Heart Attack Man was a big band, and I had no idea. At this point, I was not necessarily out of the loop (because everything was still happening at my house), but I was mainly spearheading the DJs and the comedians. 

Fauxchella II Poster

Dillon and Bails were really into Microwave, Prince Daddy, Oso Oso, those kinds of bands, so they were the ones who were super into that genre of music. I was coming out of being super into electronica, so I was still spearheading that side of things.

Fauxchella II was the last one we did at the house, and it was pretty much Dillon still kind of leading everything. Dillon was doing the Spirits booking and the Shack booking. I was just more like, ‘Yeah, I’m cool with this happening at my house, and I’m cool with being in a band.’

SWIM: You had told me that before Fauxchella II, you had kinda gone around the neighborhood warning people, “Hey, we’re going to play this show.” What was the response to that? What was that process like?

SHACK: I wrote a page-long letter that I handed out to each house in every direction three houses out. So the next-door neighbors, the next-door neighbors to them, and the next-door neighbors to them all got a letter saying, “Hey, we’re hosting this little mini-festival that we’re doing at the house on this date.” At this point, we’d also been kind of ramping up and doing more shows throughout the week. But we gave everyone this paper saying here’s all of our contact information, here are all of our phone numbers, here’s all our names and everything like that. Then said if there are ever any issues, please call or text one of us.

SWIM: Not 911. 

SHACK: Yeah, exactly. It was a one-page letter that essentially boiled down to, “Please don’t call the cops.” But the neighbors were all super cool, besides a few sound complaints here and there throughout the years. I got a civil citation for “rambunctious behavior,” a noise complaint, what have you. I was in the blotter. I screenshotted it and posted it on Twitter, people thought it was funny. 

Various noise complaints

SHACK: Fauxchella II was really where we got on the map for a lot of people because of Heart Attack Man.

SWIM: Looking at it now, even just them and Sonder Bombs, that is already huge. And then with Fauxchella III, it just feels like it’s always been exponential. The first one was so local, then you guys stayed Ohio-based but got these bigger bands that were about to release really significant albums onto stuff like Gami and all that, which is like its own world. It’s pretty crazy to look back on a lot of those lineups. So you guys had, what, a year between that and Fauxchella III? So what was the intervening year like from April to April?

SHACK: Looking back at the Facebook Events, we were doing one, maybe two shows a month, and then Fauxchella hit, and then in May 2018, we did three shows, all out-of-town bands. June 2018, we only did two, but multiple Michigan and farther-out Ohio bands. July 2018, we only did one show, but it was kind of like a pivotal moment. We hadn’t really been taking donations super well at these shows because we didn’t know DIY ethos.

July 2018, Taking Meds and Expert Timing played the Shack on a Tuesday. I had no idea what I was getting into with either band, and now I am absolutely infatuated with both. They were from Florida and like New York, and it was really the first time that we booked bands from not in our region. And not only did we book them, but they reached out to us.

They played with American Spirits cause we’re putting ourselves on shows just cause it’s our house. There was also this band Mecha G, which was like a live-action Godzilla roleplay band. They played songs and did sketches that told the story of Godzilla. They had a fight, and one of the dudes got his face busted open and was bleeding everywhere cause they were wrestling. It was a fever dream in the best possible way. That was definitely a turning point for working with out-of-town bands.

At this point, Dillon had kind of taken a step back from doing Shack stuff and American Spirits booking. But I was just like, “This is fun. I like doing shows at my house. I like being in a band. I wouldn’t mind continuing to do this.” So I was like if Dillon’s not gonna do the booking, I guess I will. The summer of 2018 and fall of 2018 is when I started to weasel my way into the booking world.

I immediately booked a DJ show for my birthday and had a cool band called Hello Luna come through and Two Hand Fools, which is members of Heart Attack Man. We did like a huge benefit show at the house. We did a rap show. Then November 2018, we did Short Fictions and Equipment with Outside and American Spirits. That was my first time meeting Alex Martin, who gave me a whole blast into what it means to be doing shit like that.

SWIM: I love Alex, I’m sure that’s a good inflection point, too. Sounds like that meeting imparted a lot of knowledge about how this booking stuff works.

SHACK: Yeah. Alex was doing it a lot at the time. Then Alex started sending me bands. December 2018, a month after Short Fictions, Origami Angel played their first show at the Shack, and it ended up being in the living room. It was Saturday, December 29th, and it was -10° outside, so we couldn’t do the show in the garage. We ended up doing it in the living room, and the PA system broke, which created the never-ending self-fulfilling prophecy that something will go wrong at a Gami Shack show.

