In this episode, we’re joined by the delightful Kyleen Downes, an independent guitarist/songwriter, music educator, and champion for Dayton’s live music community.
Our conversation shines the spotlight on Kyleen’s journey as an indie artist, her passion for live performance, and her dedication to empowering the next generation of talent. Listen for clips of Kyleen’s music throughout the episode!
Visit Kyleen’s website to check out her music and upcoming shows, and follow her on Instagram.
Listen Now!
Transcript
David Bowman: Welcome to Creating the Future. I’m David Bowman.
Evelyn Ritzi: And I’m Evelyn Ritzi.
David: And today we are joined by musician, educator, community builder, and friend, Kyleen Downes. Kyleen, welcome to the pod.
Kyleen Downes: I am very happy to be here. Thanks for having me.
David: Absolutely, so much to talk about today. So excited.
Kyleen: We’ve already been having some good conversations. We should have recorded all that.
David: So you have such an interesting back story, so one that I think for some people might surprise them. And I was hoping you could just maybe start by telling us a little bit about your journey, your musical background, and how you came to call Dayton home.
Kyleen: Yeah, well, my mom retired from the Air Force, Wright-Patt, so that’s what brought me to Dayton. But yeah, I was a military kid growing up, and I started playing guitar when I was 11. I got a guitar for Christmas, and I was, this might be surprising, but I was very shy, like, I was very like, oh, people make me nervous. So my parents got me the guitar for Christmas, but they also got me a gift certificate for guitar lessons. And I was like, No, I don’t want to go sit with a stranger, but I’m so glad they did. I, you know, I’ve been playing guitar ever since then, in different capacities. I joined the military after high school, so I was in the army, and I started playing in a band in the barracks. We were rocking out. And that got me into playing my first couple of shows. And then when I got out of the military. I went to school to teach like I was going to do, guess, like elementary education. Yes, I started studying that, and I was at the time waitressing. I thought it’d be really fun. I was like, I can’t wait to be a waitress. This is going to be such a cool way to make money. And all I have to say, is mad respect for anybody in the service industry, anybody dealing with people who are hungry, you learn a lot. You learn so much. And some people just, they’re cut out for it. They have the knack. They have that skill. I didn’t, so I started working in a music store. And I was working in a music store in Memphis, Tennessee, which was where I was going to school. And I just was like, This is great. I kind of got me back into after, you know, just not having played a whole lot of guitar to get back into it. And when I moved to Ohio to be closer to my mom, there was a music store in Fairborn called Absolute Music. And I was like, hey guys, you use the same software as the music store in Memphis that I worked at. Are you guys hiring? And the owner was like, yeah, yeah, come on in. And I started, I got into the scene there a little bit, you know, just working at a music store, I met so many people coming in and buying strings, telling me about their bands. And then, while I was there, I met Michael Bisig. I always got to give Michael Bisig a shout-out. He’s in Dayton, Mike’s Bike Park, yeah, he worked there in the band and orchestra department, and he’s a music educator as well, and I hadn’t finished my degree, and I was in a position of like, you know, what do I want to study? Like, I did some substitute teaching, and I was in a kindergarten class, and I was like, you know, I don’t know if I’m cut out to just take care of 30 kids for seven hours a day. I was just like, oh, no, you know people who can do that, and I have so much respect. People do not know the level of commitment and energy and just what it takes to be a teacher. So I was like, I still want to teach. I’ve always wanted to teach. But Michael Bisig was the one who said, well, why don’t you, like, do you know music education? Why don’t you, you know, go study at Wright State, study guitar. I was like, I don’t think I’m good enough. Like, it was, it was a thought in my head. I just feel like I needed all this, like, years of training, which Kyleen, you had years