Geoffrey Louis Koch

Okay, so I really like Nashville-based musician Geoff Koch. He’s got a pretty voice and plays pretty songs, and I like him, and if you like pretty voices and pretty songs, I highly recommend giving him a listen.

Koch was one of a dozen musicians to participate in a Chevrolet (yes, as in the car company) documentary called The Chevy Music Showcase. Koch has three albums you can give a whirl: Throwing Rocks at Your Ghost, Live at Lucas School House, and If It Feels Good Don’t Do It, the latter of which was produced by Wilco’s and Uncle Tupelo’s Ken Coomer, who also played drums on the album. I caught up with Koch by phone for a quick chat just before his set at the Casbah in Durham, North Carolina.

I am new to you and your music, and since I may not be the only one, tell me about yourself.

Well, I grew up in St. Louis, MO.

Oh, I love it there.

It’s a great town. I lived there my whole life, and I went to college at University of Missouri in Columbia, and it was around that time I realized I just wanted to play and write songs and make songs. By the time I finished college, I knew that’s what I wanted to do that more than anything else. Around 2004-ish, I started to record my own songs and just got to the point where I didn’t want to just play Nirvana and Neil Young and The Beatles. I love them, and those are some of my early influences, but I wanted to play my own melodies and songs. It was around then I started putting out my own CDs, and I’ve been touring around the country making music since about that time.

Last August, I moved to Nashville, and I’m really happy. I always knew it’s where I wanted to be. It was a toss-up between L.A. and Nashville for a little bit, but logistically, Nashville is still close to family and St. Louis, and it just made the most sense. Also, for my purposes, Nashville is more of a songwriters’ town.

It is, absolutely.

I just knew, you know, if I’m going to do this for the rest of my life, I need to be around it and be in it. I need to be around the best people who are doing what I’m doing.

Definitely. Going back to where you’re from… A couple of years ago, I took a road-trip out to the Midwest, because I hadn’t been there much, and I spent some time in St. Louis. I had a really great time there. It was tornado season, and sirens were going off, and I was scared shitless, because I had never really experienced tornadoes before, and I still had a great time.

Awesome! I am so glad to hear that.

Yeah, I just feel like, ya know, Midwestern towns are maybe under-rated by a lot of people who, like me, might have grown up elsewhere, like on either of the coasts.

That’s interesting about the tornadoes, because I kind of remember when that happened, because it doesn’t happen too often that St. Louis gets a tornado. It’s usually Indiana or Kansas. They usually miss most of Missouri. But about what you were just saying… Yeah, being born and raised in a big, small town or a small, big town like St. Louis – however you want to put it – people like us, from towns like that, can develop a bit of a complex or develop a sort of jealousy or feeling of missing out or even, you know, inadequacy, because they’re not in the Northeast or Los Angeles.

Well, I think it’s probably pretty common for most people to hate where they raised, until they’re older. You know, they just want out, and once they’re out for a little bit, in a lot of cases, they’re like, “Damn, home is pretty rad, actually.” [laughs]

Yeah, and I don’t feel like I was raised someplace where I was, like, the center of the universe. I don’t have that jaded thing. I really like exploring the Midwest and throwing my touring net wider and wider and wider. It’s great to come home, but it’s also great to get a taste of the American Southwest for a while or big city life, like New York or Los Angeles, or to go down and see what New Orleans looks like. All of that is really great and valuable.

So, you were saying that some of your earlier influences were musicians like Nirvana and Neil Young?

Yeah, I grew up on Neil Young. My dad, in the early, early years, would play his records, along with The Who, all The Beatles stuff, The Police, some Cream, some Led Zeppelin. So I grew up on some classic rock as well. When I started gravitating toward acoustic guitar, I wanted to learn some of the songs that I grew up on, so I got a Beatles songbook and a Neil Young Harvest songbook, and oh, you know, I want to learn how to play Nirvana, so that too. I don’t think I sound anything like Nirvana, but I loved their passion. They were such a unique hybrid of pop punk. Like, In Bloom is so pop-y but with meatier guitars and big, kicking drum sets, and dirty noise. Dirty pop.

So, yeah, that’s where I was coming from, and I was also really interested in some stuff that was coming out of Milwaukee and Chicago, like a band called Braid and another called The Promise Ring. I learned how to play a bunch of those son - The Vinyl District

Okay, so I really like Nashville-based musician Geoff Koch. He’s got a pretty voice and plays pretty songs, and I like him, and if you like pretty voices and pretty songs, I highly recommend giving him a listen.

Koch was one of a dozen musicians to participate in a Chevrolet (yes, as in the car company) documentary called The Chevy Music Showcase. Koch has three albums you can give a whirl: Throwing Rocks at Your Ghost, Live at Lucas School House, and If It Feels Good Don’t Do It, the latter of which was produced by Wilco’s and Uncle Tupelo’s Ken Coomer, who also played drums on the album. I caught up with Koch by phone for a quick chat just before his set at the Casbah in Durham, North Carolina.

I am new to you and your music, and since I may not be the only one, tell me about yourself.

Well, I grew up in St. Louis, MO.

Oh, I love it there.

It’s a great town. I lived there my whole life, and I went to college at University of Missouri in Columbia, and it was around that time I realized I just wanted to play and write songs and make songs. By the time I finished college, I knew that’s what I wanted to do that more than anything else. Around 2004-ish, I started to record my own songs and just got to the point where I didn’t want to just play Nirvana and Neil Young and The Beatles. I love them, and those are some of my early influences, but I wanted to play my own melodies and songs. It was around then I started putting out my own CDs, and I’ve been touring around the country making music since about that time.

Last August, I moved to Nashville, and I’m really happy. I always knew it’s where I wanted to be. It was a toss-up between L.A. and Nashville for a little bit, but logistically, Nashville is still close to family and St. Louis, and it just made the most sense. Also, for my purposes, Nashville is more of a songwriters’ town.

It is, absolutely.

I just knew, you know, if I’m going to do this for the rest of my life, I need to be around it and be in it. I need to be around the best people who are doing what I’m doing.

Definitely. Going back to where you’re from… A couple of years ago, I took a road-trip out to the Midwest, because I hadn’t been there much, and I spent some time in St. Louis. I had a really great time there. It was tornado season, and sirens were going off, and I was scared shitless, because I had never really experienced tornadoes before, and I still had a great time.

