As co-Editor-in-Chief of Relix, Mike Greenhaus has become the preeminent chronicler of live and improvisational music culture. With a career spanning two decades at America’s second-longest running music publication, he bridges grassroots jam scenes and mainstream entertainment through:
Greenhaus prioritizes stories that reveal:
His work consistently avoids mainstream celebrity coverage, focusing instead on artistic process and community-building within music subcultures. Recent features highlight bands navigating post-pandemic touring economies while maintaining creative integrity.
Greenhaus’ journey began with a deep-rooted passion for live music, particularly the Grateful Dead’s improvisational ethos. He joined Relix during a transformative period in 2009, when the magazine transitioned to Relix Media Group under publisher Peter Shapiro. Over 16 years, he evolved from staff writer to co-Editor-in-Chief, steering the publication through the digital age while maintaining its print legacy.
This 2025 profile of Portland-based quintet Fruition exemplifies Greenhaus’ ability to capture artistic evolution. The piece dissects the band’s dual-album strategy, contrasting the live-recorded How to Make Mistakes with their upcoming studio project. Greenhaus employs a narrative framework that mirrors the group’s creative process:
“We realized that we actually had enough stuff for two records when we started working... How to Make Mistakes came first because we wanted to get into the studio and just bang things out.” - Mimi Naja
The analysis reveals Greenhaus’ trademark focus on collaboration dynamics, particularly how three primary songwriters (Jay Cobb Anderson, Kellen Asebroek, Mimi Naja) balance individual voices within a collective sound. His inclusion of studio anecdotes and tour preparations provides rare insight into the economic realities facing mid-career bands in the streaming era.
In this 2025 feature, Greenhaus traces Jack Antonoff’s journey from Steel Train’s jam-adjacent beginnings to Bleachers’ mainstream success. The piece functions as both artist profile and cultural critique, examining how arena-scale shows retain intimacy:
“The Garden is something your grandmother would understand, but I was always looking at venues like Bowery Ballroom as the grand goal... Being a touring artist is filled with achievements that 99% of people don’t understand.” - Jack Antonoff
Greenhaus contextualizes Antonoff’s Broadway scoring work and production credits within the larger framework of artistic credibility, challenging genre boundaries between pop and improvisational music. The article’s structure mirrors a concert setlist, building momentum through historical references to Deadhead tape-trading culture and modern streaming-era fan engagement.
Greenhaus prioritizes stories exploring how music gets made rather than finished albums. His Fruition piece dedicates 40% of word count to studio dynamics and collaborative tension. Successful pitches should highlight:
Articles like the Bleachers profile demonstrate Greenhaus’ interest in artists connecting jam traditions with modern audiences. Effective angles include:
Greenhaus frequently examines how local scenes nurture talent. The Fruition piece roots the band in Portland’s indie-bluegrass community. Compelling pitches might explore:
Greenhaus curated Relix’s 190-issue archive for permanent preservation in 2007, recognizing the magazine’s role in documenting American music counterculture. This collection serves as primary source material for researchers studying jam band evolution from 1974 onward.
Under Greenhaus’ leadership, Relix’s 2013 anniversary project cataloged definitive live albums, guitar solos, and jams. The list became a benchmark for artists seeking credibility within improvisational music circles, cited in over 50 artist bios and festival programs.
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