The Beat with Kevin Oliver: Review of Automata - Single Sparrow

Single Sparrow

Automata

Self-released

 

Single Sparrow is the band moniker of Charleston, SC musician Patrick Leitner, and this new album is truly a one-man project–he plays every note, wrote every song, recorded, mixed, and mastered the final product himself. You’d never know it from listening, however, as the playing is seamless, and the production is spotlessly clean. 

Despite the forced sterility of its creation in a kind of artistic bubble, this is not a soulless, automated performance. Leitner has one of those world-weary vocal styles, resigned but still possessing an intensity that belies the non-demonstrative singing. It’s most effective on the pastoral rock of “Peaks and Valleys,” for example, where a loping beat echoes Neil Young as Leitner sings: 

 

“Take me to the Atlantic Ocean, let me feel the waves

Running over sandy shores that weren’t here yesterday

If I try to hold on tight it still washes away

And time is running out on me in much the same way” 

 

The sense of loss is palpable in the song’s metaphor for change, something that the narrator sounds at peace with, if not in agreement to it happening. 

There are stories here from Leitner’s own life–”Tiny Metronome” is a reference to his daughter. He draws from history and culture as well, with “Centralia” taken from a coal mining town in Pennsylvania and “Happy Accidents,” pulled from the story of famous still life painter Bob Ross. It’s the songs that invite more universal interpretations, however, that pull one inside this digital audio world. 

The emotional depth of Leitner’s writing rewards repeat listens, and this album will sink into your consciousness in all the best ways, with lines standing out at different moments. This week it might be the distillation of “impostor syndrome” unworthiness into the words of “A Reflection of the Moon,” as he sings over a jittery percussive track and a single acoustic guitar, “I am a ballad out of tune, a perfect harmony too soon, or the reflection of the moon; a copy of something true.” Next week, it will shift to “Nothing On the News Tonight” and its examination of relationships in a dystopian world; “The apocalypse is over now, just listening still to the static; something in the way you hold my hand that slows down time …”  

Whatever part of Automata connects with an individual listener, the original concept of AI that can think like humans may have been achieved here by Leitner, accidentally or not. The solitary man in a studio created something that connects almost instantly with other humans, through the miracle of digital tech. 

The Beat with Kevin Oliver: Candy Coffins - Once Do It With Feeling

Candy Coffins

Once Do It With Feeling

Self-released

 

The decades of experience represented by the veteran members of Candy Coffins comes through in the music on this new full-length album, which hearkens back to “Disintegration”-era Cure, the less abrasive years of the Psychedelic Furs, and lots of David Bowie. The gothic rock edge doesn’t necessarily render the songs dated; there are enough modern touches throughout to peg this as a contemporary work that just pulls from a very specific artistic palette.  

The focus here should really be on the songwriting of singer and guitarist Jame Lathren, however. The liner notes state that the album “Chronicles a relationship from the onset of the first crack to its complete crumbling dissolution,” and there is definitely an emotional arc from beginning to end. 

Midway through, “Tangled Up in Teacups” includes a female voice leaving messages such as “My god, you are the most selfish person I have ever met. If you’re going to be this kind of disaster have fun doing it by yourself…” as bassist Alex Mabrey drives the unsettling melody underneath. 

Lathren shifts back to the male perspective on “French Exit,” singing “I’m not sorry you won’t know what happened, I’m heading out the door…” in a tortured tenor that wails, then drops to a hushed whisper as he sings, “I’m all alone, but it’s better than being with you…” and the band crashes back into a searing musical coda worthy of a Neil Young opus.  

It’s the music that keeps this from being just another self-absorbed breakup album; there are guitar solos here that say much more than any words could, such as the stinging leads on “A Victory Like This.” When the instruments on that song drop completely out at the end, it’s like you just got dropped off an emotional cliff. 

Lathren may lean too far into the goth-rock nostalgia at times, but he does so in service of a set of songs that capture both the euphoria and the angst that exists in volatile relationships.

 

A Look in the Mirror: Black Nerd Mafia Talks Identity and Black Opportunity in the Columbia Music Scene

Black Nerd Mafia was born out of frustration– frustration with stereotypes and people’s ignorance about Black people. Choosing to not be named or be the focus of this article, the creator and founder desired to showcase the diversity within the Black community and provide a place for those who don’t fit in society’s boxes– a safe and inviting space for independent Black artists and fans. Originally started as a Facebook group in 2014 for Black people tired of being typecast, Black Nerd Mafia has grown into so much more.

 

JASPER: Best dad joke you've heard? 

BNM: A dyslexic man walks into a bra. 

 

JASPER: So, the Facebook group was the original manifestation of it, but how did Black Nerd Mafia come to be what it is today? 

BNM: I always pushed entrepreneurship on my sons and then one day in 2021 I’m talking to my son and I’m pressing upon him to be an entrepreneur and he very frankly just asked me, “Well, you always tell us to own our own business, why don't you own your own?” He said it just like that, and I said, son, you're right. The next day we went and did the LLC paperwork and that's how Black Nerd Mafia came to be. 

 

JASPER: You do lots of things today: you have merch, you organize shows, poetry readings, and trivia just to name a few. Where did you start?  

BNM: The first year it was completely different than what it looks like now. We were doing website building for people, we were doing interviews, we were doing photography, videography – doing just a lot of things that I knew how to do and pretty much anything that I knew how to do to try to make it a business.  

It really didn't start becoming what you see it as now until about a year ago. In 2021 we had our first shows in November after I met Greg at Curiosity… I went to Greg with the idea that I wanted to host shows for independent local artists. He loved the idea, and he pretty much just gave me like carte blanche to do whatever I wanted to do. 

 

JASPER: Tell us a little more about the logo you sent in place of a photo.  

BNM: The little person isn't like a little mascot… it isn't just something that looks cool—it's all intentional. The very first thing you see he's holding like a big water gun. The water gun is a Super Soaker and Super Soaker was invented by a Black person, a Black scientist; his name is Lonnie Johnson. A lot of times people associate Black people with violence and guns and everything. I wanted to take a spin on that and have a gun but a gun that was created to be this amazing child’s toy that was created by a Black person, so that's where the little gun thing comes in. He also has a mirror face… basically that says there's no face to Black Nerd Mafia. He has a mask on so you can't see his face, but also, it’s a reflective mask so if you did look at the character, all you would see is yourself in the reflection. This is to say that Black Nerd Mafia is all of us.

 

JASPER: Tell us about some of the shows and events you have put on. Any that were particularly special to you?  

BNM: It's going to be hard to say, and this is gonna sound like cliché, but all the shows that we've had are dope. I will say that that's the one thing that I do well. I can curate shows well, and I know how to match artists together well, so I quite frankly think that all of our shows have been really dope– really talented people.  

I don't want to like single any of the guys out either, but I would say our first show. It was Eezy Olah and Tam The Viibe. MidiMarc and Airborne Audio did beat sets. It was our first show, so it was really dope and that's always gonna be special to me.

 

JASPER: What do you look for when putting together a lineup for a show, what is your process?  

BNM: I don't pick artists because they have a name. I don't pick artists because they have a lot of followers. I pick artists because I watch, I listen to their music, and I watch their Instagram profiles, and I see their energy, you know, and I go off that. I look for just dopeness first, like I'll come first and foremost… That’s the first thing I look for– the talent. Once I find that and it's easier than you would think, there's a lot of very talented people here in Columbia and the surrounding areas.  

I also listen to the subject matter of the music. I don't want to censor people, but I also just don't 

want to promote music that has just arbitrary violence, just random doesn't make any sense violence. If you can make it artistic, if you can make it great art about your life and why it’s so hard and why you had to do these things, I’ll listen to it and I'll put you on stage.

 

JASPER: What are you looking forward to? What does success look like for Black Nerd Mafia? 

BNM: I'm looking forward to people becoming more aware of the artists that perform at our shows… and Black artist getting to perform comfortably at any venue in Columbia just like anybody else. I want to be a non-biased, platform where the only thing that matters is if you're dope, no politics, nothing. 

  

JASPER: What advice do you have for other artists? 

BNM: Make the music that you love, make the music that you like. Don't try to copy what's cool on the radio. Don't try to sound like Drake. Don't try to sound like anybody else. Make the music that you like and talk about the things that are in your life. You don't have to live some kind of fake lifestyle in your music. Write the music that you know and write about the things that you are passionate about. Just don't give up. I come from a different generation, and it was like if you turned 30 and you were still rapping at 30 years old, you were a loser. I let that type of thing stop me from making music and I want to say if you really really love it and it's really really in you, you gotta dedicate yourself to it and not listen to anybody else. 

The biggest thing I tell all the artists—you need to have some type of merch. Get T-shirts, get stickers and get something that you can sell to finance the things that you're going to need as a musician. You can pay for your studio time, for photo shoots, for anything else you need to pay for by selling merch, and that's something that you can make yourself for very cheap.

Ultimately, it's not the artist fault, it's the venues and the publications. They just keep regurgitating the same people because they don't want to do the work to go find the real dope artists around here, and that is what I do. So hopefully if people come out on November 4th, they can see that.

