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As fans file into the International Community Church in Allston, Massachusetts, vocalist Mark Rose watches over Spitalfield’s merch table in the corner of the small hall that often serves as a venue with a dim, cluttered stage taking up one wall. It is their first visit back to Boston since February, and Mark easily greets old friends and new fans alike with the same charming smile and friendly demeanor. As the frontman for the four-piece indie rock band from Chicago, his attitude can easily make or break the teenagers’ opinions of his band. Underneath the confident exterior is a nervous musician, and his grin falters as he glances around.
“I just hope everyone sticks around,” Mark remarks almost to himself as he takes notice of the cluster of young girls around the merchandise of Boys Like Girls, the hometown favorites. “But its alright, we’re going to party.”
There is a huge difference between being successful enough to make a living off of touring, and achieving the rock superstardom that goes hand in hand with MTV exposure. The question is, is it fame that Spitalfield is really after? Or is living the life they’ve dreamed enough to keep them going?
As the headlining band, Spitalfield is entitled to the last spot on the bill, usually a favorable position that grants them a longer set but tonight, it seems to be the exact opposite. The surge of people that arrive for Boys Like Girls, who play first, begin to slowly exit, and as Spitalfield prepares to hit the stage, the crowd has dwindled to a mere handful.
“How many of you have seen us before?” Mark calls out from his spot center stage and nearly every hand in the room goes up. Spitalfield’s fan base is loyal, if small, and was created mostly by word of mouth and internet-based exposure. Mark credits the now defunct mp3.com for spreading the word about Spitalfield and helping them generate their loyal fan base. “If it wasn’t for mp3.com we wouldn’t have half the fan base of what we have now.”
Their fans’ loyalty pays off in another way as they work to spread the word about their favorite “underground” band – by flooding internet sales sites like Amazon with positive comments and reviews. One anonymous internet-reviewer appropriately refers to Spitalfield as the “underdogs of emo-rock”. A Google search of the band pops up dozens of similar reviews that all seem to have one word in common: underrated.
“The kids in today’s scene that don’t want to support a band like Spitalfield need to get the hell out of the scene,” says Jeffrey Kurtis in a review of their latest album on AllAgesZine.com. His sentiments seem to be echoed by countless other web-based magazines, the authors of which all seem baffled as to how this underground gem is escaping the public eye.
However, all has not been lost on the media. Spitalfield received acknowledgement from one of the largest indie rock publications in the US, Alternative Press, who included them as one of the 100 Bands To Watch in spring 2005. Kerrang!, one of Britain’s most popular alternative rock magazines declares Spitalfield’s third and most recent release on Victory Records, Better Than Knowing Where You Are a “ near-perfect blend of melody and dynamics that should have fans of the genre salivating."
Contrary to these rave reviews, songs from “Better Than Knowing Where You Are” receive a lukewarm response from the audience at the ICC. The publicity surrounding the album’s release was lackluster at best, and by industry standards, “Better Than Knowing Where You Are” would be considered a flop since the numbers simply aren’t there. A short two months after its release, the CD sits at around #30,000 on the Amazon.com CD sales list, making it a nearly obscure choice. A number of fans in attendance at the show don’t even realize that the band has a third release in stores. But Mark views it more optimistically when asked about the fans’ reception of the new record. “It's kind of hard to say at this point, the record is still so new but it seems positive so far.” It is no surprise that he’s hopeful about the album; they’ve put more time and effort into it than they ever have before.
As the tour progresses, Mark acknowledges the tough climb that they have ahead of them with the new album in an interview with popular webzine DrivenFarOff.com. “We know we need to get some support tours going in the new year to kind of get back in the faces of kids that may or may not have checked out the new record yet.”
Supporting slots seem to be where the band prospers – which may or may not be a good sign. They’ve opened for bands like Thursday, Silverstein, Straylight Run and Fall Out Boy – an eclectic mix at best but then again, Spitalfield’s music doesn’t exactly fall into one genre but rather bridges the gap between several sub-genres by blending melodic harmonies with a raw rock sound.
