The indie crowd at Silver Lake’s famed Spaceland chatters in between sets. Tatted women and mop-headed manboys watch the troubadour onstage setting up his own equipment, readying the coming set. Without fanfare, the guitarist launches into an acoustic tale with melodies that soothe the unfamiliar crowd, drawing them into an unexpected tour of his soul. A fidgeting Garth Algar zygote buzzes by in a third-hand tweed jacket, asking his compadres, “Duuuude… who is this guy?”
This guy is Brett Bixby.
Yes, Bixby. Bixby Park, Bixby Hill, Bixby Knolls, Bixby Elementary School, Bixby Land Company. Brett Bixby is the great, great grandson of Lewellyn Bixby, the famed trailblazer who drove sheep from Chicago out to Rancho Los Cerritos in 1866, initiating the development of what is today’s modern Long Beach. As the closest thing we have to royalty, the Bixby family have quietly and effectively defined the cultural values of our city – integrity, community, humility, and kindness – for a century and a half.
If there’s anyone in this town I can relate to, it’s Brett Bixby. Locally known and measured by his last name, he has been conditioned (with love) to be true to family values, and (as his forefathers did before him) discover new frontiers in his chosen career. Brett has done this in music; the accomplished singer-songwriter sees the musical landscape as a blank canvas with limitless possibilities. Bixby explains this more succinctly: “I think it’s an extremely bold thing to do what my great, great grandfather did. To strike out and go west, look for land, and follow the American dream in unknown territory. And for me, music is unknown territory and nobody’s going to give it to me. I have to earn it on my own.”
Indeed he has done just that.
Brett Bixby has created a body of work that validates Long Beach’s firm reputation in the indie music scene. He was a co-founder and an integral component of the celebrated Long Beach live music collective known as the Space. Musically, he stewarded the headstrong rock project, Twelvehourmary, recorded the acclaimed solo album City Lights, and most recently has toured on keyboards with Ironworks artist (and fellow native son) Rocco DeLuca & The Burden. “When everyone thinks Long Beach they think of Snoop Dogg and Sublime, but there’s plenty in between. Long Beach flies under the radar of both LA and OC, and there’s a vibrant community of artists and artistic people that stay out of the spotlight. The diversity of this town allows space for different kinds of people to do different kinds of things….and with that, different ideas and vibes can really percolate.”
Brett Bixby’s odyssey into the music world began at a young age. Untrained in music yet drawn toward its power, he began crafting makeshift instruments out of tennis rackets, construction paper, and trash can lids. By age eight his parents encouraged him to learn to play piano. “I started taking lessons and began to feel like playing piano was natural to me. Over time I was learning to play by ear and began to focus more on things I was hearing on the radio than the things the piano teacher wanted me to learn. The lessons didn’t feel natural, so I didn’t keep with them. But I kept playing because I loved what happened every time I sat down to play.”
Bixby entered adolescence addicted to rock and roll. He habitually rode his bike to spend all his money on vinyl at Long Beach’s famed (and now defunct) Zed Records. Elvis Costello, Neil Young, the Cars, Zeppelin, AC/DC and Devo were among the artists that resonated with young Brett. He developed a connection with them, and remains convinced that it was a two-way street. “When you’re a kid you look at album artwork and think it’s a window into the world of adults. Because when you put on headphones and listen to what’s there, the artist is talking to you and you only, often addressing things that you otherwise wouldn’t get the chance to address and express. And in that sense music opens up a whole new avenue of thought and communication, and that’s powerful.”
Moving beyond the piano to learn drums and guitar, Bixby couldn’t get enough and found his money now being poured into various instruments at Whittaker Music. As a student at Wilson High School, he discovered he wasn’t the only music junkie in town. Bixby found friends in Downtown Mission, the seminal teenage band still talked about today. “What a group. All original music. I was on keys. Mike Deeble on vocals, Dale Carey guitar, Greg O’Dell on bass, Mark Romans on drums, Todd Forman on sax and Dave Santucci at trumpet. Unusual to have a horn section at that age, but we found a way to come up with fun stuff we could play together. We played parties, and then ultimately even made our way up to LA to open for Thomas Dolby. We couldn’t even get into bars, but we opened for Thomas Dolby.”
