JAM ROOM MUSIC FESTIVAL ANNOUNCES LINEUP FOR OCTOBER 1ST

Jam Room Music Festival returns to Main Street to bring free live music to the streets of Columbia

——— OCTOBER 1 ———

The Jam Room Music Festival returns to Columbia, SC’s Main Street for the first time since 2019. This year’s festival is headlined by Clap Your Hands Say Yeah and Titus Andronicus, both of whom are celebrating new music releases. The festival will take place on October 1 and feature two stages, one on Main Street and one on Hampton Street in front of the Columbia Museum of Art. 

“It’s great to have the Jam Room Fest back and bringing live indie music to the heart of South Carolina,” says festival Executive Director and owner of the Jam Room Recording Studio Jay Matheson. “After two years off due to the pandemic, we’ve been looking forward to bringing the festival back, and we couldn’t be more excited about this year’s lineup. It’s hard to believe we’ve been doing the festival for nearly a decade, and we’re still looking forward to growing it for years to come.” 

Jay Matheson photo credit Ken Lucas

Now in its 9th year, the Jam Room Music Festival has brought acts such as Superchunk, Blonde Redhead, Justin Townes Earle, Son Volt, Waxahatchee, and Guided by Voices to its stages. 

In addition to venerable headliners CYHSY and Titus Andronicus, the festival will also host Titan to Tachyons, Shiner, Mourning [A] BLKstar, Bailey Road Band, The Explorer’s Club, and Columbia’s own local music champions Dear Blanca. In all, the festival will book up to 12 acts, with several more to be announced. 

THE BEAT: Sam and Illia The Duo of All Trades

By Emily Moffitt

Sam & Illia are not your average cover duo. Based out of Columbia, the two talented musicians met up through a mutual association with the local music instruction school Freeway Music and decided to form a performing duo with Sam playing bass or guitar and Illia on vocals. Both of them have been around music for most of their lives, with Sam picking up the guitar in college after playing piano as a child, and Illia participating in theater groups while taking voice lessons since the age of 4. Falling in love with the idea of musical performance was what set them on the track to pursue music as a career.            

There is no preferred genre of the duo; rather, they perform everything they love to hear from soul and jazz to punk rock. Both musicians developed their craft on their own at first; Sam learned to utilize one of the most powerful tools a musician can use: his own ears. “I love bands like Pink Floyd, and drew a lot of bass specific influence from Flea,” he says. “What was big for me in learning to play would be putting on some recordings of my favorite songs and just listening to the bass lines by ear, or I would just have to learn the song by ear entirely.”  

Illia herself grew up through an emo phase with the music she listened to, finding Paramore to be heavily influential. She eventually got into the R&B scene, citing Bruno Mars and Kehlani as two beacons of inspiration for forming her own lyrical style. Her secret weapon to developing her voice and deciding what style works for what song is repetition. “I try to get creative with runs when I’m singing, and repetition helps a lot with that. I try to do something different every time I record, so I can go back and pick out something I like, then try to repeat what I did that sounded the best.”  

Sam and Illia each have their own creative techniques when it comes to creating the duo's distinct sound. Sam’s own guitar playing is heavily influenced by guitarists like John Mayer, and the desire for the cleanest sound. Illia’s solo sound is rooted in a balance between punk or soul. For Illia, her goal is to be a true individual; “I don’t want to sound like anyone else,” she states. “I really want my voice to be my own.” Put them together, and the duo accomplishes beautiful covers of everything they touch, from jazz pieces to pop music.

 The duo appreciates how great the music scene of Columbia is for anyone wanting to kick off their career; “The scene in Greenville was extremely competitive, and in Columbia I’ve never had an easier time getting gigs for us than now,” Sam states. The two value the business side of the music scene highly, something that both musicians believe other musicians should take into consideration when they’re starting their own careers. “It matters a lot more than some realize,” Sam and Illia say. “Learning marketing and how to make the money work for your gigs is super important.”  

Illia’s biggest piece of advice for other musicians emphasizes both talent and persistence; “It really matters how much you pursue it. You could be the best musician ever but if you don’t put yourself forward, you’re not going to get to the place you want to get, which I’ve learned even more since we started working together.” 

Sam & Illia can be found on Instagram (@samandillia), Facebook (@samandillia), and their personal website (https://www.samandillia.com/). Upcoming performances include a show at Gardeners’ Outpost on Franklin Street on June 24, Lexington Farmer’s Market on June 25, Steel Hands Brewing on July 17, and more! 

ELVIS TRIBUTE by BERNIE LOVE & THE MEMPHIS THREE (aka Columbia's Favorite Playboys & Friend) - July 2nd at the Art Bar

JULY 2ND, 2022!!!!!!!!!!!!!

A few words from Marty Fort, founder and director of the Columbia Arts Academy and longtime member of the Capital City Playboys, who encourages music lovers to mark their calendars for July 2nd.

“So everyone's excited for the new [Warner Brothers} ELVIS movie coming, out...But I want to HIGHLY encourage you to come to Art Bar on July 2nd to see Columbia's full blown and brand NEW Elvis Tribute set Bernie Love featuring the Capital City Playboys with Patrick Baxley bringing the heat as Elvis.” 

“[We’re] so excited to rock this set of Elvis tunes, many of which we performed at the Guest House at Graceland in April. So come out for this EARLY show 8:30 p.m. Who knows if we'll ever do it again?” 

Bernie Love will be followed by a rocking set by the Capital City Playboys as well as Jared Petteys and the Headliners. There may even be more surprises in store.

The Art Bar is located at 1211 Park Street in Columbia’s historic Congaree Vista.

THE BEAT: Both Sides Now Lang Owen explores stories and sounds on his new album "She’s My Memory"

By Kevin Oliver

Columbia singer-songwriter Lang Owen’s new album She’s My Memory is a relationships album, but not in the classic boy-meets-girl pop music mold. Rather, the sixty-something Owen has collected what amounts to a lifetime of thoughts here on friendships of all kinds, from romantic partners new and old to co-workers and the people we see on TV screens and newspaper bylines. In putting the album together, he also relied on musical relationships built over the past five years since he emerged onto the local scene. 

