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Shania Twain Becomes Queen of Ruoff Music Center: concert review and photos by John Geiger for Indy CD & Vinyl. Live Nation presented the Shania Twain “Queen of Me” Tour on Saturday, July 15, 2023, at Ruoff Music Center in Noblesville Indiana. The amphitheater looked to be at capacity as thousands of fans filled the seats and lawn - many clad in cowboy hats and boots – to see Shania Twain perform live, as well as the opening artist BRELAND. Daniel Gerard Breland, known by the all-cap mononym BRELAND, is a 27-year-old rising country artist who is relatively new on the country music circuit. He entered the scene with his first single, “My Truck,” released in 2019, and his debut album “Cross Country,” was released in September of 2022. BRELAND appeared on stage with the sound of booming drums, singing his new hit song “Cowboy Don’t.” His music is a hybrid of country, soul, R&B, gospel, and country rap, and BRELAND is becoming known for bringing an upbeat energy to country music. Check out his music at Indy CD and Vinyl HERE – it’s a new sound for county music fans, making BRELAND an artist to watch. When it was time for Shania Twain to take the stage, her band started performing with no sight of the star. Suddenly, she sprung out of a box behind the crowd near the rear of the pavilion singing “Wake-up Dreaming.” Shania spent the entire song with the audience giving high-fives and hugs as they pushed her through the crowd and she eventually went behind the stage for a quick wardrobe change. After the up-close and personal arrival, she took center stage singing “Up” while the crowd sang and danced along. The ‘Queen of Country Pop’ has been at this for over 30 years, and during her performance it showed. Despite recovering from recent bouts with Lyme disease and COVID, Twain put on an energetic crowd-pleasing show with a powerful message of womanhood. At Ruoff Music Center she ran up and down the stairs and performed choreographed dances with her band, while delivering a great vocal performance. The veteran performer knew how to get all her fans dancing as well. After finishing her set with a stirring rendition of “Rock This Country,” she came back out for a three-song encore including her smash hit “Man! I Feel Like a Woman!” Selling over 100 million records makes Twain one of the best-selling music artists of all time and the best-selling female artist in country music history. You can pick up music by Shania Twain from Indy CD & Vinyl HERE. John Geiger for Indy CD & Vinyl http://JohnGeiger.com John@JohnGeiger.com Setlist: Shania Twain at Ruoff 07-15-2023 Waking Up Dreaming Up! Don't Be Stupid (You Know I Love You) I'm Gonna Getcha Good You're Still The One Giddy Up! Any Man of Mine Whose Bed Have Your Boots Been Under? Honey, I'm Home Inhale/Exhale Air (with BRELAND) Party for Two (with BRELAND) From This Moment On Nah! / She's Not Just a Pretty Face / Waiter! Bring Me Water! / When / Thank You Baby! (for Makin' Someday Come So Soon) Forever and for Always Pretty Liar Rock This Country! Encore: That Don't Impress Me Much (If You're Not in It for Love) I'm Outta Here! Man! I Feel Like a Woman! Check out John’s entire “Queen of Me” Tour photo gallery below:

The Island Glow Tour 2023 stopped at TCU Amphitheater at White River State Park on Thursday July 6th, 2023, a concert/party celebrating the 20th anniversary of SoCal-based band Dirty Heads. Rockers Dirty Heads were not the only must-see music act on the stage that night as they brought along friends Tropidelic and G. Love & Special Sauce to party with fans as if they were on a sunny beach. The night started with Tropidelic’s style, a blend of reggae rock, hip-hop, and high-energy funk. It didn’t take much time before fans were jumping and hopping around in sync with the band. The enthusiasm and energy were contagious. So much so, that the band smartly stopped the show so medics could attend to a concertgoer who was overtaken by the heat. It was nice to see an orderly and courteous crowd help staff and medics get to the person in need. Afterward, Tropidelic quickly got the fans back to the mood, bringing back the festive atmosphere with lead vocalist, Matthew Roads, lead guitarist Bobby Chronic, along with David Pags on bass, Rex Larkman on drums, Rob Shafer on trumpet, and James Begin on trombone. (You can pick up music by Tropidelic from Indy CD & Vinyl HERE) I first saw the next band, G. Love & Special Sauce, perform live in Chicago back in 1999 while they were promoting their 4th studio album “Philadelphonic” - which I still highly recommend. 24 years later those same three musicians, G. Love (aka Garrett Dutton) on guitar, Jeffrey Clemens on drums, and Jim Prescott on string bass are still providing crowds a great opportunity to dance along with their signature "sloppy and laid back" sound. (You can pick up music by G. Love & Special Sauce from Indy CD & Vinyl HERE) By this time, the amphitheater was packed and getting even hotter as staff and security were handing out cups of water to the crowd while waiting for the main event. Then everything changed. Dirty Heads hit the stage with their hit “Heavy Water,” and it seemed as if a cool island breeze washed out from the stage during the sweltering hot evening. Lead guitarist Duddy B (aka Dustin Bushnell) broke out his wah-wah guitar pedal to create their signature good-feeling summertime vibe music, and the crowd knew every word and sang along with lead singer Dirty J (aka Jared Watson) to the next hit “Medusa." Fans can tell that Dirty Heads have an absolute blast when they perform. The other members, Jon Olazabal, Matt Ochoa, David Foral, and Shawn Gonzalez, help combine into a sweet mix thier fusion-reggae-ska-funk-hip-hop-punk-rock that’s fun to dance along with. Their super energetic performance included other favorites like “Vacation,” and the finale of the night was “Island Glow” off their newest album. If you’re looking to kick up your summer with upbeat party surf music, fun rhythms, and the relaxed vibe of feel-good lyrics complete with trumpet and trombone, Dirty Heads are the accessible, authentic, soulful, and powerful artists that you should have in your collection. The band released their 8th studio album 'Midnight Control' in August 2022 which featured 10 all-new songs plus their take on Joe Walsh’s 1978 hit “Life’s Been Good.” The Island Glow Tour celebrates 20 years of Dirty Heads. (You can pick up music by Dirty Heads from Indy CD & Vinyl HERE) John Geiger for Indy CD & Vinyl http://JohnGeiger.com John@JohnGeiger.com Check out the entire concert photo gallery:

POST. Fest returns to Indianapolis in July and Indy CD & Vinyl is a proud sponsor of the event, a two-day outdoor concert celebrating post-rock, post-hardcore, and post-alternative music from the stages at The Hi-Fi and The Hi-Fi Annex. POST. Festival is back and will be hosted at The Hi-Fi and The Hi-Fi Annex on July 28th + 29th. This year's event will have two stages (indoor and outdoor) and all ages are invited to attend. With a grander scope than years previous, and set on establishing the finest assemblage of niche rock artists to take place on American soil, POST. Fest is attempting to establish itself as one of Indianapolis' annual festivals to hotly anticipate. Following the examples set by like-minded European events, the POST. Festival is as much about community and respect and support as it is about music and culture. It is a celebration both for fans and artists, an opportunity to come together and revel in a scene that has built itself from within to the point of global presence, without the aid of commercial status. Some of the most exceptional and creative musicians work within the realms of “post”-adjacent genres, and it is this festival’s goal to bring as many of them as possible together for one weekend to give them the opportunity to show out and share their work with a wildly dedicated fan base. Indy CD & Vinyl is proud to support the Festival and help bring these artists to Indianapolis. POST. Fest returns to Indianapolis in July and this year’s lineup includes the bands Covet, Tiny Moving Parts, The World Is A Beautiful Place and I'm No Longer Afraid To Die, The Appleseed Cast, Holy Fawn, Zao, Cloakroom, Rosetta, Astronoid, Kowloon Walled City, FACS, The American Dollar, Arms and Sleepers, hubris., SOM, Soft Blue Shimmer, still motions, Mother of Graves, The Mighty Missoula, Shipwreck Karpathos, Old Solar, Trenches, Lucida Dark, Sunlight Ascending, I Hear Sirens, Pray For Sound, Whale Fall, Lehnen, Minor Movements, Antlerhead, and BIG PIT. Post. Festival Day 1 will begin at 3:30 pm on Friday, July 28th, and Day 2 will begin at 2:30 pm on Saturday, July 29th. Tickets are available online HERE. For more information, visit www.thepostfestival.com POST. Fest returns to Indianapolis in July but in the meantime you can purchase LPs and CDs of your favorite POST. Fest band or artist from Indy CD & Vinyl below: Get music by The Appleseed Cast Get music by Covet Get music by The World Is A Beautiful Place And I Am No Longer Afraid To Die Get music by Holy Fawn Get music by Cloakroom Get music by ZAO Get music by Kowloon Walled City Get music by Arms & Sleepers

Noel Gallagher, Garbage, and Metric live in Indy: photo gallery & review By Andy & Annie Skinner Noel Gallagher and the High Flying Birds descended on Ruoff Music Center Thursday, June 29th just after powerful summer storms pummeled Central Indiana - thankfully not disrupting the concert and the former Oasis songwriter's ability to entertain the mostly-full pavilion at the Noblesville venue. In tow were the openers Metric, the alt-rock danceable indie-pop band from Toronto, as well as the Shirley Manson-fronted alt-grunge band Garbage, set to properly warm up the damp crowd after a wild day of dangerous weather that drove away the sickeningly thick air filled with smoke and particulates from the unfortunate Canadian wildfires covering much of the Midwest until that afternoon (canceling an earlier stop on this tour). Metric took the stage at about 6:50pm, a bit earlier than their stated set time but giving them more room to play nine hit songs from across their eight studio albums such as Gold Guns Girls, Help I'm Alive, All Comes Crashing, Gimme Sympathy, and more, singing along with a small but dedicated crowd of fans. Singer Emily Haines' sparkly sequined black outfit was a definitive rock star drip, and a contrast to lead guitarist James Shaw's urban cowboy chic. After about 40 minutes the band thanked the crowd for their attention, notably humbly thanking Garbage and Noel Gallagher for taking them on the road. Garbage took the stage about 25 minutes later to a rousing ovation from the lower pavilion. The self-proclaimed "Red Witch," singer Shirley Manson was wearing a stunning outfit of a flowing white sleeveless Diana Paukstyte dress with a sheer red fabric scarf-cape and colorful leggings, styled by designer Candice Lambert McAndrews. Her hair was pulled back and her makeup was reminiscent of how Siouxsie Sioux drags eyeliner across her temples in a Cleopatra-style peak. Although backed by a legendary band of longtime friends, there was no doubt Manson was the center of attention, both through her appearance and her stage presence. Garbage flawlessly drove through hit after hit, seemingly enjoying the chance to perform a greatest-hits setlist of sorts as they were first support for a global superstar and the gig wasn't a headlining run in support of a new album. Fans got to enjoy and sing along to very tight renditions of 15 songs, including #1 Crush, Push It, Stupid Girl, Only Happy When It Rains, Beloved Freak, Supervixen, and (to our delight) a cover of Cities In Dust, originally by Siouxsie & The Banshees. After mentioning that the venue was "becoming a second home" to them, as Garbage have performed at Ruoff Music Centre three summers in a row, she repaid the crowd for being "a very noble Noblesville" by going out into the audience multiple times with her wireless microphone to sing songs in and with the excited crowd in the lower pavilion. Manson also took time to stop and speak to the crowd from the stage on a personal level about her feelings regarding the trans and LGTBQ+ community, urging everyone to "take pause and think about the trans community" and remember "they are human beings." At about 9:40pm, Noel Gallagher and his band High Flying Birds stepped on to a very highly decorated stage full of potted plants, flowers, decorations, and warm earthy lighting - an almost Brazilian Carnival setting, but also featuring a Manchester City football club banner and cardboard cutout of their coach Pep Guardiola wearing a team scarf - a nod to Gallagher's favorite English soccer team and their big year of winning the Premier League and Champions League titles. The digital screen behind the band regularly animated scenes of bird migration set against industrial cityscapes, it was the warm tones of the colors and lights that gave the performance more of a living room feel than in the mega-sized venue we actually witnessed the concert. While the size of the band and the talent they brought was impressive (three backing singers, and five instrumentalists alongside Gallagher), the overall punch was lacking - at least compared to the raw, real performance of Garbage. The songs felt very sugarcoated and the optimism disingenuous - giving a feeling of being on a rock'n roll episode of Sesame Street: is this real? Is the happiness sincere? Songs like Pretty Boy, Council Skies, and We're Gonna Get There In The End were beautifully played and note perfect; however, there was definitely something lacking in the energy. Was it a mid-week show in a secondary market to a not-very-full pavilion within a much larger venue? Or is there something slightly watered down about Noel Gallagher's High Flying Birds? In any case, a it was definitely a beautifully played set on a beautifully decorated stage, whether or not the show lacked punch. After seven High Flying Birds originals and a lot of banter from the stage, Gallagher announced "the new stuff is out of the way," and joking with a 12-year-old at the show from Texas wearing a Man City jersey that he was "going to play songs from the 90's ...when everything was cool ...before the Internet ruined the world" the band played seven more songs, six from Oasis and a Bob Dylan cover for good measure. The first Oasis track, to the delight of all the other soccer jersey-clad people in the crowd, was The Masterplan, followed by Oasis hits Going Nowhere, Little By Little, Half The World Away, Live Forever, and Don't Look Back In Anger - broken up by the Dylan track Quinn The Eskimo. Three legendary artists came to Indiana, dodged some dodgy storms, and then entertained the crowd with each of their hit songs. Not a bad gig if you can get it. Photos by Andy Skinner for Indy CD & Vinyl Review by Annie & Andy Skinner for Indy CD & Vinyl You can purchase LPs, CDs, and more by the band METRIC from Indy CD & Vinyl HERE! You can purchase LPs, CDs, and more by the band GARBAGE from Indy CD & Vinyl HERE! You can purchase LPs, CDs, and more by the band OASIS from Indy CD & Vinyl HERE! You can purchase LPs, CDs, and more by NOEL GALLAGHER from Indy CD & Vinyl HERE!