like, I had been playing. I don’t know what that mental block was, but I think it happens a lot in the Arts where people are like, I don’t know if I’m qualified. Like, I don’t know if I’m good enough. Well, that’s why you go study like, that’s and, you know, it could be study in school. It could be study and, you know, just get on the job, just getting into it. So Mike Bisig was like, you know, you’d be fine go audition, you can play up the neck. Like, that’s all he said. You can play up the neck. And I was like, Well, I respected him as a musician. I was like, if Mike Bisig says I can do it, I’m gonna go audition. And I started taking lessons with Jim McCutchen, and then I auditioned for Wright State, and it was terrifying, you know, I have to say, like that experience of performing was still kind of new to me, even now, like, you know, 10,15, years later, I’m, like, you know, doing it all the time, still terrifying, but in a different capacity. And started studying at Wright State, and I had, you know, three years of classical guitar training. And during that, like in the later years, I started doing private lessons. And I just was like, This is it. I thought maybe I’d be a music educator in like, the school districts, but I was like, man, these private lessons are sweet. Like, one on one, I get to control my curriculum. I get to kind of cater to what the students interested in and all ages, you know. I teach adults. I you know, I teach the real little kids, and then I don’t have to say goodbye to them at a certain point in their lives, like, you know. I get to have a student start at eight years old, and then at 18, they go off and graduate. And I just got to, you know, experience, you know, them growing up. So I was like, yep, I’m gonna do, you know, private lessons. And I guess that’s kind of the teaching realm. And then the other side of that, you know, I was getting ready to play shows. I was going out and meeting musicians in the scenes and writing my own music and getting into recording. And so I feel like I’ve talked a long time now, but you guys can edit some stuff, right? Like, well, I was in my teaching realm, but yeah, and then, you know, there’s a whole other side when it comes to the performing and the writing and things like that that I think coming to Dayton brought out of me when I was in Memphis. I yeah, just I didn’t find the same like, invitation to come and play, or the same interest and like, well, play me one of your songs. What do you do? When I came to Dayton and started going to shows, as soon as I started chatting with people and they found out that I played, they’re like, oh, I want to hear your stuff. Hey, do you want to do a show? And it was like, what? Okay. And from there, you know, you build this community, you start to make connections. And it just keeps you going in that people care. They want to hear what you’re doing. And then that keeps you writing. When you’re just by yourself, you’re like, cool, I’m gonna finish this song because I’ve got an open mic I can go play, or I just got asked to do this show, and I want to play some new things, and Dayton’s beautiful that way. It’s amazing. They really care, like people are really into what other people are doing in this in this town.
David: It’s interesting because they’re certain places or scenes or whatever you want to define it as highly competitive, right? And it’s like it’s either us or them that are gonna, you know, break through or make it. And here it’s almost you wanna, you wanna raise the bar, but you’re also wanna help other people raise the bar, right? Like everybody I’ve ever encountered in the music scene in Dayton is as interested in helping out other people who play music as they are and helping themselves, which is pretty cool,
Kyleen: Yeah, I think there’s that realization that if somebody is doing well, they’re gonna help you out. We all do well. If we’re all doing well, we’re all gonna do well.
Evelyn: Rising Tide, kind of idea, right?
Kyleen: Rising Tide, yes, perfect.
<Music Break: “Exhale”>
Evelyn: You kind of touched on the idea of like imposter syndrome almost throughout your journey. And I’m wondering, what is that step like to take from, you know, maybe performing covers or performing other people’s music to performing something that you’ve written, and how vulnerable that can be? Can you talk about that a little bit?
