Snarky Puppy's Michael League Talks Music, Mentorship, and More
From the edgy beachtown culture of Long Beach to the humidity of Texas, the bustling energy of Brooklyn, and finally the serene landscapes of Catalonia, Spain, Michael League's journey in life and music is as diverse as the genres he has touched. A 5-time Grammy® Award-winning producer and musician, League is the mastermind behind the instrumental ensemble Snarky Puppy, an incredible band that is making a stop in Flagstaff on September 26 at the Pepsi Amphitheater.
But his contributions to the music world don't stop there. He's also the founder of GroundUP Music Foundation, a record label that has evolved into a hub for music curation and the driving force behind the annual GroundUP Music Festival. The GroundUp Music Foundation is dedicated to nurturing both emerging and seasoned musicians by offering them avenues for performance and growth. Beyond just performance opportunities, the foundation is deeply invested in education. It facilitates a range of educational initiatives, from masterclasses and workshops to mentorship programs. Particularly for underserved students and enthusiasts, the foundation provides hands-on teaching, training, and performance experiences. These efforts are prominently showcased during the annual GroundUP Music Festivals and are further extended through various offline and online platforms.
League's musical roots trace back to his time at the University of North Texas, where he immersed himself in jazz studies. Dallas became his musical playground for three years, collaborating with gospel, R&B, and soul music icons such as Bernard Wright, a renowned keyboardist who is well-known for his work with legends like Miles Davis and Chaka Khan. The musical gods smiled, and Mr. Wright became Michael's mentor while Michael lived in Dallas. By 2009, Brooklyn was beckoning, and it became his home for over a decade before he settled in Catalonia.
His versatility as an instrumentalist and producer is evident in his collaborations, which span pop, folk, gospel, jazz, electronic, and world music. Names like Laura Mvula, David Crosby, Kirk Franklin, Terence Blanchard, and Salif Keïta only scratch the surface of his expansive portfolio.
League's dedication to music education is commendable. He's conducted masterclasses at over 200 schools globally and, in 2020, co-founded the GroundUP Music Foundation. A regular on international music business panels, League collaborates with non-profits, harnessing the power of music to serve the broader community. We were honored to get the chance to ask Michael a handful of questions about the band and life, so read below, and as we sit down with this musical maestro, we delve deeper into his inspirations, aspirations, and the undefinable melodies that define Snarky Puppy.
Hi Michael, Thank you for taking the time to chat with us about your upcoming performance at the Pepsi Amphitheater in Flagstaff on September 26th. I have had the privilege of doing shows in the Catalonia area twice. I remember thinking what an amazing place this would be to live. How did a kid from Long Beach end up living in Catalonia?
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There are quite a few dots to connect between being born in Long Beach and ending up in northeastern Spain in my late thirties, but the shortest answer I can give you is that I spent eleven years in Brooklyn and was ready for a more peaceful way of life. Now I have a studio in my house, I cook twice a day, I actually sleep… it’s incredible.
The creative process has always fascinated me. Forming Snarky Puppy as a sophomore in college and maintaining its success over 15 years is no small feat. Your self-admitted stubbornness may have helped you get through the "complete financial suicide" of starting a large ensemble band, but it begs the question: How have you managed to keep the ensemble's dynamic fresh and innovative over the years? Is there a lot of planning that goes into the recording sessions, or do you just focus on the writing and then get a bunch of heavy-hitter musicians in the same space and let it take on a life of its own?
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The planning process for Snarky Puppy albums is highly intensive. The freshness comes from the individual members’ rich musicianship, but the execution is the result of very careful and meticulous planning. I would say that we have a nice balance between organization and practicality and the creative chaos that, in my opinion, is essentially necessary to doing anything meaningful creatively.
How much of your current live set is a showcase of your latest album, Empire Central? Do you have specific songs that you particularly enjoy playing live?
