Erik Roldan writesSeth Fein - Founder of the Pymalion Music Festival In Champaign-Urbana

The Pymalion Music Festival, founded by Seth Fein, is Champaign-Urbana’s highly successful venture into the music-fest circuit, enjoying high profile names and notable attendance. CHIRP DJ Nathalie Lagerfeld interviewed Fein and talked about the fest’s beginnings, growing pains and the future. The Pygmalion Music Festival is happening September 21-25, more details available at www.pygmalionmusicfestival.com

Pygmalion is often compared to other college-town music festivals, such as AthFest in Georgia—what unique characteristics set it apart?

Well, AthFest in particular is very much a regional fest, drawing from its own town and the SouthEast in general. Pygmalion strives to bring in artists from across the globe and simply populate the lineups with bands from our great local music scene. Beyond that, I am not sure that Pygmalion really breaks any new ground, honestly. We’re just proud to be part of the conversation when people talk about really interesting and well-done festivals nationwide.

Will you have time to catch any shows yourself? Who are you most looking forward to seeing? (if not: Any bands you’re particularly pumped to have been able to book?)

Actually, this year, I think so. I decided after last year that I was going to hire out to have all the shows produced by people other than myself. That way, I can kind of bounce around and be needed where ever I might be needed at any one time. Highlights for me this year are definitely Explosions in the Sky, Cut Copy, Braid, The Luyas, Common Loon (as always — they are local and my best buds). I also hear that Jessica Lea Mayfield brings people to their knees, so that should be a special one as well.

How did Pygmalion end up hosting the Polyvinyl Records 15th anniversary party? Have you worked closely with the label before?

Yeah — those guys are close friends, and we’ve been working together in some way or another for almost 8 years, starting with when they released Enemies EP by Headlights. I was the drummer in the band at the time, and I set it all up with them. Later, when I started promoting shows and PV got bigger and more bands, I started bringing their bands to town and having successes with them in that way. In 2006, we did their 10-Year Anniversary party with of Montreal and that as a sold out show. So when this year cropped up, it was a no-brainer. I am so honored to be part of the fold with them. Greatest people on earth to me.

The festival gives a lot of local bands exposure to out-of-town crowds—what sort of impact has that had on the Champaign music scene?

Well, I think bands can look to it as a place to strive towards, perhaps. I don’t generally offer slots to newer bands who are just getting started. I want to see that they are at least partially serious about their music, and are performing live often. I want them to be ambitious and good self-promoters. These are all things that I was when I was performing, so I feel like its coming from a fair place.

But ultimately, I think it just gives the indie rock scene here another place to hang its hat, so to speak. After all, this is a big event for town this size — so I think lots of bands appreciate that it even exists.

You mention that you go off your own experience as an artist to help decide which local bands to play. How else do you feel that experience informs your organization of the festival?

Well, I’d be lying if I didn’t say there wasn’t some sort of personal bias based the bands that I like — but I really try to pay attention to the bands who are making an impact locally and invite them to perform. Some times, bands won’t want to play based on the slot I offer or for other reasons, but it’s pretty rare. Most times, it seems like local artists are excited to be part of it.

Pygmalion’s now in its 7th year, and four-day passes sold out in record time. Do you have any plans to expand?

Not officially, but you know — I also said I’d never do an outdoor show, and you can see how that turned out. I think that, above all, I will always want to keep the shows relatively intimate and geared towards live music — new music — and won’t ever rest my laurels on the idea that I have time on my side. The festival will always only be as good as the support I get from my sponsors and from how well I book the shows, so I think that each year will continue to get better and better — but not necessarily “bigger” by industry standards. Big outdoor music festivals aren’t very much fun, especially for short fellas like myself, so I will try to avoid that at all costs.

What was your biggest challenge organizing this year’s festival?

Honestly, this year was a breeze. 2010 was a bear. each year has its own challenges, but ultimately, I feel like this is a situation where I have learned pretty well about how to organize this particular festival, and so the challenges are less about the overall scope, and more detail oriented; things like finding the right gear for artists flying in, hospitality management, production staffing, and timing. It’s surprisingly low maintenance actually. Just as I like things.

What made 2010 such “a bear”? Were there things you did this year to prevent the same problems?

I just didn’t really get the marquee headliner that I wanted. Roky Erickson and Okkervil were a great choice, but it was like, seventh or eighth on my list that year. This year, Explosions was a Top 3 pick, and the booking process just fell into place a little better in 2011. I am sure that some years will be better than others.

Five years in the future, will Pygmalion look different? How?

Perhaps, but not a ton. I’d like to expand the outdoor portion of the festival, as I think I can make a bigger impact economically — both for the festival and for the cities. But beyond that, I just want to see the festival continue to be successful from an artistic standpoint. If I can do that, everything else will likely stay in line.

You say you want to make “a bigger impact economically — both for the festival and for the cities.” Can you elaborate a little on the economic impact the festival has had on the surrounding area?

Basically, just making sure that enough people are using discretionary funds to have a good time at the festival. Hotels, meals, drinks, buying records, or a new dress — whatever. I think we make a small dent, and it’s something I am glad for.