Around the same time, in December of 2018 is when the Shack got on Twitter.

SWIM: …And that’s its own world of emo bands and interactions. It’s kinda self-contained in a weird way, but also a networking thing too. Is that when you guys started to conceive of doing Fauxchella again? 

SHACK: Yeah, it was basically just like, okay, well, what if we did another Fauxchella? How would we do this? This is when I started going to a lot of shows. I went to go see Charmer perform, and I was looking at the bands that Origami Angel was doing stuff with, and I was made privy to Stars Hollow. We had done some shows in Michigan, so I became privy to the Seaholm folks and started getting my feet wet in the Michigan scene meeting all the people up there.

February 2019 has one of my favorite stacked bills, Future Teens, World’s Greatest Dad, Teamonade, Spirits, and Kiddo. Just kind of solidifying that we’re working with like actual good touring bands. 

Fauxchella III Poster

SHACK: April 2019, we did Fauxchella III. We did a pre-party the day before that was kind of keeping the tradition of Ohio bands; it had Waving back when they were still called Waving & Waving Goodbye. Shitty Neighbors, which is the Little Elephant people. Biiitchseat, that’s when we first met Biitchseat. Discount Nostalgia who are like a classic BG band. Ship & Sail from Michigan.

The following day was when we had Shortly, Charmer, Stars Hollow, Forest Green, Sonder Bombs, Origami Angel, Teamonade, Snarls, Equipment, American Spirits, Absinthe Father, Seaholm, Baseball Dad like…

SWIM: Crazy.

SHACK: Yeah. I’m actually taking it in cause I’m establishing the timeline for myself too, and I don’t understand how I got all these bands to play. 

SWIM: Well, partly it’s probably just messaging people and being like, “Hey, this is happening on this day, do you wanna play?” At a certain point, it becomes a self-fulfilling prophecy of people that then are like, “Oh, all these other bands are playing? Yes.” I’m sure that it’s just shooting your shot a lot-

SHACK: That’s literally all it’s ever been. It’s funny because, on the E Word podcast when American Spirits were on the Freshman Class, they referred to Fauxchella as “Emo Twitter Fest,” and by God, how right they were because I’m pretty sure I DM’d all these bands on Twitter. I’m pretty sure that’s how I handled most of the booking, and still do a lot of the booking, is through Twitter, which I’m sure some people fucking hate.

SWIM: I remember talking to Haley Butters from Absinthe Father after their set at Fauxchella III, and at that point, This Band Fucks was still a thing on Twitter. And I was like, “Yo, love the music, love This Band Fucks,” and Haley told me, ‘If I were to make a fest, this would be the lineup of the This Band Fucks-approved bands.’”

It’s interesting to see how that stuff solidifies over time too, and what sticks around long enough, like Gami where they’ve put out multiple EPs and albums and then become symbolic of a larger thing like fifth-wave or whatever. 

SHACK: Crazy ass lineup. Yeah, it was Twitter Fest through and through, and there are tons of Easter eggs on the poster. Like there are members of every single band from the Summit Stage hidden in the background.

SWIM: Who does the posters? Because it looks the same as Fauxchella II. 

SHACK: Taylor Wilkes did a lot of the OG Fauxchella posters. When we did Fauxchella II, we had the people from Lord Whorfin and No Culture, who were doing their own music documentation live session kind of thing down in Columbus, come up and film Fauxchella II. We didn’t even do that in-house at all at the beginning.

LOONBASE LOGO BY Taylor Wilkes

SWIM: Was that what led to Loonbase then? Were you guys like, “Oh, we could buy some video equipment and do this”?

SHACK: ​​Trey (vocalist for American Spirits) and Kate (vocalist for Half Kidding) had always been into photography and videography and, through Bowling Green, had made really good friends with Matthew Rao, Chance Duffy, and Taylor Wilkes, funnily enough, who I met seven years prior when I was working in Insomnia Cookies. It's just really weird. BG’s a small town.

SWIM: I remember going to Fauxchella III and seeing the cameras and stuff, and this already felt very established. You guys are filming all of this stuff, and in my mind, that was synonymous, just because that was my first Fauxchella, too. I was like, “Oh, okay, obviously this is a longstanding thing. They’re on the third one, and they’ve got this whole video thing going on.” So just coming from the outside, it felt like this was a legit operation.