Awesome! I am so glad to hear that.

Yeah, I just feel like, ya know, Midwestern towns are maybe under-rated by a lot of people who, like me, might have grown up elsewhere, like on either of the coasts.

That’s interesting about the tornadoes, because I kind of remember when that happened, because it doesn’t happen too often that St. Louis gets a tornado. It’s usually Indiana or Kansas. They usually miss most of Missouri. But about what you were just saying… Yeah, being born and raised in a big, small town or a small, big town like St. Louis – however you want to put it – people like us, from towns like that, can develop a bit of a complex or develop a sort of jealousy or feeling of missing out or even, you know, inadequacy, because they’re not in the Northeast or Los Angeles.

Well, I think it’s probably pretty common for most people to hate where they raised, until they’re older. You know, they just want out, and once they’re out for a little bit, in a lot of cases, they’re like, “Damn, home is pretty rad, actually.” [laughs]

Yeah, and I don’t feel like I was raised someplace where I was, like, the center of the universe. I don’t have that jaded thing. I really like exploring the Midwest and throwing my touring net wider and wider and wider. It’s great to come home, but it’s also great to get a taste of the American Southwest for a while or big city life, like New York or Los Angeles, or to go down and see what New Orleans looks like. All of that is really great and valuable.

So, you were saying that some of your earlier influences were musicians like Nirvana and Neil Young?

Yeah, I grew up on Neil Young. My dad, in the early, early years, would play his records, along with The Who, all The Beatles stuff, The Police, some Cream, some Led Zeppelin. So I grew up on some classic rock as well. When I started gravitating toward acoustic guitar, I wanted to learn some of the songs that I grew up on, so I got a Beatles songbook and a Neil Young Harvest songbook, and oh, you know, I want to learn how to play Nirvana, so that too. I don’t think I sound anything like Nirvana, but I loved their passion. They were such a unique hybrid of pop punk. Like, In Bloom is so pop-y but with meatier guitars and big, kicking drum sets, and dirty noise. Dirty pop.

So, yeah, that’s where I was coming from, and I was also really interested in some stuff that was coming out of Milwaukee and Chicago, like a band called Braid and another called The Promise Ring. I learned how to play a bunch of those son - The Vinyl District

February 1, 2013

A special win for singer/songwriter Geoff Koch, who grew up in Winchester, means some help in revving up his career.

After moving to Nashville last summer, the Marquette High School alum was able to rejuvenate his touring thanks to a white 2013 Chevy Express cargo touring van he won.

Koch beat three other musicians in the Chevy Music Showcase, sponsored by the Mid-America Chevy Dealers. He picked up the van Dec. 31 at the Jack Schmitt Chevrolet auto dealership in O’Fallon, Ill.

"It's made an incredible difference in touring, because my other car is a 1999 Honda, with 207,000 miles on it, so I was ready to break in a rookie vehicle," Koch said.

Koch grew up in Winchester. His parents are Debbie and Roger Koch, who now live in Wildwood.

He learned about the Chevy Music Showcase when was on tour in the fall of 2011 and got an email from a Los Angeles producer affiliated with the showcase. The email explained the Showcase and offered him the chance to be filmed performing.

Koch joined a dozen local musicians in November 2011 who performed and talked about their philosophies of music for season one of the showcase. The mini-showcase episodes were aired last year as part of Chevrolet's advertising spots.

The musicians who participated in the showcase did not have to enter the drawing for the van.

"Artists who wanted the van had to earn points for things," Koch said. "I qualified for the random drawing by the skin of my teeth."

Artists earned points for blogging to the Chevy Music Showcase website, asking their fan base to text their name to a number affiliated with Chevy, and directing fans to YouTube videos Chevy made for all the local artists to accumulate site hit numbers.

"You needed 500 points to qualify for the drawing Dec. 22 at the dealership, and I got 600," Koch said.

"Two of the other acts had 1,600 points and another had 800. I couldn't even be there for the drawing, but they pulled my name out of a stocking at random. But I feel great about winning it."

He's now planning to create a web series of him being filmed in the back of the van doing songs, to upload on YouTube and "create a concert vibe."

Koch has been recording CDs and performing throughout the country since 2004, singing his own blend of pop/indie/folk music and performing on acoustic guitar.

"I perform most shows as a solo singer/songwriter, but I have put together bands in the past, including female singers and a full rock band," Koch said. "I'm now assembling a band in Nashville."

His busy schedule included a visit to the presidential inauguration, and a late January swing through the South that included a performance with a cellist and female vocalist Jan. 27 in Nashville.

With his "maiden voyage" current tour that began Jan. 17 being sponsored by Chevrolet, Koch even now is blogging about his tour on www.chevymusicshowcase.com, as well as on Twitter and Facebook.

His latest self-produced CD is called "If It feels Good, Don't Do It," recorded in Nashville with a full band.

Koch had planned the latest tour no matter what the outcome on the van, but after he won, Chevrolet suggested he tell the story of his tour with the van to fans through sites like chevymusicshowcase.com and Facebook.com/geoffreylouiskoch.

"So I'm updating those once or twice a day from the road, from a van packed full of clothes and blankets and equipment," Koch said. - St. Louis Post-Dispatch/Suburban Journals

DC’s Velvet Lounge is one of very few punk venues in The District. Remnants of rebels past declare themselves; black and white stickers adorn the walls, staircases, windows, and tables—“HAVE FUN” is scrawled across a wall in black marker. But the man on stage carefully strums an acoustic guitar, rather than smashing through power chords.

Geoff Koch performs at D.C.'s Velvet Lounge

Donning a 90’s-worthy striped sweater, singer-songwriter Geoff Koch charms the audience with a dimpled smile and a rich, smooth voice. He finishes a twangy ballad with a resounding major chord, and the crowd warmly responds. With a winning grin, Koch introduces himself as “phonetically challenged” and reminds his audience, “It’s ‘Jeff”, not ‘Ge-off”, and it’s ‘Koch’ like the soft drink.”

The St. Louis-born Koch announces his next piece, “an acoustic rock n’ roll song” called “Oh, Tonight.” “Oh, tonight I will come alive again for you,” he declares, “If you don’t want to die / Stay with me my entire life.” He delivers his catchy, melodic, pop-rock songs with genuine emotion— think acoustic Ferraby Lionheart. The man was born to sing love songs, to which the locked eyes of many female audience members can attest. In a short set of six songs, upon an anarchy-sign-bespeckled stage, Geoff Koch has proven his wit, charisma, and talent.

