It’s an extremely common occurrence: New York City music fans have
strolled through the Lower East Side, searching for a small slice of experimental
music heaven known as Tonic.
Many have searched and searched only to end up scratching their heads
and asking themselves, “Where the heck is this place?” The
low key music venue that sits at 107 Norfolk Street in Manhattan is as
unassuming as the empty parking lots near it. The building’s faded
paint job and don’t-blink-or-you’ll-miss-it sign sum up the
club’s no frills atmosphere and direct attitude. Tonic has existed
since 1998 as one of the few New York City venues that can honestly say
they’re about the music. However, the venue’s philosophy is
not the best business model. In early February Tonic owners Melissa Caruso-Scott
and husband John Scott realized one thing: If they could not come up with
$100,000 in less than a month to repair wrecked plumbing and recover from
surging rent their venue and second home would be closed.
To elicit support for their club the Scotts booked the entire month of
February as a series of benefit concerts with famous artists including
Sonic Youth, Yoko Ono, and John Zorn. The club also took their quest online
where they solicited contributions online for those unable to attend the
shows. They even created an online testimonials page where patrons and
performers could submit their own Tonic stories to rally support. What
followed was truly unexpected: a torrent of financial and verbal support,
and a successful revival of one of New York’s most unique music
spaces. “It’s been a very hectic two months of fundraising,”
said owner Melissa Caruso Scott. “Everyone has worked so hard to
keep us going so now we are more motivated than ever.” Tonic is
not the first club to suffer financial woe at the hand of poorly maintained
property and rising real estate costs. The Bottom Line and the famous
punk club CBGB’s have each faced immense debt, and in the case of
The Bottom Line it did not survive. CBGB’s is currently struggling,
facing an estimated $91,000 debt. The one question that has remained unanswered
about the fact that Tonic has survived is, what makes this venue so special?
Why did it succeed in staving off closure?
“The kind of music we present is different than a large rock venue
where each night it’s a different touring act,” said Scott.
“Unlike bigger clubs, we have a community feeling. Musicians come
to hang out and many musicians and fans have become good friends.”
On Tonic’s website, hundreds of patrons have submitted their own
answers to this very question, while others including online columnist
Justin Sanvicens and Rob Schmieder of the New
England Conservatory of Music submitted their thoughts in online interviews.
“Tonic differs in that it appeals to a niche market subculture of
music lovers who enjoy avant-garde and experimental music,” said
Justin Sanvicens, Editor of the popular avant-garde music site www.xtrememusic.org.
Rob Schmieder of the New England Conservatory of Music in Boston, Massachusetts
agrees. “It just comes back to a very consistent booking policy
- music lovers who followed the club closely believed it was a benchmark
of quality in the area of music it has staked out - and that inspires
loyalty,” said Schmieder via email. Tonic’s loyalty and love
for its customers is reflected in its intimate set up and atmosphere.
Musicians often emerge from the audience and famous jazz musician John
Zorn even had his 50th birthday party at the venue.
Tonic’s lengthy list of experimental and avant-garde artists has
inspired many fans of these genres to take the club’s endorsement
of an artist very seriously. “It's the kind of club you don't necessarily
have to go to for it to make a difference. Sure, I went there to hear
Lukas Ligeti
when I knew nothing about him, but trusted Tonic not to waste my time,”
said Schmieder. “I would also check out their listings every week
just to see who was playing there. If those same names turned up here
in Boston, I'd take them more seriously, just knowing that they had the
“Tonic seal of approval”. As praiseful as fans have been,
many on the website say improvements to the club can still be made. The
club has already fixed their problematic plumbing, and rightfully boasts
that the portapotty that was in place throughout February is no longer.
Mr. Sanvicens, however, has a far more modest suggestion. “It desperately
needs to acquire a real club sign. A piece of printed paper stuck above
a rustic mailbox is a hilarious way of showing that this club actually
exists down the alley near Essex Street,” he said. Owner Melissa
Caruso Scott has already initiated some changes of her own. “We’ve
had to do some things we wished we hadn’t. We now have a one drink
minimum for all shows,” said Scott. “I consider myself in
the music business, not in the bar business. Unfortunately, that’s
not the best business model.” In the time since Tonic’s benefit
series, veteran Tonic performer John Zorn opened a club of his own called
The Stone. Scott
said that she offers The Stone her full support and assured that Zorn
would still perform at and frequent Tonic. Beneath all of this lies the
simple fact that the Tonic “seal of approval” will continue
to spotlight lesser known artists and famous musicians alike. That is
if they can all manage to find their way there.
Photo Credit: TonicNYC.com
& Justin
Sanvicens
"Tonic" review written by
Paul
Walker.