TLC live concert review with guests Shaggy & En Vogue by Indy CD & Vinyl photojournalist John Geiger. The “Hot Summer Nights” concert presented by Live Nation at Ruoff Music Center on Saturday, June 24, 2023, featured headliners TLC and Shaggy, with guest support from Sean Kingston and En Vogue. The pavilion seats and the lawn were already nearly full when Sean Kingston took the stage promptly at 7:00pm to open the evening’s lineup with his 2011 hit “Letting Go (Dutty Love)” from his album Party All Night (Sleep All Day). At 7:30, En Vogue took the stage. An American soul/r'n'b pop group, featuring three current members Terry Ellis, Cindy Herron, and Rhona Bennet, had a huge 1990 hit single “Hold On” that hit #2 on the Billboard Hot 100. The crowd was on their feet when the three powerful gold-clad divas stepped onto the stage with songs addressing love, empowerment, and social justice. Along with acrobatic backup dancers, En Vouge sang and danced their way through other hits such as their opening number, “My Lovin’ (You’re Never Gonna Get It)”, as well as “Free Your Mind”, “Don’t Let Go (Love), and other well know tunes. Co-headliner TLC went on at 8:30pm complete with acrobatic performers, digital backgrounds of cityscapes, and palm trees. Opening with their debut single, “Ain't 2 Proud 2 Beg”, the four-time Grammy Award winners thanked the crowd for 31 years of support, Along with the late Lisa “Left Eye” Lopes, Tionne "T-Boz" Watkins, and Rozonda "Chilli" Thomas sold over 72 million records worldwide, achieved four multi-platinum albums, nine top-ten hits on the Billboard Hot 100, including four number-one singles: "Creep", "Waterfalls", "No Scrubs", and "Unpretty”. Bringing a full Jamaican vibe was reggae rapper, singer, songwriter, and philanthropist, Shaggy. Going on just before 10:00pm, the only diamond-selling dancehall artist in music history had fans’ hands waving in unison to his hit song “Bombastic” as smoke filled the stage. Playing with a live band, Shaggy closed out his set with his biggest, catchy hit, “It Wasn’t Me” to the thrill of the crowd who danced until the very end. Not only a great performer, as seen on Saturday night in Noblesville, Shaggy is known to have donated more than $1 million to the Bustamante Children's Hospital in Jamaica through a philanthropy project he started in 2016 called Shaggy and Friends. John Geiger for Indy CD & Vinyl http://JohnGeiger.com John@JohnGeiger.com You can purchase LPs, CDs, and more by the band TLC from Indy CD & Vinyl HERE! You can purchase LPs, CDs, and more by the band EN VOGUE from Indy CD & Vinyl HERE! You can purchase LPs, CDs, and more by SHAGGY from Indy CD & Vinyl HERE! You can purchase LPs, CDs, and more by SEAN KINGSTON from Indy CD & Vinyl HERE!

The Hank Williams Jr. concert at Ruoff Music Center in Noblesville on June 17, 2023, was an amazing country music experience for the folks of Central Indiana. The gates opened at 5:30pm and the rowdy crowd began rushing into the venue, just in time to settle in to see Wyatt McCubbin starting off the show at about a quarter to 7. McCubbin is a 25-year-old country singer and songwriter from Ohio who has opened shows for the likes of Dwight Yoakam, Charlie Daniels, and Merle Haggard, just to name a few. McCubbin’s guitar playing was outstanding and brought the crowd to their feet. He’s an artist to watch – one day he just might be the headliner. At 7:30pm The Old Crow Medicine Show – an Americana string band - came on with a bang! This band, based out of Nashville, Tennessee has been making music since 1998 and consists of several stringed instruments. In September of 2013, they were inducted into Grand Ole Opry Hall Of Fame. Old Crow once played a fantastic in-store event at Indy CD & Vinyl, and we are happy to carry their releases. You can order LPs and CDs by them from Indy CD & Vinyl HERE. The evening's headliner Hank Williams Jr. came on right at 9:00pm. Most fans know Hank Jr. as Bocephus – a nickname his father gave him after Rod Brasfield who was a Grand Ole Opry comedian and ventriloquist. Bocephus is a real crowd pleaser, and his loud loyal fans of all ages were very pleased with his raucous set. One fan said it was “an amazing concert, I had a blast. Hank sounded incredible!" If you want to order Hank's incredible LPs and CDs from Indy CD & Vinyl you can do that HERE. John Geiger for Indy CD & Vinyl http://JohnGeiger.com John@JohnGeiger.com Check out the photo gallery below, all photos by John Geiger for Indy CD & Vinyl. You can purchase LPs, CDs, and more by the band OLD CROW MEDICINE SHOW from Indy CD & Vinyl HERE! You can purchase LPs, CDs, and more by HANK WILLIAMS JR from Indy CD & Vinyl HERE!