 

JASPER: What are your thoughts on Columbia's Art Scene?  

BNM: I just gotta be honest about this. I wasn't going to do this, but I gotta be honest– not a fan of Columbia's scene. The music scene here, the art scene, it can be very discouraging and anti-Black.

That’s kind of why I like doing what I do, and that's why I'm doing what I do. I've lived in Columbia ever since I was a kid, and It's always been the same thing. A lot of these venues, downtown Vista, Five Points—quite frankly—don't want Black people in their venues. They don't want Black people in their establishments, so they make rules and do their best to try to keep Black people out of these spaces. If you talk to a lot of Black artists around here, they're like it's very hard to get to play downtown or all these other places, because essentially the owners don't want a house full of Black people, and that's really sad.  

I'm sure some people say “no, that's not true, because I saw this and that person.” There are a few that they let through, and it seems to me—not just me; I talk to a lot of other Black artists—that they only pick Black artists that have a primarily white fanbase… Another reason I know venues treat people bad is because after shows, Black people come to me all the time like, “Man, I love Curiosity, I love it here. Everybody was so respectful to us and was so nice to us. Everybody treated us like people.” That very simple thing—“they treated us like people.” That’s why I’ll always love, Greg and Sandra. 'Cause you can tell that it's a culture that they bring top down, that everybody that works there is always nothing but nice, nothing but respectful to any and everybody. No matter if you're gay, Black, white, male, or female like, everybody is treated fair and equally there. ­ 

[Black Nerd Mafia] are creating an environment to where Black indie artists, get to perform “downtown,” and I think that we've been successful at proving their fears wrong– that Black people are going to be there and there is going to be some kind of violence and fighting or something stupid. We've been doing shows for a year…with zero violence, zero fights, zero calling the cops, zero tempers flared. There's not been one person to even get angry at one of our shows. No pushing, no yelling, no throwing a drink or whatever, nothing negative whatsoever has happened at any of these shows, and the majority are black, and the crowds are all majority black, and so I think that if people can see what we do at Curiosity and what Black Nerd Mafia does maybe it'll let these other venue owners know that, hey, we should be more tolerant and we should be more open to black artists.  

Ultimately, it's not the artist fault, it's the venues and the publications. They just keep regurgitating the same people because they don't want to do the work to go find the real dope artists around here, and that is what I do. So hopefully if people come out on November 4th, they can see that. Right here in Columbia, there's dozens of super talented amazing artists that make positive music that's not about killing people or selling drugs or things like that. You can come to our shows and feel safe. You can bring your wife and you can bring your kids. They are people that bring their whole families to our shows, and I take pride in it. 

 

JASPER: Tell us about the anniversary party. What can we expect?  

BNM: If you've ever seen Dave Chappelle's Block Party, it will be a block party, like a big jam session where we have a bunch of artists that are really good performers lined up and on deck, ready to go. A freestyle type of vibe, but controlled… I like things that just feel organic. They don't just feel like this person is gonna perform and then this person. Let’s do something different here, use some creativity and give the crowd something they haven't seen before.  

I don't wanna talk about some of the artists because I'm just gonna like leave people out, but Midi Marc is a producer from Columbia and he's just amazing and he really is the key to all of this. I've known Midi for a long, over 10 years. The majority of people that you see on this list make all of their own music at home and in a home studio with very cheap equipment, but they’ve mastered it, and they know how to make the music sound good. I feel confident saying that you could pick anybody off this list, and they're dope in their own right. They're all very different, but they're all dope, and that's really all that matters. 

Come to Black Nerd Mafia’s one year anniversary show at Curiosity Coffee Bar Friday November 4th from 5-10pm featuring everyone that has performed for them this past year. Attend the show for free by donating one item from the Oliver Gospel Mission list of winter needs.

 

 

 

 

Photog Caleb Brown of Saucewithspoons Photo-Documents Jasper's 1st House Show - October 2022

Last Saturday, Jasper board member and local arts leader Bekah Rice hosted a house show at the One Columbia co-op as a fundraiser for the upcoming issue of Jasper Magazine. Featured bands included Death Ray Robin, Opus and the Frequencies, and Joseph Hunter Duncan, all of whom blew the crowd away. And by the way, let’s send out one more happy birthday to Joseph Hunter Duncan and thank him for spending his special day on our stage.

Featured artists included Gina Langston Brewer, David Dohan, Adam Corbett, Emily Moffitt, and Olivia Pope, who showed their work pop-up style inside the house at 1013 Duke Avenue, the old Indie Grits homeplace. This is the same place where Al Black hosts his monthly Front Porch Swing Sunday afternoon concert series as well as his once-a-month Jasper’s Tuesday night Poetry Salon.

By the way, Gina Langston Brewer is Jasper’s featured artist-in-residence at the Jasper First Thursday Gallery at Sound Bites in November — and David will be in residence in January 2023.

The bands were sponsored by board members Libby Campbell and Paul Leo with Eric Tucker, the wine and popcorn by Coal Powered Filmworks, and the beer by Muddy Ford Press. We also had a boat load of new helpers, most of whom were friends and family of Bekah. We can’t thank all of these sponsors and volunteers enough. You all rock!

But we were also lucky enough to be visited by local photographer Caleb Brown of Saucewithspoons who grabbed some pretty fabulous shots of the night. Caleb shared some of these shots with us; now we happily share them with you.

Drink Small at the Koger Center

Wednesday, October 26th at 7:30 pm

Koger Center for the Arts

Drink Small is famous for many things, not the least of which is his modeling career. Right in the heart of Five Points sits Drink Small in the “V” of the iconic Five Points mural.

A native of Bishopville, SC, Small has been playing the guitar since his childhood. He has made a huge name for himself through his stage presence, his vocal tonality, and the ease with which he masters different musical styles. Now approaching his 90th birthday, even after losing his eyesight, Small continues to perform for audiences with aplomb. Small is known for his signature “Drink-isms,” a mixture of aphorism, stage banter, and charm that you cannot find with anyone else.

On October 26 at 7:30 PM, come to the Koger Center for the first of a brand-new concert series: “Koger Center Presents: Onstage With...” which Drink Small will introduce.

The concert is a result of the continued partnership between the Koger Center and the ColaJazz Foundation. South Carolina ETV and Public Radio are also partnering with these groups to record and videotape the entirety of the performance. The concert will include performances from other blues performers like the Randy Newton Trio and Brittany Turnipseed while also featuring the SC State University Choir. The audience will continue to stay on stage for each of these performances so they get an even more intimate concert experience than they may be used to.

“We’re really excited to bring such a legend to the Koger Center,” says Nate Terracio, Director of the Koger Center. “This new concert series is something we have been looking forward to putting on for a while and starting it off with such a musical powerhouse is really encouraging.”

The Koger Center has been dedicating itself to continuing and improving the diversity of its performance catalog. The directorial staff of Koger knows just how diverse the Midlands are (and the rest of South Carolina altogether) and aims to consistently accommodate the interests of everyone involved with the arts or music. The University of South Carolina has been making headway with their own Diversity, Equity, and Inclusion expectations, and Koger hopes to not only fulfill those expectations but exceed them. Supporting the arts of all audiences is integral for the growth of the art industry, and the Koger Center hopes that the celebration of such an important artist as Drink Small will bring in support for both the Columbia jazz scene and Mr. Small himself.

Opus and the Frequencies Want to Bring People and Good Vibes Together

“Be yourself and do what you love. It might not take you to the moon, but at least you’ll find your people and where you belong.”

Photo by Kati Baldwin

Opus & the Frequencies is genre-bending band lead by Tony “Opus” Williams on vocals, piano and guitar with Steven Tapia-Macias on bass, Jesse Tortorella on drums and Kirk Barnes on guitar. Their fun high energy live shows, and eclectic set list that is the perfect mix of originals and covers, has positioned them to be a Columbia favorite.

JASPER: How did Opus & the Frequencies come to be?

O&TF: Tony describes it as a heist movie, when the lead thief has to assemble a team, each brings something unique to the table. He first met Steven, bassist and social media guru, and Joud, our future sound man and equipment extraordinaire, at jams in his off-campus apartment while they were students at South Carolina. Tony had known Jesse, the drummer man, from some other gigs around town and he was the next to be collected. Then when he was working at Campus IT, he had a co-worker whose boyfriend played guitar. He went to meet him, and check if he was really worth a damn since everybody plays guitar, so Kirk was the last of the Frequencies to be brought into the fold.  

Since Tony briefly thought he was a Pokemon trainer, and he set out to catch ‘em all, with the group originally having several different members and line-ups before finally settling into Opus and The Frequencies. 

 

JASPER: What does your writing process look like?