 

Owen enlisted fellow songwriter and guitarist Todd Mathis as his producer, with a diverse cast of additional players on board and additional recording and mastering from Carl Burnitz. The result is a shimmering statement of purpose, a beautifully rendered collection of songs that tell stories in a way that captures the heart and the imagination. Musical touchstones from James Taylor to Joni Mitchell, Emmylou Harris, Todd Rundgren, and more reveal themselves upon repeated listens, but Owen has firmly established his own sound and style with this new album.

 

There are stories both told and implied here, from the simple work ethic of “Man With A Broom,” to the internal evaluation of “Where Does The River Start?” Of the latter, Owen says, “On the surface the narrator is dealing with a breakup, but in my mind, he’s questioning himself–how did I get to this point, where am I going from here, and especially, how have I made some of the choices I did along the way?” 

 

Some of the choices Owen made in recording these songs included expanding his musical palette well beyond just himself, with the assistance of producer Todd Mathis. It was all in the preparation, Owen says.

“We sat down with scratch tracks of the songs I recorded on my own and brainstormed what kind of instrumentation would work with each,” He recalls. Guest musicians who ended up participating include drummer Mike Scarboro (The Runout), guitarist Zach Bingham, and backing vocals from Becca Smith of Admiral Radio. Bass duties were split between Chris Paget, Jeff Gregory (The Runout), Mathis’ former bandmate Kevin Kimbrell, and Mathis himself, who also filled multiple other instrumental roles. 

 

Being in a “band” situation isn’t exactly a new thing for Owen, though it had been a while, he admits.

 

“I played in bands in the 1980s, and I enjoyed playing with other people,” He says. “When I picked music back up in 2017(after decades as a teacher, visual artist, and social worker), I played by myself mostly because I just didn’t know any other musicians.” 

 

There are story songs here that those who have followed Owen’s solo acoustic shows the past few years will recognize as falling directly in his usual style, such as the topical “Last Gasp Of The News.” This time around there are also songs where the sound falls more toward the “band” side of things, with a particular vibe that a simple acoustic guitar arrangement wouldn’t be able to achieve as vividly.

 

“Collection Day” is one such tune, with an unhurried, yet rhythmic indie rock feel not too far from bands such as Yo La Tengo. “Smile From You” leans on Owen’s strummed guitar, but the other elements contribute to the song’s unsettled, foreboding atmosphere of an uncomfortable snapshot in time.

“We spent a lot of time on working out that one,” Owen says. “It went through a lot of different variations to get where it did–any time you work with great musicians, they’ll come up with great ideas.” 

 

Even with the expanded arrangements and feel of the recording sessions, Owen’s flair for narrative shines through. The title track “She’s My Memory” is a story song about telling stories, where a comment from a co-worker about remembering his life better than he does prompted a story of a person losing their memory who is still able to remember it through his wife’s anecdotes.


“I think that song sets the tone for the album,” Owen concludes, “which in part is about the importance of relationships to our well-being.” 

 

In “Everybody Here” the opening lines, in their own way, reach that same conclusion–we all help each other, whether we realize it or not: 

 

“Everybody here’s my therapist

I need all the help I can get

I look around, I’m losing my ground

I don’t like what I see one bit

I float by like a whisper, you hand me a megaphone

In our own little worlds somehow, we’re not alone

We’re not alone”

 

Lang Owen releases “She’s My Memory” officially on all platforms June 17th. The release show, featuring a full backing band of many of the players on the album, happens at Curiosity Coffee on Saturday, June 18th, from 5-8 p.m. $10 

 

Facebook Event with ticket link

THE BEAT: Former Voice contestant CammWess debuts new single, video for “Tired”

By Kyle Petersen

It’s been a few years since Columbia area native CammWess made somewhat of a splash on season 18 of NBC’s The Voice. The young, fresh-faced R&B singer got to work with one of his biggest inspirations and influences in John Legend at just 21 years old, and ultimately finished 4th on the show, just shy of the finals.

The reason he was on The Voice at all, of course, is his tremendous talent. Blessed with a deep, sultry voice capable of rattling the rafters as well as a crooning falsetto, CammWess also demonstrated some budding songwriting chops on the show and was allowed to premiere an original, “Save it for Tomorrow,” in addition to his covers of tunes The Weeknd’s “Earned It,” Prince’s “Purple Rain,” and “Say Something (I’m Giving Up On You),” A Great Big World song famously performed with Christina Aguilera.


While the peak of his fame on the show was unfortunately timed with the beginning of the COVID-19 pandemic, CammWess has doubled down on his original material in recent years, including his most recent single “Tired.”

In addition to showcasing his consummate vocal talent and increasingly polished songcraft, the tune features fluttery background vocal processing that lends a contemporary edge and hints at a more adventurous production style in the artist’s future. But most compelling is the video from HoneyButter productions, a fully formed production that brings the song’s romantic heartbreak to life. View it below. CammWess is set to play the SolFest RollFest in Earlewood Park July 2.

THE BEAT: 48 Fables - Here Ya' Go

This is the sound of a band so sure of themselves that they are comfortable trying on all kinds of different sounds and styles from country and blues to Celtic and rock ‘n’ roll.  

48 Fables

Here Ya Go

Self-released 

After a few years of trying out different configurations and lineups, Columbia’s 48 Fables have settled into a three-piece arrangement; ironically resulting in the fullest, most complete sound the band has produced to date. 

The biggest change in the transition was adding lead vocals to drummer Kevin Brewer’s responsibilities, and he’s a natural–his slightly weathered, lived-in voice on songs such as the cautionary tale “Drink It Away,” is a raspier counterpart to bassist Kevin Pettit’s rousing shout on other tracks, such as the Cowboy Mouth-esque “The Fine Details.”  