Richard D. James is back. The elusive, Irish-English electronic artist also known as Aphex Twin has shared — and then unshared, and then reshared — details of a a new EP that will be his first in five years, since 2018’s Collapse. The new record is titled Blackbox Life Recorder 21f / in a room7 F760, and the project is scheduled to be released on vinyl and CD on July 28th, from Warp Records. You can hear the newest Aphex Twin single, “Blackbox Life Recorder 21f,” on most major streaming services. You can ensure you get your copy of the new LP or CD by pre-ordering through the Indy CD & Vinyl website HERE. Check out the album artwork below and then Pre-order the new Aphex Twin LP from Indy CD & Vinyl:

Indy CD & Vinyl is proud to be a sponsor of the popular Darkwave DJ dance night Spellbound, held on the last Saturday of every month at Indianapolis' White Rabbit Cabaret. Not only does Spellbound showcase DJs from all over the country, but often will also play host to live bands that are currently creating music that is often played by the DJs at Spellbound, such as Odonis Odonis from Toronto, Skeleton Hands from Cincinnati, Chasms from LA, All Your Sisters from Oakland, and many more. Now they are doing something super fun and different for the June Edition of Spellbound: hosts Annie and Andy Skinner (also the shop owners at Indy CD & Vinyl) recorded the set by the special guest live band Tallies (on Kanine Records, from Toronto) from the mixing board and will be pressing it to vinyl. They'll be pressing it in a strictly limited, super-short run of <100 copies on eco-colored vinyl with full artwork and sleeve! If you did not pre-order the record with your Spellbound ticket you still have the opportunity to get a record! You can pre-order your copy for $30 from Indy CD & Vinyl HERE. You must order by July 15th. Spellbound wants buyers to please allow 7-10 weeks for delivery, which is a short time to wait for a local Darkwave DJ Dance night to create limited vinyl records! Again, click this link and pre-order the record: https://indycdandvinyl.tuneportals.com/UPC/470012682004 Annie & Andy plan to do this for live bands booked at Spellbound going forward, for a continuing series called "Live at Spellbound" that will become a lasting legacy of collectible records you can keep as a reminder of the story of live music at their dark alternative dance night. There will be a connecting design theme on all the records and you could be the first one on your block to collect them all!

Check out the band Tallies, playing live to open the next Spellbound Dark Alternative DJ Dance night at White Rabbit Cabaret, held on the last Saturday of each month. Do you like bands that sound like they were on 4AD label in the 90s? Cue the band Tallies, all the way from Toronto and friends with bands who have previously played Spellbound like Odonis Odonis and Deserta. The late 80’s and early 90’s were a huge influence for many new artists. But when they cite sounds from great artists like Johnny Marr, Cocteau Twins, The Durutti Column and the Beach Boys, you know they are on track to something great. Combining up-beat drum beats, melodic bass riffs, jingly guitar leads, and fluttery lighter-than-air vocals, Tallies gives out a soft, yet bouncy ray of sunshine not unlike The Sundays’ debut album ‘Reading, Writing, and Arithmetic’. Tallies bridges that long lost sound with yet a new and youthful take on something all their own. Coming out of Toronto, this indie pop band was formed by lead singer and guitarist Sarah Cogan and guitarist Dylan Franklin, with Cian O’Neill on drums. Check them out live at The White Rabbit Saturday June 24th. Doors will open at 9:30p, Tallies will perform at 10:00p, and the Spellbound DJs will spin until 3:00a.

Martin Atkins has so much good post-punk and industrial-rock karma, he needed a museum to store it all. Not really: He’s well-aware the genres are much bigger than him. That’s why the drumming polymath is ready to unveil The Museum Of Post-Punk And Industrial Music... By Jason Pettigrew This year, rock ‘n’ roll had its 70th birthday. We feel confident saying that despite the success of Nickelback, rock wasn’t the cultural anomaly that was going to destroy mankind. But rock’s ability to mutate from other genres, embrace technology and/or assimilate cultural stimulus from other sources (literature, film, art et al) has given it continued life, resonance and purpose. In the realm of contemporary rock music, the subgenres of post-punk and industrial mutate significantly to create something new out of a rapidly changing musical landscape. Clearly, there’s a lot going on. And there really should be a dispensary to catalogue this history and knowledge while aiding in the genres’ futures. Because that’s what Martin Atkins was thinking. In his myriad roles as drummer, author, producer, teacher, mentor and mad conceptualist, he’s been there, done that and sold the shirt on eBay. Well, not all of them, actually. That’s why he decided to pool his significant personal archives out of boxes and into a space dubbed The Museum Of Post-Punk and Industrial Music. Located in Chicago’s Bridgeport neighborhood, the facility contains various artifacts, art pieces, documents and other tchotchkes from his extensive archives in the post-punk realm. Armed with a CV that includes assorted bands’ halcyon eras (Public Image Limited, Killing Joke, Ministry, Nine Inch Nails and various iterations of his ad hoc noise-rock committee Pigface), Atkins’ bona fides are certainly in order. More than just a stroll through Atkins’ personal effects, PPIM shines a light on the rich history of two significant genre fulcrums. But like the DIY mentality those scenes fostered out of necessity, visitors can get caught up in the jet stream. You want to try to pound out the intro to “Four Enclosed Walls”? Atkins’ drum set is set up there for you to have a go at it. Fancy remixing/mashing up some of your favorite industrial tracks? There’s a studio facility with an engineer at the ready. If you’re genuinely fascinated by the very thought of a mound of laminated and cloth backstage passes of tours gone by, he’s got you sorted. “Really,” Atkins reveals, “I’m just starting to see what happens when you connect all of these things and go someplace else.” There’s most assuredly going to be more than a few middle-aged/elderly types rocking faded Wax Trax! artist shirts lurking in the rooms of PPIM. But there’s also a forward-paying aspect that’s very much in play. The operative nature of post-punk is to constantly ask “what’s next?” While PPMI should sate longtime listeners who were actively participating in the early manifestations of the culture, the venue also acts as a clearinghouse of possibilities allowing succeeding generations to borrow-to-remold or straight-up steal from. (Because at some point, we all fall prey to the syndrome of tabula rasa). The day after his birthday, Atkins spoke with Indy CD & Vinyl about