Independent music journalism remains a critical form of cultural storytelling. And it’s in short supply. That’s why publications like Trick Bag, which blends music and cultural criticism, personal essays, and short fiction, are so refreshing to read and meaningful to support. 

Of course, as a writer myself I admit I have some bias around the importance of supporting independent writers. But I think if any culturally attuned person were to spend time reading a few pieces from the publication, they’d understand why I feel this way. Founder and editor-in-chief Martin Douglas seamlessly infuses personal anecdotes and musings with relevant context and scene-setting, creating a narrative that’s easy to get swept away in, regardless of if you know all the references he’s making. 

One more thing I know as a writer myself: It’s hard to make it work. Support for journalism is rarely plentiful, let alone independent journalism that celebrates other creatives. To get a better understanding of how North Seattle-based Douglas keeps Trick Bag alive and well, I asked him some questions about the process. Here’s our conversation:

SSB: Can you tell me the abridged version of your origin story? How did the publication come to be?

MD: When I started Trick Bag, I was quickly approaching my 20-year benchmark as someone who has been writing about music online and 15 years as a “working music journalist” (i.e. getting paid to write about music). On one hand, I was disillusioned with the way the business of music journalism was going; the art of this thing I dedicated my life to was pushed in the backseat in favor of ROI, KPIs, and a bunch of other acronyms I don’t care at all about. On the other, there was this explosion of writers—arts critics of every stripe—self-publishing thoughtful work via platforms like Substack and Ghost; some of them were writers I’ve admired for decades, some of them were my friends.

Quite simply, I needed a platform where I have full autonomy over what I write, what I cover— and eventually, what records I decide to play as a DJ and what artists to book for shows. I had to get in on the wave of independent writers doing their thing.

SSB: Where do you do most of your writing for Trick Bag?

MD: I have a makeshift office nook in the condo I share with my lovely partner; just enough room for my desk, two bookshelves, an extra record shelf for my ever-growing record collection, and various pro wrestling ephemera—separated from the house by a theater-grade curtain in case I need to do audio interviews. 

SSB: How did you land on your current publishing schedule, and how do you go about prepping for and writing a piece?

MD: Frankly, that has still been a work in progress for me! It was much easier when I had the structure of a day job, but I’ve been freelancing and hustling since January—and sometimes I will get assignments on a week’s notice, so I’ve had to learn to be flexible. But I’m getting back to the schedule as I originally intended, which is one in-depth, well-written, and fastidiously edited feature every Monday morning. 

SSB: How do you choose who and what you’ll cover?

MD: It’s basically a matter of, “Do I think this is cool and intellectually stimulating? Do I have anything interesting to say about this cool artist I like?” Very occasionally, it’s timely to the subject—as a working journalist, I’ve learned how to write within the dreaded press cycle—but sometimes, it’s an anniversary of some significance for a legacy artist or an archived piece. 

SSB: As a music journalist for ~16 years, how have you seen the industry evolve over the years? What’s stayed the same?

MD: WOOF, have I seen the industry evolve! Many of the evolutions have not been for the better; for instance, the money has all but completely dried up. Seattle used to have a pretty robust music journalism scene. Now, if you don’t write for The Stranger or have one of the very few music beats in the Times or Seattle Met, you have to be ready to hustle as a freelancer for national publications. Which can be a little more difficult for people who don’t have two decades’ worth of equity to cash in after getting laid off by a local media institution. 

The thing that hasn’t changed is that there are still passionate music fans who strive to be great writers. 

SSB: When you started the publication, were there any gaps in music coverage you were looking to fill? If so, how does your publication provide?

MD: Absolutely. I’m a proud member of the underground rock and hip-hop scenes, and I have seen many worthy artists not getting any sort of press—because they didn’t have the right PR representative or KEXP didn’t put their single in rotation. For years, we’ve been told as music journalists to cater to the wider community and not just the “heads.” I’d like to think that people come to Trick Bag to discover cool bands or rap artists they’ve never heard of or to get a writer who is willing to canonize underground legends. 

There seems to be a tack that people who write about underground bands are writing for other music journalists. I don’t. I write for curious, intelligent music fans.

