Beth Wesche is one-half of the Seattle folk duo March to May, a band that sounds exactly like what you’d expect from the term “folk duo,” and they’re stunningly good at it. Lush male/female harmonies, acoustic guitar, and Celtic harp blend for a mesmerizingly delicate live performance, and they’re bringing that refined sound to the Triple Door on November 10th for a big single release show with a live dance performance and Whitney Lyman opening.
Wesche is the Celtic harpist for the band, which started (like most bands do) fairly oddly–Wesche and Darren Guyaz, the guitar half of the band, were craigslist housemates who both felt like they’d given up music for good when they met. They turned it around in a big way and are now a tight-knit band that works hard, both in music and in their 9 to 5s. STACKEDD talked to Wesche about March to May’s adventures, multidisciplinary projects, and just plain discipline.
As a busy musician and a full-time working professional, how do you balance your musical pursuits and your 9 to 5 job?
Haha, that’s an excellent question. I ask myself that regularly. Joking aside, balancing both takes a fair amount of planning and creativity – my days are pretty carefully mapped out. I firmly believe you can’t manage both without a pretty high level of personal organization, which has definitely been a journey for me! I don’t think I’m naturally the most organized of people in terms of time, but I’ve had to learn. But the nice thing about doing something I love so much is that it doesn’t feel like a burden. I push myself hard, but I love the work I’m doing and I don’t go a single day without feeling incredibly grateful for what I do.
What’s excited you the most about playing in March To May?
Oh gosh. That’s a difficult question. I get excited about a lot of things. I think the biggest thing for me, though, is the ability to collaborate in what I’m creating. Darren and I are lucky to have a pretty amazing creative synergy – the way we make music together feels like it adds so much richness on top of what we’d each be able to create alone. We’re also really great business partners. On top of that, playing in March to May has opened the door for me to learn from and collaborate with incredibly talented people from a lot of different walks of life – from recording engineers to video producers to choreographers and more. It’s really expanded the way I look at the world. I feel a lot richer for it.
You’ve worked with a lot of different artist disciplines, most recently in your Kickstarter for the Navigator. What inspired you to work in such a multidisciplinary project, and what’s your dream for the future?
Haha, great question. The Navigator project has been a dream come true in a lot of ways. I’ve always been drawn to multidisciplinary projects like this because I love getting to take an idea and explore it from a lot of different angles. The project originated out of an interest in seeing what would happen if we set some of our music to dance, but I think we got more than we bargained for when we met our choreographer, Erin Boyt of Version Excursion Dance – in the best possible of ways! It turned out that those initial conversations spiraled into ideas about how we could bring film into the picture and has continued to grow from there. Now we’re working with a team of creative professionals from disciplines across the board (including an Emmy-winning underwater cinematographer!). It’s really exciting to see our music take on a life outside of our band and our own performances. I can’t wait to watch the collaboration continue to evolve!