Capturing Melodies: Barry Schneier Discusses His Folk Music Portrait Project Exhibit

By Ed Symkus

When Barry Schneier recognized it was time for his next photography venture centered on musicians, he opted to engage with his subjects, rather than merely photographing them.

Barry Schneier capturing Anaïs Mitchell outside of Passim in Cambridge. Photo: Matt Smith

A leisurely stroll through the photographic exhibition The Song Is Still Being Written: The Folk Music Portrait Project not only highlights the diversity of Boston’s acoustic music scene but also illustrates Barry Schneier’s talent for revealing the essence of his subjects.

Featuring thirty-seven portraits at the Folk Americana Roots Hall of Fame within Boston’s Boch Center (on display until February 16), the artworks adorn the walls of a single room. Another room contains enlarged contact sheets along with several display cases showcasing various related items, including club schedules, musical instruments, albums, and articles of performers’ attire. The exhibition emphasizes both iconic artists and emerging talents (members of the Folk Collective Initiative at Club Passim), presented in relaxed and informal environments. All photographs are horizontal, elegantly surrounded by white mattes and slender black frames; the individuals depicted seem completely at ease with both the photographer and the process.

One might assume that an exhibition with “just” 37 photographs could be quickly perused. However, in this instance, that would be a misguided approach. These images invite contemplation, reflection, and connection, much like Schneier experienced with his subjects.

There’s Chris Smither in his kitchen, delightedly strumming his guitar for a solitary audience: his small dog. Observe Lori McKenna lounging on a couch at home, her face radiating contentment and a subtle smile. A smile is sure to emerge on the face of anyone viewing the photo of Tom Rush standing on a dock in Kittery, Maine, strumming a chord on his guitar. Lydia Harper shares her affection for her instrument, reclining on a long windowsill while embracing her blue ukulele. Meanwhile, Geoff Muldaur emanates joy, seated at his piano, arms crossed, with a banjo perched nearby.

A corresponding coffee table book sharing the same title is available here.

Schneier has been snapping photos of musicians since the 1970s; he gained recognition for his 2019 photo book Bruce Springsteen: Rock and Roll Future. He recently discussed The Song is Still Being Written with me over the phone from his residence in Plymouth.

A founding member of Club 47, Betsy Siggins. Photo: Barry Schneier

The Arts Fuse: What’s the genesis of this exhibition?

Barry Schneier: It originated from the relationship I established with Betsy Siggins over ten years ago. She was a founding member of Club 47. After reviewing a considerable amount of my work featuring artists in Boston and Cambridge during the ’70s, she expressed interest in including it in her Folk New England Archive, to which I readily consented. Through Betsy, I became acquainted with individuals at Passim – Executive Director Jim Wooster, Managing Director Matt Smith, and some of the artists.

AF: So, this all transpired subsequent to the Springsteen book?

Schneier: Precisely. In 2019, after completing the Springsteen book, I was considering a new endeavor — something current. So, I proposed this concept to Jim and Matt. They believed it was a solid idea, and we began to identify different artists and engage in photography in February of 2020. However, when Covid struck, we had to pause the entire project. In May of 2021, we revived the concept, and they were supportive.

AF: What were your preliminary ideas for the project?

Schneier: Since much of my previous work with musicians focused predominantly on performance photography, I realized I didn’t want to repeat that; I aimed to connect with the individuals and truly understand them. I wished to photograph them in environments they felt comfortable and inspired in.

AF: Were the locations and poses your concepts, or did the artists contribute to them?

Schneier: I would inquire about where they worked, where they contemplated, and where they felt inspired to create. We would then visit those locations. Sometimes it was their home, and other times a park they favored.

AF: These photographs radiate a remarkable intimacy. What was your approach to achieving that?

Schneier: The goal was to make them at ease with my presence. At a certain point, I hoped our interaction was akin to a conversation. While I took photos, often with artists I wasn’t fully familiar with, I would start by learning about them, listening to their music. As I prepared, I would mention, “Oh, I love that track, I see you’re from here, I noticed you studied this, I see you performed with this person.” This created a relaxed atmosphere in various ways. In some instances, I would stroll alongside them and say, “That looks like a charming spot in your home,” or “I like that light over there. Let’s utilize that,” and they were all incredibly receptive.

Chris Smither and his canine companion. Photo: Barry Schneier

AF: I’m curious about a few particular images. What was happening with Chris Smither and his dog?

Schneier: That’s an exemplary case of a fortunate mistake. He has a studio at his residence, and we were capturing images of him engaging in various activities there. Later, while we were downstairs in his kitchen, conversing, Chris was seated playing his guitar when his dog wandered over and sat beside him, prompting me to exclaim, “Hold it right there!”

AF: Betsy Siggins may not be a musician, yet her significance in the local club scene is undeniable due to her background at Club 47 and Passim. In that close-up of her, I felt connected to her thoughts.

Schneier: She was the first subject I photographed, back in January 2022. I captured some great shots of her, but she remarked, “Oh, I dislike my hair.” So, toward the end of the project, in May 2024, we retried it. She appeared really at ease in that photograph and gave me a wonderful expression, which she truly appreciated.

Geoff Muldaur. Photo: Barry Schneier

AF: My favorite photo is that of Geoff Muldaur.

Schneier: Geoff had some concepts in mind, and I did as well. However, that particular photo was my suggestion. What I admire most about that image is that he’s seated at the piano but facing us instead of the keys, and he has a somewhat reflective expression. Additionally, I love that a little banjo is included in the frame. He was quite fond of that photograph.

AF: Can you succinctly describe what the exhibit and the book encompass?

Schneier: They chronicle the visual and narrative journey of artists who sparked the folk revolution in Boston and Cambridge. The unifying factor is that they all, at some stage, commenced their careers on the stages of Passim and Club 47.

Ed Symkus is a native of Boston and a graduate of Emerson College. He attended Woodstock, has interviewed Chick Corea, Julie Andrews, Joyce Carol Oates, and Al Gore, and explored the Outer Hebrides, the Lofoten Islands, Anglesey, Mykonos, Nantucket, the Azores, Catalina, Kangaroo Island, Capri, and the Isle of Wight alongside his wife, Lisa.