O&TF: Everyone in the group is different, but we’ll focus on Tony since he writes the majority of the lyrics. First, he’ll have an idea that basically starts worming its way into his ear. Then settling into humming and singing melodies and different instrumental ideas before going to the piano, or occasionally guitar, to play around with it until something more occurs to him. Once settled on things like melody and chord progression, he’ll usually use fill-in, “dummy,” lyrics until he can sit and have some time to flesh out the lyrics seriously. For F.A.M., we have a very early recording, probably the first day we had been messing with it so all it was a guitar riff so Tony starts to sing “I’ll Make a Man out of You” from the movie Mulan, for whatever reason that was what spoke to him the most in that moment. As for the whole group if we’re doing group writing day or something to that effect, we all bring our own individual ideas, but just jamming on something, liking it, and then running with it is our usual M.O.

 

JASPER: You guys, Tony specifically is all about conveying honest emotions on stage. Can you talk a little more about that and how emotion fits into your music.

O&FT: Honestly, it’s mostly about being human, and being accepted for that. Things in life are rarely easy, but doing what you love and having people not only accept that, but really vibe with it as well, is incredibly fulfilling. For “Jesse’s Song” specifically, Kirk wrote the music years ago on his own, and he didn’t even realize or set out to give the song the vibe it has, but for whatever reason I (Tony) picked up on that immediately. I really bonded with the feelings it produced, and combined with things my own personal life, everything just fit together perfectly. When I sat down to write the lyrics, they turned out to not only fit the tune, but some of the feelings he had when he was originally writing it. 

 

JASPER: When do you know if something is done?

O&FT: Nothing’s ever done! Or at least it doesn’t feel like we’re ever finished with anything that we’re doing. Things percolate and get refined and eventually settle into the established order. We usually either run out of time or we’ve got nothing left, and then we’re “done” until our next great idea. 

 

JASPER: Who inspires you?

O&FT: We’re a pretty eclectic group, and we pride ourselves on being diverse musically and personality-wise. Some specific artists who inspire us would be Bruno Mars, George Daniel (The 1975), Jimmy Page (Led Zeppelin), Fela Kuti, as well as the musical community here in Columbia. There are so many artists and friends doing so many incredible things that it’s hard not to be inspired.  

 

JASPER: What motivates you?

O&FT: As cliche as it sounds, it's all about having fun and a good time, for us and hopefully the audience. There are all these different energies and “frequencies” coming together, not just between the guys, but also between us and the crowd. When that comes together it’s really an incredible feeling. The band is a melting pot, and Columbia is too, so you get this really crazy, beautiful mix of music people and experiences. 

 

JASPER: What gets in your way?

O&FT: What gets in anyone’s way?  The usual stuff: someone’s having a bad day or in a bad mood, we forgot some piece of equipment and we’re 2 hours from home and an hour from the venue, Jesse losing his glasses.  Having fun is essential, but it can also distract you. The usual stuff.  

 

JASPER: What is your favorite or least favorite show you’ve played and why?

O&FT: We’ve had a lot of great ones, including one last year with Kirk proposing with a song he wrote.  We had a lot of friends and family there so that was a special one. But overall, we’d have to say our show this past summer at Music at Midsummer, a festival hosted by Valley Bear Collective. We really swung for the fences by adding in 5 other musicians, including horns and background vocalists, in addition to our core four. It was almost too much, but somehow, we pulled it off with the great people at VBC and our honorary Freq’s.  

We got to see the glory of “The Tentapolis at OpusCity” which was our campground set up.  You really can’t beat spending a weekend up in the mountains with a couple hundred awesome people and just rocking out for 3 straight days. Especially when there’s great music and company all around you.  

 

JASPER: Do you have any kind of pre-show rituals or traditions?

O&FT: As we get closer to showtime Tony will start to do his vocal warm ups and meditation, to really get in the zone. Then we get the group together and have a stretching session just like back in gym class. Some hype-up stuff goes on, a little bit of light ragging each other and joking around, and then we’re off. Occasionally Kirk and Tony sing “Ironic” by Alanis Morisette, but not for anything other than fun and because that song rocks.  

 

JASPER: What do you like and or dislike about the Columbia music scene?

O&FT: We've briefly touched on this previously, but you can boil it down to the community and camaraderie you get with other artists here in town. There is a ton of cross-pollination happening with genres, bands and community. People show up and support each other! There are just so many people out here trying to take Columbia’s scene to the next level. You see it in sharing news of friend’s upcoming gigs, and raising money for local causes and you can’t help but be in awe of it.

 

JASPER: What advice do you have for other artists?

O&FT: Be yourself and do what you love. It might not take you to the moon, but at least you’ll find your people and where you belong. You’ll probably learn a lot about yourself along the way.  

                       

JASPER: Anything else you want readers to know?

JASPER: We’ve got a saying we like to live by: “All Frequencies (Freq’s) Welcome!” It means that you are welcome in our community, and we want to bring people and good vibes together  

 

Opus & the Frequencies are releasing their new single “Jesse’s Song” and a music video for “Survivor” on October 20th. They also have an EP on the way soon. Come see them play live October 21st at Jasper Project’s House Show with Death Ray Robin and Joseph Hunter Duncan at

You can also check our their website for upcoming shows at opusfrequencies.com and follow them on instagram and facebook

PATx Dressing For The Fight and Getting “Naked” for His Fans

“We’re always at war with something. If those things were tangible, how would you dress?”

 
 

Patrick Rutledge, PATx, is a self-produced recording artist, performer, filmmaker, and visual artist, and his music is just as multifaceted as he is. Each of his albums presents a new surface, but with a solid unmistakable core that is his sound. A sound that is its own unique creature– furious, complex, emotionally raw and pieced together from all the best parts of hardcore, metal, and hip-hop. With this sound, his talent for writing, mixing, producing, and rapping, along with a strong visual aesthetic PATx is definitely impressive.

 

JASPER: First off, is there anything you aren't good at? Videos, music, and visual art –Is it difficult to juggle all of that, and how do you decide what gets focus? 

RUTLEDGE: I can’t whistle, so that’s definitely something I’m not good at. But yeah, I always find myself prioritizing ideas: some have to live in fantasy world for a bit because the resources needed are just unrealistic at this stage, others get placed in a list based on various factors like time-sensitivity, how long it would take to make, how excited I am about it, etc. etc. It gets tough to juggle sometimes, but I’d rather have a lot of ideas than a lack of.

 

JASPER: You say tactical gear and masks are part of your aesthetic because they are a “physical representation of raging against internal struggles and fighting adversity”. Can you talk more about this and how you’ve built your visual identity?

RUTLEDGE: I think my aesthetic has been built by my self-actualization. I didn’t really find/establish my brand until 2019, but many of its factors were cursory long before…just not fully explored or developed. Everything is representative of battling self-and/or other: the tactical gear, the masks worn, the content in the songs, the visuals. I think my brand works because it’s an attention grabber. For those who are experiencing it for face-value: great, it’s interesting enough to click. For those that stick around and really dissect it, there’s even more there for you. I reflect on the human experience like anyone else, but maybe it’s harder to push those thoughts to the periphery when I do it…it’s too loud.

I take a lot of inspiration from techwear, military gear, grunge, goth, and streetwear fashion. We’re always at war with something. If those things were tangible, how would you dress?

 

JASPER: What is your creative process like?

RUTLEDGE: My creative process is pretty formless in its initial stages. It can be a voice recording of me humming into my phone a melody or concept (I have countless recordings like that), a instrumental I made, or lyrics I thought of. Of course, as you continue to build on an idea, you have to introduce structure, but I always try to keep an open mental pocket for impromptu decisions and spontaneity…my best work always come from that element.

 

JASPER: Which of your songs is your favorite or least favorite and why? 

RUTLEDGE: I don’t think I have a favorite or a least-favorite. My favorite (I guess) is typically the most-recent for a bit, and my least-favorite (I guess) is the one I listen to at a later date and realize all the things I could’ve done to make it better.

 

JASPER: Is there a particular verse or line you've written that you really love? 

RUTLEDGE:  My second verse on Lanc III (feat. H3RO) is a favorite because I think it does such a good job of encapsulating my entire experience pursuing music. A couple of other one-liners (or whatever) that mean a ton to me are, “how do you describe the feeling that you’ve been feeling? How to make it rhyme and fit it inside a sentence,” and “On my mama Heaven aint a place and we create our Hell, on my mama God and Satan both exist within ourselves.”

 

JASPER: What motivates you?

RUTLEDGE:  I’m very motivated by my own potential. That sounds narcissistic, but I’ve always felt like just that…potential. To see the actualization of all that potential and the value it can provide is a big driver for me.

 

JASPER: What gets in your way? 

RUTLEDGE:  Of course, I can say all the external things: money, time, location, things I didn’t have a say in, blah blah blah. But really, I’m the only thing in my way. Everything is my fault…and it may seem counter-intuitive, but I find solace in that. Giving myself that full accountability returns the leverage and control (or the mirage thereof) back to me.

 

JASPER: How do you know when something is done? 

RUTLEDGE: Something in my head just says “yeah, we’re done here.” Rarely do I finish songs in one session though. There’s song that sat halfway done for years even before revisiting and finishing them. Divine timing, laziness, scatterbrain, who knows.

 

JASPER: Who are your biggest influences and why? 

