By Oakland L. Childers
By Kelsey McClure
By Melinda Cooper
By Allison Babka
By Christian Schaeffer
By Allison Babka
By Melinda Cooper
By RFT Music
The year was 2002, the venue was the 1,000-person-capacity Mississippi Nights, and the group in question would soon rechristen itself Story of the Year. Composed of five twentysomethings who grew up skateboarding and listening to '80s metal in Overland, the still-unsigned band offset questionable nü-metal leanings with a Jackass-style promo video and frenetic live shows featuring back flips and daredevil leaps off speaker stacks.
"We didn't have a lot of good songs; we were all about just playing good live shows," vocalist Dan Marsala recalls. "We didn't even care about the music; that was secondary. We just cared about working real hard."
The Mississippi Nights show served as a bon voyage of sorts, as Story of the Year subsequently moved to the West Coast, signed with Maverick Records and, with their 2003 debut, Page Avenue, and hit single "Until the Day I Die," helped usher the hardcore-punk-emo hybrid known as screamo into the mainstream musical consciousness.
After two and a half years, Page Avenue's sales remain just shy of one million sold. But according to Nielsen Soundscan, last October's follow-up, In the Wake of Determination, only moved 148,000 copies, begging the question: What happened? And after everything they've done for the local music scene, could one of the biggest bands ever to break out of St. Louis be overshadowed by bands they've helped along the way?
Prior to SOTY's rapid ascent a time when the Urge and Gravity Kills had come and gone and the St. Lunatics were barely a glimmer in Nelly's grill there weren't as many young musicians in St. Louis. But the community was also tighter-knit, says Sophomore guitarist Nathan Hall.
"I call [the phenomenon] 'Little Generations,'" he explains. "Certain bands will be together and there will be a whole scene, and two, three years later they'll all break up and switch members and reform new bands. It's still the same people as always, and I've seen that a couple times now."
In addition to SOTY and Sophomore, such groups as Adair (now signed to Warcon Records) and Ludo (which released an album on 33rd Street Records) emerged from these extended musical families. As SOTY's profile grew, they hooked up their buddies with touring gigs, offered advice and wore their merchandise near-religiously. Adair even lived in SOTY's Orange County rental house while recording their February debut and are currently performing alongside the band on the Taste of Chaos Tour.
In the eyes of Adair vocalist Rob Tweedie, Story of the Year's national success gave area bands "a little light of hope that it's possible to achieve what you're looking for." Sophomore's Hall, whose quartet is signed to SOTY guitarist Phil Sneed's burgeoning Royal Crest Records, echoes Tweedie's optimism and calls SOTY's breakthrough "a breath of fresh air. There's not the same amount of competition like in LA or New York, but it's harder in some ways because none of the A&R people want to come out to the Midwest. Though there's a couple of Midwest bands Fall Out Boy is from Chicago and Hawthorne Heights in Ohio it's been a good thing to see some Midwest bands not only make it, but they're setting trends now mainstream-wise."
Indeed, it's easy to forget that Story of the Year were one of the first screamo bands to taste mainstream success especially since originators begat a slew of imitators, the Next Big Thing is always around the corner, and initial rushes of success are often followed by crashing returns to reality. (Within the screamo realm itself, San Diego figureheads Finch recently broke up, and New Jersey's Thursday publicly contemplated doing the same.) But the Point's Cornbread thinks Story of the Year's dynamic concerts will help them outlast their imitators.
"You're always going to have somebody try to copy what you do to try to make it as well, but that's why they're not going to have success," he says. "A lot of bands are doing exactly what SOTY are trying to do, and they do it very well. But some of those bands can't do a live show like SOTY."
These concerts, in fact, indirectly helped them earn a record deal. When SOTY played an opening slot at the 2002 Pointfest show, they busied themselves distributing copies of their infamously gonzo video, a few copies of which found their way onto Goldfinger's tour bus and into the hands of John Feldmann (who serves as an A&R rep for Maverick when he's not fronting his ska-punk four-piece).
"They were a little bit stylistically lost," Feldmann recalls now. "But they were so good live, and their video was so epic. I just knew if they were open enough to kind of rearrange everything and kind of start over with the songwriting process, they would make an amazing record. They were all just really focused on what they wanted."