the m.o. behind PPIM with equal parts enthusiasm, pragmatism and what could best be described as practical dadaism. (Seriously, have you ever booked a salon appointment in a museum?) At 62, Atkins continues to flex both his brain and his heart over the potential combinations and permutations to convey and enrich post-punk’s history. “I don’t know what it is,” he says when asking to describe PPIM. “But it’s awesome!” After all, it’s not like anyone is expecting him to slow down. “I don’t know that there’s any retirement in DIY,” he quips. “Is there?” I understand you are taking gradual steps for security and safety purposes. MARTIN ATKINS: We’re doing soft opening events. We did one a few weeks ago for the anniversary of [the Public Image Limited LP] This Is What You Want, This Is What You Get. We had 150 people on Zoom, 20 people at the museum in person and vaccinated. Then one weekend we’re doing “Days Of Sweat And Madness,” which was a Killing Joke event. Same deal: 20 people, 150 on Zoom. We gave the address out to those people as a soft opening. It sounds trite, but what the hell: You have all this documented history and some familiar objets d’art that belong in a museum on their historical significance. How do you bring them into the 21st century? Where’d you learn how to create a museum? Just put everything on a slide show and have smoke bombs go off, you know? [Laughs.] But no. I’m already seeing three things. One is all of this in a room visible. I’m ADHD, so if things are in boxes, they don’t exist yet. So I’m feeling a two-fold, strange calm surrounded by stuff, but also a very dangerous, “Ahh, fuck off. Anybody can make anything happen” kind-of vibe. And if I don’t believe myself sometimes—oftentimes I don’t believe myself, you know, as many of us don’t—all I have to do is look around and go, “Oh, OK.” The evidence proves that I can make things happen. It sounds like you’re cultivating imposter syndrome. Oh, I’m sure. So there’s that. But then there’s the effect this is having on everybody else. Which is massively unexpected. That ranges from people flying from Denver, driving from Akron and flying from L.A. We’ve had one-and-a-half open house events and nobody’s walked in and [demanding tone.] “Can I have some water? I’ve fucking flown in from L.A.” People are like, “I flew in from L.A. Thank you so much for doing this. How else can I help?” You know, that’s a huge surprise and kind of humbling and amazing. But then people are donating some really miraculous things. We just unpacked one of Ogre’s Skinny Puppy suits. I’m not sure of the date on it, but it’s covered in paint and shit. You know, the person who had that in their closet loved having it. But they have way more love by not having it in their possession, having me send them pictures of [photographers] Bobby Talamine and Jodi Sargent taking pictures of the suit on a mannequin in front of the FOOK backdrop from ’92. They’re already thrilled that their baby, their child, their pet Ogre suit is rubbing shoulders—not literally, because that would be an archive issue—with a piss-smelling Killing Joke backdrop. I just found Al [Jourgensen’s] welders’ glasses that he gave me that I think he’s wearing in a Ministry promo picture that I also found. Your personal contribution to the underground music canon is undeniable. And on the work ethic side, you’ve always made a lot of your colleagues look like slackers. It’s obvious that you would start with your personal archive. Which in turn, could trigger the cynical accusation of PPIM being “The Martin Atkins Museum.” How do you address that? I do say to people a lot, “Look, this is not the museum of me.” I’ve done a lot and I’m old. all right? So it just seems like an unfair advantage [to be] blighted with this hoarding gene. I can cover PiL, Killing Joke, Ministry, Nine Inch Nails and Pigface—which leads to Genesis P-Orridge and Psychic TV, Ogre and Ritalin. I produced Skinny Puppy. I made scenery for Test Department: I signed them to my label and released a few albums. Sheep On Drugs, same thing. I signed so many artists to my label. I had suits made by Sandy Powell [from the early days of Brian Brain]. I could have just called it “The Martin Atkins Gallery Of Fuck,” you know? But rather to use it as a starting point… You’re seeding the process. “Seed” is not the right word. It’s more like a sugar cube you put down on the patio when you know you’ve got ants. And you have to have that sugar cube magnetized to attract whatever. [Former PiL manager] Larry White just sent me a Bellevue Hospital gown that John [Lydon] wore onstage: We just got the photographs of that. Betsy Sherman just sent me a PiL raincoat she painted in 1980. There’s a fantastic picture by Phil N. Flash—a Boston photographer who’s now in Chicago—of John helping her into a taxi in a very Benny Hill-kind of way. So I sit in front of this stuff. Sometimes it puts me in two moods, kind of a reverie. Not melancholy, it’s like thumbing through my greatest hits in a way I like. And then it feels like it’s fueling the next thing. And maybe the next thing is the museum. It kind of feels like that. A couple people have asked, “Well, is this the last thing you’re doing?” I’m like [adopts worried tone] “Fuck…” Well, if it is the last thing you do, it’s a massive undertaking. What essentially is the mission statement? To document the history of the post-punk aesthetic continuum? Or just a section or historical period of it? It also documents a different kind of creative process. And the mission statement for that is: We should do something with this. What could it be? And then putting things up on the wall. ...it’s constructing a space to experiment, to see what happens in it. And, yeah, there’s a ton of amazing stuff on the walls. But then, what can you do in the rest of the square footage? And of course, I can’t wait to do a screen-printing workshop, marketing, merchandising, entrepreneurial bootstrapping workshop, which ties in with that DIY punk, don’t-ask-for-permission mentality. I’m sure somebody has started a museum and they had two years in the development phase where they are working on a mission statement and budgets and an advisory board and all this stuff. And two years in, it’s like, “Steve, we’re ready to launch! Tell everybody we baked a cake and we’re going to launch!” I’ve done it exactly the opposite. I put stuff on the wall and said, “You know what? This is the museum. Who’s in? Who wants to help?” Molly [Compton, Atkins’ assistant] who works with me, said, “Yes, there’s great stuff on the walls, but it feels like a museum of process.” Not just how my Newcastle Brown And Bottlecap shrine, made when I stopped drinking the first time became part of an album cover, which then became this huge backdrop that Pigface played in front of with Tool’s Danny Carey—that kind of process. But it’s also a process of starting something in a different way outside of normal channels. I guess at some point, you