Kyleen: Oh, that’s good. That’s an interesting question. I have, like, two sides to that, because in the beginning. I don’t think I knew how to play other people’s songs, like I felt imposter to even be like, how do I even learn somebody else’s song? You’d hear it and be like, that seems hard, I don’t know. So I’d honestly write more of my own things, and I kind of started more that way, because I was like, Well, if I make it, then at least I know how it goes. But I think the other side of that, like, when you are writing and then you’re going out and playing it, I honestly have never had maybe, like an issue. I think there’s kind of this image it gets portrayed in movies a lot, where it’s like, the artist is up there and they’re singing their song, and no one’s paying attention, and they’re like, Oh, I put my heart into this song, and no one cares. Honestly, when I feel like nobody’s watching me, it’s when I’m like, ah, I can relax. Ooh, I’m gonna, like, dig into this one. But I recently just played a show at a venue that was very intimate, and it was at the Little Art Theater in Yellow Springs, and I got to play some songs that were my own. And they, yeah, it’s, it’s like, you’re diving in, being like, here goes. Like, some of them were new. Some, you know, people had heard before. But I played a few that were like, new. And I was like, I hope I can pull this off. You want to do the song justice, like you want, you want to feel like you’re communicating eloquently, and you have to do it in a way that’s like, really in a formula, almost because you’re like, there’s a structure. It’s like a script. And I play with a looper pedal too. So I have to make sure I’m getting everything right, and you’re trying to convey like a feeling. But there’s so many mechanics to it, too. It can get a lot in your brain, which is why you practice, you practice, you practice like just so I think if I go in, I feel prepared and I feel like I can get my message across. I also feel like the audience is on board. And you know, if they’re if they are listening, then they they want to listen. They want to be a part of it. So it feels received, and it feels like everybody’s excited, even if there’s a mistake, people are like, like, if they are part of it, like, in that way of they’re like, Oh, we’re in on this together. We’re in this journey of, like, putting the song together and performing it. I don’t even mind that stuff where it’s like, that’s not what I intended to do, but we made it. We were having this experience together.
David: Yeah, it makes it more just real and human, right? Yeah, yeah. Makes it fun.
Evelyn: And that idea of evoking feelings, sharing your feelings, and what the audience brings back to you. You’re just you. Your performances just evoke a lot of joy and optimism. I would say.
Kyleen: Thank you.
Evelyn: And that feels like that comes naturally to you, is that something that you feel like your energy is, just who you are?
Kyleen: Yes, honestly, I get very tingly. I get like. I vibrate in a way that I’m like, You need to calm down, so I actually think sometimes I have to, like, practice bringing my excitement down so I don’t just, like, I would never scream at an audience, but sometimes on the inside, I’m like, ah, we’re doing this, and that’s, you know, exciting, but that’s not going to make for a good song. So, yeah, I I definitely just feel so happy when I play, and I feel so excited that I honestly more practicing just taper it down, just a little bit, just to make sure, you, you know, stay in somewhat control. Although I guess some people like a show where it’s like, it’s getting a little out of control, that’s that. I’m gonna go deep there, because I don’t like being out of control. So I’m gonna study that more. I’m gonna, I’m gonna reflect on that.
David: There you go. There’s a song in that.
<Music Break: “Left on the Pavement”>
David: So you had talked about music education and lessons and teaching private guitar lessons; another thing you do is lend your time and expertise to programs like Talkin’ Bout the Young Sound, the summer program at the Levitt for the teens performing arts summer camp, and it’s you aren’t just teaching kids individually how to play an instrument, but you’re teaching them how to be part of a group project, right, and also how to perform. Yeah, on a stage, whether that’s at the Yellow Cab or at Peaches or the Levitt, like a stage, stage in front of an audience, which is having been to many of those performances. It’s amazing, right? So, and to see where these kids kind of go, from the first time they all meet each other to sometimes as little as a week later, in front of an audience, yeah, doing really well like and carrying it off like they’ve been performers their whole life. Rock stars tell me about that and like, you know what you get out of working with young people and just that whole experience of not just teaching an individual how to technically play something, but teaching a group of individuals how to work together, like as a team, to kind of accomplish a goal, right of you’re trying to perform a song?