WRGW sat with Koch for an intimate conversation after his show. He explains his musical start, his current state, and his hopes for the future (as well as a love for Radiohead).

WRGW: You’re in DC on a tour sponsored by Chevrolet. Tell us about your involvement with Chevy.

GK: This tour, which I’m about halfway done with, is from Nashville to DC and back. About a year ago, Chevy came to St. Louis to film a music documentary about a dozen or so local musicians. I was one of the musicians that they featured. They set me up with another singer-songwriter and we worked together one day, recording our singles and other songs. These sets were to air as mini-episodes on a CBS affiliate in St. Louis as part of the documentary. Then they told us that later in the year, Chevy would give away a free tour van to one of the St. Louis artists. After much cross-promotion and competition, I was entered in the random drawing. They called me the day of the drawing and told me I won the freakin’ van! Everything just fit and made sense. Whether or not I won the contest, I was planning to go on this tour anyway. It fell into place; I got to go on tour, be here for the inauguration, and do some blogging for Chevy on the way.

Sounds like a very symbiotic relationship. It was meant to be.

Yes! I’ve never driven anything like this before. I feel like I’m driving a tank.

How has this tour treated you? Have you had any crazy roadtrip stories?

Actually, the first day, I was waiting for a friend to arrive in Nashville so we could drive together to the first stop, Johnson City, Tennessee. It’s about four hours away. She calls me and tells me that she’s going to be late. And about 45 minutes outside of Tennessee, she gets a flat! She gets it fixed, but it’s a three-hour delay. So we’re running late. I call the venue and apologize, but we’re going to be epically late. Luckily, they were open really late, very casual and understanding. But right off the bat, day one was a total war road story. Plus for the last two hours of the trip, the roads were covered in snow. Eastern Tennessee had just been bombed with snow and ice and black ice. I started counting and counted over 125 cars spun out, abandoned, or stalled on the side of the road. But again, like you said earlier about things being “meant to be”—if we had been on time, we would have been caught in that terrible mess. But the roads were at least passable for us. So who knows?

How long have you lived in Nashville?Geoff in crowd

Since August 1st of last year.

Have you noticed that the change affected your songwriting process or your style?

I think the most powerful thing that Nashville has done for me is give me a big kick in the butt. It’s an awakening. If you move to Nashville, and if you’re not pounding the pavement writing and rehearsing, being a professional musician, well, you don’t need to move to Nashville. I might have phases of not being very active, where you feel like you need to take your foot off the gas, but then I catch myself. I can feel myself losing momentum and tell myself to get off Netflix, or get out of my schedule. I’ve had to realign myself like a chiropractor, you know. I remembered why I was there. The music thing is who I am and what I do. I love the challenge of writing really good songs and performing them is so fantastic. I love this. But waiting tables also satisfies a different part of my personality: hospitality. I like people, I like good food, and I like taking care of people.

What is your favorite dish on your restaurant’s menu?

Pan-seared shrimp and grits.

Wow, that so - The WRGW Music Blog (George Washington University. Washington, D.C.)

On Thursday night, Gregory Alan Isakov performed a well-attended show at the Old Rock House. Behind him stood a projected, sepia-tinged, photo depicting a rural youth listening intently to a large, conical, medieval-looking, horn-shaped hearing device.

The image struck me. It seemed an apt metaphor for Isakov and his music. He is the youth, or rather, his art is, and like the image, representative of life's constant search, of its hunt for that elusive melodic force that haunts us as it flits between the trees, lost to wind and distance.

Like a sound adrift on the wind, Isakov's music never settles, never sits contentedly while life chugs on by. No, Isakov's catalog warms the soul with rustic literary intimations steeped in American melancholia.

Geoff Koch opened the evening with a set of tunes that reminded me of a subdued version of Two Gallants, perhaps because of Koch's propensity for stacking phrases and melodies. The crowd enjoyed Koch's sometimes brazen and folky but always deeply introspective ramblers.

Soon after, Isakov took the stage along with cellist Phillip Parker and violinist Jeb Bows. The trio slipped into the quiet, but happy "Virginia May," from 2009's "This Empty Northern Hemisphere." While the female backing vocals and brushed drums of the studio version were missing, the warm starkness the violin and cello afforded the songbed made it feel full nonetheless.

"Big Black Car" was bursting with dulcet care and dark whimsey. The parts book-ending the chorus were pure delicious harmony coupled with Isakov's trademark "Mmmhmm's." The unreleased "The Universe" found Isakov singing into a second microphone with an AM radio-style, treble effect, which lent the track a gothic, M. Ward-esque feel.

Everyone stood stone still for "The Stable Song" from 2007's "The Sea, The Gambler." Isakov leaned hard on the vocals, squeezing every ounce of the emotion available from the melody. Bows flipped his violin sideways and plucked the strings to imitate the sound of a mandolin crossed with a banjo. Parker pulled his bow across his cello strings, encouraging thick thrums of sonic energy to loll forth like a lion's tongue.

Isakov performed "3 AM" solo. Under dimmed house lights, it was as if the artist was speaking personally to each of us, while simultaneously somehow addressing everyone. The multi-gamut aspect sent satisfied tingles coursing up and down my spine as Isakov fell into the craw of another cyclically melodic choruses.

The audience let out a happy sigh when the band returned to join Isakov for "Red and Gold." The song did not feature the bluegrass flavor found on other versions, but did possess a dusky ochre that lent the song a particular smoothness. Isakov again employed the trebly, AM-radio microphone effect during the song's turn around and sang: "There was you, crimson running through your veins."

Isakov dedicated "Liars" to his tour manager and began the tune with his trademark vocal effect coupled with palm-muted guitar. The song remained in a resolutely diminished mode, until, toward the end, when it exploded forth with dynamic, rhythmic string work. I immediately understood why Isakov doesn't employ a drummer: There is no need.

"Dandelion Wine," was robust, yet somber and lovelorn. During the Ray LaMontagne-tinged "That Moon Song," Isakov told the crowd, "She pulls on this heart like she pulls on the sea," again utilizing his trebly, microphone effect.

During the encore, Isakov offered up a new, unreleased song (let's call it "I'll Feed Your Horses"), which concerned the feeding of Brandi Carlile's horses. Before he started, Isakov prefaced, "We [the band] don't know if it [the song] is going to live very long," and let out a sinewy guffaw.