know, a year from now, I might have Museum Smart, as my latest book. [Laughs.] We could be doing things differently. And I’m thinking about that. Are you done unpacking things? I thought I was a few weeks ago, and then I found some more stuff, so we put them up and we bought some more frames. We put something called temporary shipping frames while a couple of framers came in to let us know what we’re dealing with. I opened up a box yesterday and there’s all of this Swans stuff I’d forgotten about. So every day I feel like I reach into a box and some amazing stuff comes out. Today, for instance, I thought, “Well, there should be an area for tour passes.” Because they are the currency by which professionals and professional hangers-on measure their success, right?. So as I’m going through this, honestly, mountain—two file boxes full—of laminates, I found a backstage pass for Blondie in slightly curled but mint condition. And it’s like January 21st, 1980. And I think, this is the pass that {Blondie guitarist] Frank Infante gave me because [PiL] had two sold out shows in Paris and Blondie had one. Well, why is this pass randomly there? So I put that over in a pile. Then I saw this other extremely flat, mint backstage pass, a Killing Joke Astoria 1991 pass that was my very last show with them. There was so much depth. I’m just starting to see what happens when you connect all of these things. Are you actively buying pieces and acquiring appropriate items? I bought one piece, but I’m sure I will buy more or people will lend us small pieces, that seems to be what’s happening. But I want to acquire more because of my fascination with packaging, which started with PiL’s Metal Box. That includes people like Moldovar with his light-sensitive theremin CD box, the Damage Manual limited edition CD, scratch and sniff blueberries sleeves of seven-inch singles. I bought a copy of Durutti Column’s Return Of The Durutti Column… With the sandpaper cover? Yes! I wanted that because I talk about it in my packaging and marketing lectures. I’m looking forward to pointing out things on walls instead of showing people slides. And I wanted people to touch it. I want people to touch the Durutti Column album sleeve. I love the passive-aggressive “Rust Never Sleeps” quality of gradually destroying the album to the left and to the right of it when you take it off of the shelf. But it turns out Guy DeBord did exactly that in 1959 with his book memoir. We could sit here and I’m sure there would be people going “Fucking hell, the Durutti Column? That cover is fucking amazing!” Yeah. Yawn. It’s actually been done before. So you can stumble into reversing what a museum and education is, and finding different levels of creativity standing on the shoulders of what’s come before. As much as I enjoy that, I’m going to enjoy the fuck out of putting on workshops and having all the people who don’t ever want to come to a museum come. Maybe the word “museum” is a turn-off for some people. I wanted to use it because, of course, we’re going to slightly destroy it. How? I think we’re going to have some dinners in the space. I’ve obviously talked to Dirk [Flanagin, esteemed chef and member of early iterations of Pigface] about cooking something ridiculous. Dark Matter will supply the coffee and the chocolate. We will have our own whiskey through the 18th Street Distillery. So I love this subversive idea of, “You don’t want to come to a museum? That’s fine, does this menu interest you?” [Laughs.] That’s some engaging marketing right there! [Laughs.], “OK, come to our restaurant.” A person will come in and say, “Oh wow, I like your wallpaper.” [adopts mock anger] Well, that’s not wallpaper. That’s 40 years of fucking cutting-edge, improvised, DIY post-punk industrial music, you fuck.” But if it’s wallpaper to somebody, that’s fine, too. [Laughs.] Your assistant is describing it as a process. So is the idea to be a museum as a Swiss Army knife? You have all this history on the wall, but then you fly some laptop genius from Sweden for a special one-day only ambient set? Is it essentially an umbrella? The museum is a museum, but it’s not about how can you do a museum of post-punk and industrial and the first marketing campaign is “Please visit our museum before [Chicago industrial rock-fest] Cold Waves.” Our marketing is going to be “Please come for a haircut.” [Chicago stylists] Gil Castro and Erandi Tovar are going to be cutting hair in the middle of it. So I can get a skinhead like that girl in Ministry’s “Stigmata” video while I’m there? [Laughs.] Yeah! I don’t want you to think I don’t have a strategy and I’m just winging it. It’s still a museum. We’re being helped by the Woody Guthrie Center in Tulsa, the Robert Rauschenberg Museum in Florida and so many museum professionals. Mark Davidson was in charge of the Bob Dylan archives. A huge music fan. He took my students on a tour of the Dylan archives. So there are some very experienced professional people guiding us with this other aspect, the archival aspect. You know, I just bought a 6500 dpi scanner. We’re looking at the archival process and being advised on that, because up until now, I just thought, “what the hell am I doing with this? I can’t believe this. ticket from the Paris Metro has survived since 1980,” but now it’s down to professionals to make sure it’s in a professional, acid-free archival environment so these things stick around for a bit longer. A museum is a serious undertaking. I understand you have a board of directors. The stage of the process is waving the flag and doing it. And then we’re about to begin the 501(c)3 not-for-profit process. That requires an external board of directors. So that is about to happen. I need to call an informal advisory board because it’s not the formal 501(c)3 advisory directors, but there are about, I will say 60 people on the advisory board right now. And that ranges from [LCD Soundsystem’s] James Murphy, who was my first intern when he was 15, helped me screen print some Steve Albini posters in ‘86. Lee Renaldo from Sonic Youth, Anton Newcombe of the Brian Jonestown Massacre. I’m particularly proud of the composition of the advisory board because there are people from fashion. Drew from 18th Street Distillery is just a kickass entrepreneur and business person. I’m happy to have him on the board as well as Jesse from Dark Matter and Fallon Bowman. Of course, there’s a little bit of a Pigface overlap because that’s where my Rolodex begins. But there are some really great people on the advisory board [including Indy CD & Vinyl owners Annie & Andy Skinner]. Is there anything that you don’t want the museum to be? Well, that’s an interesting question… I have a friend who owns a record store. One night, he was doing a club night in one of the art galleries in the building where he has his store. He had Veronica Vasicka from Broken English Club DJ at the event. She mixes new underground electronic post-punk and classic