Kyleen: Yeah, yeah, I found I learned a lot more when I started playing with a group. You know, I had a lot of experience playing, but when you’re working with a group, especially with music where you hear another instrument, when you’re keeping in time with people, when you’re, you know, even in that sense of like setting up with somebody, I mean, there’s a lot of backend stuff. It’s not just, you know, the performance. So I learned so much in working with people that I started talking about the young sound with my bandmate, Josclynn Garrison, because we were like, this would be great. Like, you know, young people, they might just be playing alone in their room, you know, and to have an opportunity with an instrument that’s not like in a band or orchestra setting to play in that group. Yeah, be fantastic. So we started, we started that kind of with that idea, and then it showed how much like that performing element came into it, and how much you could like we I don’t feel like we were like, You should support your bandmates, or you should, you know, like, pump each other up. But I think because we were pumping each other up and pumping them up, it’s like it became part of what the class was like, you know, students would come off the stage and then their bandmates would be like, that was awesome. You nailed it, you know, that was great. And or in practice, you know, the rehearsals would just be like, that sounded good, you know, or that idea to hear that from your peers is so exciting, like, it’s so like, it means more, I think, than just your teacher, because they’re like, well, you’re my teacher. You’re supposed to say that. So that’s helped me a lot. I think, in just doing that, also with my bandmates, like, yeah, there’s a lot in working with young people that I carry into, like, just my every day now, and I think that’s why I keep doing it. And like you mentioned, like imposter syndrome, like feeling that I want young people to feel like you can start anytime, when you get up on stage, that’s the only time that you really get that experience to grow. So you just have to do it. And you can suck, like you can go up there and be like, mumble, mumble, fingers fumbling. That’s okay, like you just did it check, you know, because from there you come back, get better you Yeah, you’re like, Okay, I did it. I didn’t spontaneously combust. If you enjoy it, like, if there was a rush in there, then you’re gonna come back and you’re gonna be a little bit more comfortable. A little bit more comfortable. And Peaches open mic. I see people, you know, progress. You know, the first time they came in, like, it’s, you know, almost inaudible, like, what they do on stage. But I’m like, I don’t care. We’re not here. We’re, I’m not giving you a grade. Your grade is an A because you came up on the stage, you did it, and now, you know, three years later, it’s like, wow, your killer, like, your songs are awesome, and you’re projecting. And, you know, I think that encouragement is so important because we’re kind of in an age where it’s like, you see people like on your screen just nailing it,
David: yeah, so curated and curated, yeah, polished is what is presented.
Kyleen: And so we don’t maybe have that same grace for ourselves, or maybe even for others like, you know, I hope people coming out to shows, I think everybody coming out to show isn’t really there to like, judge or critique. They’re there to enjoy the experience and cheer each other on. But yeah, it’s, it’s like, get up there, do the thing. There was another aspect you asked, I guess the performing aspect kind of tying into your question about, like, how I present on stage. Like, I think the more time you have on stage, you do start to get your personality and what you’re comfortable with. And maybe in the beginning, I was kind of not forcing my personality, but I was like, engage, jump around, like I would show. Stage moves. And I’m like, that’s that might not work. That one that’s not gonna work for that kid, but hopefully they have enough of that opportunity to then figure out what feels comfortable to them, you know, to find how they can let loose a little bit and show their personality on stage. So again, that’s only something you get when you’re on stage. Like, you don’t know you might perform one way in your basement, and want to do that on stage, and get on stage and be like, okay, so you just need more time on that stage. And I think that’s a lot of you know that that next step of like, oh, this is what these camps and these classes are doing as well, and it’s so, so cool to see. You know,
David: I think it’s, it’s such a great metaphor for life itself, right? Like, you’re, you’re up there, and you’re like, you know, even if it’s just in the moments, not premeditated, like, I’m gonna try this, or I’m gonna sing this way, or play this that way, and sometimes it you fail miserably, not you, but a person.
Kyleen: I have, I have. I remember one time I had just gotten into doing finger picking, and I remember trying to play a freight train by Elizabeth Cotten, who played at home once the audience was watching me. I was my right hand shook the entire time. I remember just being like, I’m sorry, guys, but now I don’t, I don’t shake as much I, you know, and it’s like, Hey, I’m glad I had that little audience at the Sunrise Café to get me to that next step.
David: Yeah, you kind of learn to, like, just roll with it. It’s all good. And then also, you learn, like, you only find, really find your voice. If you ever do find it, it always changes. But you only find that by exploring right and figuring out, well, what, what am I not doing, right? What’s not comfortable? Yeah, kind of leads you to that, okay, like this is kind of where, yeah, who I am and what I do.
Kyleen: It could be as little as – I wore a scarf one time at a show. I was like, I’m gonna wear a scarf. It like was all over my guitar. It was so in my way. And I was like, All right, I’m not gonna wear scarf at a show anymore. Now I know!
