By Chaz Kangas
By Sound of the City
By Peter Gerstenzang
By Katherine Turman
By Chris Kornelis
By Brian McManus
By Ray Cummings
By Nicholas Pell
From there, Patrick caught the promoter bug once again, this time hopping from makeshift venue to makeshift venue. A scene has since coalesced around himall the spazzy art-punk bands that couldn't or wouldn't get legit club gigs now have places to play. But Patrick doesn't much like his rep as solely a noise-rock booker. "There's nothing noisy about Japantherthey're just loud," he says. "Or Matt and Kim? They're just these fun, loud, rowdy bands."
Late last year, Patrick tried to open a proper, permanent venuethe Llano Estacado, a loft space in Williamsburgbut the police shut it down after just a few shows. Financial difficulties and disputes with his partners have temporarily derailed his plans to try again, though he's eyeing a medium-sized space in Long Island City. In the meantime, he supports himself by renting practice spaces to bands in the Llano Estacado building while promoting his shows elsewhere. No day job. "I probably make less money than 90 percent of the people who come to my shows," he says.
But even if that eventually changes, Patrick's overriding philosophy won't. "If I book a Yeah Yeah Yeahs, show, it's not going to be at Irving Plaza or wherever it is they play at," he says. "It's going to be at, say, one of the Hasidic rental halls on Bedford and Flushing, like the Rose Castle or something. I'd book it at a place that's off the beaten path: appropriate and big, but different, someplace that lets people realize that there's no reason that these things have to happen at these places where you think they're supposed to happen."
For info on future Todd P shows, click to toddpnyc.com.