SHACK: I guess that might be how we fooled people, that it looked official. The first Shack video that came out of Summit Shack and Loonbase Studios was Cliff Notes Episode One with Former Critics. This got put out on June 1st, 2019. So we must have done the Fest filming first and then forayed into doing video stuff for touring bands. Cuz we originally started with like the interview sessions, and then the Fauxchella III videos started coming out right after that. So, yeah, Fauxchella III was really when we merged with them fully.

SHACK: When we made the switch from II to III and all these bands started saying yes, I was like, ‘We can’t do this at the house.’ That’s when we made the switch to Howard’s and started that relationship.

SWIM: So Fauxchella III is kind of this huge point where it was a lot bigger bands, and you guys realized you had to go somewhere else. What was that process like for getting to Howard’s?

SHACK: There are really only two or three venues in BG that ever really had a history of doing shows besides the random house spots; it was Howard’s and Clazel. Clazel was more of a nightclub kind of vibe, same with Liquid. But it just made the most sense to do Howard’s because it was a dive bar. We’re fresh outta college, throwing house shows, you know what I mean? So, yeah, a dingy dive bar is fucking perfect.

SWIM: Yeah. You got pizza right across the street, it’s the best.

SHACK: Yeah, it was close to the house; it just made the most sense, given the limited options we had. We reached out to Steve, who’s the owner and the sound person usually, and he was super down for the idea. The weirdest part about Fauxchella III is that even being at Howard’s and having all these up-and-coming bands on it — the whole thing was still free admission. Fauxchella III didn’t cost anything.

There was a whole discussion about the switch cause we loved doing shows at the house. We hadn’t done any shows at Howard’s yet. It was tough for all of us to kind of reconcile losing that because it was all we knew. Moving the festival to Howard’s was, in a way, losing some of what made Fauxchella Fauxchella.

The garage can realistically only fit 60 people max, and that’s sardines. That’s why I got really good at listening to bands from outside the garage. If the show was small enough that I could go watch the band, I would, but in a lot of cases, I’d open the door, look inside, see hell, and just be like, “I’m cool out here.”

It's kind of wild ‘cause the Shack is so small; it’s just a two-car garage. That’s it. We’re really not working with any space. But, man, it didn’t take much for the shows to feel huge. I think that’s what played into a lot of the notoriety of the Shack and the crazy shows, it’s ‘cause the space was so small. If those shows had taken place at Howard’s, they wouldn’t feel packed at all.

We had some of the best people come into the gigs, you know what I mean? The first era of the Shack as it evolved was just mint. And it was honestly mint up until COVID. I’m sure you’ve seen PUG Fest, right? 

SWIM: Yes, yes. I’m hoping to be there this summer!

SHACK: I guess PUG Fest is essentially DIY Burning Man 3. Mica from Something Missing came down and played a Shack show when they were still a teenager. They recently graduated college and apparently started DIY Burning Man because of the Shack.

SWIM: Oh, that’s so cool.

SHACK: PUG Fest is working with a way bigger venue that’s 800-900-cap and can work with way bigger bands. The fact that something like that started because of what the Shack did is mind-blowing. Cause again, I still have no fucking clue what I’m doing. I find bands I think are cool, I find people that I think are cool, and I smash ’em together and see what happens.

SWIM: It’s something you can really only see in retrospect, too. Who would’ve guessed that mashing those random people and bands together led to so many fucking cool shows and music? 

You don’t really see all that shit until years down the line, and you’re looking back. Looking at all these shows, even on the Facebook Events page, you can kind of see how one thing led to the next. Speaking of which, what came after Fauxchella III?

SHACK: Oh God. Yeah. We went fucking ham after Fauxchella III. Holy shit. I can’t believe my roommates were cool with all this. So, yeah, after Fauxchella III, I was jazzed. We made the switch to Howard’s, and we were really sour about it, but it really came to fruition pretty well. So I decided to book eight shows in May. The skyrocket is insane, and they were all at the house, which is wacky to think about.

There were seven shows in June, and then there was Sword Fest. Jack (of Mover Shaker) called me and was just like, “Hey, I’ve got Pool Kids, Mover Shaker, and ****** for this random Wednesday in June,” and I was like, I already have four touring bands, but I would do it if you can convince everyone else to do it. For some god-forsaken reason, everybody was down. 