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It depends on the show, but generally we’re putting 80–95% new music into the nightly sets. I can’t say that any song really works better than any other, largely because these songs were recorded live. As a result, they adapted quickly and easily to the stage.
The legendary Bernard Wright mentored you during your formative years. Can you recall a particular piece of advice or lesson he imparted that has stuck with you throughout your career? Maybe one that you have passed along to aspiring young musicians?
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Sure! Among many pearls, here’s one I’ll never forget:
There are three reasons to take a gig. One is to inspire you creatively. Another is to make money. And the other is to help or spend time with friends. If you get called for a gig that offers you none of these, don’t take it. If it offers you one, consider it. If it offers you two, definitely take it. And if it has all three, never lose it.
What inspired the creation of Bokanté and its distinct blending of blues, rock, Caribbean, and West African styles? How did you curate such an incredible lineup of musicians from five different continents?
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I’m always writing music, and sometimes it just doesn’t fit Snarky Puppy’s aesthetic. This was the case about seven years ago: I had a dozen demos that sounded like music from a band that no one had created before, so I just created that band. It sounds funny, but it’s true. I wanted to put very different musicians together with the freedom to be themselves, but with the blues as the glue. That’s still how I see the band today.
Given your commitment to music education, what do you see as the biggest gap in today's music education system, and what would you like to accomplish with the GroundUP Music Foundation toward that end?
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We all know that money moves mountains. And when you see music education budgets constantly getting cut, it’s inevitable that the quality of youth musicianship will go down. There’s less exposure, fewer resources, and less incentive for talented musicians to teach. This has to turn around. The GroundUP Music Foundation, among many other things, brings world-class musicians into classrooms and arts organizations to inspire young artists face-to-face. We all have benefited from mentorship and see it as our duty to pay that forward.
I have read in some of your previous interviews that you mention that fans see a continuum from bands like Weather Report in Snarky Puppy's music. I am curious about your take on your band's influences and evolution. Which influences resonate through all records (if any) and which bends in the evolution of your songwriting, in hindsight, seem to be a bit of a surprise to you?
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The fascinating thing about Snarky Puppy is that we, collectively, are a product of each individual’s influences. One guy might really be into South Indian classical music, and certain elements of that style will slowly creep into the band’s aesthetic or wheelhouse over time. In a more direct way, one person’s compositional influences seep into the sound of the band whenever they compose for it. It’s effectively a gumbo, to which each member is constantly adding ingredients. And in our case, these ingredients can come from any era, any genre, or any continent.
I believe I counted 19 on your band roster. Will all 19 be at the flagstaff show?
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Sadly, no! We never tour with the full lineup. Maybe one day! We’ll have 10 or 11 on stage in Arizona.
Have you played Pepsi Amp before? I couldn't tell when researching your concert history. It is a beautiful little mini-amphitheater. Great venue to see a show at.
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No, the only time we played in Flagstaff, we opened for karaoke night at a local bar. Ha! I think about 8 people paid to see us play that night, and it was one of the most fun gigs of the tour.
One last question: as a former tour manager, I could not help but notice you have your crew listed on your band page. Very cool. Your tour manager has his hands full. Your PM has her hands more than full. Your sound guy has to balance 10-15 instruments on stage, and your drum tech has 2-3 drummers to set up? I feel like for a band such as yours, your relationship with your crew has to be almost familial. Can you speak for just a moment about your crew and the level of confidence you must have in them when hitting the stage with 18 other musicians?
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Absolutely! I can’t say enough good things about our crew. They are family to us. They’re paid and treated the same as the band in every respect (I’m writing this interview from my bunk on the crew’s bus, where I sleep, as a matter of fact). The work they do on a daily basis would make most crews run away screaming, and they do it with grace. We’ve actually never had a crew member quit in the history of the band (except my childhood friend, TJ, who retired at the ripe old age of 35 due to the birth of his first child), and I think that’s because they understand that they have as much value, if not more, as any individual holding an instrument. I love them to death.