Wax Trax/Play It Again Sam sides. The young fans are like, “Wow, this is really cool” and all the guys who are long in the tooth are like, “Holy shit. Was that Neon Judgment she just played?” It was a great night. Obviously after getting her there, promoting the show, getting her expenses, my friend lost some money. But he said that he would rather lose money than get $2000 from Red Bull to put a sign behind her essentially saying “Everybody drink Red Bull because it’s fucking cool.” So [he] just raised a bunch of things. Number one: Fuck, yes. Is she available to do that here? Because I want to do it. I want people to come and experience this stuff. Number two: I’m still a marketer and a promoter. Hypothetically, if the pie shop next door becomes more popular than Public Image, I’m going to ask them to make their special “veal and ham Public Image pie” with a free entrance to the museum. Yes, you will get some people saying, “We came in for the pies. What’s all this shit?” [imitates tour guide spiel.] “Well, you know, 40 years ago this happened…” Blah, blah, blah. However people stumble into this and however they find it and absorb it, that’s a win to me. I’m not one of those people that are strictly “you should listen to the album by the songs in the order that I envisioned.” Whatever, play it at a different speed, if that’s what speaks to you. Number three: I like the idea of a different audience coming by, as evidenced by the idea of having dinner there with some fine wines and all the rest of it. I want people to have haircuts there. That’s a line from Silence Of The Lambs. “We cover what we see every day, Clarise.” So sitting in front of some of these huge Newcastle Brown air bottle caps or dot screen madonnas or Skinny Puppy artwork or listening to music that’s playing over the speakers. How do ideas become absorbed only to surface again? So I like all of this. Where I think my response might be different is whether we would say “fuck Red Bull” as Red Bull or just as a general sweeping corporate entity. I’ve seen some of the things that people do with the Red Bull Music Academy, and I think that’s fucking amazing. Free of charge. People get to spend like six days in a different country with the people who made Michael Jackson’s album followed by this person or by that person. Just amazing stuff that that changes the course of people’s lives. But I think there is sufficient weight behind either what I’ve done or what the museum is doing that I would suspect I’ll be able to tell Red Bull “Fantastic. We love the fact that you’re paying for this and this and this and this and your logo will be on the other side of this thing. And that’s how you get to participate. We’ll put your logo on the floor as people walk in—if it’s right. If it doesn’t feel right to have a Red Bull logo in between two people reciting a poem, then I think I’m sensible enough to not do that. But if Doc Martens wanted to put a shoe store in the museum? Bring it on: I’ve been wearing Doc Martens since 1977! I think this also goes to the long strategy. I do realize that I have not put myself in the position of hoping someone is going to let me do this. I mean, this museum is real, it exists. You could fly out, we’ll go there tomorrow and there is a substantial insane amount of stuff visible and four times more coming down the pike without anybody giving me permission to do it. And I think that changes how I deal with other entities that don’t want to be involved. So I don’t have to make a compromise with a corporate entity to be allowed to do this. It’s happening with or without your help if you want to be involved. We would so appreciate your support and help. And this is how we see this being a win-win for both of us. It’s a very different dynamic than if Red Bull give me permission that I can go ahead and do this. It may or may not be important for me to say. But I’m not saying this because saying it sounds like a threat, but this is happening... We don’t have to talk about doing it—we’re doing it. If you want to come and sit on a couch in amongst it and have a coffee…That’s been the tremendous luxury to have meetings with people in it, not at Starbucks going, “Here’s an artist’s rendering.” Downstairs is where I mixed the China albums and a couple of Pigface albums. Snapline came from Beijing to work here. Upstairs is where Gravity Kills stayed when I made the last album with them, you know, I mean, it’s authentic. You’re seeing PPMI as a launch pad for a lot of different things. In addition to history, will there be an art space aspect? Are we going to see one-time only performances, similar to, say, the near Velvet Underground reunion at the Warhol Museum? Maybe six times a year we’ll do a dinner for 40 people. We’re going to do this pop-up. We might do some coffee pop-ups obviously with Dark Matter. I think I’d like to see some fashion stuff going on. A lecture series. A workshop series. I did an event in 2009, I think it was called “Welcome To The Music Business, You’re Fucked”. People flew in from Mexico, Norway, Washington, D.C., North Carolina. I wouldn’t mind doing one of those. I’m doing a reading with Steve Silver in about 10 days’ time. Steve is working on his second book. He used to do security at Exit in Chicago and tour managed Killing Joke. And he’s just got some insane stories. I have a focus because I have four kids. It will be kids, the next generation moving the ideas forward, paying it forward. But there needs to be a reverence for the past. Because there are people’s memories attached to this stuff. Somebody will bring up a show and I might think, “That gig was shit.” But [someone will think] “Yeah, but that was the last gig I went to with my brother” or “That’s where I met my wife” or “that’s when we conceived our child that night.” There were other things going on in other people’s lives that some of this stuff was fortunate enough to literally be the backdrop for, musically, visually or both. I feel as though I can bring the understanding and reverence to anybody who stops by and is triggered by a flood of these memories. You know, I mean, it was strange for me today to find the Ministry goggles, the Blondie stagepass and the pass to my very last show with Killing Joke. These things vibrate for me. The vibration is crazy. Real. These things vibrate and then have an energy to them. I hope I’m creating a really respectful aquarium to float all these things in while I carefully monitor the pH and the water temperature. Has there been any type of pointed criticism about this? Has anybody ever sincerely told you, “Martin, that’s ridiculous. That’s impossible. Shut up”? I think people know not to say shit like that to me. Not like “how dare they criticize my drumming.” That’s just fuel for me! That’s just the way that I work. If somebody tells me there’s “really no way” to do something, I’m like, “Well, let me show you five different fucking ways and I’ll send you a postcard.”

