It’s an Honor Just to Be

It’s that time of year, San Diego! Time to celebrate the San Diego Music Awards, an annual event that showcases so much beautiful music being made in this town while also raising funds to donate guitars to local schools. Huge props to Kevin Hellman and the team who put in an incredible amount of time and energy behind the scenes to pull it all together. This year’s show takes place Tuesday, April 29, at Humphrey’s by the Bay.

Lindsay, the Winner, huffing anxiety-relieving aromatherapy in my car (2022).

Lindsay, the Winner, right before I almost ate shit on stage (2018). Photo by Alex Matthews.

If you were nominated, congrats! As I enter into my Dinosaur Era in the SD music scene, it warms my rickety old heart to see rising and established musicians alike celebrating news of their nominations because it means they are feeling validated not only for their talent but also for their hustle, much of which goes unnoticed throughout the year. It always feels good to be acknowledged in a community that struggles to find a level of support congruent to the value they add to San Diego and the music industry as a whole. Plus, good news these days is hard to come by; it should be relished. And mustarrrrrrrd. Sorry, I couldn’t help myself.

If you weren’t nominated and feel bummed about it, I encourage you to take the approach I’ve taught my daughter when something doesn’t go her way: make like Bluey’s dad Bandit, say “Oh, Biscuits” and get on with your day. Perhaps the Universe decided to give the spot you wanted to someone who really needs a lift. We’re all connected like that, and it’s a beautiful thing. Remind yourself how arbitrary awards and contests are. Tweak the judges or criteria any which way, and you will have a different group of nominees every time. Being a working musician requires a bit of skin-thickening, and the quicker you learn not to compare yourself to other artists or calibrate your sense of worth on what others think or don’t think about your work, the better off you’ll be. Take it from an old dinosaur like me: I’m grateful when I’m nominated and relieved I don’t have to badger folks for votes when I’m not.

Lindsay, the Loser, with Veronica May (2013).

Lindsay, the Loser, with Jeff Berkley (2014).

Lindsay, the Loser, with Julia Sage (2023).

Which brings me to the next order of business. Any awards-style event since the dawn of time is always accompanied by rumblings and grumblings about things like fairness, inclusion, and representation. I approach these conversations with a lot of respect for the folks running the show—it’s no small feat to coordinate something like this, especially on a limited budget. I know what it is to steward community projects with a robust suggestion box and a lackluster volunteer list. That said, reflecting on community feedback is a critical and worthwhile part of growth for any project. This isn’t about nitpicking; it’s about exploring ways to make a great event even stronger. I am not interested in armchair quarterbacking the SDMAs and then scurrying away, but I did poll my social media following on what to write about this month and SDMAs was the top request. In that spirit, here are some ideas (some silly, some serious) that I would also be happy to help implement if any seem germane to future planners.

• The Academy: Much has been said (some publicly, some much more privately for fear of blacklisting) about the overwhelmingly white, straight/cis-male tilt of the SDMAs. And while I am admittedly hyper vigilant due to our current administration’s concerted efforts to vilify terms like diversity, equity, and inclusion, the truth remains that our local music scene is more vibrant and expansive than the SDMAs reflect. I believe Academy members care about such matters and undoubtedly face planning obstacles the lot of us know nothing about. But I also believe, nonetheless, that expanding Academy membership to better represent some of the more overlooked pockets of the scene would create a more inclusive event. More than ever, we have a responsibility to meet this moment and to model intentional inclusive practices for our community. Marginalized groups are facing real harm from organized attempts at exclusion and erasure. Going extra lengths to ensure representation isn’t about tokenism or unfair advantages; it’s about celebrating what makes us alike and different while wholeheartedly rejecting the racist, queer/transphobic, patriarchal nonsense that tries to dictate who gets a seat at the table in this society. Put me on a list for saying that—I’ll frame it.

• Submissions: Many artists in underrepresented areas of the music scene may not even know about the awards or how to submit. More intentional outreach to these areas could help, along with a submission process that allows both self-submission and the submission of other artists to help cast a wider net. To be sure, these efforts would require more time, labor, and money—but I think it’s do-able and a worthwhile endeavor.

• Performers: I know I’m beating the diversity drum again, but it’s hard to ignore that this year’s SDMA logo is more representative of women than the lineup. (Euphoria Brass Band has one female member, but there are zero female-fronted acts.) Maybe it’s just an oversight—past shows have been much more diverse—but the lack of representation for gender-marginalized folks on big stages is a well-documented national issue that is (imho) always worth talking about.
• Compensation: Offering payment for services—financial or otherwise (free photo shoot? Studio time? Gas card? Carton of eggs?)—could make SDMA performance opportunities more accessible to a broader range of artists. I know budgets are tight, but even small gestures could make a big difference. Most vendors get paid at charity events, so finding creative ways to support the artists sharing their time and talent would be a meaningful step forward while also modeling to the local community how to best support independent artists. Sometimes it’s just not feasible; I’ve struggled with this as an organizer, too. But again, it’s always worth a conversation.