A trio can be a tough musical vehicle to create a diverse sound within (Think the singular, monolithic sound of ZZ Top), but with the variety of Chris Howard’s guitar tones and styles, there’s no danger of such sameness. There’s even an almost-Irish tune, sung by Kevin Pettit (whose tenure in the local Celtic rock act Loch Ness Johnny means he’s well suited for this assignment) and featuring some seriously frenetic drumming by Brewer. This is the sound of a band so sure of themselves that they are comfortable trying on all kinds of different sounds and styles from country and blues to Celtic and rock ‘n’ roll.  

The other improvement may be the songwriting; there are plenty of bands that can produce a twangy hook, but to hang a decent lyric on it that tells a story is another thing entirely. “Girls Like Her,” lopes along like a lost John Prine tune with lines such as, “He met her on a Friday after the ball game, smoking a Spirit and laughing at hope / Found her a lighter, and sat down beside her, said I got something stronger if you’re not opposed.” By the end of the song, the titular girl is 80 years old, and the lyric, like her life, circles back around to the beginning lines. 

If this had come out in 1997, 48 Fables would have been playing shows with Whiskeytown, The Bottle Rockets, and 6 String Drag. Rather than feeling dated or tied down to the late-90s “Great Alt-Country Scare” that made critical darlings out of those and myriad other twang-leaning acts of the day, the passage of 25 years means that the high-octane Americana of 48 Fables sounds fresh, fun, and meaningful again, and it stretches the definition of what’s possible within the genre.

by Kevin Oliver

THE BEAT: Kevin Oliver Reviews Sean Thomson's Self-Released Jank Volta

Columbia musician Sean Thomson first came to local music fans attention as half of the indie folk duo Post-Timey String Band, and he’s played in The Restoration, Marshall Brown, and the Rare Birds, and more including the upcoming “Zion” project from Saul Seibert. Then there’s the simultaneous stream of lo-fi mostly instrumental albums full of odd instrumentation and sounds, including several where he managed to acquit himself quite well on sitar, even. On this new collection of instrumental compositions, Thomson incorporates traces of all of those prior endeavors while crafting something meditative, intricate, and inventive. 

Even the song titles are creative and fun–with no lyrics, one can presumably name a tune anything, and Thomson manages to come up with delightfully playful names for all eight compositions here, some of which even have at least a tangential relationship to how they sound. “Large Indian Beer,” for example, incorporates some heavy sitar into its stomp-and-drone, while “Never Take a Sitar to Maxwell Street” answers the question of what Jimi Hendrix might have sounded like playing sitar.  

Occasionally Thomson gets serious, as on his version of Blind Blake’s “Sweet Papa Lowdown,” or on a nasty, fuzzed out guitar, or the sunny, island-vibe gone Ventures surf rock of the title track (featuring Jeff Gregory of The Runout on manic congas). More often, he’s enjoying creating brief musical worlds that manage to collide wholly different eras of music in under a couple of minutes. “Fungus,” for example, vacillates between Beatlesque chording and some unsettling electronica.  

The closing track has both the silliest title and the funkiest, slinky feel. “Yanni (heart) NASCAR” doesn’t seem to have anything to do with either cultural phenomenon, but the funk bassline and disco gone wrong atmosphere are undeniably catchy. As the tune slowly grinds to a stop like it just ran out of gas, all I want is to take it back out on the dance floor for another lap or two, along with the rest of this thoroughly entertaining album.

A Midlands Gives Message from Cindi & Wade -- The Jasper Project's State of the Heart

Thank you!

As we approach Midlands Gives next week and you make your decisions on where to invest your gifts, we’d like to report back to you on how the Jasper Project has used the tokens of your kindness since last year.

First and foremost, we have published two 64-page issues of Jasper Magazine and we have another issue in design now that will be in your hands in a matter of weeks.  These issues have reviewed, previewed, examined, explained, memorialized, and celebrated more than 100 of our Midlands-based artists. The issue coming your way will look at the art of Lindsay Radford, Quincy Pugh, Rebecca Horne, Lucy Bailey, Tyrone Geter, Diko Pekdemir-Lewis, Mike Miller, Jane Zenger, Josetra Baxter, Tamara Finkbeiner, Terri McCord, Juan Cruz, Saul Seibert, Rex Darling, Tam the Viibe, Desiree, Katera, Lang Owen, Hillmouse, Space Force, Candy Coffins, Admiral Radio, Carleen Maur, the mission of SCAC ED David Platts, and the international efforts of Columbian-founded dance organization, Artists for Africa.

We have published a dual volume of Fall Lines – a literary convergence, celebrating the prose and poetry of 60 SC writers, awarding the Broad River Prizes for Prose to Randy Spencer and Kasie Whitener and the Saluda River Prizes for Poetry to Angelo Geter and Lisa Hammond, while at the same time celebrating the photography of Crush Rush. And we have issued a call for Fall Lines 2022.

We have conceptualized and implemented a competition for the publication of a chapbook for a SC BIPOC writer in honor of Lizelia Augusta Jenkins Moorer and the winner is being announced and celebrated as we speak. Board member Len Lawson brought us this beautiful idea and will edit the book which will be published this fall. 

We have implemented another issue of the Play Right Series, with new board member Jon Tuttle issuing a call for an original, unpublished one-act script, overseeing the adjudication, and selecting young playwright Colby Quick as the winner. Nine community producers have joined director Chad Henderson and his cast to learn more about the page to stage process for theatre arts, and we will invite you to join us for a staged reading of Moon Swallower in August. 

We have featured one artist per month in our virtual Tiny Gallery under the direction of board member Christina Xan, including artists whose work you know very well and artists whose work we think you’ll be happy to learn about including Gina Langston Brewer, Adam Corbett, Bohumila Augustinova, and more.

Because of the dedication of our amazing web maven and board member Bekah Rice, we have a website that is comprehensive, up-to-date, easy to maneuver, and quite lovely, if we do say so ourselves. Since last spring we have brought the good news of Columbia arts to you via more than 160 Online Jasper (previously blog) posts. And counting.

We threw a fabulous party to celebrate the 10th birthday of Jasper Magazine, and, with board member Laura Garner Hine’s incredible work, we welcomed more than 30 artists to demonstrate and celebrate their talents.