By: Seth Johnson Lobyn Hamilton has a bit of a vinyl record obsession. While amassing a personal collection of 30,000 LPs and counting, Hamilton is also known for composing elaborate pieces of artwork made up of deconstructed records. Born and raised in Indianapolis, Lobyn has now been recognized for his artwork in publications including The New Yorker, Complex Magazine, The Chicago Tribune, and the IRAAA, while also having his work exhibited in FOX’s hit television show Empire. Born in 1985, Lobyn grew up in a house off 38th Street and College Avenue. As a child, he remembers regularly making visits to the nearby Indianapolis Museum of Art, while also taking part in clay classes at the Indianapolis Art Center. “My parents enrolled me in Indianapolis Art Center classes on Saturdays,” Lobyn says. “I would miss X-Men by the time my class would be over, so the Art Center just set up a TV for me so that I could watch X-Men and my father would just pick me up after X-Men was done.” In addition to these Indianapolis Art Center courses, Lobyn also spent a lot of time as a kid at the Indianapolis Public Library’s Broadway branch, where he’d sit and draw for hours. “I’d get magazines from there and draw in front of the television,” Lobyn says. “It was my way of getting certain things that I knew I wasn’t going to be able to get. Like, I drew a lot of shoes because I knew my parents weren’t going to get them for me. I didn’t have a lot of game systems, so I’d draw cartoon guys from back in the day. I think it was just a way to find my place, in a way.” While introducing their son to art at a young age, Lobyn’s parents also exposed him to all sorts of music growing up. In particular, Lobyn remembers that his father would often record the latest hit songs off the radio to cassette so they could listen to them in the car. “I remember riding around Indy on Fridays in my father’s car, and we would just listen to all the new music that came out that week that he had recorded on tapes,” Lobyn says. “We would just ride around and listen to jams, which is a very fond memory. Music was always around.” At the age of 15, Lobyn received his first turntable set as a gift from his father for Christmas. From here, his record-buying habit began. “I ended up getting another set of turntables from another guy and inherited some more records, like Beastie Boys, Michael Jackson and stuff,” Lobyn says. “I started buying records from Rockin’ Billy’s, and then it was on. I was buying anything and everything that was coming out.” During his early days of buying vinyl, Lobyn also remembers purchasing his first record from Indy CD & Vinyl (Coldplay’s 2002 classic A Rush of Blood to the Head), which was owned then by store founder Rick Zeigler. “I remember the record taking a ton of time to get here because it was imported from England, and I remember it being a 180-gram joint, which was the first time I’d ever bought one of those,” Lobyn says. “It was a tough time in my life, so that record unfortunately resonated with the energy at the time.” It was also during a trying time in his life that Lobyn created his very first piece of artwork made out of deconstructed vinyl records — a moment he remembers quite vividly. “I saw this large Bob Marley poster that had these small squares with intricate images of his life,” Lobyn says. “I was like, ‘I don’t think I could do that digitally, but I could definitely do it analog.’ It’s what happens when you’re alone and trying to find your way, and that’s how I found my way. I grabbed a glue gun from my neighbor, got some snips and just started to break up my records.” Following his initial Bob Marley project, Lobyn continued creating more and more collages using vinyl records, with other early works that featured Marvin Gaye and Jimi Hendrix. After eventually being granted the opportunity to exhibit his work in the basement of Broadway United Methodist Church, Lobyn realized what he was doing with these vinyl record collages was something truly special. “I saw the looks on people’s faces when they didn’t know what it was and I told them what it was,” Lobyn says. “Their eyes lit up, and then they got closer. So I was like, ‘Oh okay. Maybe I do have something here.’” Having now worked as a full-time artist since 2013, Lobyn has exhibited his work all across the country. Several noteworthy musicians own pieces crafted by Lobyn too, including rap legend Nas. Despite all these accolades, though, Lobyn says he ultimately finds joy in creating works for the modern-day everyman. “My life is run by all those people who are supposedly nameless,” he says. “For every Nas, there are hundreds of other individuals that keep me and my family in a place of freedom. To me, that’s really important.” As he’s created countless pieces of artwork over the years, Lobyn says he’s been heavily reliant on local record shops like Indy CD & Vinyl to bring his ideas to life. “They’ve been really instrumental when records are needed,” Lobyn says of Indy CD & Vinyl. “I’ve gained a lot of vinyl resources from the shop over 20 years now, even before Annie and Andy owned it.” Now Lobyn is on to an amazing new project: the Hoosier's vinyl art has earned a gallery show at Newfields, the Indianapolis Museum of Art, this Fall. Continuing forward with this longstanding partnership, Indy CD & Vinyl will play a crucial role in an upcoming exhibition that Lobyn has coming to Newfields titled What I Have You Have. Slated to open on Aug. 26, the show will serve as a “visual memoriam” to Lobyn’s time in the Circle City. “It’s a culmination of being the first generation born in Indy to my own experiences with family to the outside world of school, art, culture, music and film. How all of these things affect you,” Lobyn says. While the show will hold unique significance to him, though, Lobyn asks that viewers find themselves in What I Have You Have. “For me, it’s just a culmination of a life experienced in Indy, but I’m not here to tell somebody else what the works mean,” Lobyn says. “I’m way more curious of what other people get from the show, and hopefully I can be around to just ask questions.”

By: Seth Johnson The year was 1952, and Amos Arthur was looking to start a successful music store in Indianapolis. After examining the market, Arthur noticed one major piece of the puzzle that was missing and decided he’d try to service the need. Herein, Arthur’s Music Store was born. “When dad started, almost all the other music stores in Indianapolis were piano stores,” says Linda Osborne, who represents the second generation of Arthur’s Music Store. “So he was able to establish an identity and have a solid start because he was mainly doing guitars and other instruments that they weren’t doing.” Since starting out in the ‘50s, Arthur’s Music Store has stayed at its same Fountain Square location on Shelby Street, being passed down from generation to generation while also expanding in size. Originally founded by Amos and Leola Arthur, the store was passed down to Linda Osborne, who has now brought her daughter Amy England into the fold. Indianapolis now has seen seven decades (and counting) of Arthur's Music Store. Over the years, Arthur’s Music Store has branched out to start a few other locations, including one in Speedway for a brief time in the mid- ‘60s and one in Broad Ripple from 1966 to 1978. In time, however, the Arthur family eventually decided it was best that they focus on their Fountain Square store, especially considering they own the Shelby Street property it’s located on. “It’s pretty darn expensive to keep this quality and level of inventory, so we decided to just have the one store,” Osborne says. From the beginning, Amos Arthur made music lessons and repairs a big focus of Arthur’s Music Store. “He was always very interested in lessons and repairs, while making sure that people got the right kind of instrument,” Osborne says. “I think that made a big difference too. We are benefiting from that nowadays because we have customers who have been around for 50 to 60 years that still remember getting started that way.” Arthur’s Music Store still offers a wide range of lessons to this day, including everything from guitar to bagpipe lessons. The shop’s talented staff can service a wide range of repair needs too. “We do repairs up to the point where people need major surgery,” Amy England says. “We don’t do body structure work, and we don’t do refinish work. But other than that, we can do just about anything.” In reflecting on the instruments they have in stock, Osborne says Arthur’s Music Store has just about everything except recording and P.A. equipment, MIDI devices, and synthesizers. “We carry a lot of instruments that people can’t find other places,” Osborne says. “If we know how to teach it or we can repair it, then we’ll sell it. Accordions and pedal steel are two instruments we have that you won’t find much of anywhere, but that’s because we have people who can teach and repair them.” When it comes to the people who work at Arthur’s Music Store, England says there’s a certain type of human being that the shop seeks out. “You can teach someone how to play an instrument. You can teach someone how to sell an instrument. What you can’t teach is them being a good, honest person who’s engaging and can speak to anybody,” England says. By maintaining their excellent staff, Arthur’s Music Store is able to ensure that their shop is always open and welcoming to all. “We are extremely inclusive here. We will wait on and talk to anybody. Everyone is equal when they walk in the door,” England says. Arthur’s Music Store is located at 931 Shelby St. in Fountain Square. Stay up to date on store hours by visiting ArthursMusic.com.