The Community-Building Power of the Village Concerts Series
By: Emily Mook / Photos by: Brianne Friberg
The power of music is boundless and often paradoxical: it hearkens back even as it innovates, it defines moments in time and is defined by those moments in seemingly equal measure, it can inspire conflicting emotions within seconds, and it can transport listeners while simultaneously making them feel more grounded. And yet, despite its myriad complexities and its capacity for evading definition, music has at its center an abiding feature: the ability to foster meaningful connection.
Music can—and does—mean entirely different things to different people, but anyone who listens to it can agree that it is meaningful, and so we find ourselves listening to it, talking about it, and perhaps even making it together. In the extraordinary case of Polly King and Van Holton, music has led to finding a life partner and hosting a groundbreaking concert series together that spotlights and nurtures music’s singular community-building power: the Village Concerts Series.
King started the Village Concerts Series in Palmyra, Virginia, in 2007 and met Holton
when he attended one of the concerts in 2009. Long before that fateful meeting, music had
played a significant role in both of their lives.
“I’ve been a groupie since the late 60s,” Holton remarks. “Nobody could ride in the backseat of my Volkswagen because I had so many boxes of 8 tracks back there!”
For King, music was a constant in a childhood characterized by frequent change.
“I was an army brat, and we ended up traveling quite a bit,” she recalls. “My mom loved to sing and cofounded a choir in Wilmington, North Carolina, many, many years ago. We always had a piano and I learned to play the flute.”
At a certain point, King realized that she felt more suited to playing a supporting role when it comes to music, and this realization played a role in her decision to get her master’s degree in Arts Administration.
“I always loved the arts in general and gravitated toward creative people,” she notes. “I always felt that many of my friends were more creative than I was, but I was a good organizer and support person. When I ended up going to graduate school at Virginia Tech, I went for a MFA in Arts Administration with the full intention of being the background person.”
After attaining her degree, King traveled widely and worked for the Baltimore Symphony, a chamber music and jazz producing company in Mount Gretna, and an ethnic folk arts center and a baroque chamber ensemble in New York City. Subsequently, her then-husband got an arts job in Abingdon and hired her to put together an arts series that they called “The New Traditions.”
“The series lasted about three years,” says King. “We featured music, lectures, and films. It was a lot of fun and really brought people together in a good way.”
These experiences, coupled with a desire for connection, led King to start the Village Concerts Series in Palmyra in 2007.
“I started the concert series in Palmyra because I was lonely,” she remarks. “I lived in a village of twelve houses, ten of which were occupied, and when I was home on the weekends, people were gone. I didn’t see very many people. So, I thought, ‘Well, I know how to push furniture back in my living room and put up folding chairs and host concerts,’ and that’s what I did. The first year was rough and I thought I wasn’t going to be able to continue because we didn’t have a lot of people coming for the parties, but then more and more people started coming and this wonderful community of music lovers was built up around a common theme of sharing live music.”
As luck would have it, one of those attendees was Holton, who had incidentally had a similar realization to King about playing a supporting role when it comes to music.
“It used to frustrate me that I can’t sing or play an instrument, but then I learned a word: aesthete,” he states. “An aesthete is an expert appreciator. That’s me; I can do that!”
And so, although neither King nor Holton sang or played an instrument on that fateful day in December 2009, music—in its limitless capacity for facilitating connection—brought them together.
Holton built King a gardening shed (which was actually more suited to serve as a stage), and in 2013, the pair began hosting annual outdoor “SHED Song” concerts in addition to several indoor concerts per year. The two wed in their backyard in Palmyra in 2015 between the second and third bands of that year’s outdoor concert.
In 2018, the couple decided to move to Lynchburg. After looking into hosting concerts through various commercial venues, they ultimately decided to host concerts at their home on Harrison Street in 2020. After hosting one concert in January and one in March, however, the COVID-19 pandemic shut everything down. In late 2021, they moved to their current home and started presenting again.
Location changes aside, the Village Concerts Series has retained certain qualities from the start: it features a mix of Sunday matinee shows (seven to nine per year) and an annual “SHED Song” show the weekend before Father’s Day, attendees are invited through a mailing list and pay strictly on a voluntary basis, the shows are deemed “listening shows,” and the caliber of music presented is always topnotch.
Because attendance is limited to a mailing list—a longstanding but also ever-growing list—of Holton and King’s friends and friends of friends, Village Concerts are able to operate in a non-capital driven and organic capacity. The couple asks attendees for voluntary contributions and then makes up the difference from their own pockets.
“The folks who attend the concerts are not patrons—they’re friends,” notes Holton. “It’s not about commercialization. We don’t make or keep a dime. We love to introduce our friends to our other friends who just happen to be musicians!”
According to King, “guests can come up and talk to the musicians in the potluck line and have one-on-one conversations that they would never have elsewhere.” That intimate feel also extends to the concerts themselves in that they are considered “listening shows.”
“People come here and learn that musicians want to be listened to,” King says. “It’s rare to be at a show where people actually listen. We’ve had people cry in the audiences of the concerts we host because they’re so moved—the beauty of the music and the experience moves them to tears. People stop talking and truly listen, and the musicians really appreciate that.”
Village Concerts Series concerts are not limited to specific genres of music, but they all feature first-rate talent.
“When people ask what kind of music gets played at the concerts, I always say that it’s good music,” says Holton.
“It could be jazz, folk, bluegrass, rock and roll—it could be just about any genre. It’s professional, high-shelf music. These are artists who live to play music. I personally admire strong stage presence, beautiful timing, and a good backstory. I love to see what music does to a room.”
Past featured artists include Wayne Henderson, Mike Seeger, The Honey Dewdrops, The Steel Wheels, Will Kimbrough, Mary Gauthier, Ana Egge, Morgan Wade, David Olney, Love Canon, David Wax Museum, Arkansauce, Palmyra, Abe Partridge, The Matt Flinner Trio, Tony Furtado, Maeve Gilchrist, Danny Schmidt and Carrie Elkin, Eric Taylor, James and Vivian Leva, Danny Knicely, Tony Trishka, Robin and Linda Williams, Michelle Malone, Seth Walker, and more.
Additionally, at the time of publication of this issue, the Blue Newt Band—a popular and award-winning Lynchburg-based band from the 1990s through the 2000s—will have reunited for their first performance in almost 20 years for a special Village Concert on August 31. The show will have been open to the public and all voluntary donations will have gone to the Lynchburg Daily Bread.
An upcoming collaboration with the Academy Center of the Arts (ACOA) will also increase access to the Village Concerts Series’ unique charms. The Academy will host shows coordinated by Village Concerts in their new Music Hall or in the Warehouse Theater, with the first show slated for September 20.
“Polly and Van are bringing acts to the Academy that they could not bring to their own venue, whether because of audience size, cost of artist, etc.,” remarks Tabitha Abbott, Chief Operating Officer of ACOA. “These acts will be reviewed by an internal committee and presented through the Village Concerts brand. I love how Van and Polly have created a niche audience, and our hope is that we can bring their influence to downtown Lynchburg to continue to diversify the music scene in the arts and culture district. They have a reputation and a following and we are honored to combine our resources to benefit the community.”
As more and more voices add their harmonies to the beautiful melody that King and Holton have composed with the Village Concerts Series, Lynchburg stands to become an even more sought-after musical destination—a fact that is music to King’s ears.
“I find the sense of community especially rewarding,” she notes. “Even though I called the concerts ‘Village Concerts’ because I lived in the village of Palmyra, what has actually grown up around it is a village of people.”