SWORDFEST POSTER

We booked and promoted it relatively quickly; we had like a month, I think. Probably still our coolest promotional thing that we did was the video with the fake Final Fantasy RPG, but putting stupid DIY jokes as the moves and stuff like that. I still think that we peaked in terms of promotional ability right there.

So Fauxchella III hits, and I start booking a stupid volume of shows at the house. Then Sword Fest hits, which just kind of fell into our lap. Then right after Sword Fest, we took the Shack team with Equipment and American Spirits to New Jersey and helped L.E.A.D. DIY throw Strobeless. 

Ellie Hart was like, “What if we did a fest in Jersey?” And I was like, “Okay, hell yeah.” And then Ellie and Hannah did most of the work. They had a dope team of people in New Jersey that I had the pleasure of meeting and liked working alongside to help throw the show. Yeah, the lineup was actually kind of crazy as well. 

L.E.A.D. DIY Strobeless POSTER

Then, from Sword Fest and Strobleless, I was just like, ‘Well, we might as well do a fest in the fall.’ You know? We did one in the spring, and we did one in the summer, what if we did Fallchella?

We joke tweeted about DIY prom, and people really latched onto it for some reason. So I was like, fuck it, I guess it’s DIY Prom — fuck Fallchella.

SWIM: It’s hard to describe from my perspective. I keep coming back to 2019 because I just went to this random festival in April, cause I was like, “Oh, I like Origami Angel.” And then to follow Summit Shack over the course of that year, and, holy shit, you guys just keep doing all of these gatherings. I was like, damn, the Midwest is fucking cool. 

SHACK: Somewhere in the middle of that, we did our two-year anniversary show with Barely Civil, The Weak Days, Teamonade, American Spirits, and Mess. 

Then in September, we didn’t do any shows except for DIY Prom, which was 24 bands and six comedians. And this was also American Spirits’ last show.

SWIM: Oh yeah, you guys capped it off! I just remember everyone chanting your name cause it was like, “You fucking did this Conor.” You guys had just finished playing your last set, and it was just very heartwarming.

SHACK: I’m pretty sure I visibly broke down on stage. It was very touching.

DIY Prom Poster

SWIM: So that gets us up to Snowchella almost. 

SHACK: We had DIY Prom in September 2019, and then this is a very pivotal moment. Friday, October 4th, Summerbruise played the shack for the first time… And then played the Summit Shack way more times after.

SWIM: Aside from American Spirits and Half Kidding, is there a definitive “Summit Shack Band”? Could you even boil it down to one?

SHACK: There are four bands that I would consider Shack bands who aren’t members of the Shack. I think it’s Equipment, Teamonade, Discount Nostalgia, and Summerbruise. Discount Nostalgia was our first local band that really played the Shack a lot. They were just really good homies of ours and an amazing band. Then Teamonade because they got their start at the Shack. Equipment became a Bowling Green local after they played the Shack for the first time. Then Summerbruise essentially became a Bowling Green local from multiple hours away. 

[The two of us digress, discussing mostly-defunct Midwest bands, then get back to the timeline]

[We had] DIY Prom in September, then all of October did a bunch of shows. November did a bunch of shows. Oh, that’s when Cliffdiver played the Shack in November 2019. Jess, a friend of ours from Cleveland who had come to many Shack shows over the years, messaged me and was just like, “Hey, there’s this band from Oklahoma. I really want to play at your house. Can I book a show there?” And it turned out to be fucking Cliffdiver, pre-pop-off, and they just played to like 30 people in the Shack.

Capo Fest and Sled Fest both happened in the summer 2019 and winter of 2019. Those were both fests in Chicago that we didn’t really help out with, but we were very good friends with the people running it, and Half Kidding played. I remember Addie asking for tips and stuff like that. They didn’t need any help. Addie had that shit on lock.

SWIM: And that was what led to “Bella,” right? Again, another example of a domino effect.

SHACK: Yeah, that’s where the Half Kidding song “Bella” came from. It was Capo or Sled, I can’t remember which one.

Saturday, December 21st. Equipment EP release show, Invite The Neighbor’s 50th podcast with Gami, Cheem, Parkway & Columbia, and In A Daydream. Jesus. There are some wild videos of the Shack going bonkers for Gami cuz that was post-Somewhere City. Quippy was really just starting to catch cause Madrigal had done really well, so people went bonkers for both bands. That was also my first exposure to Cheem, who I just booked a tour for.