We have shown art for Columbia artists at Jasper Galleries that include Harbison Theatre, Motor Supply, also under the management of Laura Garner Hine, and our sidewalk gallery at the Meridian building conceptualized and realized by board member Bert Easter.

We have included the work of 25 (and counting) brilliant SC writers under the auspices of the Jasper Writes project, implemented in conjunction with Jasper poetry editor, Ed Madden

We have helped a new non-profit spread its wings by serving as the fiscal agent to Columbia (Summer) Repertory Dance Company, which is now its own entity. Bye bye little birdie! 

We have launched several new projects including:

  • A new weekly music column by Kevin Oliver called THE BEAT;

  • First Thursday featured artist exhibitions at Sound Bites Eatery – with artists including Marius Valdes, Ginny Merritt, and Quincy Pugh lined up for the next few months, and Alex Ruskell showing his work in May;

  • The monthly Jasper Poetry Salon hosted by Al Black at the One Columbia Co-Op;

  • Another monthly singer/songwriter happening called Front Porch Swing, also by Al Black, also at the One Columbia Co-Op.

  • Last Thanksgiving, we launched a weekly newsletter called Sundays with Jasper that keeps the community up-to-date on Jasper news and arts happenings in general. You can sign up for Sundays with Jasper here.

Of course, none of this could have been done without the support of our community and your recognition of the vital role grassroots arts organizations play in the landscape of an arts community.

We continue to vow to you that every penny that comes the way of the Jasper Project will go directly back into the greater Midlands area arts community as we keep our overhead close to zero, save for insurance and rent (when we have a brick-and-mortar home.) None of your generous funding goes to payroll, taxes, or nice desks and chairs. We work from our homes and from our hearts.

It's worked this way for 10 ½ years. We’re keeping at it as long as you let us.

Thank you for your continued support.

Cindi Boiter, Wade Sellers, and the entire board of the Jasper Project and staff of Jasper Magazine

 

Jasper Welcomes the Multi-talented Alex Ruskell to First Thursdays (slightly) Off Main at Sound Bites Eatery

After a resounding success at Jasper’s first First Thursday featuring artist Michael Shepard in April, we are thrilled to be back at the new arts downtown dining den, Sound Bites Eatery, for First Thursday in May.

May brings us the bright and whimsical art of Alex Ruskell!

When Ruskell isn’t serving as the director of Academic Success at the UofSC Law School, he is a member of the equally bright and whimsical band, the Merry Chevaliers.

A champion of silliness and advocate of art in all its frivolity, Ruskell’s art offers a dose of something most of us have come to cherish of late — a reason to smile.

Joining Alex for this opening event will be Dick not Richard who will be laying down the groove and keeping our heads bopping and our hips swinging.

Come out for an evening of visual art, music, and fabulous food!

Free and open to the public — See You Thursday at First Thursday (slightly) off Main at Sound Bites Eatery - 1425 Sumter Street.

Columbia Baroque Presents “Catesby Comes to the Carolinas: A 300th Anniversary Celebration” May 10, 2022

Richard Stone

From our good friends at Columbia Baroque …

Columbia Baroque invites you to join us Tuesday, May 10 as we present ”Catesby Comes to the Carolinas: A 300th Anniversary Celebration” the final program of our concert series, “Around the Globe: Exploring Unfamiliar Territories.” Our concert is a collaboration with the Catesby 300 organization as they lead the celebration of the 300th anniversary of Mark Catesby in the Carolinas. We are delighted to welcome John Myers, historian, and guest artist Richard Stone, theorbo and lute, who joins our performers Brittnee Siemon, mezzo-soprano; Mary Hostetler Hoyt, baroque violin; Erika Cutler, baroque violin; Gail Ann Schroeder, viola da gamba; and William Douglas, harpsichord. 

The renowned English naturalist, Mark Catesby came to the Carolinas in 1722 to study flora and fauna, the results of which were included in his Natural History of Carolina, Florida, and the Bahama Islands. In addition, Catesby enjoyed singing and was especially fond of the music of Georg Frederic Handel.

Our concert will open with a delightful trio sonata by William McGibbon followed by English songs from the pub favored by Catesby as a participant. To connect with Catesby’s love of nature, we will include a section of music in imitation of birds followed by solo selections for each member of our ensemble. The program will conclude with music by Catesby’s favorite composer, Georg Frederic Handel.  

The Washington Post has described lutenist Richard Stone's playing as having "the energy of a rock solo and the craft of a classical cadenza." His recordings of the Fasch lute concerto and the complete Weiss lute concerti are available on Chandos. Other recording and broadcast credits include Deutsche Grammophon, Polygram, NPR, the BBC and Czech Radio. He has been guest soloist with Apollo's Fire, Handel and Haydn Society, Mark Morris Dance Group, the Boston Symphony and the Philadelphia Orchestra. Stone co-founded and co-directs Philadelphia baroque orchestra Tempesta di Mare and is professor of lute and theorbo at the Peabody Institute. 

A career teacher, John Myers began as an adult educator for unique groups in South Carolina: migrant and seasonal farmworkers and for state Native Americans, specifically the Catawba Nation. He retired from the South Carolina Department of Education in 2019 and is now employed as a historical interpreter at the Lexington County Museum. An avid birder, Myers is a member of the Audubon Society of Columbia and a team leader of the Catesby 300 planning committee, a group of SC state and national park administrators, statewide educators and museum administrators and historians. 

Columbia Baroque’s “Catesby Comes to the Carolinas: A 300th Anniversary Celebration” will be presented Tuesday evening, May 10 in the Recital Hall at the University of South Carolina School of Music, 813 Assembly St. in Columbia. Come early for “Concert Conversations,” hosted by scholar, Peter Hoyt beginning at 7 p.m. with the performance at 7:30 p.m.  

Tickets are $20. All students attend free. For ticket purchasing and information visit www.columbiabaroque.org. 

