Hartford-based Funnybone Records, founded by Dylan Healy, is building a thriving indie music community, supporting diverse artists from Connecticut and worldwide, emphasizing quality and connection.
In an era where the music industry often prioritizes large-scale commercial success, a Hartford-based independent label, Funnybone Records, is charting a different course, focusing on community, artist support, and a deeply local yet globally resonant ethos. Founded by West Hartford native Dylan Healy, Funnybone Records has rapidly become a vibrant hub for musicians, fostering talent from its Connecticut roots while also embracing artists from across the globe. This approach not only provides a crucial platform for emerging and established artists but also enriches the regional music scene, proving that independent labels can thrive by prioritizing artistic integrity and genuine connection over pure profit margins.
The genesis of Funnybone Records can be traced back to 2016, a vision brought to life by Dylan Healy during his undergraduate years at the University of Hartford. Healy, a musician, composer, and concert promoter himself, identified a significant void in the local music landscape. As he explained to the Hartford Courant, "I didn’t see a lot of platforms dedicated to local artists." This observation, coupled with a formative internship experience at the established Ba Da Bing label, which boasts artists like Sharon Van Etten, solidified his resolve to create such a platform. The label’s inaugural release, "View from Inside" by Ashly LaRosa, who performs as Figurine, marked the official launch of Funnybone Records. Healy's dual life as a full-time educator with West Hartford Public Schools and the driving force behind Funnybone underscores his profound dedication to both his community and the arts. His personal connection to Hartford, described as "an amazing place" with a "generous, noncompetitive spirit," forms the bedrock of Funnybone's identity, allowing it to cultivate a supportive ecosystem for artists.
Funnybone Records, under Healy's meticulous guidance, has evolved into a dynamic entity with a diverse roster of 25 artists from around the world, yet by conscious design, over half maintain strong ties to the Hartford area. This balance exemplifies the label's commitment to nurturing local talent while also expanding its creative horizons. Healy's involvement with his artists is comprehensive, often extending to hands-on production in his own studio for several releases. Beyond digital distribution, Funnybone takes pride in its physical presence, with products available at local independent record stores and small businesses like Story & Soil Coffee in Hartford, Redscroll Records in Wallingford, and Turn It Up Records in Northampton, Massachusetts. This strategic placement further solidifies the label's connection to the community and supports the broader independent retail ecosystem.
The label's latest release, "Melt in Your Hands" by experimental/ambient pop artist Ayla Loon, is a testament to Funnybone's eclectic taste and commitment to profound artistry. Ayla Loon, who hails from Virginia and is now based in Oregon, has a fluid, intimate body of work that spans genres from Baroque pop to soulful grooves, with song titles such as "Taste of Ice" and "Can of Worms." This marks their third collaboration with Funnybone, following "Cross Current" (2022) and "Under Ice" (2024). Healy praises Ayla Loon as "so incredible, an amazing bedroom pop/jazz artist" capable of "watery pop piano, airy vocals," highlighting the multi-instrumentalist's self-sufficiency as both a musician and producer. This synergistic relationship with artists who are often capable of managing production and distribution independently illustrates Healy's belief in "artist-forward progressive independent labels" as a vital counterpoint to the traditional industry model, where artists often face apprehension regarding labels. The label's dedication to creating an "inclusive queer environment" is also a critical component of its mission, reflecting Healy's broader artistic and social aspirations, stemming in part from his past involvement with the multidisciplinary Hartford arts venue The Wherehouse before its closure during the COVID-19 pandemic, as detailed in the Hartford Courant. He aims for Funnybone to be a similar "supportive environment and gathering place," enhancing the network for musicians and visual artists alike.
Funnybone Records’ model, championed by Dylan Healy, offers a fascinating contrast to historical music industry norms and even contemporary DIY approaches. While artists like Tom Scholz of Boston famously spent years in his basement engineering a groundbreaking sound, meticulously crafting an entire genre almost single-handedly, as detailed by Louder, Funnybone focuses on collective empowerment. Scholz’s legendary perfectionism defined Boston’s sound, leading to a "blueprint for AOR" and a "landmark case for the music industry" in his battles with Epic Records. His story highlights a solitary pursuit of artistic vision. Conversely, Funnybone thrives on collaboration and community building. Healy doesn't position himself as a solitary "mad scientist" but rather as a "connector of creative aspirations" and a facilitator for a diverse group of artists. In today's landscape, where artists often act as their own producers, publicists, and distributors, Funnybone recognizes that its value proposition lies not just in technical support but in curating a network, providing resources, and amplifying voices that might otherwise struggle for visibility. This approach sidesteps the pitfalls highlighted by historical issues like unpaid royalties, such as the 2008 lawsuit against Universal Music Group by artists including Patti Page, reported by Backstage Country, by fostering transparency and artist-centric practices. Funnybone's commitment to quality over quantity, and its ambition to "elevate their creative practice" and connect them with "more and better resources," positions it as a vital, progressive force in the independent music scene, offering a compelling alternative to the often-impersonal machinations of major labels.
The label's roster is a vibrant testament to its diverse artistic vision. Besides Ayla Loon, Funnybone features a rich tapestry of talent, both local and international. Hartford is well-represented by the lyrical pop band Carey and Greetings, while New Haven contributes indie rock act The Tines, led by producer S.G. Carlson, and djqt. Connecticut-based singer/songwriter Darling (formerly Niamh) and Meriden native Human Yo Yo further ground the label in the state's talent pool. The reach extends beyond New England with artists like Maine-based West Hartford native takeout, New York's Mx Autumn, Rhode Island's Never Kevin, and Brooklyn-based Hartford native John Airfi. The inclusion of multi-disciplinary artist neon amor and the duo Joann Fabrix underscores Funnybone's embrace of varied artistic expressions and formats. Even for artists like Ayla Loon, who has only toured Hartford once, the label provides a meaningful connection to a supportive community they might not otherwise experience. This broad representation, encompassing various genres and geographic locations, allows Funnybone to create a truly eclectic catalog while still maintaining a strong, palpable sense of identity rooted in Healy's vision for a connected artistic ecosystem. The label's emphasis on live performances for these artists is also crucial, aiming for "memorably immersive" experiences that connect musicians directly with their audience, further solidifying the community dynamic.
As Funnybone Records continues to grow, its trajectory suggests a promising future for artist-centric indie labels. Healy’s vision extends beyond simply releasing records; he aims to foster an environment where artists can truly "elevate their creative practice" and participate in "the model of how the music is consumed." This proactive approach to the evolving music landscape, which continually sees new challenges and opportunities for artists, positions Funnybone as more than just a label—it's an incubator for creative growth and a model for sustainable artistic livelihood. The continued focus on both local talent and a diverse global roster will likely strengthen its unique identity, offering a refreshing alternative in an industry often criticized for its commercialism. What remains to be seen is how Funnybone will navigate potential expansions while maintaining its core ethos of quality, community, and artist support, ensuring that it remains a "special place to be an artist," as Healy describes Hartford. The success of Funnybone Records could serve as a blueprint for other emerging labels looking to build authentic connections and create a lasting impact in their respective music scenes.
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