Isakov finished his encore with the more serious "If I Go, I'm Goin'," which started out serenely empty except for the troubadour’s light strumming, which, by the end, morphed into a powerful roar that closed out the evening with energ - KDHX.ORG

Geoff Koch, singer-songwriter from St. Louis, has released a handful of CDs, and has toured and promoted himself and his songs like a crazy troubadour since 2004. His dedication and enthusiasm are starting to pay off — he's been a featured performer at national music festivals, and his third CD, If It Feels Good, Don't Do It, was produced by Ken Coomer (Wilco, Uncle Tupelo) and engineered by Charlie Brocco (Fleetwood Mac, George Harrison). We spoke with Koch to ask how his new material is coming along and how he identifies with the singer-songwriter title.

The Pitch: I noticed that you're involved with Play It Forward. How did you start to work with the organization?

Geoff Koch: It's easy to be supportive of giving kids access to music instruments who don't normally have the means. I've known Samantha Fisher (STLSound Magazine) for several years and am thankful for her local music support, and I identify with her philanthropic ideas. Play It Forward is also involved in music instrument donations to schools whose budgets don't allow for new ones or their upkeep. I had a beginning guitar class in high school and felt so thankful to learn outside of my Neil Young books. Had no idea where the guitars came from or how they got there ... and someone was especially conscientious to string one left-handed (I'm a lefty), so I felt like that one was 'my' guitar! So I support any org that's responsible for making other kids feel the same way.

This is a short tour. How does it compare with your other travels?

This is a two-week Upper-Midwest tour. To compare/contrast it - I've never toured with anyone else before. So having someone to share these experiences with makes me feel less isolated, lonely, bored or crazy. That's one big thing I've noticed when I get home from tours. Whatever I just went through - who could I talk to about it that 'got' it? In the past, it's messed with me to come home from a tour experience then not feel like I had anyone I could identify with. Whether or not that's actually true, I don't know ... I know my friends would listen to me, etc. But would they know what I really meant when I told them I didn't shower for three days baking in the South, or how I 'slept' in my driver's seat at a gas station in Tallahassee? Now, I don't worry about 'needing to' relate to people I'm close with. I know they'll be there because that's what friends do - and they don't have to know every intricacy of my life experiences for them to be justified.

You get to a point as a touring musician when you build up enough contacts and friends so you'll have a base at your shows in their town, and a place to stay at night. I think I'm near that place now. With Kelcy and I putting our heads together figuring out where we can stay every night - we've managed to avoid major hotel or other financial costs, which is huge. We're halfway through our tour, and so far we've been shown incredible kindness and hospitality.

So I saw this — "I've been touring the country acting as my own booking agent, promoter, manager, driver and financier, independent of a record label deal for nearly 300 shows since 2005." What role are you enjoying the most?

The role I enjoy the most out of all the talking points is as the performer. I'm proud of my songs, and cherish the nightly adventure of what nuances I'll find while I'm in the moment with them. That makes everything worth it.  It's the best, most exciting part of my day. I love the challenge, also, of getting out of my head and setting aside whatever's going on with me personally, and put myself inside the songs and bring them out to bloom.

Have you worked with Kelcy Mae, toured with her before?

I haven't toured with her before. We met when I toured through New Orleans in 2006 and have stayed friends and music allies, and we'd pair up here and there for a show together in Louisiana. This is her first tour.

How's your next record shaping up?

My next record, hmmm. I can tell you there's a song that's kind of like an Amos Lee/'Transatlanticism' by Death Cab for Cutie being groomed. An unassuming, sparse folk riff that eventually blooms and explodes. "Burn It Down" has been demo'd and on the Internet. I need someone to tell me what they think it sounds like, because all I know is that it's strong enough to be done. Might remind me of 'Say You Will' from my last record in that it's lyrically strong enough to pull your collar for a while. There's a poppy/fun side to the new stuff that I'm excited about. Maybe I feel like I must be getting better at writing choruses, because I've got this one that is maximum fun while also meshing well with a much more artful, intricate finger-picked verse and bridge. I don't think people should expect me to make an "OK Computer to Kid A" jump in terms of what I sound like. The next record will be full of sad, fun, artsy songs like last time. This time with more life experience and perspective stamped on them.

You've - Kansas City Pitch

Geoff Koch, singer-songwriter from St. Louis, has released a handful of CDs, and has toured and promoted himself and his songs like a crazy troubadour since 2004. His dedication and enthusiasm are starting to pay off — he's been a featured performer at national music festivals, and his third CD, If It Feels Good, Don't Do It, was produced by Ken Coomer (Wilco, Uncle Tupelo) and engineered by Charlie Brocco (Fleetwood Mac, George Harrison). We spoke with Koch to ask how his new material is coming along and how he identifies with the singer-songwriter title.

The Pitch: I noticed that you're involved with Play It Forward. How did you start to work with the organization?

Geoff Koch: It's easy to be supportive of giving kids access to music instruments who don't normally have the means. I've known Samantha Fisher (STLSound Magazine) for several years and am thankful for her local music support, and I identify with her philanthropic ideas. Play It Forward is also involved in music instrument donations to schools whose budgets don't allow for new ones or their upkeep. I had a beginning guitar class in high school and felt so thankful to learn outside of my Neil Young books. Had no idea where the guitars came from or how they got there ... and someone was especially conscientious to string one left-handed (I'm a lefty), so I felt like that one was 'my' guitar! So I support any org that's responsible for making other kids feel the same way.

This is a short tour. How does it compare with your other travels?

This is a two-week Upper-Midwest tour. To compare/contrast it - I've never toured with anyone else before. So having someone to share these experiences with makes me feel less isolated, lonely, bored or crazy. That's one big thing I've noticed when I get home from tours. Whatever I just went through - who could I talk to about it that 'got' it? In the past, it's messed with me to come home from a tour experience then not feel like I had anyone I could identify with. Whether or not that's actually true, I don't know ... I know my friends would listen to me, etc. But would they know what I really meant when I told them I didn't shower for three days baking in the South, or how I 'slept' in my driver's seat at a gas station in Tallahassee? Now, I don't worry about 'needing to' relate to people I'm close with. I know they'll be there because that's what friends do - and they don't have to know every intricacy of my life experiences for them to be justified.