Madrigal EP Release Show Poster

We did the New Year’s show. Bunch of shows in January. We did Showchella on January 25th, 2020, and it went fucking awesome. Really crazy lineup again. Sonder Bombs, Mover Shaker, Short Fictions, Plans, Teamonade, Gray Matter. She/Her/Hers, Snarls, Weak Days, Sweet Peach, Punch Drunk, Summerbruise. Former Critics- Yeah. Holy shit. Yeah. 

Snowchella Poster

So this was, this was definitely in the primo era where I had started filling in for bands. So right after DIY Prom is when I filled in for World’s Greatest Dad at Fest. Which, again, just catapulted me into like, “Yeah, this is sick, I wanna keep doing this, this is awesome.”

Then the Teamonade, Summerbruise, Half Kidding Tour, which was one of the only things Half Kidding did before COVID. There was Equipment, String Machine, Biitchseat, Summerbruise, for the Scratchy Blanket album release at Leapfest. So it’s like oozing Shack vibes with some of the bands that they got on it. Leapfest in Pittsburgh was on February 29th, literally 12 days before everything shut down, so I guess that is technically the last fest we helped out with.

SWIM: Yeah. I remember you guys had announced Fourchella, And at that point, I had moved to Denver, but I bought a ticket. I was like, “I’m coming back for this!” and was all stoked. You guys had announced it, and then the rest of the world happened and had to pull the plug. I feel like you guys did make lemons into lemonade with all the Minecraft stuff a little bit.

Fourchella Poster

SHACK: Yeah, prior to when things shut down in early to mid-March, we had been playing like a bunch of Minecraft, just on a realm in the Discord. The Discord was Ian (who lived at the Shack), Kate (who also lived at the Shack), Trey, Matt, Chance, Joey, and Serg. Marco from Kiss Your Friends and a number of other people from Michigan all hopped on to help us build everything. In less than a month, we made Minechella, and we did it on the same day that Fourchella was supposed to be: April 17th and April 18th. 

We literally had a chat called “minechella lol” because, at that point, it was just such a goofy concept. The process that we went through to record everything was streaming to Twitch, but also streaming in Discord so that we could have Chance flipping between Discord screens of the people that were the “cameras” for the fest.

So we essentially made it so the festival could be multi-camera, and we could switch between different shots. We had some people who were working on aesthetic shots and some people who were documenting people jumping around and the music playing and stuff like that. 

I’m sure if I went back and watched, it would be incredibly clunky, but we had a month, and none of us had ever done anything quite like that before. That was just an enormous team effort: 30–40 people all chipped in to make that happen.

Fourchella Minecraft Poster

SWIM: And at the time, no one knew when we were gonna be able to see shit again. So it was a godsend really to have something that communal translated digitally. And I do think all that effort showed in the end product.

SHACK: I’m looking at the Facebook event, and the description literally says, “We doin’ it big on Minecraft. 4/17 to 4/18, 1:00 PM to midnight.” That’s all it says.

SWIM: Say no more.

SHACK: Doing it big on Minecraft, that’s so goofy. Then that extended into the Shack Craft Monthlies. Beach Bunny submitted an acoustic set for one of ’em. It was Beach Bunny, Save Face, Sonder Bombs, and Short Fictions.

We did Origami Angel Broke Minecraft. I’m assuming that was in either late April or early May. The server went down, again, continuing the tradition that something will go wrong at a Gami Shack show. Oh yeah, at the Equipment Madrigal release show, the soundboard crapped out. So Origami Angel was already two for two breaking Shack shit, and then the server goes down for Minecraft.

Ryland, I think a day or two before Minechella, decided to completely revamp the set they were gonna do and did the kind of like lo-fi remixes.

SWIM: Yeah, I remember you posted the text, and they were just like, “Yo, can I, can I do a dubstep set?” And you were like, “Yeah, sure.”

SHACK: At that point, I was like, literally whatever anybody wants to do, we’ll showcase it. In a weird way, it’s kind of returning to the Same Co. roots of just whatever you have to showcase, this is a platform for it.

SWIM: And now it’s cool that set is documented on that EP basically as it was presented. And that’s such a cool document of a terrible time in the world, but it’s at least something good. 

SHACK: A silver lining. 

SWIM: You pulled all that out of 2020 and got back to it by last year, which is so fucking cool. After burnout and COVID just wreaking havoc on everyone’s mental health, then it’s just like, “Okay, at what point is it safe to start planning something like this again?”