David: There you go, that’s why Steven Tyler doesn’t play guitar, I guess.
Kyleen: Yeah, little big, all that stuff matters. It’s just fun to explore. Yeah, yeah.
<Music Break: “Tell Me What I Want to Hear”>
Evelyn: You know, we see you perform live, but there’s a whole behind-the-scenes aspect that we don’t always get insight into, which is the creative songwriting process. Can you talk a little bit about how you approach writing, and do you have any processes or rituals or habits that get you into the creative zone?
Kyleen: It’s a good question. I think songwriters always want to be asked, like, what’s your process? It’s very, very cool. And I appreciate that, you know, people are interested in that. I usually start with music because I’m, I feel like I’m a guitar player first. So a lot of times I’ll just, you know, be sitting with my guitar and messing around. Sometimes it’s intentional. Sometimes, you know, I think usually the idea comes from because I have a guitar in my hand so many times, like throughout the day, there’s a little idea, I’ll record it, and I’m like, I’m going to revisit that, and then I’ll come back with a little more intention. And when I was in college, I did a lot more like vocally. I was in the choir, and we did a lot of, like, musicianship, things like that. So I felt like I got a better grasp of, like, how to maybe create a melody or sing something which wasn’t my strong suit prior to that. So there are times where I’ll just be doing something simple, you know, get in and out of the car, sing a little something, and I’m like, ooh, that’s worth saving. So again, I’ll go in the voice memos. I think the biggest thing is just making that time to come back to revisiting it. So sometimes that ritual is just writing it up on the whiteboard so I see, like, there’s the song. I need to finish that song. So just kind of seeing that title, like, Oh yeah, yeah, making lists of the songs. So I’m like, what’s coming up, setting deadlines. So if I have a gig, and I’m like, I need a new song, okay, we’ll finish one of those ideas. You know, this last show I did, I had already written a song, but I hadn’t figured out how to perform it with my looper. So I was like, you know, there’s gonna be people coming out, and they’ve seen me a lot. I need to give them something new, or scheduling recording time. Be like, Okay, you’re going into the studio finish this song. So I think, yeah, I’m very deadlines based. I’d love to be more like routine, where you’re like, every day at 11am I get my cup of tea, and I sit down with my guitar, I open my journal, and. And we write and create for an hour, and then I move. No, that’s but life, not life. It’s not like, you know, you can set those intentions and then maybe, like, once a month, you’re like, I did it. Yeah, yeah. But deadlines put the pressure on. That’s, that’s, that’s not a relaxing ritual, but-
Evelyn: That’s good advice for anybody, though. I mean, put it on the calendar.
Kyleen: Put it on the calendar, and have it maybe accountable to something else. Like, you know, sometimes I do like calendar for myself, and those are the things that I tend to Well, I didn’t get around to it, but, you know, if Patrick’s got me on the calendar over at Real Love, I can’t bail on him, you know, or I couldn’t bail on somebody who booked me and is, like, sold tickets? It’s like, okay, so yeah,
Evelyn: Where do you find that you get some of that inspiration for a song? Is it just going throughout your day? Or where do you take inspiration?
Kyleen: So sometimes inspiration will come from listening to song. Since I’m a teacher, like a lot of students, will bring me songs, and I’ll kind of hear what different artists are doing that are outside of who I would normally listen to, and that can be inspiring, something fresh. I also think, like, I guess going back like, like, we have absorbed so much like, I’m saying, the collective, we absorb so much like throughout our life, that I think there’s a lot of stuff that like. Tom Petty is one of my favorite artists, and I think whether I know it or not, you know, when I write a song or something like that, like, there’s a part of me that maybe is hearing something that I just have known. Like Sheryl Crow is a big inspiration. I think Brandi Carlile is, oh, my God, one of my favorite voices in the entire world. When I go to shows to watch performers like here in town, like Paige Beller, Lung, if you know the band Lung, it’s heavy, like, heavy drums –
Evelyn: They performed at Levitt last year. I think, yeah, was amazing,
Kyleen: Yeah, an electric cello, like, kind of operatic singing, like, you think, like, well, Kyleen Downes doesn’t sound like that, but the energy that I receive when I go to see them perform like again, maybe that permission that they’re so vulnerable on stage, they’re so raw, that that comes through, like, if I’m writing a song and I say, Yeah, I want to channel some of that energy the song I wrote left on the pavement. I wrote that after watching the breeders perform as, this is a great, yeah, this is such a cool band. Like, I sat down with my guitar, all right, I want to, I’m gonna pretend I’m like, the deal sisters right now, yeah, like, just feeling that energy. It’s interesting, because I hope, I think a lot of musicians are like, I hope I never like plagiarized something, because you just absorb everything you’d hate to think like, is that a melody, or is that a song that has already existed? I know that happens sometimes. When my students write songs, they’re like, this sounds like something else. And I have to go, Well, you know, sound sound like something. Just keep seeing you through. If it’s really going to be an issue, I’m sure someone will point that out. So I love that idea of just how we absorb things and then how it comes out in our own lens.