You get to a point as a touring musician when you build up enough contacts and friends so you'll have a base at your shows in their town, and a place to stay at night. I think I'm near that place now. With Kelcy and I putting our heads together figuring out where we can stay every night - we've managed to avoid major hotel or other financial costs, which is huge. We're halfway through our tour, and so far we've been shown incredible kindness and hospitality.

So I saw this — "I've been touring the country acting as my own booking agent, promoter, manager, driver and financier, independent of a record label deal for nearly 300 shows since 2005." What role are you enjoying the most?

The role I enjoy the most out of all the talking points is as the performer. I'm proud of my songs, and cherish the nightly adventure of what nuances I'll find while I'm in the moment with them. That makes everything worth it.  It's the best, most exciting part of my day. I love the challenge, also, of getting out of my head and setting aside whatever's going on with me personally, and put myself inside the songs and bring them out to bloom.

Have you worked with Kelcy Mae, toured with her before?

I haven't toured with her before. We met when I toured through New Orleans in 2006 and have stayed friends and music allies, and we'd pair up here and there for a show together in Louisiana. This is her first tour.

How's your next record shaping up?

My next record, hmmm. I can tell you there's a song that's kind of like an Amos Lee/'Transatlanticism' by Death Cab for Cutie being groomed. An unassuming, sparse folk riff that eventually blooms and explodes. "Burn It Down" has been demo'd and on the Internet. I need someone to tell me what they think it sounds like, because all I know is that it's strong enough to be done. Might remind me of 'Say You Will' from my last record in that it's lyrically strong enough to pull your collar for a while. There's a poppy/fun side to the new stuff that I'm excited about. Maybe I feel like I must be getting better at writing choruses, because I've got this one that is maximum fun while also meshing well with a much more artful, intricate finger-picked verse and bridge. I don't think people should expect me to make an "OK Computer to Kid A" jump in terms of what I sound like. The next record will be full of sad, fun, artsy songs like last time. This time with more life experience and perspective stamped on them.

You've - Kansas City Pitch

http://www.speakersincode.com/2010/01/geoff-koch-solo-in-st-louis.html


MONDAY, JANUARY 11, 2010

Being a singer-songwriter in St. Louis is a daunting task. Ok, Jay Farrar of Son Volt still lives there, and last I checked, he's doing pretty well, but rock and hip-hop mostly thrive in the city by the Mississippi. After seeing Geoff Koch live at Blueberry Hill's Duck Room this past Saturday night, I'd say the man has a shot at building a Midwestern buzz off of 2008's underrated If It Feels Good, Don't Do It.

This isn't to say Koch can't rock the house, but during his 1+ hour solo performance, he kept it chill and comfortable. He also surprised us with two great covers: Radiohead's "Fake Plastic Trees" and the show closer, Louis Armstrong's "What a Wonderful World." Both songs worked quite well, especially matched up against his own material.

Which brings me to what I believe is his best song, "Pro-War."

On his album, it's loud, maybe even a little angry, and you don't really get a feel for all the words Koch is throwing at you. But when he's performing it solo, you realize that there are a few lines that can get your mind rolling.

My favorite one is: "It's not that I don't like peace, but violence is a friend of mine."

I talked to a couple of my friends last night as to what this line could possibly mean, but I'm still really not sure. The only thing I'm sure about is that this song isn't "Pro-War." Have a listen below. And go see Geoff Koch when he comes to your town. - speakersincode.com

Geoff Koch is a singer / songwriter who not only brings appealing melodies and thoughtful lyrics to the table, he takes his music one step further, through a retrospective capacity. Koch uses affecting vocals like that of Counting Crows lead singer Adam Duritz mixed with emotive introverted rock lyrics like Dashboard Confessional. Koch takes those deep-rooted feelings and brings light to what many are experiencing. An internal everyday struggle with hopes and dreams, and fears that are inescapable even with the most successful attempts. Koch makes you stop and realize what life is truly all about.

Koch’s songs confront many forms of human emotion that are universal truths. From something as simple as the ability to appreciate the Earth in its most natural beauty, to the inexplicable emotional crossroads that is brought on from loss. “Hold on” has a possessive introspective quality that anyone can relate to. Like the power time has on our ability to appreciate the simple things around us. The lyrics in this song that stand out above all else are: “I don’t want to take things for granted / I want to see the sun set on the Grand Canyon / It’s funny how time takes away the things / the things you forgot you had.” Koch takes it one step further of internal reflection by expressing his thoughts on experiencing death in “I Lost Count”. He struggles with an internal restless turmoil that comes with emotional state of losing a loved one. In “Oh, Tonight” Koch deals with the torment of love, loss and longing.

Geoff Koch’s emotional encompassing lyrics are definitely the driving force behind his success as a musician, but it’s his heart and ability to express beautifully what all of us go through really makes his music stand above the rest.

by Melody Geear - Melody Geear

If you've always wanted to discover music's next big star before they became famous, don't make plans for Friday night.

Geoff Koch is a rising singer-songwriter and will be playing at 8 p.m. Friday at Jack's Off The Wall.

Koch has already been recognized with numerous honors since he released his debut album "Throwing Rocks at Your Ghost" in 2005.

He won the 2006 People's Choice Award for Best Singer-Songwriter at the St. Louis Music Awards and was first runner-up at The Recording Academy's "Grammy Demo Review." He has also earned a spot on Billboard Magazine's top 500 Worldwide Songwriting Competition for his song "Don't Leave Me Now," which can be found on his new live CD, "Live at Lucas House."

Koch's style is similar to John Mayer in the sense that majority of his songs are about finding the love and then losing it.

While his voice is not as polished or strong as Mayer's, his lyrics and the heartfelt emotions displayed in his songs more than make up for anything that may be lacking in vocal ability.

He is an all-around musician making himself into, literally, a one-man band by playing the guitar, piano and harmonica.

"I think my live show delivers someone who feels," Koch said in a press release. "I remind people that they, too, are capable of universal emotions that, for whatever reason, sometimes escape them as life takes its course."

Even though he has already released one studio album and a live CD, Koch still has not been signed to a music label.

Don't miss the chance to see this new artist while he is still in town.

by Jeff Eskew
9/13/06 - Jeff Eskew

Geoff Koch is a road warrior.

"The big U.S. push for this record was from July 21 through Dec. 23," Koch said last Tuesday night before his show at the PS Collective. "And there will probably be about 80 shows-ish."