RUTLEDGE: I don’t know. I’m inspired by everything…examples of what I wanna do, what I definitely DON’T wanna do. If you’d rather have names: J.Cole is like a big brother to me. Eminem took my innocence. Kanye West’s contribution to both fashion, public discord (good and bad), and music is inspiring, XXXTENTACION, Mac Miller, System of a Down, Ghostemane, Rise Against, Gorillaz. I’m going to look back and hate myself for the names I missed, but here we are.

 

JASPER: Out of all the videos you've made, which is your favorite and why?

RUTLEDGE:  Crazytown is my favorite music video thus far. It is VERY close to what I envisioned in my head. I also like the theme: it is a large metaphor for protecting your heart from temptation, doubt, etc. etc.

I watched it again recently and decided that Werewolf is also another favorite. When I made it, it wasn’t quite what I envisioned, but there are some parts in there that I think are great, particularly the scene where I’m fighting myself from turning into a werewolf.

I think both visuals have the grit and aesthetic I’m going for with my imagery.

 

JASPER: If three of your songs were a location, place or physical space what would they be?

RUTLEDGE:  “Breach” would be a sold out show where I jump into the crowd from the stage and mosh with them.

Someone listened to “Foolish” and told me it felt like Los Angeles and walking the beach, which is amazing because I created the Moving Still project in LA…much of it being conceptualized either in Hollywood, Santa Monica Beach, or Hermosa Beach.

I didn’t release this album under my name, but Crew (2014) feels like my hometown. It is a love letter to it and my friends, my “crew.” It’s under artist name TCAP803, which has its own explanation as well.

  

JASPER: What do you like and or dislike about the Columbia music scene? 

RUTLEDGE:  I love that there are so many artists and opportunities to build here. I dislike the lack of platform. Many people are doing great things, very few are doing these things at scale (whether that “scale” be profitability or audience).

 

JASPER: Do you have any advice for other artists? 

RUTLEDGE:  You’re a business, operate like it. Learn marketing, it is the answer

 

JASPER: Anything else you want us to know? 

RUTLEDGE:  I have a show and you should come. If enough people come, I’m gonna take my clothes off so…

You can see PATx, potentially without clothes on, at New Brookland Tavern on October 15th from 7-11pm for a zombie-themed experience featuring Crazy Karl, H3RO & The Villians.
Learn more about THE ExPERIENCE: OUTBREAK.

Gotta Catch ‘Em All – Artist Trading Cards with Jasper

There’s no better grouping than free live music, free art, and Jasper!

The Jasper Project will be hosting a tent at the Jam Room Music Festival on October 1! At our table, we will be participating in the artist trading card movement! The artist trading cards have been around since the late 1990s but has recently hit a cultural renaissance. With the return of something so great as Jam Room, we’re doing a test run of the artist trading card project at our tent!

This project is targeted towards audiences of all ages who want to make and collect both their own art and art from others around them. The trading cards are 2.5”x3.5”. After creating your piece of art, you can keep your card or trade it in with another artist’s card from our display wall of completed trading cards. Not feeling artistic? Are you short on time? Do you still want to take home some art? In an exchange for a donation to the Jasper Project, you can choose a trading card from the display to keep; several artists from around Columbia will have made trading cards prior to the festival for us to include in the display and make available for trading.

For the Jam Room table, we will provide alcohol markers and potentially pastels for visitors to use on their trading cards. In the future, we aim to feature different media for everyone to use and keep making art with. This is a project we also intend to bring to other events like happy hours or other low-key happenings.

Jasper Project board members and volunteers will be present throughout the day to talk with interested audiences about our upcoming projects and to answer any lingering questions you may have. Stop by, make some art, grab a Jasper magazine, and listen to the music!

People making cards at Artists Showing Artists (May 2023)

Cards made at the Jam Room Music Festival (October 2022)

Cards made at the Jam Room Music Festival (October 2022)

Desirée Richardson: “Say [Her] Entire Name”—and Remember It!

 

Photo by Lola Scott (@lolascottart) in Atlanta, GA

 

Vocalist, pianist, and writer Desirée Richardson—a member of local bands Say Femme, Flower Shopping and Pandercakes—has been performing and releasing music solo as Death Ray Robin since 2020. Classically trained, Richardson has an impressive vocal range and command as well as a writing style that is both refreshing and yet still comfortably familiar. She presents frustration, angst, and vulnerability in a beautifully melodic package that is a pleasure to listen to.

 

JASPER: How did Death Ray Robin come to be and what has it been like branching out on your own?

RICHARDSON: I started this project partially because of my ego and communication problems, and mostly because of the 2020 lockdown. I’ve been singing back-up for other musicians since 2010, and I was (and am!) sitting on a collection of songs that I had written in 2019. I decided that since I couldn’t attend any rehearsals or recording sessions, I could try doing my own thing. I’m someone who bottles my feelings until I can’t anymore, so I thought that singing through my problems could help me, whether or not I decide to actually tell people how I’m feeling. I was also tired of feeling nameless and faceless. There are people who have seen Flower Shopping and have never realized I was on stage.

 

JASPER: What does your writing process look like?

RICHARDSON: I approach songwriting by first identifying the mood or sentiment I’m trying to evoke. Next, I start with a single lyric and sing it to a melody. When I’ve sung whatever the melody is, I figure out what key it’s in. I like to work at the piano, so if it’s a key that’s too annoying (I’m lazy!!) to play, I transpose it to the closest, easiest key. After I’m done with the song, I decide whether or not I wanna transpose it back to the “original” key. I usually don’t!! When I’ve figured out what (sometimes temporary) key I’m gonna write in, I choose chord progressions that sound “right”. Luckily for me, I suck at music theory, so I kinda disregard some of what we learned in school. I build the song melodically/lyrically from there!!

 

JASPER: What inspires you?

RICHARDSON: I’m inspired by poetic, flowery language. I love words with more than one meaning, and I love subtext and just about all literary devices. I enjoy books with footnotes so I can understand whatever obsolete word or reference an author might choose to use. I’m inspired by melancholy, the day-to-day, things I don’t express but wish I would, my lived experiences, the concepts of revenge and forgiveness, and by hope.

 

JASPER: What gets in your way?

RICHARDSON: Depression and feeling like a fraud are my biggest obstacles. I know some of my peers can release an album every year or are able to write a song every day or are able to sing circles around me. I don’t know if I can truly improve on my songwriting and practice habits or if I have a whole album in me. On top of not always believing in myself, I feel terrible all the time, so I don’t do the things I “should” do, and that makes me feel worse. It creates an unending cycle of “could’ve, didn’t, hate-myself; hate-myself, can’t, won’t.” I wonder why I even bother to write songs or sing because I don’t feel like a “real” musician. Kermit the Frog once sang, “Why wonder?” I guess I do it because I’m drawn to it, so I try to be okay with that and hope it’s reason enough to sing or write.

 

JASPER:  How do you know if something is done?

RICHARDSON: I usually stop the writing process when I don’t have a “better” way of saying what I’d like to, or if I feel like I’m trying to cram too much into a single song. When this happens, I just remove the “extra part” and save it for something else. Another good stopping point is when I’m tired of writing. I choose to look at this as knowing my limits.

 

JASPER:  Tell us more about "You can have it (Boss Babe Pt. II )" and “Boss Babe (You Can Have It)”. Was there a specific event that inspired this, and what made you decide to do two versions ?

RICHARDSON: I wrote the song because of my experience with being both an office worker and a freelancer. I thought that if I worked as hard as I could, everyone would see that I was a good person, but I ended up burning out and resenting the folks who told me that hard work was a virtue. I was uninspired by my bosses, I felt overlooked, I was too depressed to come to work on time, and the workplace was really weird: some employees were treated poorly and others were treated well, and it wasn’t a secret. Some were paid to merely show up. I never want to judge anyone who chooses to hustle and grind, and I am someone who believes that capitalism doesn’t really give us a choice between working or starving, but I personally am only going to do what I have the mental and physical capacity to do. I’m not interested in the grind. I’m not interested in doing more than I want to do, so I simply won’t anymore.

I was working on a track for Comfort Monk’s Pursuance, Vol. I around February or March of 2021. I decided that I wanted to shelf the recording and save it for another project. I wrote Boss Babe (You Can Have It) soon after, but I was new to recording with Ableton and couldn’t figure out a workflow. I ended up missing the deadline. Coincidentally, SceneSC opened submissions for their 2021 compilation the same week. I decided to ditch Ableton and go back to GarageBand to re-record the song. This is going to sound silly, but I used predominantly Asian instruments because I was feeling full from noodles, fried rice, and steamed bao I made for dinner. I had some help using some effects pedals, compressors, and “stuff like that” to finish it off and submitted it.

Comfort Monk reached out to me to ask me to contribute a track to Pursuance, Vol. II. I went back to the recording of Boss Babe that I had originally intended to send to them and started re-working it I recorded my vocals with Uzoma Udogwu at Orpheus Sounds. It sounded completely different from the SceneSC version of the song, and I wanted to separate the two while keeping them somewhat related.

 

JASPER:  If one of your songs was a TV show what would it be?