THE BEAT: Stardog - On the Ropes - Self-released

By Kevin Oliver

When the sudden news of Stardog guitarist Beau Long’s death spread through the local rock scene last year, it looked like a void had opened up that would be difficult to fill. Long’s proficiency in the kind of 70s/80s arena-ready rock swagger that Stardog excelled at is not something that’s all that common anymore. How would the band soldier on, or would they? 

Turns out that Long had one more fight left in him; his guitar parts for the band’s next album were completed prior to his passing. It is a fitting tribute to their late bandmate that the remaining band members chose to press on and finish what they’d started with Long. 

Four of the six tunes here are new compositions–Long’s last written and played with the rest of the band. There’s the boxing allegory, “The Left Hand,” which equates the sweet science to life lessons learned the hard way. “Lying” brings the Stardog sound into a more swinging 90’s alt-rock direction, more Soundgarden and Stone Temple Pilots than anything that might have worn spandex tights on stage. It’s also lead singer Artie Joyner’s peak performance, vocally, where he’s just soaring above the music on the chorus, yet emotive and restrained in the verses when he needs to be. 

 “All Time High,” with an insistent tempo driven by rock solid drummer Scott Mark King and a chorus that invites fist pumping and singing along, is typical of the band’s strengths–taking something that in lesser hands might be considered dated and cheesy and making it sound fresh and exciting all over again.  

The other thing that Stardog does well is create the kind of songs that make you think you’ve heard them before. “Nobody’s Sleeping” is one of two older songs included on this new release, It opens the proceedings with a not-so-subtle Van Halen style arrangement; stick around for the scorching Beau Long guitar solo–it’s worth the wait. “Lemonade Girl” is built on a riff and chord progression that’s naggingly familiar (I have my suspicions, but I’ll let you figure it out for yourself) before the full band kicks in for yet another great singalong chorus.

There is no pretense or artifice in the music Stardog plays, nor has there ever been. The band’s signature style is pure unadulterated over the top FM rock grandiosity, and here they deliver it like they are playing for the kids in the cheap nosebleed seats, lighters raised for an encore.

THE BEAT: Review - Henry Luther's Southern Cities

by Kyle Petersen

I’m coming a bit late to local singer/songwriter and raconteur, Henry Luther.

His latest studio record, Southern Cities, was released back in November 2020, but I honestly just came across it recently, after planning (and failing) to make it to a show he was playing at New Brookland Tavern.

Even having missed the show, I’m sure Luther is great live, mostly because he writes in that rowdy but whip-smart troubadour mode that’s built for clubs and honky tonks. “Jesus Christ Second Amendment Blues,” one of the standout tracks from the record, is a great example of this. Riding a dusty lead guitar lick and some simple strumming, Luther drawls out a fabulous yarn with the would-be savior shot down by a racist cop for arriving “Constitution and gun in hand.” It’s a hilarious bit, and one that might get a beer bottle thrown at him in front of the wrong crowd. 

And that blend of gallows humor and sardonic insights is rife throughout, whether he’s working in coded class commentary (“Lifestyles,” “Myrtle Beach Girl”) or tales of substance-based debauchery (“Southern Cities,” “I Love Liquor (But Liquor Don’t Love Me”). His ability to be both funny, direct and philosophical at the same time puts him firmly in the lineage of Jerry Jeff Walker, John Prine and Todd Snider. Not bad company.

But he’s not quite a straight shooter, guitar picker-type–musically, Luther is a hodgepodge of DIY Americana in the vein of early Avett Brothers or Old Crow Medicine Show, with a streak of Jeffrey Lewis-style anti-folk contrarianism and Dave Berman’s droll exasperation.  

For all of its charms, the record very much seems to be catching Luther in transition, torn between the solo troubadour mode and the possibilities of a more rocking alt-country guise. Regardless of which way he leans in the future, he’s clearly a songwriter that can’t help but engage and enrapture.  

New Poetry and Songwriter Events from Jasper and Al Black

Jasper Project board member and local poetry event guru, Al Black, is bringing two brand-new, unique events to the Midlands: a poetry salon and an outdoor music concert. Both events are starting this month: poetry month.

 

Jasper’s Poetry Salon

 

The mission of Jasper’s Poetry Salon is to give both new and established poets a safe, communal space in which to share their work and connect with other poets.


This is not a workshop, nor is it a simple reading. Everyone at the Salon will be able to share at least one poem, and conversation about the poems read will occur organically. Participants will be able to step into a relaxed environment with like-minded individuals—a space with no judgment where the goal is to hear, share, and appreciate language and story. This event allows any and all poets to enter a singular dwelling space and establish a sense of community with other Columbia-based poets who they may not meet otherwise. This is a wonderful opportunity for poets who feel isolated or who want casual feedback on their work. Whether one has been writing and publishing poetry for decades or has only just written their first poem, they will be welcomed with open arms and warm conversation.  

Occurring on the last Tuesday of every month, the event will hold its first gathering on April 26th at 7:00pm at 1013 Duke Avenue.

 

Front Porch Swing

 

The mission of Front Porch Swing is to provide a space for local musicians to showcase their work and for people to share in said work without distraction from what is important: the music.

 

On the last Sunday of each month, a singular music act will set up on the porch of the co-op on Duke Avenue and play for two hours. Anyone interested can come at their leisure, completely for free, and enjoy the performance. This come-one, come-all experience asks patrons to bring their own chairs, blankets, food, and drink—or whatever they might want to enjoy as they settle under the South Carolina sun with friends, new and old, to hear local music, new and old. Unlike some music-related events, here there is no dance floor, no bar, and no simultaneous events; for the duration of the performance, the focus is on the music itself. Whether a long-term Cola-music lover or brand new to the scene, this relaxed environment is the perfect space for anyone wanting to view local talent. 

The first Front Porch Swing will take place on April 24th at 2:00pm, featuring the band Jazz Dog, also at 1013 Duke Avenue.

 In the coming week, we will feature deep dives with Al Black on each event, so if you aren’t following Jasper’s online magazine, scroll down and enter your email to be updated when the articles come out!

 

 

WELCOME VALERIE LAMOTT to Jasper's TINY Gallery

At Jasper, we can’t get over the work Valerie Lamott has put together for our April Tiny Gallery show!