While music was clearly the driving force in his young life, Bixby’s parents insisted he first get a college education before determining his professional course. Brett attended Duke, and naturally found a way to get involved in the local music scene. Now on the east coast, he became exposed to different rock icons that had eluded him thusfar – R.E.M., Jimi Hendrix, Jane’s Addiction, U2, Steely Dan, Tom Petty. The experience served to broaden his rock and roll horizon, and he looked forward to returning to California to pursue his dream… the question was not if, but how. Initially he attempted to marry his family’s business instincts with music and went to work as an intern at IRS records (then under the direction of legendary manager Miles Copeland). But after the company fired middle management and began to merge with Capitol Records, Bixby decided it wasn’t a good fit. “I’m thinking I’m not making any money here anyway, my car just got broken into and guitar stolen, everyone here got fired. Maybe it’s time to go be a substitute teacher, make some money, and think about making my own music.”
Bixby worked the schools of Long Beach Unified by day and the music scene by night. Eschewing the allure and payday of cover bands, he was determined to make his own music. “I’ve always been interested in knowing how to write a song. There are plenty of guys who can play but couldn’t write a decent song to save their life. There’s nothing wrong with that – there’s nothing wrong with being an amazing player and playing other people’s music. But my goals have always been to understand the different instruments, and to put all those puzzle pieces together to build the components of a song.”
At this time, the singer-songwriter Brett Bixby came into his own. Like great, great grandfather Lewellyn before him, he had discovered his new territory, and was fascinated by the possibilities. He had dipped his toes in the water, but now it was time to jump in.
Bixby formed the Long Beach-based rock band Twelvehourmary, and began playing garage gigs around town. Twelvehourmary was drawn to old and new rock, and being loud; falling somewhere between the Who and Smashing Pumpkins. 7th Street’s Que Sera was the first venue that gave the band a shot at local shows, and this led to Bixby’s integration into the budding underground music scene.
Within a few months of gigging with Twelvehourmary, Bixby met Matt Jacovides and Scott Devours, members of a band called Speaker. Matt and Scott and friends were playing music in a warehouse on Anaheim affectionately known as the Bong Leach. Bixby’s acute sense of direction was immediately triggered by the venue. “They were playing underground shows at the warehouse at midnight and a different vibe in town became visible.”
Unfortunately, the Bong Leach couldn’t survive an eviction notice by the landlord. An energized Bixby, however, was interested in partnering up to find a new place and continue the underground narrative. He teamed up with Jacovides, Devours, and a number of committed musicians/artists to rent a warehouse west of the 710 off PCH dubbed the Space. The concept was to have a live music collective – a place where bands/artists could put on shows, rehearse, and simply coalesce as a community. Brett describes the altruistic nature of the Space: “It was all underground. We had zero institutional support or resources. We tried to be self-sustaining and avoid problems. It was never about profit or recognition – it was always about music.”
Despite a lack of true organization or public relations/advertising, the Space flourished and Long Beach became known as a breeding ground for up-and-coming underground artists. As Bixby notes, by formula the Space was funded by the bands and artists that used the facility. “We tried to operate it as an organized enterprise without being on anyone’s radar. Musicians donated to use the facility for rehearsal, artists donated for creative space, and friends covered for friends when they were strapped for cash. We asked for contributions from people who came to shows, and thankfully they obliged. Sometimes we’d have three stages and fifteen bands trading sets in one night. Everyone understood our directive as a place to turn people on to new music and art in a friendly environment.”
Artists using the Space spanned LA and Orange Counties. Among the mainstay bands: Speaker, Shave, Twelvehourmary, Wonderlove, Buchanan, Lo-Fi Champion, Liquid Southern California, the Dibs, Mention, Polar Bear, Turkish Delight, Johnny Jones & The Suffering Halos, The Len Brown Society, Honeyslide, and Rocco DeLuca … a comprehensive mention of bands to grace the stage would simply be too long to list. People who had connections to the labels began to attend, hoping to find the next Pearl Jam. During this time Twelvehourmary recorded and produced its only album Blowing Over. “We made a rock record that I’m really proud of. It took a long time, but it came out the way we wanted it to. We didn’t have major label backing and that’s okay. I mean, I didn’t expect a label to descend from the sky and allow me to make records. We were introduced to our producer through friends and decided to make it on our own and hope people would respond if it’s honest. Ultimately I’m looking to create a body of work, and that album was our statement at the time… an amazing learning experience.”
Blowing Over is an incredible rock record and was very well received, although it didn’t benefit from the mass distribution requisite to break out of the local scene. Like the Space, the band was a warm to the touch and truly likeable, but remained off the map.
