On a chilly night in May, several local artists played in a backyard in Minneapolis’s Phillips neighborhood. On the homemade stage, Haroon Rasheed finished a rap-rock song in front of a rowdy crowd, and then said, “Make some noise for Megan—they’re the best bassist in Minneapolis.”

Just a few days before, Megan Mahoney played with Early Eyes at Pryes Brewery. Prior to that, Mahoney performed on the Fillmore stage alongside Boyish, and before that, played with Miloe at the Cedar Cultural Center. But those are just a few bands Mahoney collaborates with. (I witnessed all of these performances, and regular Twin Cities show-goers are bound to see Mahoney soon — if they haven’t already.)

As a full-time musician for the last five years, Mahoney (they/them) has navigated the Twin Cities music landscape to find spaces that resonate with their ever-changing career trajectory. As of June of 2022, they play with 13 bands: Boyish, Early Eyes, Huhroon, Honeybutter, Yellow Ostrich, Lissie, FruitPunchLoverBoy, Brunette, Arlo, Trash Date, Radiochurch, minigolf, and Miloe (subbing for Conrad Oddoye until August).

Initially self-taught, Mahoney first got a bass at age 10. In middle and high school, they learned to read music when playing the upright double bass in orchestra. They began playing electric bass in high school bands that played covers and wrote what Mahoney labels “awful songs.” At 18, they took their first bass lesson, and then enrolled at McNally Smith College of Music, an experience that played a significant role in their career today.

“I was a horrible bassist when I started at McNally. The hours that I put in were totally worth it. I wouldn't trade it for anything. I don't think I'd be where I am without them,” they say.

Now, artists in the Twin Cities and beyond pursue Mahoney. They often turn down offers, mostly due to a tight schedule, but also because they don’t want to leave behind the people they currently play with. The only time they tend to approach other creators is when they see someone curating a show and they think one of their bands would fit well on the bill. Other than advocating for their current bands, the majority of Mahoney’s experience comes from outside requests.

One of their favorite invitations was a call they never expected to get. In October of 2021, the New York City-based band Boyish reached out in need of a bassist for a live show. Guitarist Claire Altendahl (they/them) had heard Mahoney’s name in many contexts, so they recommended them to vocalist India Shore (she/they). Since then, the three members have fostered a relationship with mutual respect and appreciation for each others’ talents. “Bass is an instrument you don't pay a ton of attention to unless it's amazing,” Shore says. Now, she and Altendahl pay a lot of attention to bass. Altendahl refers to Mahoney as their “dream bassist.”

Coincidentally, Mahoney says, “Playing with them ever since [that first rehearsal], it’s been a dream come true.” Playing with a band that was once Mahoney’s most listened to artist on Spotify is beyond their belief.

Boyish performed at SXSW in March. When sharing a green room with indie-pop band MUNA and Japanese Breakfast vocalist Michelle Zauner, Mahoney introduced themself to MUNA in a calm and collected way. Their soothing presence is important even when not performing. “[At SXSW], there's so much time where you're just waiting to go on. You soundcheck and then you wait two hours. And in those moments, it's so important to have people that you just love to be around,” Altendahl says.

Mahoney cites Altendahl and Shore’s professionalism as a reason that collaboration flows smoothly. “Since we usually are only in town for like a couple of days and the show is usually right around the corner, we're definitely grinding. Everyone just shows up so prepared,” Mahoney says. At their first group rehearsal, Mahoney showed up already knowing how to play every song.

When playing with bands in the past, the guitarist felt the responsibility to guide band members — making sure everyone knew what’s going on. “When I'm playing with Megan, I don't have to do that. I get to have fun playing guitar. I get to explore a little bit, [and] it creates the space for me to move around more musically,” they say.

Around the same time Boyish connected with Mahoney, mutual musician friends introduced them to the singer/rapper Rasheed. Since Mahoney began performing live in his band, Huhroon, Rasheed has had expanded confidence to execute a powerful and, at times, mosh-worthy set. He credits their constant smile as reassurance, and their “infectious energy” as a reminder for him to lose his timidity on stage.

Rasheed says Mahoney has taught him the value of only working with people he wants to work with and not accepting every show offer. “After we play a show together, it feels amazing. For the rest of the week, I'm on an emotional high,” he says. In turn, Huhroon gives Mahoney a space to operate in a hardcore style. “I love showing up to a Huhroon gig dressed punk as f**k, getting ready to thrash and head bang and be like, ‘Yeah, I'm going to be sore tomorrow, but it's going to be so worth it,’” they say.

For Mahoney, it’s rewarding to play alongside friends and other people they relate to — not just cisgender heterosexual white men. Boyish is an openly queer band and the bassist appreciates that they can show up to a Boyish gig dressed “super gay.” “A lot of our audience are young queer people, so to have representation on stage is so important to us,” Shore says.

Early Eyes is another group that makes Mahoney feel like they can be their authentic self and experiment musically. “We spend a lot of time making each other laugh and making sure we're all in a good headspace to make music. They really prioritize this group feel. They make me feel very brave,” Mahoney says.

The personal relationships intertwined with the music are an important part of Mahoney’s work, but they still present challenges at times. “I definitely learned through 2020 that it's important to not have my identity so wrapped up in music. My bands are like my family. But since I'm playing so many shows, and I have so many rehearsals, it's hard to hang out with them outside of a music context.” They ask, “Who am I outside of a music context?” and “Does anyone even know me when I’m not at a gig?”

But they don't project the challenges of being a full-time musician outward. Shore says that she and Altendahl bring their “A-game” to rehearsals in an effort to not waste Mahoney’s time. She’s never heard Mahoney speak of stress or busyness in a negative way, but logically, she knows there’s a lot on their plate. “I see Megan playing every single day. I'm sure they don't have a ton of time, so I just want to make this the most fun, easy experience for them so they can keep playing with us.”

Self preservation comes in the form of knowing when to stop working and put intention into periods of rest. Over the years, but especially during the lockdown period of the pandemic, Mahoney has learned to tune into other creative outlets like drawing, reading and writing. For the last two and a half years, they’ve written a poem every day—a routine that Rasheed finds inspiring and has driven him to continue producing poetry himself. Mahoney also feeds the part of themself that enjoys leaving venues and stepping outside to camp and hike instead.

Currently, Mahoney is gearing up for a few busy months, which will feature a potential tour with Boyish in the fall. Before that, they’re touring with Yellow Ostrich in August and will hit the road with Lissie in late fall.

Looking further ahead, they aim to jumpstart a solo career. “I’d like to see myself in the future prioritize my own creativity and have space to perform my own songs more regularly and make that a big part of my career in addition to playing in bands,” they say. The bassist is beginning that endeavor by digging into their solo project called Joan. After writing for about two years, their EP is tentatively set to release in the summer of 2022.

They’d like their musical career trajectory to progress without leaving behind their commitment to other bands though. Even when playing songs that others have written about their own personal experiences, Mahoney loves directly supporting people; they feel as though they’re an essential part in sharing those stories with listeners. “I take on the voice of the songwriter and support that story and reach people through this collective and through my bass playing to help them say what they need to say.”