If Passim is a checkpoint for rising folk artists, then Barry Schneier’s new project is practically the Cambridge venue’s visual guest book. After years of snapping Rock and Roll Hall of Fame-worthy images of icons like Bruce Springsteen, the Greater Boston photographer turns his lens toward Passim and the area folk scene in his new book, “The Song Is Still Being Written: The Folk Music Portrait Project.”
The generation-spanning collection of artist portraits includes faces who have passed through the local folk community, from Livingston Taylor and 1960s Jug Band legend Jim Kweskin to Vermont singer-songwriter and playwright Anaïs Mitchell to members of the Folk Collective, a creative cohort launched in 2023 to broaden Passim’s programming.
The venue’s stage is the common ground that links Schneier’s diverse subjects, who’ve all previously performed at the historic folk club. Every portrait is coupled with the featured artist’s reflections on the genre and Passim, culled from interviews with journalist (and frequent Globe contributor) James Sullivan.
Schneier will discuss the book at a free release celebration Saturday at Passim, and the Boch Center’s Folk Americana Roots Hall of Fame will debut an accompanying exhibition on Sept. 12.
In a recent interview, Schneier reflected on his years-long process of capturing the foundation — and future — of local folk.
Q. What is your first memory of going to Passim, then called Club 47?
A. I was in high school, about 1967. I remember going there and seeing The Chambers Brothers. When I think about my memory of it, it pretty much looks the same today. I remember knowing it was a very special place because of the history. Club 47 was kind of the anchor for the folk scene. One of the things that was fascinating about working on this project is [that] you’re talking with some folks that are very well-established today — people like Lori McKenna and Josh Ritter — and they all go back to talking about starting there with open mic night.
Q. How did you parse through Passim’s history to decide who to include?
A. We knew that we wanted to definitely pay homage to the artists who came through there over the years — the artists that I was familiar with, that I grew up with. People like Jim Kweskin, Tom Rush, Chris Smither. And I was aware of some of the artists that were contemporary.
As we were shaping the story and it was really starting to blossom, I brought up that we really need to expand who we’re covering — to dispel the myth that [folk] is this old-timey kind of a genre. [Passim executive director] Jim Wooster had told me about the Folk Collective initiative. I said, “We have to include these artists in the book. This is the story arc, this is where the story goes.” Here we have this whole new generation that was using the genre to speak to issues of climate change, gender identity, racial issues. This is what folk music is — it’s music of the people, by the people.
Q. How long did it take to document all of these people in their homes and workspaces? What was that process like?
A. We started photographing in 2022, and we were photographing up until just a couple months ago. When I reached out to everybody, I said, “We’re not doing performance shots here. We want to do photos of you in the place that you feel creative in.” Sometimes it would be in their home, sometimes a park they like to go to. In the case of Alastair Moock, who likes to spend time over at The Cabot theater in Beverly, we went over there. Kim Moberg lives near Hyannis in Centerville. I said to her, “Do you mind going to the ocean? And do you mind walking in the water with the guitar?” She says no — so let’s go!
It was fun. What I wanted to do — and hopefully this was accomplished — is take photos that people could also enjoy as a photograph even though they may not know the artist.
Q. What do you think the book adds to folk history that’s been missing?
A. Hopefully two things. One, that the folk music genre is incredibly diversified and speaks to a lot of different issues, a lot of different ideas, and also is spoken by a variety of individuals. And two, that folk music is not dead by any means. It’s very much alive.
Q. Was there one particular story or subject in the book that really struck you?
A. Probably [Club 47 founding member and Folk New England founder] Betsy Siggins, because she’s at the root of this whole genre in the area. To basically hear her say, “When I was in college, I would be hanging out with Joan Baez and Jim Kweskin, we were all friends, and we’d go to Newport together…” I’m listening going, “You lived the history that I grew up being in awe of.”
Q. How will the viewing experience differ in a museum setting?
A. There’ll be text panels about the history of Passim, the history of folk in the area. There’ll be an area where they’re actually re-creating the Passim stage, where they’re going to have performances. Some musicians have donated some original lyrics to songs, some awards they’ve gotten, guitars that they’ve worn onstage. I think even my original Club 47 membership card is going to be in the exhibit.
Q. What does this book and exhibit say about where you are in your career and your life right now?
A. I’m very comfortable with what I do. I’m very comfortable with approaching someone and saying, “Oh, I really like your music. Can I photograph you?” I’m a great believer in the worst that can happen is they’ll say no.
BARRY SCHNEIER BOOK RELEASE
At Passim, with a book discussion and performances from Melissa Ferrick, Kemp Harris, and Almira Ara
Saturday at 1 p.m., free. Learn more at www.passim.org/live-music/events/barry-schneier-book-release.
Interview was edited and condensed for clarity. Victoria Wasylak can be reached at vmwasylak@gmail.com. Follow her on X @VickiWasylak.