Don't feel bad for him, though. It's what he loves doing.

"I would love to just play every day," Koch said. "Have them put me on the road, like 15 [to] 25 days at a time, come back for a handful of days and then go out on another thing."

Koch has recently recorded and released an album called "If It Feels Good, Don't Do It." His tour is in support of this album.

Over the sound of people talking and the smell of pizza drifting into the room, Koch talked about the ups and downs of the road.

Koch said he loves being on tour because he gets to travel to different cities. Being on the road gives him inspiration for new songs, he said. However, touring has its downsides.

"Lately I've been going through a tough patch," Koch said. "There are so many things that are soul crushing about touring. A lot of times you end up in your back seat because that day or the last couple days have been terrible, and you have to choose between a hotel room and a tank of gas. Touring is a world of good and bad. Touring is so bipolar."

Around 8 p.m., Koch started his show. His music was not particularly unique: acoustic rock that resided somewhere between Ryan Adams and Augustana.

His singing and song writing were his strong points, and he accumulated a solid group of tunes on this album.

What did make the show stand out was the impassioned, committed performance. It would have been easy to mail in a performance to a handful of people in Omaha, Neb., but Koch really put himself into the performance. The show was compelling because of the soul that Koch invested into it.

After the show, Koch was ready to drive to Ames, Iowa. He might have had a sleeping bag in his backseat ready for another restless night in his car.

As for motivation for continuing the music career: "I just felt like I've been handed a baton," Koch said. "Somewhere along the line I think I got the music bug, and I feel good about passing the baton to some other people. If I can inspire people like I have been inspired, then I think that's really what I want to do."

Those wanting to find out more about Geoff Koch can check out his Web site, geoffkoch.net or listen for free on his MySpace page, myspace.com/geoffreykochmusic. His next visit to Omaha will be at Mick's on Nov. 13.

by Steve Coufal
9/23/08
http://www.unogateway.com/home/index.cfm?event=displayArticle&uStory_id=38adaf6c-74f6-459d-aac5-a572d1883110 - University of Nebraska - Omaha

"More often than not, when solo artists hit the stage with just their acoustic guitars, they become background music, but Geoff Koch manages to avoid this fate. Part of this is due to his strong stage presence and the confidence he has when addressing his audience; mostly, though, it's because his songs are so good. The appealing guitar melodies alone make for a satisfying listen, and there's no shortage of strong vocal parts, interesting lyrics, and memorable hooks." - Playbackstl.com

Here’s what you’re going to hear the second you hit “play” on alleged solo-folkie Geoff Koch’s new disc, If It Feels Good, Don’t Do It: big drums, bass, rootsy electric
guitar and – oh, yeah – a little bit of acoustic strumming. Has this St. Louis songwriter become just another fashionably dust-coated alterna-country-rock dude?
Hardly. Don’t let the full-on rock vibe of “Oh, Tonight” fool you. This guy is still a bona fide troubadour, hitting stages nationwide all by his lonesome most of the time, with only an acoustic, harmonica and occasional piano to keep him company. You hear a little more of Koch’s natural side on the gentle “Chasing After You,” framed by a finger-picked guitar and soft cello. A little Death Cab for Cutie here, a hint of Counting Crows there, “Chasing After You” carries just enough tension to balance out its celestial calmness. “The Answers You Want” opens your ears with its dignified folk and stately touch.
The band setup returns for “Pro-War,” which doesn’t exactly sound like Michael Stipe within the confines of “Like a Rolling Stone,” but it’s halfway there. Its momentum builds along with Koch’s indignant vocal, throwing off some sparks mid-album. “Winters”
keeps the tempo up and the sound full, a waltzing number with some added muscle thanks to rolling drums and shiny guitars.
Somehow Koch manages to conjure both Matchbox 20 and “American Pie” without sounding much like either on “Say You Will.” The beauty of this song and pretty much everything on this disc is that you know, when Koch pulls into the Firefly coffeehouse on Tuesday, July 22 with only an acoustic guitar in hand, you’ll get the same emotional kick and full depth of the music, even when its stripped of surrounding instruments. If It Feels Good is a rare case of being able to hear the bejeweled version in anticipation of witnessing its essence.

(DMJ) July 17, 2008 - Whatzup Magazine

"More often than not, when solo artists hit the stage with just their acoustic guitars, they become background music, but Geoff Koch manages to avoid this fate. Part of this is due to his strong stage presence and the confidence he has when addressing his audience; mostly, though, it's because his songs are so good. The appealing guitar melodies alone make for a satisfying listen, and there's no shortage of strong vocal parts, interesting lyrics, and memorable hooks." - Playbackstl.com

Singer Navigates Folk Rock With Unique Try
by: Jonathan McVerry
July 18, 2008

Geoff Koch didn't take his own advice. The folk-rock singer's latest album is so enjoyable, that he may never have recored past the first song if he had listened to the album's title - "If It Feels Good, Don't Do It."

The 10-song LP kicks off with the infectiously poppy "Oh, Tonight." The tune swings smoothly through quick chord changes below Koch's scratchy yet delicate vocals. Koch sings with gusto, bouncing his voice up and down over his driving acoustic strumming.

The song climbs to an inspired peak before dropping off into Koch's vocal whispers. The song jarringly kicks back in with its infectious hook - a chorus that would be perfect as the outro music fro a TV series for teens.

Immediately following the opener, Koch slows things down with the syrupy "Chasing After You" and "Don't Leave Me Now." On the latter tune, Koch showcases a sweet Neil Young-style harmonica spiked with a killer bluesy groove and a dark sentiment that builds the multi-faceted song into one of the album's standouts.

The album continues its slow-burn path through most of the record's middle before exploding on the seventh track, "Christian Boys." Koch raises the volume as well as the energy with this rocker about delusional youth and dreamin big that sounds like a jazzy Gin Blossoms single.

The album's first major guitar solo makes an appearance, veering away from folk rock melodies that populate more than half of the album. The change in tempo is a welcome wakeup call, but Koch knows his strengths, and the chill, experimental folk rock is rightfully the cornerstone of this record.

Koch doesn't reach ground-breaking territory with his vocals on this album, but it's his honest, raspy voice that makes this collection something special. Working with Ken Coomer (Wilco) and Charlie Brocco (George Harrison/Fleetwood Mac) most likely only added to the immense personality and impressive jive in Koch's music.

