Artist Spotlight: Mipso

Mipso
JOE TERRELL, LIBBY RODENBOUGH, WOOD ROBINSON AND JACOB SHARP ARE MIPSO. PHOTO COURTESY MIPSO

Mipso is a band that defies classification. The iconic North Carolina sounds of bluegrass and old-time flow throughout their music, which is equally influenced by the Triangle’s storied indie music community.

Since 2010, Piedmont-natives Joe Terrell, Libby Rodenbough, Wood Robinson and Jacob Sharp have created music that marries the old and the new, bridging traditional rural music expressions with the sounds of urban North Carolina: think Doc Watson meets Ryan Adams. Now touring on their fifth studio album, Edges Run, the band has been named by Rolling Stone as an “Artist You Need to Know.” Equal parts performers and students of our state’s musical heritage, the band is deeply engaged with the transmission of music knowledge. Fiddler and vocalist Libby Rodenbough is a member of the North Carolina Arts Council Board, and collectively the group has incorporated educational visits to public schools while touring to spread the word about traditional music. You can catch them live in concert on Saturday, Nov. 10 at the Haw River Ballroom.

“People often say it must be something in the water in North Carolina that brings so many musicians together and makes so much music happen, but it isn’t the water. It’s the community.” 
— Wood Robinson

MIPSO REFLECTS ON HOW NORTH CAROLINA SHAPED THEIR SOUND IN THIS VIDEO FILMED AT JOE VAN GOGH HEADQUARTERS IN HILLSBOROUGH, NC. THE BAND PICKED THE LOCATION BECAUSE THE COMPANY CREATED A SPECIAL COFFEE BLEND IN THEIR HONOR IN 2017.

“It’s very likely that we wouldn’t be a band if we hadn’t started in the Triangle and in North Carolina.” 
— Libby Rodenbough

You have done some educational programming while on the road. Will you describe that and why it matters to you

Libby: Not long ago, we did an education program in Tallahassee where we went to elementary, middle, and high schools and talked about some basics of string band history. There were kids in the audience who had never seen a banjo before who found that very exotic. Folk music can be really exotic if it wasn’t a part of the landscape of your upbringing. Teaching reminds us why that type of music is special and how it relates to the story of America and the story of immigrants which is an important message for the times.

There isn’t a super stark and clean divide between commercial and vernacular music, but you could say that music that is made primarily with commercial purposes in mind is probably going to seek to be encompassing rather than specific. I think there’s more space in vernacular music for specificity. Stories about actual experiences. Stories that are specific to geography and time. It would be a shame to lose those in a flattened landscape of pop music. I think both of those realms of art are really important. The vernacular music by nature of not being commercial is more at risk, so that’s where the public funding has to go.

Why does public funding for the arts matter?

Libby: I have a little anecdote from my personal life. When I was in college, I helped put on this music festival called Convergence at UNC that was very small but took an incredible amount of work and was just run by college students. It was a festival of Southern music, and it was completely funded by grant funding. Some of that came from within the university some of it came from arts councils and the humanities council. Little projects like that just wouldn’t exist without public arts funding.

Wood: People equate public funding with huge installments like the Kennedy Center and Lincoln Center. Those places in major urban areas are going to be fine. Smaller funds are so much more important for making sure that arts are not a product to be served to the elites.

Will you share a story about how the arts have impacted the way you see the world?

Jacob: I’ve learned lessons through touring and playing music that [shape] my notion of my identity as a North Carolinian and Southerner, and more broadly as an American in a time as politically and socially chaotic as this one. I’m really grateful for the way I could connect with tiny communities across the country that I don’t necessarily have much in common with on the surface. We do commune over the experiences and emotions that we’ve been encouraged to express through our music, and though it’s easier to highlight the differences we have with one another, we’re a lot more similar than we believe or that we’re told that we should believe.

Joe: All of us went to public schools. Public education was really important to us, but I think the most important things in terms of who we are, and how we relate to each other, and what our community means…I really got to the heart of it through writing and through music. It’s incredibly important for a community to produce something, and to pave the roads, and to be economically vibrant, but I hope we can keep in mind that at the end of the day once you do have food on the table... part of the point of all of us being here is to ask each other why are we here, and what does it mean to be in a community together, and what does it mean to be alive.

*This interview was edited and condensed for clarity