RICHARDSON: If my song “Say My Entire Name” was a TV program, it would be “Snapped” because while I’d never cause harm to anyone who did so, when people misspell or pronounce my name incorrectly, it makes me wanna scream. I imagine myself flipping tables, throwing papers across the room, breaking a coffee mug or two.

 

JASPER:  What is the ideal listening experience for your music? Like pie in the sky anything is possible.

RICHARDSON: My dream is to have all my songs mixed for Dolby Atmos, and I’d like the listener to be completely enveloped in the sound of an Atmos room. I think the listener could benefit from having some snacks and drinks nearby for maximum comfort. Perhaps a barf bag could be handy for if they don’t vibe with the tracks.

 

JASPER:   What’s your favorite and least favorite show you’ve played and why?

RICHARDSON: I have two favorite shows. My first was an Emo Night gig at the Charleston Music Farm in April 2022. We did a My Chemical Romance set to a crowd of about 600 people. The energy was wild, and the attendees were so sweet and made me feel like Gerard Way! Many Black and brown emo kids and adults hugged me and told me it meant so much to them to see someone like me on stage. I was moved and definitely cried a bunch that night. My other favorite show was with the Black Nerd Mafia at Curiosity Coffee in July 2022. I got to perform full-band in Columbia for the first time with my friends and felt so supported by all my friends in the audience.

 

Maybe it’s because it was two nights after our electrifying Music Farm gig

but my least favorite show was in Greenville, SC. We did another MyChem set as part of the ongoing SC Emo Night festivities, and I thought we as a band played very well and had good energy, but the crowd seemed so bored. I think a reason why there wasn’t as much life in the crowd was because no one under 18 was allowed to enter the Radio Room. Kids under 18 are some of the most avid MCR listeners!

 

JASPER:  Do you have any favorite artists? What about locally?

RICHARDSON: My favorite vocalists are Beyoncé, Björk, and Regina Spektor, my favorite band is My Chemical Romance, and my favorite local band is Flower Shopping. Ross’s songs are so thoughtful and beautiful. Does Toro y Moi count as a local band? Chaz is a real artist. His music, his artwork, his fashion sense; he has a distinct style and curated taste. I have a weird and annoying crush on him, and anytime I’ve crossed paths with him, I’ve been unable to act like a normal person. I apologize, sir!!!

I love Opus & the Frequencies. They sound great and their energy is sky-high. They know their worth. I also admire Stagbriar for their musicianship, songwriting, and their ambition. I look up to them, and I believe they’ll “make it”!

 

JASPER:  What are your thoughts on the Columbia music scene? What has it been like navigating a predominantly white male space as a Black-Korean woman?

RICHARDSON: I think that a lot of local bands are doing cool and exciting things, and I love how the younger musicians aren’t shy when it comes to putting themselves out there. I’m impressed by how revitalized New Brookland Tavern feels, thanks to the work that Carlin Thompson and the rest of the staff are putting into the venue. It feels like a special place to perform, and I’m grateful to be part of that.

Thankfully, no one in the scene has ever tried to make me feel less-than because of my racial and ethnic identity, but I sometimes wonder whether there are things I’m missing out on because I’m not checking certain boxes. I know I can always do more with promo and actually putting out recordings, but am I being overlooked by potential listeners or members of the music community because I don’t look or sound a certain way? Are people not interested in my music because I don’t play guitar? Is it because I said I play R&B? Should I call myself a pop songwriter instead? Would that even help? Should I drop some pounds? Do people not want to work with me because they don’t find me relatable? While I don’t question my identity, I think it’s clear to see that I question whether it affects how people interact with me or my music.

 

JASPER:  What do you want other musicians to know? Do you have any advice?

RICHARDSON: There will never be a time where you’ll be 100% ready or perfect, nor do I believe there’s a reason you’ll need to be those things when it comes to sharing your art. My advice is to do the things you’d like to do, even if you’re scared or if you think you’re not good enough. You ARE good enough and someone’s gonna love you. There’s enough sun for everyone.

 

JASPER:  What are you looking forward to in the near future?

RICHARDSON: I’m looking forward to the visuals from Beyoncé’s Renaissance album being released. It’s been almost two months, and we still have not received even a single music video! I’m also looking forward to the new Björk album at the end of the month.

 I’m also hoping to release some recordings next year. If I don’t, please forgive me and please keep coming to the live shows. I work more slowly than everyone else for several reasons, and I know it inhibits my potential growth, but I mostly care about being able to sing with y’all in the room! Thank you for giving me a chance, and I hope I make you proud!!!!

 

You can see Death Ray Robin at New Brookland Tavern Friday September 30th with Leone & the Ascension, Outerego.
Check out more info at the
Facebook Event.

Jam Room Music Festival Check-in with Dear Blanca

To make up for the missed time and excitement these past few years, the Jam Room Music Festival is chock full of great acts from across the country this year. Of course, the festival would not be complete without talented sound from our own back yard. Dear Blanca, a Columbia based band made up of members Dylan Dickerson (vocalist, guitarist), Cam Powell (bassist), and Richie Harper (drummer) will be featured in the lineup alongside regional and national acts including headliners Clap Your Hands Say Yeah and Titus Andronicus.

If you are unfamiliar with Dear Blanca’s work, Dickerson said that the best way to describe their sound is “power-pop with a mild proto-punk obsession”-think The Who mixed with a bit of the Raspberries-and will mesh easily with the indie punk headliners. The band has been around for quite some time and has worked with some of the other acts from Jam Room before; “We’ve played with Titus Andronicus once,” Dickerson said. “I think it was around a decade ago. They are a great band.” Dear Blanca has been expanding their reach from outside Columbia and into the rest of the United States as they return from a joint tour with The Sloppy Boys out on the West Coast.

It’s been several years since Dear Blanca was a part of the Jam Room Music Festival, but they’re more excited than ever to get back to performing in something both local and massive. “The last time we played Jam Room was 9 years ago, so we’re excited to do it again. We’re also very excited to share a bill with Sun Ra Arkestra!” said Dickerson. There’s something magical and different about the energy of Jam Room that sets this festival apart from others for the acts involved; “Festival culture isn’t always my favorite, but Jam Room and other fests like this one are definitely a great time.”

Dear Blanca is one of the notable Columbia bands at Jam Room Festival alongside Bailey Road Band. The other involved acts are The Explorers Club, The Shaniqua Brown, Titan to Tachyons, Shiner, Mourning [A] BLKStar, Clap Your Hands Say Yeah, Titus Andronicus, and the Sun Ra Arkestra.

Jam Room Music Festival lasts all day on October 1st and the Jasper Project will be there, too, with a chance for you to win a Jasper Prize Packet full of all kinds of goodies!

A Short Chat with Stagbriar

“We’re looking forward to getting this pizza into your ears.”

Photo by Kati Baldwin, from left to right, Cam Powell, Alex McCollum, Brendan Bull, Emily McCollum, and Roger Caughman

Siblings Alex and Emily McCollum started Stagbriar over 10 years ago on a back porch. All though the band has since grown from a duo to a full band, and their sound has evolved as a result, their perfectly synchronized harmonies and poignant lyrics remain. Read on to find out what they have been up to and what’s next.

JASPER: What are you guys most excited about right now?

STAGBRIAR: We finished a new record in August. We’re pretty excited about how different this one sounds compared to our first two, and it’ll be fun to begin sharing bits and pieces of that in the next few months. 

 

JASPER: What is your favorite song off your last album? 

STAGBRIAR: We’ve really leaned into Bought the Rights when we play live—amped it up a bit and used it for sound check pretty often. It’s a good mid-tempo bop and it always feels good when we get to it in the set. 

JASPER: What does your writing process look like? How has it changed or evolved over the years? Do you each write something and bring it to the other for input or is it more collaborative? 

STAGBRIAR: The writing process has generally been centered around the songs we siblings bring to the band, but that’s changed a lot on the record we just finished in July. The band really put this one together as a team, and our new guitarist Roger Caughman had a heavy hand in a lot of the heavier guitar stuff you’ll hear throughout. A much more collaborative effort from the beginning through the end. 

 

JASPER: Do you have any tips or tricks for finding inspiration or getting over writer's block?

STAGBRIAR: Write a lot of bad songs. There’s probably another record’s worth of incomplete stuff that was thrown away for this latest session. We like to record everything twice—once at our house, and then a second time in the studio, hopefully giving us a chance to hear things from beginning to end. This can spark ideas that are more album focused instead of sitting down and trying to write from scratch — you can ask yourself “okay now what does the *record* need” instead of “what song am I going to write today.” 

JASPER: How do you know when something is done? 

STAGBRIAR: We don’t. We put it down and come back to it and repeat the pattern until one of us says stop or the money runs out. 

JASPER: If each of your albums were a meal, what would they consist of and why?

STAGBRIAR: Quasi-Hymns is like a really good hot dog and fries you made at home. It hits the spot cause it’s the best you could muster up at the time. It’s familiar and you can watch Wheel of Fortune while you eat it.  

Suppose You Grow is like a rustic bistro dish that took some time to get right but is still rough enough around the edges to appeal to the mentor that taught you how to fish. Served on a steel plate.  