On "Say You Will," Koch goes for broke and delivers from all angles of the musical spectrum. Starting with gentle guitar chords under the softest of voices, Koch slowly builds with a heavy bass drum into a rocking, echo-filled, screaming mess of scratchy guitars and electronic bends.

Being his first full-length studio album, Koch is a few steps past just having "some potential." The variety and direction of his songwriting - as well as his trusting, calm voice - create a remarkable and captivating journey through each song's story. - Centre Daily Times Weekender - State College, PA

Singer Navigates Folk Rock With Unique Try
by: Jonathan McVerry
July 18, 2008

Geoff Koch didn't take his own advice. The folk-rock singer's latest album is so enjoyable, that he may never have recored past the first song if he had listened to the album's title - "If It Feels Good, Don't Do It."

The 10-song LP kicks off with the infectiously poppy "Oh, Tonight." The tune swings smoothly through quick chord changes below Koch's scratchy yet delicate vocals. Koch sings with gusto, bouncing his voice up and down over his driving acoustic strumming.

The song climbs to an inspired peak before dropping off into Koch's vocal whispers. The song jarringly kicks back in with its infectious hook - a chorus that would be perfect as the outro music fro a TV series for teens.

Immediately following the opener, Koch slows things down with the syrupy "Chasing After You" and "Don't Leave Me Now." On the latter tune, Koch showcases a sweet Neil Young-style harmonica spiked with a killer bluesy groove and a dark sentiment that builds the multi-faceted song into one of the album's standouts.

The album continues its slow-burn path through most of the record's middle before exploding on the seventh track, "Christian Boys." Koch raises the volume as well as the energy with this rocker about delusional youth and dreamin big that sounds like a jazzy Gin Blossoms single.

The album's first major guitar solo makes an appearance, veering away from folk rock melodies that populate more than half of the album. The change in tempo is a welcome wakeup call, but Koch knows his strengths, and the chill, experimental folk rock is rightfully the cornerstone of this record.

Koch doesn't reach ground-breaking territory with his vocals on this album, but it's his honest, raspy voice that makes this collection something special. Working with Ken Coomer (Wilco) and Charlie Brocco (George Harrison/Fleetwood Mac) most likely only added to the immense personality and impressive jive in Koch's music.

On "Say You Will," Koch goes for broke and delivers from all angles of the musical spectrum. Starting with gentle guitar chords under the softest of voices, Koch slowly builds with a heavy bass drum into a rocking, echo-filled, screaming mess of scratchy guitars and electronic bends.

Being his first full-length studio album, Koch is a few steps past just having "some potential." The variety and direction of his songwriting - as well as his trusting, calm voice - create a remarkable and captivating journey through each song's story. - Centre Daily Times Weekender - State College, PA

Geoff Koch
Sunday, August 3 @ Kingpins Bowl and Brew

originally published July 30, 2008
by: Christine Barrett
Geoff Koch

Imagine if Wilco hosted a dinner party and the VIP list included names like Elliott Smith, Jeff Buckley, Ryan Adams and Salvador Dali. That’s the kind of indie folk-rock hybrid Geoff Koch wants you to experience when you listen to his music.

Based out of St. Louis, singer-songwriter Koch (pronounced like the soft drink) has never been to Athens before, but he is familiar with its musical history. A long-time fan of R.E.M., he’s looking forward to making his debut in the ubiquitous music scene.

Koch just finished his third album, entitled If It Feels Good, Don’t Do It. Although the record is Koch's first with a full band behind him, he will continue to tour as a solo act. "[Live], I have never had a band behind me," says Koch. Instead, the multi-instrumentalist prefers to strip down to acoustic guitar and harmonica - the instruments used to write the songs in the first place. "Stripped down, it works because it’s like [the audience] understands where the song is coming from - its origins,” he explains. For added effect, he will also be utilizing a looping station. “When you add looping, there’s that level of spontaneity you can capture."

Spontaneity is definitely key to Koch keeping his music fresh and original. No two performances are ever the same. “I’ve learned to write a set list based on how I feel that day.” He thinks that listeners should anticipate leaving a Geoff Koch show impressed. He calls himself a “songwriter who can communicate.”

“People should expect to see a guy that plays good music but deserves to be heard and appreciated. If I didn’t think I performed A+ shows, I wouldn’t do it.”

- Flagpole flagpole.com/Music/CalendarPick/GeoffKoch/2008-07-30/

Geoff Koch
Sunday, August 3 @ Kingpins Bowl and Brew

originally published July 30, 2008
by: Christine Barrett
Geoff Koch

Imagine if Wilco hosted a dinner party and the VIP list included names like Elliott Smith, Jeff Buckley, Ryan Adams and Salvador Dali. That’s the kind of indie folk-rock hybrid Geoff Koch wants you to experience when you listen to his music.

Based out of St. Louis, singer-songwriter Koch (pronounced like the soft drink) has never been to Athens before, but he is familiar with its musical history. A long-time fan of R.E.M., he’s looking forward to making his debut in the ubiquitous music scene.

Koch just finished his third album, entitled If It Feels Good, Don’t Do It. Although the record is Koch's first with a full band behind him, he will continue to tour as a solo act. "[Live], I have never had a band behind me," says Koch. Instead, the multi-instrumentalist prefers to strip down to acoustic guitar and harmonica - the instruments used to write the songs in the first place. "Stripped down, it works because it’s like [the audience] understands where the song is coming from - its origins,” he explains. For added effect, he will also be utilizing a looping station. “When you add looping, there’s that level of spontaneity you can capture."

Spontaneity is definitely key to Koch keeping his music fresh and original. No two performances are ever the same. “I’ve learned to write a set list based on how I feel that day.” He thinks that listeners should anticipate leaving a Geoff Koch show impressed. He calls himself a “songwriter who can communicate.”

“People should expect to see a guy that plays good music but deserves to be heard and appreciated. If I didn’t think I performed A+ shows, I wouldn’t do it.”

- Flagpole flagpole.com/Music/CalendarPick/GeoffKoch/2008-07-30/

http://www.playbackstl.com/content/view/8334/157/

Written by Willie E. Smith
Wednesday, 17 December 2008
"A-"

This album delivers on the promise of the evolution that every roots-rock or alt-country band this side of Uncle Tupelo has hoped to birth.