David: Yeah, do you find yourself when you’re at concerts, when you’re at things you kind of alluded to this, but you watch concerts different than just like somebody who’s not a musician, right, where you’re kind of taking like, mental notes of like, Oh, that was a cool
Kyleen: Absolutely. That was a kind of an interesting way to do – Oh, I liked how they did that break. I liked how they introduced the band. I liked, yeah, I like how they have the stage set up. That makes sense. I always wonder how people it’s a big question for me, because I want people to come out to shows, but I only know how I come out to shows, and I’m always curious how people who are not musicians watch a show. I mean, that’s who I want to come out to shows, because you can’t cater to musicians, because every musician has a gig, like, right when you have a gig playing somewhere. So yes, I definitely, definitely watch shows, in a way I feel like it’s research and development Absolutely.
David: So you mentioned Tom Petty, you mentioned Sheryl Crow, Brandy, Carlisle, who are other influences, sort of going back to like, when you’re 11, all the way through, like, who? What has that progression kind of look like, as far as just AX bands that stand out.
Kyleen: You know, when I was younger, I feel like this isn’t a good way to describe it, but I didn’t feel hip. I didn’t know a lot of bands. Like I listened to whatever my parents had on the radio, which is probably why I love Tom Petty. I remember they had a Genesis cassette tape. I love Genesis. Like I didn’t feel like I was really. In tune with, like, who my artists were, but I loved what my parents listened to, you know, and then as I got a little older, I think I remember when Coldplay came out and that first album, second album, third album, like they that really spoke to me, kind of in my, like, teens and young adults. I remember I got the Nora Jones album,
David: Oh my gosh,
Kyleen: So and then there was a lot of, like, heavier music, gosh, I’m trying to remember. I mean, I think of the bands that were popular when I was, like, growing up, and it was Linkin Park, it was Korn, it was, I mean, I can’t even remember some of the bands because I don’t listen to them now. But, you know, I think about somebody like Alanis Morissette or Sheryl Crow, who I will go back Melissa Etheridge, that I remember as a young person, but maybe didn’t have as I would just listen to the radio. I wasn’t like, Oh, I’m gonna collect, you know, my my CDs or whatever like that. I mean, my first CD was Men in Black soundtrack and Weird Al Yankovic. So I was gonna say something that made me think of, well, I want to mention Katie Tunstall like this was when I was getting into performing out and she used a looper pedal to perform her song, Black Horse in the Cherry Tree. I remember seeing that on YouTube in the early days of YouTube, you know, where you could really find something, and, like, everybody saw it and and so that was a huge influence to see singer songwriter, but performing with a looper. And now that’s such a big part of what I do that I recently went back and watched it again after some years, and I was like, This is so cool. And it’s almost like you have an influence, and you don’t realize it’s an influence until hindsight, when you’re like, Oh, yeah. Like, this is a big part of my world now. And it was probably that spark of seeing her do that that has made such an impact.
David: Yes, like, there. And also like, oh, that’s where that came. Yeah,
Kyleen: Yes, yep.
Evelyn: So folks have seen you perform at venues all across state, and from the bright side to Levitt to Porch Fest, which was where I saw you last, love that event. Having performed so many different places, if you had to choose, would there be a particular venue that you really, really love, or a memorable experience from a Dayton venue?
