In this exclusive interview with Urbanista Magazine, we delve into the heart of the local music scene through the perspective of tinvis, a passionate advocate for community-driven support for the arts. As a musician, artist, and founder of the Davis Independent Music Initiative (DIMI), Tinvis has dedicated much of his career to preserving the culture of live music and providing essential resources for local musicians. In a world where algorithms increasingly dictate musical trends, tinvis is fighting to ensure that the magic of community and live performances aren’t lost. In this interview, he shares his thoughts on the importance of sustaining independent music venues, the challenges artists face in smaller communities, and how we can all play a part in supporting the next generation of musicians. His dedication to arts advocacy, paired with his personal experiences, paints a powerful picture of the intersection between creativity, community, and the future of the music industry.
How does it feel to advocate for community-driven support for the arts, and what does this cause mean to you personally?
I wish that it was not as necessary as it is to have advocates for the arts and music more specifically. I love music and art and have always wanted to be in a community where that exists. Over time, it has become very clear that music as I grew up knowing it is disappearing – especially live music – which is where music and community come together. With this understanding, I started to advocate for art so that it would not be further lost and/or might have a chance of surviving outside of mere algorithms. This cause means a great deal to me because I’ve experienced firsthand the challenges musicians face when building careers in smaller communities. I have seen countless friends try to support themselves via careers in the arts and come up short. These friends often will leave the place they want to be for less expensive places. This cycle doesn’t help anyone. I hope my efforts inspire others in other towns to establish similar programs and foster sustainable music scenes.
Can you tell us more about the Davis Independent Music Initiative and how it’s changing the local music scene?
I have long been inspired by how Canada and some European countries invest in music at a national level. The US does not do this–at least in a way that one feels it in small-town USA. However, I have long thought it could be possible at a hyper-local level. I proposed the Davis Independent Music Initiative (DIMI) to the City of Davis to support local music and musicians with grant funding and programs to further their development and keep music in the community. Since its inception, DIMI has sponsored live performances, provided grants for artists to create new work, and supported musicians in building financially sustainable careers. The initiative has catalyzed the revival of the local music scene, especially since independent live music venues have disappeared. By giving artists resources and a platform, we see a reinvigorated energy in Davis’s music community.
How do you think the music industry can better support local artists and communities, and what role do you see yourself playing in that conversation?
The music industry could invest in grassroots efforts, independent venues, and community-driven initiatives like DIMI. Supporting house shows, offering grants, and creating spaces for musicians to collaborate are essential. I discuss these issues here, and here, and here. I don’t think it will do anything because the incentives are not there (at least in the short term). However, I am not sure where the next generation of artists who can fill arenas will come from without a foundation for them to rise through. I think that local communities are in better positions to 1) recognize that these are issues and 2) make some minor changes (i.,e. create a house show community, etc…) As a musician and advocate, I am amplifying these efforts through my work with DIMI and taking every opportunity I can to raise awareness about these issues. I hope this interview helps in that regard!
What’s the most important lesson you’ve learned from your experiences as a musician, and how has it shaped your approach to creativity and community-building?
Through music, I have learned so many valuable lessons. The most important lesson is that persistence matters. Creative work takes time, and success rarely happens overnight. Staying dedicated, writing consistently, and building meaningful relationships in the music community have been key. This mindset has helped me build DIMI and contribute to broader conversations about sustaining independent music scenes.
How does your music reflect your values and beliefs, and what do you hope listeners take away from your work?
I have never been asked this; good question! Because I want it to be authentic thematically and performance-wise, it does reflect my values in that I value earnestness and authenticity. With songs like “Echo,” I wanted to explore how people—and society—often repeat the same mistakes without learning. I hope listeners connect with those ideas and perhaps reflect on their lives or place in the broader social landscape. It would also be nice if they could forget about life for a few minutes. Sometimes, there is an absolute joy and gift in that.
Can you talk about the importance of preserving and sustaining local music scenes, and what we can do to support these efforts?
Local music scenes are essential to culture and creativity. We must support independent venues, attend shows, and provide resources for emerging artists to sustain them. Hosting house shows is another excellent way to build community and give artists meaningful performance opportunities. DIMI’s model is one example of how communities can proactively support their local music ecosystems.
I talk a fair bit about the economics of music in these articles and am happy to continue this conversation with anyone via email, substack, here, and or wherever!
How does your connection to California and Texas influence your perspective on community and artistic expression?
Growing up in Oakdale, California—a conservative town—and later living in Austin, Texas—a very liberal city—shaped my understanding of contrasting perspectives. Both places share a deep sense of pride and cultural identity. That tension between opposing ideas influenced my songwriting and inspired me to explore conflict, connection, and personal growth themes.
What’s the most inspiring story you’ve heard from a fellow artist or community member, and how has it affected your creative journey?
There have been so many. One that recently gave me goosebumps is that one of the artists that DIMI gave a grant to, Nat Lefkoff, could take the funds he received from DIMI, secure an apartment that he could afford, and then book a tour. DIMI gave him $10K, and he made over $40K on the tour – playing almost exclusively house shows. On his last house show tour, I hosted him at my place in Chicago (an apartment in the city). He made $1,800 in just that one night. All of this started with a grant from his local community.
How do you envision your role as an artist evolving beyond music, and what other passions or projects are you pursuing?
Beyond music, I’ve started teaching songwriting and contributing to discussions about independent music sustainability through my Substack. Education is crucial to ensuring future artists have the tools they need to thrive.
Looking ahead to your live shows, how do you plan to recreate the atmosphere and energy of “Echo” on stage?
While I have a few festival slots on the books for this summer where I will recreate the song live and with a band, I plan to do more house shows where I can talk about the issues you have asked me about in this interview. I intend to bring some PowerPoint presentations, talk about music and community, and play songs. In other words, I want to use Echo and all these different songs to talk more broadly about what gave rise to them, which is grant funding, in the hopes that it can inspire others in other towns to do similar things. A flavour of this can be seen here. I will know I have “made it” when I am lecturing at Glastonbury.
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