Two years ago, Spitalfield was making one of their first appearances in the Boston area with Drive-Thru Records’ The Early November, and even then Mark was a cheerful spirit, bright-eyed and eager about the opportunities that lay ahead while confident in his band’s ability to succeed. “Whatever is popular two years from now, I hope to still be doing what we’re doing.” And two years later, Spitalfield is still doing exactly what they set out to do; undeterred by anything that has been thrown their way. Two years later, his response hasn’t changed much either. Mark says that in ten years, he sees the band “hopefully still having fun and…being able to support ourselves. That’s all I really want.” And that might be all he really gets.
The recent pop-punk explosion has had all eyes on Chicago and its suburbs, an area that has produced breakout artists such as Fall Out Boy and The Academy Is. Spitalfield hasn’t been able to share in the mainstream exposure, though it might just be a blessing in disguise. “As it becomes more and more mainstream, it gets more and more watered down and unoriginal. And that sucks.” Straightforward and honest, Mark doesn’t hesitate to speak his mind about things he feels passionately about, including the nature of the music gracing the airwaves. As more and more artists begin to embrace pop culture in search of the rockstardom they dreamt about as kids, the quality of the music being created decreases and heartfelt lyrics are exchanged for catchy guitar riffs and radio airtime.
Maybe it is Mark Rose’s humble approach to the music he’s making that has prevented Spitalfield from really striking the jackpot. He makes it very clear that they aren’t in it solely for the money but simply because music is what they love. “Being into making music for the right reasons is very important…you may as well be truly committed and passionate about the music you’re making which is behind it all. It’ll make it more worthwhile,” is Mark’s main advice for other artists that are trying to burst onto the music scene because he knows just how much effort and energy is required by being constantly on tour.
The epitome of a touring band in today’s day and age, Spitalfield treks across the country in their small van and trailer, like hundreds of other bands that fund their own tours through CD sales, merchandise sales and out-of-pocket expenses. Bands like Spitalfield, driven by their dedication, travel with cramped conditions, and are barely able to make ends meet. Unlike the successful bands that are lucky enough to have buses stocked with food, adequate bunks, and drivers to bring them to the next city, smaller bands are forced to pull all-nighters and run on empty almost all the time. This exhaustive lifestyle can sometimes have devastating consequences.
In 2005, the pop-punk scene was shaken when Bayside, Spitalfield’s labelmates and friends, lost their drummer in a fatal van accident, reminding everyone of the dangers of pushing themselves to the limit. So what is the explanation as to why bands risk their lives and spend endless hours on highways and going days, sometimes weeks, without showering? They do it all for their love of their music and their fans. “Performing in front of people is one of the most exciting parts of making music,” Mark says, and it shows. He puts an equal amount of effort forth, regardless of whether it is a crowd of two thousand at a huge festival, or a crowd of twenty at a dusty club in the middle of nowhere. Even though most musicians might have been disappointed by the dismal turnout at the ICC, Mark makes the best of the poor situation, throwing in a solo acoustic performance of an old favorite, “Am I Ready?” and the crowd readily sings along.
There is one major difference between a band of Spitalfield’s level of fame, and the level of those that are winning MTV’s Video Music Awards – accessibility. There is a stronger bond between Spitalfield and their fans because they make it a priority to interact with the fans, to talk with them, take pictures with them, joke with them. At the base level, it is a way of marketing and networking but its also a way of making tour more bearable – by making friends along the way. The connection with the fans, many of which in time become close friends of the band, may be the support network that keeps them from collapsing when times get tough.
But support from the fans isn’t the only required component – the support of a label is crucial in recording and releasing music. In an October 2006 interview with Pat Marquez of AbsolutePunk.net, Mark makes a sidelong remark about the band’s unstable future. “We’re giving this release all that we have- it’s kind of a “make or break” record for us, and we know it,” he concedes, recognizing that it might just be time for Spitalfield to lay down their guitars if this record fails to launch them to the forefront of the music scene.
No one knows if things will begin to look more prosperous for Spitalfield but Mark is optimistic about the future. “As long as in the end you’re happy doing it, that’s more important than anything else.” He seems content with the level of popularity Spitalfield has reached and perhaps that personal satisfaction, rather than platinum records, is the fortune they are looking for. | 