• Disability Accessibility: Accessibility is one of those things that, once you become aware of it, is impossible to ignore. Most of us were raised in a society that overlooks disabled perspectives and experiences, creating huge accessibility gaps. Unlearning that takes time, but when approached as an enhancement rather than just a legal obligation, it makes events better for everyone. The SDMAs already do an awesome job of live streaming nominee announcements and the main show (show me your methods; I want to do that with Songwriter Sanctuary!). There are lots of ways to build upon those efforts: incorporating ASL interpreters, offering N95 masks, integrating accommodation requests on marketing materials, adding alt text/image descriptions on digital content, and more.

• Categories: Okay, here’s where I’m just spitballing. Since an SDMA nod is a great resume booster, why not expand the categories? Best Collaboration. Best Classical. Best Punk. Best Latin. Best Community Event. You get my drift. Or make it fun: Song of the Summer. Tearjerker of the Year. Best Breakup Anthem. People just want something to put in their bio, and it wouldn’t be too hard to give them that. I understand finite variables (like venue capacities, event timing, etc.) would create logistical challenges, but maybe a subset of awards (or honorable mentions perhaps?) could be announced ahead of the main event for extra promotional value. I know, I know, I’m a total mama bear handing out participation trophies, but if the goal is broader inclusion and giving artists more recognition, additional categories could be worth exploring.

• Voting: I’ll be honest—the daily vote for months is painful. Painful for artists already exhausted from constant unpaid self-promotion. Painful for fans. Painfully unfair when some artists exploit their email lists (I’ve heard stories). I’m sure there’s a reason for this method that I’m not privy to, but there’s got to be a better way. And I say this as someone who’s won twice, knowing it was my marketing skills and friendships, not my music, that sealed the deal. A Grammy-style membership that votes once could work? Maybe a single “People’s Choice” vote as part of the process? Still spitballing.
• Party Time: SDMA attendees love to socialize—musicians gather in the back to chat, excited to look snazzy, and have a rare night off together. People who are intimately familiar with audience etiquette break it every year. Maybe they’re only invested in a few categories. Maybe they just want to relax and hang with pals. Rather than fight it, I would just lean into it. If it were up to me, I’d probably post a list of winners in a bathroom stall and focus on a whoop-ass concert. But realistically, finding a way to shorten announcements and acceptances (The Webby Awards, for example, allow five-word speeches—brilliant!) could help keep things moving while making space for more music, mingling, and dancing the night away!

Okay, those are my ideas and opinions, shared in my column, where my ideas and opinions belong. It’s fine if they live and die here. To be clear, I truly appreciate the people who work on this event year after year. I’m just a former event planner and current equity-minded content developer who thinks about community care about 32 hours a day, 14 days a week and needed something to write about this month other than the downfall of democracy. Thank you for humoring me and feel free to spitball alongside or disagree with me or tell me to go eff off and plan my own event. Speaking of, consider my suggestion box and volunteer list for Songwriter Sanctuary open as well! We are all doing our best with what we have, and we make huge strides when we work together and prioritize taking care of each other!

Before I close, here are members of the Songwriter Sanctuary fam who are nominated (30 nods total!), including our very own host, Jeff Berkley! For more info, tickets, and voting, visit the San Diego Music Awards website.

Best Folk or Acoustic Song
Josh Weinstein: Jesus of Neverland

Best Jazz Album
Sandi King: Departure

Best Country or Americana Song
Alex Bergan: Ghost in the Addict
Jesse Ray Smith: Santa Ana Winds
Miranda Ramos: Waste Your Time

Best Country or Americana Artist
Ashley E. Norton
Jesse Ray Smith

Best Country or Americana Album
Cathryn Beeks: The After Times
Jeff Berkley: Tumbleweed
Kimmi Bitter: Old School

Best Hip Hop/Rap Artist:
The Brothers Burns
The Neighborhood Kids

Best Pop Song
Ben Parks: All My Love
Sunsets/VIRR: Big Bidness

Best Pop Album
Gregory Page: Once Long Ago
Michael Tiernan: For Others
We the Commas: Aeroplane

Best Indie/Alternative Artist:
Please Ask for Paul

Best R&B, Funk, or Soul Song
Evan Marks and Rebecca Jade: Hello It’s Me
Helena Holleran: Howlin at the Moon

Best Local Recording
Mark Montijo: If I Get to Heaven
Will Stucky: Familiar Frontier

Best Video
Cheyenne Benton: Sorry
The Neighborhood Kids: Biddi Bomb

Best New Artist:
The Neighborhood Kids

Artist of the Year
Anthony Cullins
Kimmi Bitter

Song of the Year
Kimmi Bitter: Cowboy Kind of Girl

Album of the Year
Jeff Berkley: Tumbleweed
Kimmi Bitter: Old School

On Deck at Songwriter Sanctuary
March is going to be a fantastic show, featuring three fantastic San Diego songwriters. Don’t miss it!

March 28
The Wellsprings
Aly Rowell
Justin John Rodriguez

All events are hosted in partnership with/at Normal Heights United (4650 Mansfield Street San Diego, CA 92116). Special thanks to Duck Foot Brewing and our sister series Writers Round San Diego! More info/RSVP at tinyurl.com/songwriter-sanctuary-sd.

Thanks for Talkin’ Craft with me!