The newest unreleased record is like a surprise pizza party in elementary school. You didn’t order pizza but it’s really tasty and you don’t know why but you suddenly feel like a ninja turtle.  

We’re looking forward to getting this pizza into your ears.

 

You can see Stagbriar September 24th at New Brookland Tavern with Alan Charmer, Cor De Lux, and Twin Toasters. Tickets and details on New Brookland’s website.

-Bekah Rice

 

Concert in the Gardens, September 22nd at Seibels House & Garden

One of the few good things to come out of COVID was the collaboration between the South Carolina Philharmonic and the Historic Columbia Foundation. Unable to perform indoors at the Koger Center, the Phil teamed up with Historic Columbia to present concerts outside in such beautiful settings as The Hampton Preston gardens and the Seibels House & Gardens. My friends and I attended the “inaugural” event and haven’t missed a concert since.

Thursday’s program features a string quartet, presenting a concert of light classics.  Columbia Repertory Dance Company will also be performing. 

You can arrive at 1601 Richland St. any time after 6:00 p.m. The concert starts at 7:00.  We always bring folding chairs and/or blankets, a picnic basket chock full of goodies, and bubbles. (What’s a picnic without bubbles?). Wine is available at the event for $5/glass, and you can become a member of the Historic Columbia Foundation at a discounted rate.

Tickets are $20.00 and may be purchased online.

See you there!

- Libby Campbell

The Return of the Jam Room Music Festival - A Q & A with Trey Lofton

The Jasper Project is extremely excited for the return of Columbia’s premier free music festival, Jam Room Music Festival on Saturday, October 1st. The Jam Room Music Festival has been a tremendous hit with the city for almost a decade, and this year’s will be the first festival hosted since the start of the COVID-19 pandemic. We talked to Trey Lofton about the behind-the-scenes action of Jam Room, expectations for the year, and a little bit in between.

 

Jasper: How did you go about choosing which bands would participate?

Lofton: This is my first year being involved with the Jam Room Music Festival. I thought it was important to have input from the whole board. I reviewed all the previous lineups and generated a list of roughly 75 bands that I thought would fit the template that had been established. I met with several members of the board to go over that list to see if my ideas matched their expectations. They seemed highly enthusiastic about the names I had produced, so I began the process of contacting artists and agents. There is only so much money to go around so you must reach out to bands at different price levels. 

Bailey Road Band

We were fortunate to have several of the first bands we reached out to express interest. Once a few of the pieces were in place the next challenge was to make sure that we were being diverse in our lineup. That narrows down the next wave of inquiries. We also thought in terms of local, regional, and national acts. I think we did particularly well in this regard. We have two acts from here in Columbia (Bailey Road Band, Dear Blanca). We have two local / regional acts in The Explorers Club and The Shaniqua Brown. Both bands originated in Charleston and have played Columbia many times. The Shaniqua Brown is performing after a 10-year hiatus. I saw they were doing a reunion show in Charleston and thought they would be a great addition. The Explorers Club also originated in Charleston but have relocated to Nashville and are primarily a studio project of lead singer Jason Brewer these days.

Titan to Tachyons

Then we have a half dozen national acts. Mourning [A] BLKStar are a collective from Cleveland. I first heard them after their last album was named one of the best of 2020 by The Wire magazine. Shiner is from Kansas City, Missouri. They had some big albums in the college radio world in 90s. They had been on hiatus but put out a new album and planned to tour in 2020. Titan To Tachyons are from NYC. To people familiar with the Avant Garde jazz scene in NYC, the band is something of a super group: most notable is bassist Trevor Dunn who is a member of Mr. Bungle amongst many other groups. But the other members play in dozens of projects that involve luminaries like John Zorn and John Medeski. Clap Your Hands Say Yeah and Titus Andronicus are two big names to emerge from the indie, punk, college radio scenes of the 2000s. The Sun Ra Arkestra are part of a legacy spanning near 70 years. 

 

Jasper: How did COVID impact the organizational aspects of the festival? Did you decide to do anything differently or did COVID open any unexpected creative avenues for everyone to explore?

Lofton: I’m new to the board so it is hard for me to compare; I know that there are a few new members. Whenever that happens on a small board like our you lose some institutional memory. Covid has certainly had a major effect on the concert industry in general. Supply is high but demand is through the roof. Most bands and venues were shuttered for two years. While there are a lot of bands looking for an opportunity to perform there are way more venues trying to get back to putting on shows. A lot of bands are booking further out than I have previously dealt with, and I think prices are higher than they have been, along with touring costs. But now that we have a lineup in place, I don’t think we have any current COVID related obstacles to overcome.

 

Jasper: What would you like newcomers to Jam Room to know about the festival? Anything they should know about or do to prepare for the day?

Lofton: We would like people to know that the Jam Room Music Festival is a free community event that is meant for everyone. We are primarily funded by the generous support of the City of Columbia and Richland County through their h-tax programs. A music scene is an essential part of any community. The Jam Room Music Festival is an opportunity to celebrate that scene but also appreciate varied styles and artists from around the country. This year we feature rock, pop, soul, and jazz with variations of each. Wear comfortable shoes, pack sunscreen, and stay hydrated!

 

Stay tuned for more about Jam Room through Jasper!

Saul Seibert invites Columbia’s artists to trade in their cool kid membership.

Don't let the bastards get you down. Imposter syndrome is real. Keep healing, growing, and fighting regardless.” 

 
 

Saul Seibert, frontman of former band Boo Hag, and creator of the four-part artistic experience, Zion, has become a surprisingly positive and encouraging force in Columbia art’s scene. His newest band, King Saul and The Heretics, released their first single “Grow”, on September 2nd along with a video that features a number of well-known Columbia faces. Read what Saul had to say about his new band, playing music sober and the Columbia arts scene. 

JASPER: What spurred King Saul and The Heretics? How did the band come together? 

SEIBERT: King Saul and The Heretics is basically a catch all for anything I have written to date, or I am currently writing… outside of Zion. I asked players I've worked with in the past and a few I have respected and wanted to work with to help fill out the songs and contribute their creativity to the arrangements.

I am cataloging notebooks of songs and writing new material a little here and there.

 

JASPER: Who all is in the band and how do y'all work together?

SEIBERT: Sean Thomson is on keys and is a multi-instrumentalist. He is producing and recording the music. Andrew Collins is on guitar, Hot Tub John is on bass, Kevin Brewer is on drums, and Adam Colbert is on sax and a contributing visual artist. I sing and play guitar. 

Everyone is given freedom to build structure around the songs and write their own parts. I'm very fortunate to be welcomed into such a talented group of creators.

 

JASPER: How would you describe your sound?

SEIBERT: It's a mess. I honestly don't know.

 

JASPER: What inspired your single "Grow"? 

SEIBERT: Grow was written about two years ago. It was directed at my brother. I had recently gotten clean from cocaine and heroin and was looking at kicking booze. I went out into the woods for a few weeks alone and wrote the song. It sat in a notebook until recently. Its meaning is on the surface and remains the same: 

Don't let the bastards get you down. Imposter syndrome is real. Keep healing, growing, and fighting regardless. 

Zach and Darren Woodlief sat with me and brought me back to life. I owe them everything.

 

JASPER: What about the video for “Grow”?

SEIBERT: The video is an invitation to the broader community to leave the scene and cool kid culture, turn in your membership and start building real relationships that are healthy mentally, emotionally, and spiritually. Don't posture. Produce growth.

 

JASPER: What do you want most for Columbia, and what changes would you like to see?

SEIBERT: I want Columbia to be known for its artistic infrastructure. Columbia has some of the best bands and performing artists in the south… period. Let's throw some light on them and let them shine! I use the term Cola Centric when talking about the city because we are unique.

You have more diversity than a lot of cities in SC. We could always do a better job at highlighting our cultural diversity and celebrating the variations of this.

My personal take is simple. The NY and LA art and music "scene" didn't just happen. It was built very intentionally …and not with a lot of the advantages of technology that we have today. Seattle in the 90s didn't just accidentally happen. We build the art culture we want and in turn get the art culture we deserve.

 

JASPER: What does your writing process look like? 

SEIBERT: It looks and feels like fucking hell.

 

JASPER: How has your sobriety impacted your music and creative process?

SEIBERT: I don't remember much about the previous decade. I don't know how it's impacted my process. I think it's possible I'm a better player and more honest of a writer. I would assume I'm easier to work with. Sobriety has only improved my production.

 

JASPER: When do you know something is done?

SEIBERT: I have never experienced this feeling. I imagine it must feel good.

 

JASPER: What advice would you like to give other creatives?

SEIBERT: Fuck pride. You are not famous or special. When you truly don't care what people think, you become a dangerous creator. It's my hope they are blessed enough to be truly cursed so that something absolutely beautiful can be brought into existence and speak and maybe even benefit the larger community. Fuck pride. Break rules.

 

JASPER: If each project you've been a part of was a living thing what would they be and why?

SEIBERT: They would all be buffalo.

You can see King Saul and the Heretics play their first show, Thursday, September 15th from 8-11pm at Uncle Festers with The Water Kickers, and Free Weed. See the Facebook event for more details.

