Hive mind

 

The Beehive Recording Company

 

About 200 folks, dressed to the nines in classic finery, gathered in the rental hall wing of the Irish-American club, the Gaelic League, a couple weeks ago to dance, drink, gab and otherwise make merry with an all-star revue of Detroit's independent music scene's finest. 

These weren't Williamsburg-style, trust-funded hipsters or trend-chasing fashion victims simply making the scene. Rather, these were working Detroit musicians, artists, conspirators, co-conspirators and various stripes of supporters, day-job-subsidized creators gathering to celebrate their own. In short, it is the very epitome of Detroit's DIY spirit.

Since its founding in 2007 by longtime Detroit musician and scene catalyst Steve Nawara, Beehive has digitally released a consistent — and consistently eclectic — selection of sounds, a bona fide representation of Detroit's fertile music scene. Over the course of 37 releases, Beehive has evolved from a rock- and pop-centric endeavor (not that there's anything wrong with that, nor any shortage of talent in that sphere) to one that embraces funk, noisy-electro, country, folk and space rock. 

Nawara — a 36-year-old Berkley native (and, tangentially, a descendent of Salem witch trials victim John Procter) — has seen the scene revolve a time or two over the past 15-plus years. He made a name for himself since the mid-'90s as a creative and capable bass player, guitarist, DJ and man-about-town. He's known for his work in hallmark Detroit bands Rocket 455, the Wildbunch/Electric Six, Conspiracy of Owls and others. And with Beehive, he puts his money — and experience — where his mouth is, clocking in as a label head on weekends after clocking out of his gardening day job.

Beehive — and Nawara — has established a successful presence by believing the customer is always right — even when it comes to setting prices. 

 

A Beehive is born

Beehive was born equally out of frustration and idealism. 

First, let's talk about the frustration: As a member of the Wildbunch/Electric Six, he enjoyed breakout success, hit records, a legitimate international fan base and the spoils of a relationship with a major label. 

For a hot minute in 2003 and 2004, Electric Six had breakout minor hits — most prominently with "Danger! High Voltage!" but also with the song "Gay Bar" and "Dance Commander." These jams allowed the Electric Six to tour the European and UK festival circuit and earn a living as artists with the clout and support of a well-funded label in XL Records. Moreover, "Danger!" and "Gay Bar" have received numerous placements in ads and films, allowing the band members to receive a minor, consistent income since. 

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