SSB: Seattle has a rich music legacy. How have you seen the industry and scene evolve over the years?

MD: Seattle’s in a very interesting place, because it is very much well-regarded as a “music city,” and musicians still move here from other places to play shows and form bands (or make weird beats in their basement). I also think Seattle’s reputation as a music city has created an environment where quite a few bands become “Seattle famous,” in that they can easily get booked for a show every month and that’s good enough for them. They end up trying to be the cool kids at Hattie’s Hat rather than striving to grow as artists.

SSB: What are your favorite bands in Seattle right now? What about all-time?

MD: Wimps have been my favorite band (not just in Seattle) for well over a decade. Shabazz Palaces is one of the greatest things to have ever happened to Northwest music. I really dig J.R.C.G. and their singular brand of punk-influenced, experimental dance music. All-time, the Sonics are one of my favorite bands ever. And I’d be remiss to not mention Nirvana, as Kurt Cobain’s music (and tastes in music) has informed me profoundly, and I wouldn’t be a music journalist had I not been a massive Nirvana fan growing up in North Carolina as a child. 

SSB: Outside of Trick Bag, you’re also a vinyl-only DJ. How does this intersect with or strengthen your writing?

MD: DJing is a much different art form than writing, but I think DJing has made me a better listener of music. It shows me what songs are resonating with people, what’s making them move, what’s making them go to the bar and get a drink, what’s driving them to go outside and smoke a joint as quickly as they can so they can come in and vibe harder. 

I didn’t play my own music for very long, so DJing allows me to participate in the communal experience of music aside from being one of the only people in Seattle actually dancing in the crowd.

SSB: How has your background writing for Pitchfork, Bandcamp Daily, see/saw, CREEM, KEXP, POW MAG, etc all informed the direction and style of Trick Bag?

MD: I think all of those publications have served as building blocks to make me the writer I am. I’ve learned valuable lessons from each of the publications I’ve worked for; picked up skills I wouldn’t have had otherwise. I’ve been in the brainstorming stage of a podcast, and I wouldn’t have touched a podcast mic with a ten-foot pole if not for the eight years I worked at KEXP. I’ve been writing for POW since 2008, so I’d be foolish to not acknowledge the myriad ways that site has contributed to my growth as a writer. 

SSB: Do you have any Trick Bag pieces that stand out as your favorites and why?

MD: My recent feature on Portland punk band Love in Hell—written for my PNW music column Throwaway Style, which started on KEXP—is one I’m particularly proud of. My friend Rose Lewis is a remarkable lyricist and I felt challenged to write a feature that did her songwriting justice. Also, my favorite features to read are the ones that kind of puts you in the writer’s shoes, and I love how that one feels like the reader is sitting with me at Rose’s kitchen table after the band spent hours evacuating their gear from their flooded practice space.

This one’s not about music, but I wrote about the parallel between filmmaker Ryan Coogler being offered one of the sweetest contracts in history for Sinners to pro wrestler Swerve Strickland being one of the highest paid wrestlers in the “sport”/art form. Because it directly touches on the criticism they, both Black men, had gotten for knowing what their worth is and not accepting anything less. It gives me hope as a Black artist to see people who look like me being compensated fairly for their amazing work.

SSB: What has building an independent publication taught you about yourself? Have you encountered any surprises along the way?

MD: If anything, it has taught me to embrace the chaos of being my own boss. Two days are hardly ever the same, and the stability is easier on my brain, but there is a thrill in riding the wave. Whether I have two days or two months to work on a feature, a review, or an essay, I’ve learned that I’ve gotta make my time count. 

SSB: What’s the best way for artists to get in touch with you?

MD: @trickbag_mag on Instagram is the easiest way to keep up with the comings and goings of the newsletter—and my other writing, shows I’m booking and/or DJing, and various other events that I might be a part of. Of course, if you’re on Substack, definitely subscribe to Trick Bag and follow me on Substack Notes (@theedouglasmartini), as I’m very active there. (It’s like Twitter, only I’m raving about how cool writing is instead of complaining about how much I hate Twitter.)