Rodney Stith (right) and band perform during a Shockoe Session at In Your Ear Studios. (Photo by Dave Parrish)
The Shockoe Sessions started at In Your Ear Studios in 2016 as a bimonthly mixing of the arts and business communities centered on a particular band or artist. The pandemic prompted an evolution into a weekly hourlong performance on Tuesdays at 7:30 p.m., hosted by Reese Williams on Facebook Live, the recording studio’s website and YouTube, where the productions are also archived. The stories behind the music are told on a companion podcast, “This Room Sounds Great.”
One of the most satisfying aspects of the series for In Your Ear Studios President Carlos Chafin is the quality of the artists.
“They’re all local, and they’re original,” Chafin says. “We’re not doing cover bands.” And, he adds, his introduction to more than half of the groups has come through the show.
His long-held ambition during 30 years at In Your Ear Studios (co-founded with musician Robbin Thompson, who died in 2015) is to showcase the breadth of the region’s talent.
The original live Shockoe Sessions featured the soulful Sid Kingsley, who went on to appear on NBC’s “The Voice”; R&B singer Jerrel Crockett; and the blues-inflected Elizabeth Wise, who later opened the Richmond Forum.
Shockoe Sessions is now cruising toward its 50th show, having recently crossed the significant threshold of 4,000 watch hours on YouTube, which means the streaming service will introduce advertising at the show’s beginning and end. Actual earnings from YouTube require 100,000 views of a video per week.
The Last Real Circus, an Appalachian-flavored folk-rock band, totaled 3,500 views within a week of their spirited Shockoe Sessions livestream. Chafin counsels the acts not to be disappointed if only 50 to 60 people log in to the livestream. “I tell them, ‘Give it a few days.’ We have plenty of people now going back and watching earlier shows.” Viewers are catching up to performances by Rodney Stith, James “Saxsmo” Gates and Jon Russell from The Head and the Heart.
Along the way, the Sessions tip jar earned more than $15,000 for the artists. Russell donated his proceeds of $850 to the Feed More food bank.
Progressing beyond a weekly webcast, however, requires support. “The production has out-of-pocket costs like equipment and food for the crew,” Chafin says. The resilient staff of seven are volunteering. He adds, “We do need to start securing sponsors soon to help cover the costs, or we will need to scale back by summer.”
Modest patronage has assisted in defraying some expenses, but the accrued amount would cover only a single episode.
One musician who appreciates the Shockoe Sessions outlet is James “Saxsmo” Gates. The Berklee School of Music-educated jazz saxophonist naturally prefers feeling the energy from an audience, but he emphasizes the importance of the opportunity to play.
“When you take that instrument out of the case, doesn’t matter if you’re shredding in your crib or standing in front of hundreds of people,” Gates says. “Either way, that might be the last time you play. So you give 900%. Your job is to deliver the message. And I can’t thank Carlos enough for allowing us all to do just that.”
Next on Shockoe Sessions: April 6, Dropping Julia; April 13, Starcoast; April 20, Villages; April 27, Matthew Mozingo.