So many descriptors come to mind when writing about Lamott’s art — grounded in place, meaningful, sentimental, powerful, pristine, Cola-centric — but mostly, exquisite! The detail the artist brings to her jewelry, with each piece being hand-made, unique, and personally inspired, makes the opportunity we have to show and offer this work to Jasper readers a real honor.

Valerie Lamott is a Columbia, SC, based jewelry artisan, but can rarely be found there. She's more likely to be hiking or camping or kayaking in any one of America's state parks. She uses these places as inspiration for her artwork and hopes it inspires others to play outside too.

WE hope you enjoy seeing and perhaps purchasing Lamott’s work as much as we enjoy presenting it.

Visit Tiny Gallery for many more pieces.

Check out the whole lineup of Tiny Gallery Artists for 2022.

Do YOU Have your Birthday Party Tickets Yet?

We have limited the number of attendees to 150 including all the participating artists, so don’t sleep on locking your ticket down!

We have music from Post Timey String Band, pop up art performances from Columbia Reparatory Dance Company & others, live painting by Michael Krajewski & Lucas Sams, an art show featuring work from 20 Soda City - based artists, a raffle like you’ve never seen before, food from Chef Joe Turkaly, a VIP Champagne reception and so much more!

THE BEAT - Songs From The Vault: Admiral Radio’s New Album of Very Old Songs

By Kevin Oliver

 

Before we sat down on their front porch to talk about the release of Admiral Radio’s new album Songs From The Vault, I spied a vintage door leaning on the wall in a side room of Coty Hoover and Becca Smith’s charming Earlewood Park home. Described by Becca as “a project that I haven’t tackled yet,” the door’s flaking paint and unusual upper glass panes certainly appeared to be the bones of something that could be repurposed to great artistic effect. The songs on the new album are like that, worn yet comfortable tunes with the familiarity of an old coat of paint peeling from a door, layers upon layers that reveal older truth underneath. 

“We held on to the concept behind this album for a while, wanting something a little more simple and stripped down,” Smith says.  

The duo’s debut, Sounds Like You, was produced using a full band in the studio, something they rarely have the luxury of having on stage in a live setting. 

“We wanted to have something out there that reflected our pure duo sound,” Hoover admits. “We made a point to have this not be extremely polished.” 

The recording was done with the same production team of Carl Burnitz and Todd Mathis who helmed the debut, but this time around they eschewed the trappings of studio mikes, overdubs, and multiple takes in favor of a single condenser microphone hanging in the middle of a room between the two performers. Every song on the album is a single, complete take in that setting with nothing added–just Coty and Becca singing to each other and playing guitars and banjo.  

“A lot of the songs on this are ones we already play, songs we have collected over the last few years that we are drawn to for different reasons,” Smith says. “Sometimes it’s the lyrics, the story that the song tells, or it could be the way it makes us feel, and the way we sing it together.” 

Hoover and Smith sing together like the married couple they are, with their two voices playing off each other in close harmonies that sound as natural as a spring breeze bending the branches of a live oak tree. The sidewalk that constrains and conceals the tree’s roots is an apt metaphor for modern musical expectations that limit what people know about the history behind what they are hearing.  

Smith and Hoover both have deep connections, personal stories that link them to many of these songs and recording them was a bit of a history lesson for them, too. 

“One of my earliest memories growing up is a stuffed animal that I had,” Smith recalls. “It played ‘You Are My Sunshine,’ which if you really pay attention to the lyrics is pretty morbid.” 

Hoover’s recollection touches on the ancient ballad, “Oh My Darling, Clementine.”

“My uncle used to sing ‘Clementine’ to us while we were swinging in the back yard with the other kids,” He says. “I love songs like that where I have a specific memory of it, but when we play it now, I’m always thinking ‘Man, that’s a really sad song.’” 

Hoover and Smith’s easy familiarity with this material belies their own relatively recent vintage; so, when they decided to reach this far back to find songs for the new album, it took a little thought and some effort to research the sources.  

“With this project has come the recognition that some of our favorite songs span a stretch of time that’s much longer than we realized,” Smith says. “The songs we chose go back as far as the 1800s. To dive into the details of who wrote what, when was it published, and thinking about life then versus life now, and that we are still singing that same song two hundred years later, it’s really powerful. It has been a humbling and enriching experience to bring these into our own light and sing them in our own way.”  

The pandemic forced Hoover and Smith to reassess their musical career and focus on what mattered the most, which for them was the connection with others through making music. 

“Like most other full-time musicians, we were a bit lost in 2020 when the pandemic hit,” Hoover says. “We had plans to put out our debut album and tour behind it the rest of the year, and all of that was gone, suddenly.” 

The duo had to quickly figure out how to make ends meet financially and yet still continue to make music. They filled the gaps musically with livestreams, including a fully produced album release concert filmed professionally at the Sumter Opera House, but it wasn’t quite the same, Smith says. 

“The livestreams we did from home were a way to connect that was very restorative for my sense of community and faith in human connections through those very uncertain times,” She says. “We really, truly needed that, and it was an incredible time of camaraderie and support, even though we weren’t able to see our audiences in person. The Opera House show was a strange experience, in that it felt like a dress rehearsal, not quite the real thing.”  

A little more than two years into marriage and going through a pandemic, Smith says that they have learned a lot in the process about what they really want. 

“We are embracing the bits that aren’t quite perfect,” She says. “The pandemic experience has loosened up our attitude towards performance. Before, I was so serious and wanted everything to be just right every time. Now, I just want to play; I really just want to play.”  

You can hear Admiral Radio play this week when they celebrate the release of Songs From The Vault in concert at Downtown Church, 2030 Gregg Street. Doors open at 6:30, they will play from 7-8. A donation is requested, along with whatever food and beverage you prefer to bring in with you for this casual, communal musical evening. 