The years rolled by and the music played on at the Space. Several musicians used the venue as a launching pad to bigger and better things. But as the warehouse lease came up for expiration, Bixby and the remaining Space heads realized it was time to search for a new frontier. “My gut told me it was time to move on to something different. To evolve from the bubble we’d created and to do something else. From an emotional and creative level, Twelvehourmary coincided with the Space, so when the Space took its course it also kind of felt like the band did too. I love all the guys in the band to death, and am so proud of what it achieved, but I just didn’t know how the music in my heart would work with the band going forward. I kind of felt like I needed to express myself in a different way – I needed to find out where my energy was. I mean it was a relief to want to move on, but I was unsure about where I was moving on to.”
Keeping musically active with local stalwarts the Dibs and Buchanan, Bixby felt stronger and stronger about the prospect of recording a solo album. “In a band, the components of the song are often influenced by the dynamics of the group. On my own there seemed to be fewer limits to where a song could go and I was excited for that process. Some of the songs that were in my head were mellower. I felt myself gravitating more toward acoustic guitar and knew I wanted a greater keyboard influence on the record.” Bixby stripped down his sound musically and as a result emotionally. That is, without loud guitars and drums to hide behind, he was exposed more, and he embraced that process.
Over the next few years Bixby recorded his solo debut City Lights with all the musicians he had befriended as the Julie McCoy of the Space. His plan was simple: to follow his musical instincts and allow the sound to come together organically. “I went into the studio and didn’t know exactly who was going to do what on the record. We began with keys and guitar and we added percussion and various flavors until it was what it is now. I felt like the playing field was so much more open. I wasn’t making songs to make a hit, and I wasn’t making songs to fill a preconceived concept. I’d work on a few songs at a time, and finish them before moving on to others. It took about a year and a half to record enough music to complete the record.”
The results were stunning. City Lights’ haunting tracks reveal everything about Brett’s multifaceted personality: melodic, expressive, and extremely accessible. The album’s poignant lyrics, lingering melodies, and evocative instrumentation caught the attention of critics and musicians alike, culminating in winning “Best Male” at the 2006 Orange County Music Awards. Bixby is very proud of the record, and has faith listeners will be able to connect with him just as he did with the musicians he revered in his youth. “If you put in the right intentions, emotions, trust, and faith into the music you make, then what comes out on the other side will be inversely reciprocated. People who are listening to something real and honest will be able to tap into the experience.”
Bixby continues to tour and promote City Lights, and believes in its staying power. “I think the record will create some of its own opportunities. As people find out about it, more and more things are coming my way. Good music will travel along – the word will get out. Whether they’re downloading it, or going to a show, or throwing my songs on their Myspace site, good music rises.”
Brett has also recently joined Rocco DeLuca’s band, the Burden. This endeavor has afforded him a close look at the engines of the corporate music world, financial benefits, and most importantly the ability to work with exceptional musicians both in the studio and on the road. It is the perfect complement to his solo work. Only a few months ago, Bixby played the Hollywood Bowl, as Rocco opened up for John Mayer. Brett waxes serendipity about his role in the Burden. “I was playing with Rocco one night at the Space when he was approached by a guy who introduced him to his current label, Ironworks. And I’m playing in his band today so it really has come full circle.”
Brett Bixby reminds us that it’s important to be true to the voice inside. He appreciates where he is today, and remains philosophical about the journey. “It’s been a slow progression for me. I guess I’m not one of those guys who pops out of high school and gets discovered, hops in a van and goes out on the road. I’m not trying to be the flashy new thing, or jump on what’s hip right now. Because five years from now what’s hip will change but a good song, just like a good book, will hold up over time. I’d rather get to the point where I’m a songwriter on solid ground, making a body of work that’s worth listening to.”
And so goes the great, great grandson of Lewellyn Bixby. Like his family members generations ago, he views discovery as the guiding principle to redemption. Like his family members today, he is genuine, benevolent, and yet focused. Brett Bixby (and his music) personifies the Long Beach community itself: talented and unpretentious, raw and principled. And most importantly, his idealism is tempered with reason. “When you look at it from an economic perspective – or any perspective for that matter – the road to being a musician is so rough that nobody would really recommend for someone to take that route for their life. They figure there’s gotta be other ways to go. But the truth is that many musicians feel like they’re sitting on a winning lottery ticket – they can actually express and create the soundtrack going on in their head. I’m working as a musician. I’ve stepped on stage at the Hollywood Bowl – that alone is mind blowing. I feel good about where I am and I’m starting to place markers along the way … and that’s rewarding.”
Brett Bixby’s City Lights is available for download on iTunes. It may be purchased locally at Fingerprints on 2nd Street, or online at cdbaby.com. More information on Brett can be found at www.brettbixby.com or www.myspace.com/brettbixby