Kyleen: Dayton’s pretty cool that it has a lot of like, unique venues. So I feel like each venue has its own personality. So depending on what you’re wanting to get into for a show, you have that option of like, you know, what do I want to do? Do I really want to curate a show, or do I want to just go rock out at a bar like so I love that. I think Yellow Cab Tavern holds a very special place in my heart. I that was kind of my beginnings in getting to know people in Dayton, musicians. They have an event called Dayton Sideshow. And I performed, I think it was year 10, and it was when Yellow Cab, the building, like it was open in a way that, like they would have little, I guess they had, like a little room for the acoustic stage room, yeah, yeah, more of the rooms were open for performing it, and I was in a in a little room. It was just me and my guitar, and I had been kind of getting to know enough people that when I went to perform my set, like the musicians that I admired like came to see me. So Paige Beller walked in, Cisco Red walked in, Jill Dodson walked in, and I was like, oh, no, I’m so nervous now. But it was like, it made my heart so happy that that happened. And along with them, I mean, you know, I had my family, my friends, people that I’ve just kind of gotten to know through playing like so that that was a really memorable experience. I also gave people kazoos, and I think we did a little Johnny Cash Ring of Fire and so that, you know, and then throughout the years, playing at Yellow Cab is just always it feels like going home, you know, feels like family. They do a lot of different things there, too. I like to point that out, because I think again, yeah, if I want to, if I want to make an experience like Yellow Cab’s on my list of like, we can transform the space. We can it’s just versatile that way. The Brightside is a beautiful venue that I have a very memorable gig there, because it was my last gig before the COVID shut down. Dayton Sound Valley put on an incredible show, and my band got to play. The bands that were on the bill were amazing. And we got to play before Shrug, which, oh yeah, such a huge band. And that felt like i. On or I was like, Oh my God. Like, we’re not opening for Shrug, but we’re kind of opening for Shrug. And then just to go out on that high note where, then that was the last show. Like, I feel like the energy really carried me through the pandemic. I was like, It’s okay. Like, you know, that was such an incredible experience. We’re gonna hopefully get back to that. I just, I carried that energy through my album release, through just like, oh no. And then also they just had a fantastic show just fresh on my mind, playing there with Nick Kizirnis, best Dead City Festival. And, you know, I saw people come out to that show as a Friday night. It was, it started at six, which I’m just throwing it out there, early shows, not a bad thing. Start early, go into the night, whatever you guys got to do. But I was like, people are back. That show is incredible. Turbo slackers, release awesome. And it was so beautiful, seeing full house. I was like, Cool. So having that, like memory, and then coming, you know, back to the place and saying, Yay, we’re back, I feel like there’s, there’s one show a little outside of Dayton that was at the Emporium. It was on my birthday. It was a Friday night wine tasting, and that was really memorable, because it’s a very small venue. There’s probably 20 people on that dance floor. But I felt like I was playing to Madison Square Garden. I felt like it was huge. And then at the end, everybody started singing happy birthday to me. So just to have Yeah, again, so many different types of venues going to do a shout out to the Levitt got to play there 2019 and that experience of feeling like big deal, huge deal. You know, the sound, the way Lisa, just like, brings you in and makes you feel like you’re top notch. You know, that was
David: You know, that was you and Paige, right?
Kyleen: Yeah, me and Paige were at that show. And it was so cool, because I think I did have a lot of families and students come out, it felt like a good place to invite students to, like, yeah, it, you know, it’s family friendly. It’s early, you know, starts at seven, yeah, and you can hang out and enjoy the community. And it was so hot, oh my gosh. I remember it as a beautiful experience. But what stands out is the fact I remember being on stage, singing and being like, Don’t pass out, don’t pass out, don’t pass out. It was like 90 degree, yeah, but it wasn’t lost on me, on how special that was. And then getting to play there. I think I played there this year. I don’t think I know I played there this year, and the weather was so much more accommodating. It’s, it’s such a treat. I mean, those are the venues that you just feel like, yeah, I have arrived. What to be taken care of in that way. And I think every venue takes care of their artists here in their own capacity. I want to share this one story. I remember at Blind Bobs, I had a little like, tummy issue, and I remember the bartender, big, gruff guy was like, I was like, Do you have any ginger ale? He said, You need a little something for your tum? Tums, yeah, you know. So just yeah. I could go down the rabbit hole with memorable like, once you open Pandora’s box, you’re like, oh, and then there was this, and then there’s this, and it’s incredible.