 

The Beat: Prettier Than Vinyl

The acoustic pop duo Prettier Than Matt have been on an extended leave of absence from performing together live, but they had a very good reason–the birth of singer Jessica Sims’ first child. They recently returned to local stages, and this Sunday they’ll celebrate this new chapter with the release of their 2021 album Colors on vinyl. You can hear them live, and pick up a copy of this limited vinyl release, on Sunday afternoon when they play Steel Hands Brewing from 1-4 p.m.

Prettier Than Matt return to live performances, release Colors On Vinyl

For a group that had been playing together for over a decade, sometimes four and five nights a week, taking a four month break was a different experience, but for different reasons.

“It has been bittersweet for me as I’ve missed playing,” Sims admits. “But I’ve loved the time I have had to really focus on how to be a new mom. It feels great to be back, but it’s hard to be away from the cutest baby on the planet.”

Her musical partner in Prettier Than Matt, Jeff Pitts, never actually stopped playing. Picking up different gigs became a way to fill the time. 

“I enjoy getting to play music, period, so I did a lot of solo shows and started playing with Charles Riley as the Jeff & Charles Show,” Pitts says. “I’m thankful for having those options during these months, but being back feels great. Jessica and I did an impromptu reunion set at a Jeff Lucero show on my birthday–he asked us to play, so we did a few songs, and the joy I felt hearing Jessica sing again was probably obvious to everyone in the room.”
So what effect will the new arrival have on Prettier Than Matt’s ongoing activity? Both Pitts and Sims acknowledge that the days of everyday gigs are probably in their past. 

“It’ll be much of the same, but just less on the gigging front,” Pitts says. “We will still put out new music, look for licensing opportunities, and continue to play and livestream, but it won’t be as much as we did before. I’ll continue to do the solo stuff and play with Charles, too, but Prettier Than Matt is still my personal creative outlet and passion.” 

Sims says they feel a debt and an obligation to their fans, but that some priorities, understandably, have changed.

“We’ve made so many great relationships with fans, friends, and venues over the years that we’ve been picking our favorites and making sure that we still play those spots,” She says. “I want to focus on being present and being a good mom, though.” 

On an even happier note, Sims says that motherhood has already brought new inspiration to her writing.

“I will say that becoming a mom and going through all of these major life changes has inspired a few new songs that I’m really excited to record soon,” she says. 

The release of Colors on vinyl is not the duo’s first foray into the newly hip world of LPs, Pitts points out.

“We released a compilation vinyl album in 2019 called Retrograde, which had our favorite songs from our past releases along with one new song,” He says. “When we finished this last one we were proud of it and knew that releasing it on vinyl was something we wanted to do.” For Pitts, vinyl is the preferred medium for listening to such an album-length project.

“We want people to hear the album front to back as it was recorded, and I think vinyl is the best, and most fun, way to do that.”

 

 

Midlands Area Music Students Travel with Instructor Marty Fort to Perform at GRACELAND April 6th

Wednesday April 6th, 7 p.m. music students from the Columbia Arts Academy® rock the Guest House at GRACELAND in Memphis, TN.

Home of Elvis, there’s a full two days of music from schools all over the country performing rock, pop, classical music and more April 6th and 7th. They have a 450 seat gorgeous theater on the Graceland property and our students could not be more excited to perform. The Columbia Arts Academy® students will perform Wednesday April 6th 7:00 p.m. ET and a live stream is available at www.columbiaartsacademy.com. The students range in age from 7-18 and include piano, voice, guitar, drums students rocking out classic hits at the birth place of rock and roll. Following the students, the Capital City Playboys and the Columbia Arts Academy® teachers band who performed with Kirk Hammett of Metallica at the Columbia Museum of Art in 2020 perform a full two hour set.

Marty Fort

The Columbia Arts Academy® is dedicated to showcasing their students at the top venues around the country. They’re fresh off of their standing ovation last year at the Foster Theater at the Rock and Roll Hall of Fame. The public is invited to tune in for the live stream and cheer on these upcoming artists as they play the big stage in Memphis.

Jasper reached out to Fort to get a bit more info on the upcoming adventure.

What made you choose Graceland as a destination for your students?

I’m a huge Elvis fan and a few years back they opened a new resort there the Guest House at Graceland. It has an amazing 450 seat theater (photo attached) and they allow student groups to perform. It’s the perfect venue and a part of history, so we’re all very excite about it.

What do you hope they'll take away from this experience?

The thing I didn’t expect, but I learned from the last road trip is that for many of them it’s a resume builder.

They are looking to get into college, have careers in entertainment, so for them, to perform at a venue of this caliber is huge. I would have given anything to have this kind of opportunity when I was there age. At that time in my life we were happy to just play a backyard party. But I do also have to say, Art Boerke was very good at letting high school bands play Rockafellas. My first show playing there was when I was 16

This is your second time taking your students on the road, right?

Yes, played Rock and Roll Hall of Fame Foster Theater last year, got a standing ovation from a room largely of strangers from around the country.


Do you have a third setting in mind?

Getting ready to sign the contract and will be doing the big reveal after that. All I can say is, the venue and the city are literally one of the top 3 entertainment capitals, so that can narrow down anyone’s guess.





THE BEAT: Art Bar Concert Review March 12, 2022 by Emily Moffitt

Video game track covers, electrifying synths, and rock and roll; Art Bar’s live music concert on March 12 had it all.

The night featured performances by Outer Ego, Dead Spring, Harry and the Hootenannies, and Bad Stars, giving the audience a plethora of genres and new music to listen to.

Several of the bands debuted new music they were working on, and some performed excellent covers by other well-known groups, like Outer Ego’s great cover of Daft Punk’s “Something About Us” and Harry and the Hootenannies’ getting the crowd going by performing the original Powerpuff Girls theme song.

With so much variation between each group, there was enough to go around for the crowd to enjoy and dance to. The intimate spacing of the stage to the audience in Art Bar bolstered the mood of the entire room, encouraging conversation between the performers and the crowd through the music and during breaks.

It was a great night and a fantastic concert and gives us plenty to look forward to in terms of future gigs for all of the groups involved here.