Steven White Premieres Original, Stark Pieces Ahead of Purple Xperience Show at Harbison Theatre

Are you looking to get your fill of great art and fantastic music back to back? Mark your calendars for September 2nd, 2022. Preceding the Purple Xperience performance at 7:30pm, The Jasper Project is proud to help present the opening night for Steven White’s new exhibition at Harbison Theatre

When planning out which artist to feature at Harbison, particularly alongside the new season, Jasper’s own Christina Xan knew that White would be a perfect choice. “I’ve been following Steven’s work since sometime during the pandemic when Cindi [Boiter] put him on my radar,” Xan said,. “His stark images that play and imprint in the viewer’s mind I thought would be perfect for this upcoming Harbison show. In fact, when Kristin [Cobb] reached out to me about selecting an artist, Steven was the first to come to mind.” 

White is often inclined to create images of cultural icons and immortalized figures. Considering how the Purple Xperience show is dedicated to celebrating the cultural impact of Prince’s legacy, the juxtaposition of the two shows makes perfect sense. 

White’s latest body of work explores the presence of negative space in a work of art, and how those spaces can be manipulated into something bigger. “What draws me to a piece painted with the use of negative and positive space is the strange possibility that you will be able to see things that aren’t there,” White said, “The space in question, which is the area of shared edges, engages the viewer in an unexpected and fun way. I like the fact that it’s interactive.” 

White emphasizes the mysteries and intrigue that present themselves throughout his artist statement and masterfully captures everything he aims to. White stated, “I hope that many viewers of my work will begin to see that the positive and negative can come together in many ways to bring balance to a composition.” This eye-bending technique of White’s works excellently to keep the viewer engaged with his work, looking from corner to corner for something they may have missed, causing them to want to come back for seconds.  

The amount of conversation between the Prince show and the opening of White’s exhibition is truly up to the viewer themself. This particular body of work did not come to fruition specifically for the Purple Xperience opening; it just so happened that there was plenty of natural conversation to garner between the two. 

“I will let other people decide if my body of work is in conversation. I consider my participation in the Purple Xperience Tribute Show to be a fortuitous event,” White said, “Sometimes a bit of luck comes your way when you put your work out there.” White emphasizes how important viewer reception and opinion are to him, and hopes that everyone who views his art leaves with new thoughts and perceptions of art to take with them. 

There will be an opening ceremony for White’s show prior to the Purple Xperience performance, at 7pm on September 2nd. White’s work will be up for viewing until the end of October. More info can be found on our event page.

Alex Strickland of Abacus on the Band's Evolution, Columbia, Cooking, and Dance Moves.

“Make it your own thing & if it doesn’t hurt, you aren’t doing it right. Knowing & harnessing levels of pain can make a performance very special, positively or negatively”

Photo by Filip Szymanski

Abacus’ music is a smorgasbord of hard genres violently soaked in sweat and barbecue. They are well known and loved in Columbia for their unique sound, aggressive live shows and popular barbecue sauce. Lead singer and local chef, Alex Strickland, is gloriously over the top, seen pulling pork on stage for a recording of At The Addition and playing air hockey while performing at Transmission Arcade. If you want to learn more about him and what the band has been up to, keep reading. 

JASPER: You mentioned in a previous interview that music has always been a release for you. What's it been like the last two years not being able to play shows as often and struggling to balance the stress of everything going on in the world, on top of working in the food industry during a pandemic?

STRICKLAND: I personally haven’t had any other release. I have unhealthy coping mechanisms I’ve used to get through the day to day, but other than that, it’s been music & cooking. Luckily, we had band practice the whole pandemic (give or take). We only saw each other & practiced/wrote/jammed with one another. Cooking & music has been it for a long time for me, don’t fix what ain’t broke, ya know?

JASPER: You guys have been a band now for over 11 years. How has the band evolved over the years?

STRICKLAND: We as people evolved & the music definitely evolved with it. We all got serious about one thing or another (professions, relationships, traveling, life experience). We still make time for our music & artistic expression, but with age, shit gets more real & I think our music directly reflects that.

JASPER: We typically ask a food related question, but I feel like you guys get that a lot with the BBQ sauce and all, so anything else you want to compare each of your albums with?

STRICKLAND: Fuck it, 3/4th of us cook for a living. Food is our thing so we’ll steer straight into that. Our EP is a fried chicken sandwich from The Whig: no bullshit, can be done better at many other places but is just right the way it is. “En Theory” is a from scratch strozzapreti with pork ragu, savory & delicate with bite & a hint of spice. “Pellicule” is a BBQ competition smoked rib with no side. Stands alone with nothing else, meticulously cooked for hours & hours with someone constantly monitoring & babying it. Fall off the bone tender but with excellent chew, a perfect smoke ring & makes you want more

JASPER: When do you know something is done? 

STRICKLAND: When we all look at each other after the final note with equal parts disbelief & accomplishment. That song is in the bank (swoosh, nothing but net)

JASPER: What things do you like or dislike about the Columbia music scene and how have you seen it change over the years? 

STRICKLAND: The friends we’ve made in this town are countless. The experiences & opportunities are endless. The amazing bands we’ve played with push us to be better. I wouldn’t change a thing. So much could be said about “what if we had this or that” etc but all in all, this town is perfectly imperfect. I love it for all that’s wrong & right with it. 

JASPER: What is your favorite or least favorite show you've ever played? 

STRICKLAND: Uncle Lou’s in Orlando is the least favorite. On tour with Sein zum Tode, we were double booked with another touring package (sun genres of metal/punk didn’t mesh at all). They didn’t stay to watch us, the local left after their set for us to headline, we played to a depressed bartender & we couldn’t wait to get the fuck to the next town. 

Any of the battle shows with Vorov and/or Sein zum Tode, opening for Daikaiju at NBT before the pandemic, our shows at SXSW, house shows at QPP, Puuphaus & 88 Spring, opening for Thou in Greenville at Radio Room, playing the Whig & the Bask show pulling pork on stage are all way up there. Couldn’t pick just one for sure.

JASPER: Do you have any kind of special pre-show ritual or tradition?

STRICKLAND: I stretch, do vocal warms ups & get my blood pumping through super basic cardio (jumping up & down while spitting a bunch). Most of us smoke weed before to get ready, but I need the opposite. 

JASPER: What is your favorite dance move?

STRICKLAND: THE JAMES BROWN

JASPER: What tips can you offer other musicians (in similar genres) about dealing with the physical and emotional toll of performing? 

STRICKLAND: Make it your own thing & if it doesn’t hurt, you aren’t doing it right. Knowing & harnessing levels of pain can make a performance very special, positively or negatively. You just have to know what’s right for you. 

JASPER: What is the best way to listen to your music, like the ideal scenario? 

STRICKLAND: If you get in a horrible car accident & the brief moment you have of clarity before impact (the life flashing before your eyes moment) is overcome with pure panic so you flail your arms to protect yourself without knowing you were doing it, your arms accidentally hit a dial/phone/radio & it switches your music to “Disclaim”, that’s the ideal scenario to hear us. 

JASPER: What are you listening to most these days? 

STRICKLAND: As far as aggressive music goes: Ulcerate, Soul Glo, Gel, Demiser, Imperial Triumphant, Sumac, that new Cave In, The Armed, God Mother.

Non aggressive: I almost exclusively listen to ratchet ass trap, east coast hip hop classics, funk, afro beat & Bob fucking Seger (mostly at work which is 80% of my time)

JASPER: Any non-metal, hardcore, punk etc. bands that you draw inspiration from?

STRICKLAND: James Brown & Bob Seger. Showmen of the highest order. The other guys have tons of other people. Josh & Kevin has jazz backgrounds & Paul loves the Weather Channel music so sky’s the limit. 

JASPER: What's the "most metal" thing you've ever seen? 

STRICKLAND: A guy holding his kid on his shoulders during Gwar, huge ear protectors on, getting completely soaked in fake blood from a decapitated George W Bush prop. Metal as fuck. 

You can see Abacus Saturday, August 27th at New Brookland Tavern with Monolord plus Dorthia Cottrell (of Windhand). More details & tickets on New Brookland’s website.

Coming Up at CMA--Adia Victoria and More than Rhythm: A Black Musical Experience

It’s nice when successful artists come home. Sure, there are sometimes sour grapes in the back (what some like to call the anti-Hooties), but for the most part South Carolinians welcome their success stories back with pride and grace. That will be easy to do on Friday, August 26th when Columbia Museum of Art welcomes Adia Victoria to their Conversation and Concert titled More Than Rhythm: A Black Music Series Featuring Adia Victoria.

Singer-songwriter and poet, Adia Victoria, was born in Spartanburg, SC and lived in the upstate until she left high school and moved from New York City to Atlanta and finally to Nashville where she resides today. She released her first album, Beyond the Bloodhounds, a reference to Harriet Jacob’s autobiography, Incident in the Life of a Slave Girl, in 2016, followed by Silences in 2019 and A Southern Gothic in 2021, which was written mostly in Paris.