SHACK: October 2021 was our first show back, and it was with Summerbruise, Carpool, Equipment, and Half Kidding at Howard’s. At this point, everybody had moved out; Lisa and I live here alone now, so we did all of our shows at Howard’s from that point on. 

SWIM: Keep your space.

SHACK: December 2021 through April 2022 were very sparse. We did so few shows, and most of these were Ellie's shows. This is when Ellie started working at Howard’s cause at some point over COVID, we all drove to pick up Ellie from Jersey and moved them to Bowling Green, and now Ellie is more of a local than I am. 

June 2022, Ellie booked the Weatherday, Michael Cera Palin, Oolong, Summerbruise, Waving, and Brown Maple show. And then Fauxchella V. I’m trying to figure out when we were just, “Yeah, we’re back.”

Fauxchella V Poster

I wanna say we probably started booking Fauxchella V like six months out, so realistically it was probably January 2022 when I started. I remember I sat down with everybody and I was like, “Okay, we have to decide if we just wanna say fuck it.” Like yeah, there’s still COVID, tours are still getting canceled, all of this stuff is still happening… But if we’re gonna get back into it, we need to do it now, or I’m gonna move.

Not necessarily holding everything ransom, but I was just, I can’t live in Bowling Green anymore if I’m not gonna do Bowling Green stuff. You know what I mean? Lisa and I were considering moving somewhere else, and I was considering just sucking it up and getting a job job and actually just being a career person. But that’s not fulfilling. I was gonna be depressed as shit doing that, and I knew that. And since getting back into the swing of things, I’ve definitely kind of reconfirmed for myself that I wanna expand on this in one way or another.

We did Fauxchella V once again, just like DMing bands on Twitter. But at this point, like almost everybody that I had reached out to is at least somewhat aware of the Shack.

SWIM: And it feels like the reach is farther than ever for Fauxchella VI. You’ve leaked various incarnations of that lineup to me, and this is probably the biggest one yet.

SHACK: We’re doing three days: Friday, Saturday, and Sunday. It’s like a 10-hour day, a 13-hour day, and a 9-hour day. We’re having Damb come out, and kind of help be an organizer with Ellie and me, along with JJ from JJ’s Bar and Grill and X-Ray Arcade. 

SWIM: And it’s still at Howard’s too, right?

SHACK: Yep. Still at Howard’s.

SWIM: Paid now. 

SHACK: Yeah. Fauxchella III was free, and then Sword Fest was $5. DIY Prom was, I wanna say $10 or $20. Snowchella was $10 or $20, and then Fauxchella V was $30 presale, $40 at the door. 

SWIM: Man, inflation for real. 

SHACK: True. 

SWIM: But, also like an incredibly small price to pay to see like 30 bands really.

SHACK: I mean, we’re really keeping the whole dollar-per-band guarantee alive. I think we’ve got 60-something bands and we’re gonna do $60 for a full weekend pass.

SWIM: Okay. Last I had was like 45 on the list that you sent me, so I, yeah, I need a new lineup.

SHACK: Yeah, I love to do stupid shit. I go in assuming that they’re all gonna say no, and then they all say yes, and then I have way more bands than I anticipated.

SWIM: I think that’s the theme of this whole interview, really.

SHACK: I like shooting shots just for the sake of shooting shots. And every party was interested, and I was just like, okay, this was like a goofy pipe dream. 

Michael Cera Palin and Dikembe are doing three days around Fauxchella. The Riley!/Ben Quad tour that just happened mainly happened because of them both being on Fauxchella V last year. Just so many little things that all domino effect into these crazy ideas that I now have for the future. 

You know, all in all, the past month and a half, it just feels good to be back. Fauxchella V really kicked me back into gear a little bit. It kind of kicked me in the butt, and then starting booking with Fauxchella VI.

Cheem posted about needing a tour booked, and I was just like, ah, I’d book a tour for Cheem. And it was like their most successful one yet! The leg Seaholm did with Riley was their most successful tour yet. And it’s just kind of blowing my mind that it’s working.

Cause, again, the theme of it all is I have no fucking clue what I’m doing. Like, I am like flying by the seat of my pants at all times and just learning in the process. I’ve been very lucky to have a team of people with the Shack and a team of people doing this all across the Midwest that have offered all sorts of tips and advice and knowledge to help make these things not only feasible but productive and run well.

And, you know, even since we started charging for the fests, all of the money after covering overhead goes back into the bands. So it is like truly what people put in is what bands get out of it.