THE BEAT: Local Music at St. Pat's in 5 Points by Kevin Oliver

Sure, the hype for the return of the annual St. Pat’s in Five Points festival is focused on the headliners Blues Traveler and national acts such as Surfaces, Laney Wilson, and Big Something, but what often gets lost in the coverage is that St. Pat’s is also one of the biggest local music festival opportunities of the year. Columbia bands are well represented on the main stages in 2022, and every year there are additional acts playing at unofficial side stages, local bars, and restaurants in the area, and more. To help you plan a locals-focused day at the festival, here’s a rundown of area artists and when to find them on what stage:

Villanova 

2:40 pm, Greene and Harden St. Stage 

Possibly the most popular local act to play St. Pat’s multiple times, Villa*Nova brings the noise every year. The current lineup includes founding members Bobby Dredd and DJ Able One alongside singer and guitarist Brian Conner. The band released their first new music since 2015 last year, the single “Vipers,” which revealed a commitment to a heavier sound within their melodic funk roots. There’s still plenty of the funk/rock/hip-hop hybrid left in the band’s back catalog to please their longtime fans, however.

George Fetner and the Strays

1:10 - 2:10 p.m., Greene and Harden St Stage 

George Fetner has corralled his band of musical misfits into a herd of magnanimous proportions that turns any stage into a groove-laden party. Despite the near double-digit number of band members on stage, tight arrangements make the proceedings chug along purposefully. If you’re into bands such as Lake Street Dive, or the classic jams of WAR, there’s plenty to love in the joy-filled, tuneful workouts that Fetner and the Strays produce. 

Stranger Company

12:00-12:50 Harden and Blossom St Stage

A newer presence locally, this young quartet has tapped into a jam band style of rock, blues, and jazz that hearkens back to the 70’s classic rock of acts such as Wet Willie, Santana, and Sea Level, where the grooves and the guitar licks were what mattered. 

Ashley Wright and the Vance Gap Ramblers

12:00-12:50  Saluda and Devine St Stage 

Ashley Wright and her band have managed to create twang-friendly tunes that transcend stereotypes and cut close to the emotional bone. The band’s delicate arrangements juxtaposed with Ashley Wright’s full-throated alto voice bring to mind Gillian Welch and Watchhouse. 

 

Sourwood Honey Tribute Band

7:00-8:30, Home Team BBQ Stage 

The beloved Sourwood Honey was a bar-packing mainstay of the regional club circuit in the 1990s, with the dual front of Ryan Goforth and Chris Conner and ace guitarist Herbie Jeffcoat taking on the wingman position. Their brand of jam-friendly southern country rock was always a cut above the rest due largely to Conner’s songwriting skills, showcased on the pair of full-length albums the band issued in their prime. 

Conner passed from cancer back in 2007 but a few years back most of the remaining band members reconvened around Chris’ younger brother Brian Conner (of Villa*Nova), and called it a “tribute,” with Brian taking over his late brother’s parts; the goal is to keep the memory of Chris alive and reintroduce the band’s classic songs to audiences old and new. 

 

The Ramblers

4:10-5:10, Home Team BBQ Stage 

Taylor Nicholson logged plenty of miles as the lead singer for the popular regional rock act Atlas Road Crew; this outfit aims to provide plenty of classic rock and blues vibes on familiar material.

Danielle Howle & the Tantrums

2:40-3:40, Home Team BBQ Stage

 The nostalgic aspect of this year’s St. Pat’s Festival is encapsulated in the fact that Howle, a former Columbia resident and musician who now calls the Charleston area home, was playing the festival as early as the 1990s with her band Lay Quiet Awhile. The Tantrums was her next full rock band, featuring members from another late great local act, Blightobody, and the group recorded several albums for Daemon Records in the late 1990s, gaining airplay locally and regionally with songs such as “She Has A Past.” 

 

Soul Mites

1:10-2:10, Home Team BBQ Stage

The perennial party band for many Columbia natives, The Soul Mites only come out and play any more on special occasions like this.. The gruff, insistent voice of Tim Davis may be the focal point, but his supporting cast gives him a funky soul drenched rock ‘n’ roll machine to carry his crooning to another level.

THE BEAT: Warfare Check - Now That's What I Call Art (River Monster Records) by Kevin Oliver

“Punk was never just about raging against the machine, …“

Punk rock has a long and storied history in Columbia’s music scene, from the original punk era of Nick Pagan and the Fanatics through the positive hardcore of Bedlam Hour, the unhinged crust punk of Antischism and into the more focused assault of Stretch Armstrong, Self, Assfactor 4, and more.  

Lately the genre has seen something of a resurgence, with strong showings by Soda City Riot, Brandy and the Butcher, and now Warfare Check.  

This far down the line, anyone playing punk rock is usually self-selecting for what subgenre or sound they are going to deliver. Warfare Check falls squarely into the California punk of The Circle Jerks and Black Flag, with a bit of screamo angst and grunge bluster thrown in to keep things interesting. Frontman Bubs Rubella is more shouter than singer, a useful trait when one is barking out lyrics to songs such as “Violence Breeds Violence,” or “Go Fucking Die,” with complete seriousness.  

There are nods to the silly comedic side of hardcore on songs such as “Lord Shatterling’s Dildo Collection,” and “Mary Jane Rottencrotch,” but more often than not, the band deals in societal outrage that echoes the frustrations of the past two years plus of pandemic era issues. “2021 (Ain’t No Fun),” may state the obvious, but it does so in under two minutes with a lyrical riff that’s about as good an anthem for last year as there could be.  

“Aryan Garbage” pulls no punches, musically or lyrically. Coming across like a profane version of a Naked Raygun polemic, the song condemns the current trend of rising white supremacy with a string of mostly unprintable epithets over an unstoppable barrage of riffs.  

Punk was never just about raging against the machine, however. The community, camaraderie and belonging that punk subculture introduced was just as important in the long run, and Warfare Check’s catchiest, most memorable tune here, “I Hate This,” wraps up that “we’re all in this together” sentiment in just a few short lines: 

“We all suffer 

We all need a buffer 

What's the latest fashion,

What’s your goddamn passion?”

 

…Now that’s what I call a great question. How you answer it, that’s up to you.