David: Well, and of course, wonderful venue, peaches in Yellow Springs. Yeah, every Tuesday night you will find there every Tuesday
Kyleen: How did I overlook?
David: Oh, yes, and that you go to lots of open stages. They’re all different. That one is so fun a because there’s kind of a community of sort of familiar faces that, yes, always comes.
Kyleen: We have some beautiful regulars that will come out even when they’re not playing, just to enjoy the atmosphere and support the other performers. Yeah,
David: and they’re so grateful. It’s always an eclectic you never know who you’re gonna see or what they’re gonna do, and usually, and I don’t either they’re different. I love that, yeah, but everybody is appreciative of whatever anybody does, right? Like, everybody’s just in it to like, Hey, it’s your 15 minutes. Like, go, do you? And everybody like, it’s just such a cool place.
Kyleen: I always say this because Peaches is a rowdy bar. It’s not a listening room. It is. You’re gonna get on stage and, you know, like you said, you’re gonna you, you’re gonna do you. And you know, at the end of it, no matter what, even if somebody’s hollering for a drink order, you are gonna get a huge round of applause. Like, everybody’s gonna be like, yeah, absolutely. And you’re gonna be like, Oh, wow. Okay, you know, everybody’s like, it’s, yeah, it’s so eclectic, it’s so beautiful, and it’s so supportive. And I feel so lucky to give a shout out to Brian Fisher, Fish, who helps me. I mean, he’s behind that sound board. He’s got all the cables. He does a live stream of it, too. For our folks, we have people that will come and play and, you know, be able to give shout outs to their family down in Florida, or send well wishes. You know, if somebody can’t make it out, and he does all that technical side, it’s, yeah, I couldn’t ask for a better like partner in him and and again, oh, Bill Sykes..
David: Behind the bar. Also a musician.
Kyleen: Yeah, incredible musician. And the energy, like
David: He has a little bit energy, he’s,
Kyleen: He does have energy. Oh, my God. Oh, Lord, yeah, he will, you know, he’ll come out from behind the bar and shoot little devil horn outside every time to folks on stage. So that’s such a team effort. And I just am so grateful to be able to Yeah, host that, and that’s where I say, Hey, if you’re listening. You got something you want to do? Come out and see us. Absolutely come out and see
David: Go to Kyleen’s website. You can even reserve your spot, yeah, for the next Tuesday at peaches.
Kyleen: Yep.
David: So one last question. We asked this to all of our guests. Oh, what is the future that you want to create in Dayton, Ohio?
Kyleen: So I definitely want to see, I want to see the music community thrive. I want people to maybe like, there are people that that’s part of their life, like that’s part of their fabric of what they’re going to be doing and checking out and doing every week. But I also, I would love for it to open up in a way that, you know, the casual music enthusiasts would come down to Dayton and see a show be at the Levitt, Yellow Cab, Oregon district and, yeah, just make it something. Maybe they do a couple times a year to check out these fantastic musicians. You know, these local musicians are fantastic musicians. And I think with working with young people, I mean, that’s a big part of it, because I think if they know there’s, there’s a place for them to take their music that just keeps it strong, that there’s possibilities to play. You can create your own show. You can get on a bill with these bands that are already established. So I it’s that collaborative nature. I mean, Dayton Porch Fest is a good example of like businesses coming together, a neighborhood coming together, music fans coming together, the musicians coming together, and everybody has an amazing time. So more of that, yes, please. You know, I just think that’s fantastic.
David: I love it. That is a fantastic vision of the future, and you’re a fantastic person. So thank you so much for joining us today.
Kyleen: You guys are great. Thank you for having me.