Dessert first. Sans dressed-up language and nuance, this record gets an A-minus. It's not perfect, but it's perfectly modern American rock 'n' roll. This is the sound of the flat world influencing the music of the flatlands. It's sentimental, it's heroic, it's down home and sophisticated. It's everything people want their favorite singer-songwriter to be but don't dare claim, because they know there's this one thing other people will take issue with, be it the vocals, the production, the politics, you name it.

I don't have any qualms saying that this album delivers on the promise of the evolution that every roots-rock or alt-country band this side of Uncle Tupelo has hoped to birth. Not one of those bands has made St. Louis the hotbed we've hoped it would become, and neither will Geoff Koch, but that's not what he's here for. We're forever jilted, and Geoff Koch has given us a break-up album so we can get over the record industry once and for all. We don't need her—or him, if that suits you. It's time to move on. We can do better if only we give ourselves the opportunity. If It Feels Good, Don't Do It is the sound of that opportunity being spotted and seized, its potential actualized.

The embellishments on If It Feels Good—the strings, the alto harmonies, the harmonica, the sheer beauty of the ballads, the arrangements, and stellar musicians who shine bright without obscuring one another; none of it disappoints. The clarity and immediacy of the vocals, passionate and pained by inspirations, is the testimony of a man with conflicts and convictions as epic as my favorite songs on this album. This is the sound of Pyrrhic victory. This is the story of proud but flawed land, full of a myriad of people who resemble it in spirit and constitution.

If you the are kind of person who listens to Harvest or After the Gold Rush and feels a sense of validation, you will understand why this record is the redemption of some long-unclaimed debt modern music owes the Gateway city. The sentiment of If It Feels Good is the embodiment of resentful mourning. We will wave our fists at the heavens until a cold rain falls to mask the tears we shed for those we lost, the ones we will honor with the steadfastness of two hearts and two souls in one body. If you wear one on your sleeve, this record will move you to tears, and you will not be ashamed. If you pound yours in defiance, ever vigilant against all that ails you, this record is the soundtrack of your life. Step back and take it in; it's a beautiful thing. - http://www.playbackstl.com/content/view/8334/157/

http://www.playbackstl.com/content/view/8334/157/

Written by Willie E. Smith
Wednesday, 17 December 2008
"A-"

This album delivers on the promise of the evolution that every roots-rock or alt-country band this side of Uncle Tupelo has hoped to birth.

Dessert first. Sans dressed-up language and nuance, this record gets an A-minus. It's not perfect, but it's perfectly modern American rock 'n' roll. This is the sound of the flat world influencing the music of the flatlands. It's sentimental, it's heroic, it's down home and sophisticated. It's everything people want their favorite singer-songwriter to be but don't dare claim, because they know there's this one thing other people will take issue with, be it the vocals, the production, the politics, you name it.

I don't have any qualms saying that this album delivers on the promise of the evolution that every roots-rock or alt-country band this side of Uncle Tupelo has hoped to birth. Not one of those bands has made St. Louis the hotbed we've hoped it would become, and neither will Geoff Koch, but that's not what he's here for. We're forever jilted, and Geoff Koch has given us a break-up album so we can get over the record industry once and for all. We don't need her—or him, if that suits you. It's time to move on. We can do better if only we give ourselves the opportunity. If It Feels Good, Don't Do It is the sound of that opportunity being spotted and seized, its potential actualized.

The embellishments on If It Feels Good—the strings, the alto harmonies, the harmonica, the sheer beauty of the ballads, the arrangements, and stellar musicians who shine bright without obscuring one another; none of it disappoints. The clarity and immediacy of the vocals, passionate and pained by inspirations, is the testimony of a man with conflicts and convictions as epic as my favorite songs on this album. This is the sound of Pyrrhic victory. This is the story of proud but flawed land, full of a myriad of people who resemble it in spirit and constitution.

If you the are kind of person who listens to Harvest or After the Gold Rush and feels a sense of validation, you will understand why this record is the redemption of some long-unclaimed debt modern music owes the Gateway city. The sentiment of If It Feels Good is the embodiment of resentful mourning. We will wave our fists at the heavens until a cold rain falls to mask the tears we shed for those we lost, the ones we will honor with the steadfastness of two hearts and two souls in one body. If you wear one on your sleeve, this record will move you to tears, and you will not be ashamed. If you pound yours in defiance, ever vigilant against all that ails you, this record is the soundtrack of your life. Step back and take it in; it's a beautiful thing. - http://www.playbackstl.com/content/view/8334/157/

http://www.riverfronttimes.com/2008-12-17/music/geoff-koch/

St. Louis singer and songwriter Geoff Koch has collected an impressive local following (he won a People's Choice Award for his genre in the RFT's 2006 Music Awards) and his irrepressible sincerity is a large part of his appeal. In light of that, what's he doing with an album titled If It Feels Good, Don't Do It? Judging by Good's music, he's testing the Nashville Adult Album Contemporary waters. Recorded in Music City and produced by ex-Wilco drummer Ken Coomer, the record rocks harder and is looser than Koch's previous acoustic work, but it retains the unpolished vibrato of his everyman delivery. "It's not that I don't like peace, but violence is a friend of mine," he admits on the dense, Jakob Dylan-esque "Pro War." His confessions are sincere, all right — and at their best, the directness can disarm and chill you.

9 p.m. Tuesday, December 23. Off Broadway, 3509 Lemp Avenue.
$10
314-773-3363 - The Riverfront Times

http://www.riverfronttimes.com/2008-12-17/music/geoff-koch/

St. Louis singer and songwriter Geoff Koch has collected an impressive local following (he won a People's Choice Award for his genre in the RFT's 2006 Music Awards) and his irrepressible sincerity is a large part of his appeal. In light of that, what's he doing with an album titled If It Feels Good, Don't Do It? Judging by Good's music, he's testing the Nashville Adult Album Contemporary waters. Recorded in Music City and produced by ex-Wilco drummer Ken Coomer, the record rocks harder and is looser than Koch's previous acoustic work, but it retains the unpolished vibrato of his everyman delivery. "It's not that I don't like peace, but violence is a friend of mine," he admits on the dense, Jakob Dylan-esque "Pro War." His confessions are sincere, all right — and at their best, the directness can disarm and chill you.

9 p.m. Tuesday, December 23. Off Broadway, 3509 Lemp Avenue.
$10
314-773-3363 - The Riverfront Times