Having toured internationally for the past few years and performing some gigs in the US with Jason Isbell and the 400 unit, Victoria is performing in Columbia as part of a multidisciplinary event that will include song, poetry, dance, and discourse. Dr. Mason Hickman, musician and civil engineer with a uniquely math and science approach to his guitar work, will be performing with Victoria and Dr. Birgitta Johnson, professor and ethnomusicologist at the University of SC will be performing host duties.

According to the CMA, the “More Than Rhythm series returns for its second season with a special performance from South Carolina native and globally recognized blues musician Adia Victoria. On break from her world tour, Victoria joins host and ethnomusicologist Dr. Birgitta Johnson to discuss her journey as an eclectic 21st-century blues artist before taking the stage with guitarist Mason Hickman. Their performance includes original poetry paired with dance interpretations by Columbia-based dancer Erin Bailey.”

The CMA galleries and bar will open at 6 pm with a Conversation at 7 pm, followed by an 8 pm concert. The event is free, but seats must be reserved by contacting the museum.

Columbia Operatic Laboratory Brings Unconventional Opera to Art Bar with “Still Notoriously Hot *And Bothered*”


Columbia Operatic Laboratory (COLab) was founded by (now) alumni of the University of South Carolina School of Music in 2015. Since then, they have continued to try to promote the timelessness and accessibility of opera.

The nonprofit, that Jerryana Williams-Bibiloni, Marketing Director at COLab, says is like a Beezer's Gourmet Sandwich Shop T-Bird, consists of five members—a small board of artists with “day jobs” who have a passion for sharing opera to the city they love and dwell in.

“Although we all have our unique role to play for practical reasons, each vote has equal weight, which is especially beneficial as we come from fairly diverse backgrounds and want our respective niches represented,” Williams-Bibiloni shares, “This means also that we take turns in the director and musical director chair by assigning project leads based on our strengths and weaknesses or just availability!”

This group of dedicated individuals operates by the mission not your meemaw’s opera company, which emphasizes “the fact that [they] relish the opportunity to adapt classics to have [their] special COLab twist as part of [their] demystification of opera.” 

If you go to a COLab production, you aren’t going to see time-period appropriate costumes or the same production of the ole’ opera those already deep in the genre have seen a plethora of times. They are making opera for those who may never have attended one otherwise. 

“An example of this was our latest production of Mozart’s der Schauspieldirektor. Right off the bat we decided to move forward with the common English title The Impresario and to set it in Columbia, SC, with modern lyrics by librettist Evelyn Clary,” Williams-Bibiloni details, “As a show about a poor opera company, it felt appropriate to tackle as our first full production post-pandemic, and with the expertise of both Clary and Director Michael Brown, we were able to successfully address misogynist tropes of Mozart’s time and shape a more prominently feminist tale.”

Williams-Bibiloni jokes that part of COLab’s success is that they, like Star Trek, aim “to explore strange new worlds. To seek out new life and new civilizations. To boldly go where no man has gone before.” In reality, they are actively trying to perform where others don’t, to perform in nontraditional ways—unconventional is their middle name.

“To achieve this we are constantly seeking partnerships with local organizations and looking for ways to highlight some of what makes the midlands area a fantastic place to live and work,” Williams-Bibiloni shares, “This goes right in hand also with our #SingLocal initiative that focuses on supporting local artists both on and off stage with job opportunities that respect not only what they bring to the table but also that they deserve to be paid consistently and fairly.”

This newest opera, “Still Notoriously Hot *And Bothered*,” is somewhat of a spin-off of their “Famously Hot” show last year, in which they paid “homage to the city we call home by trying to incorporate Columbia’s loving branding of being famously hot.”

“The title of our August 19th performance — Still Notoriously Hot *And Bothered* — comes from this as a 2.0 spin-off of sorts,” Williams-Bibiloni explains, “We’re still hot and sweaty but we’re also excited to share what makes us hot and bothered in a variety of ways as we’ll be covering the 3 Ls — Love, Lust, and Loss — through opera, operetta, and even musical theatre.”

This performance takes place at Art Bar, who has been one of COLabs strongest supporters since day one—a relationship that has only grown stronger over the years.

Patrons can expect a “night of melodious, intimate storytelling” featuring Jennifer Mitchell, baritone Greg Pipkin, and collaborative pianist Sharon Rattray. Art Bar is a 21+ venue, and there is no cover charge for entry to the event. Food and drink will be available.

“There won’t be a full orchestra, unless you count the hum of the city noises outside or the chatter of other bar patrons, nor will there be a specific dress code, but you can count on a welcoming, come-as-you-are environment with something for everyone in our program,” Williams-Bibiloni intimates.

Whether you like Art Bar, opera, art turned on its head, or new experiences, Opera at Art Bar: “Still Notoriously Hot *And Bothered*” is a show that will entertain and bring joy. The performance is Friday, August 19th at 6:00pm.

For those who want to spend even more time with COLab, on Friday, September 16th, they are having their first Pirates of Penzance Sing-A-Long: a pirate-themed fundraiser featuring Gilbert & Sullivan with an (optional) audience chorus.

For more information and updates on their events, you can follow COLab on Instagram and Facebook at Columbia Operatic Laboratory or email them at ColumbiaOperaticLaboratory@gmail.com.

Moses Andrews III and His Journey to Finding Black Identity and Confidence

“This album, while it talks about being human, it shows that I’m no longer afraid of being Black anymore. I’m no longer afraid of saying that I’m a Black man - not African American, but Black. This album is about empowerment and jumping over hurdles. This album is the start of me standing up for people with bodies like mine.”

 

Photo by Kati Baldwin

 

If you want to learn about who Moses Andrews III is, we highly recommend listening to his newest album Exodus Pt. II. The personal stories he tells and the range of emotions in the album paint a strong likeness. If you want to hear him expand on the album and the stories, keep on reading.

JASPER: You are one busy dude! What bands (or projects) are you currently working in/on?

ANDREWS: Well, I have quite a list of bands, artists, and projects I’m a part of. To name a few: Autocorrect, GFATS, Miles To Go, Passing Worth, The Runout, The Restoration, The Witness Marks, and a few others. Occasionally, I step in and play with Space Coke, Fat Rat Da Czar, John Callaway (based out of MD), Commandment 11 (Simpsonville), and some others here and there. I’m also a session musician at Jam Room so that gives me so many opportunities to branch out even more.

 

JASPER: You recently worked on the soundtrack for a Sundance submission—can you tell us more about that?

ANDREWS: The film is an Afro-centric film called Hero and every part of it was shot in Columbia, so this could be something really big for the town. Todd Mathis, a local musician, had given my name along to the Director and the Music Director for the film. I’d found later that Todd would be the engineer and I’d be joining Corey Harris (a Blues and Reggae musician from VA), Kyle “Red” Love (Music Director and Blues harmonica player), and a couple of other musicians from around the country. A lot of the selections were pieces that Corey had written, but we decided to put a new spin on them for the film. We’d also incorporated lots of African sounds into the soundtrack. I’m excited to see how everything fits together.

 

JASPER: Your newest album Exodus Pt. II came out last month and in the description for it you mention that it is made up of stories that you have held for decades. What do you want people to know about the album? 

ANDREWS: The main thing I want people to know about Exodus Pt. II is that it is an effort to be completely honest. People make mistakes. I even talk about my own mistakes on this album. I wanted to add more songs to this album, but it would’ve been too long, so I want to be even more honest with my music in the future.

Black people and other People of Color have navigated this world in so many ways. We’ve had to overcome. As soon as we walk out of our door, we walk into a world where we have to prove that our existence is more than just useful, but valid. We have to prove our feelings are valid. We have to prove that we’re more than just a shooting target. We have to lower ourselves to show that we aren’t a threat. This album, while it talks about being human, it shows that I’m no longer afraid of being Black anymore. I’m no longer afraid of saying that I’m a Black man - not African American, but Black. This album is about empowerment and jumping over hurdles. This album is the start of me standing up for people with bodies like mine.

The content of this album is not influenced by what I believe, but what I embody. The Faith that I come from was not just a belief, but was a fully embodied faith: even in bondage, singing songs of freedom. Even in toil and trouble, singing songs about how we overcome. In a world where I may not have much power to do anything, I still lend my voice in the off-chance that some hearts are changed and are motivated to change others.

 

JASPER: Was there a song that was really hard for you to write?

ANDREWS: One of the songs from Exodus Pt. II that was the hardest to write was “I Know Everything About Black People.” I had to reopen so many wounds to be able to write this one. This song is just a snapshot of what Black people experience in predominantly white spaces, especially churches that are very Conservative-leaning. About 95% of the lyrics were taken from conversations with white pastors who have made their places of worship into safe havens for racists and bigots. I look at Spotify and see that it’s the top song on this album, but I think it’s because of the name. It catches your eye and draws you in.

Our minds are drawn to things we think are wrong or things we feel like we can correct or make better. Some say that this has come with the age of social media, but I believe it’s always been around, but people just didn’t want to see it. I feel like there are so many people who will not listen to this album because of this song. I also feel that some people know that this song is written about them, or maybe they know who’s the main character.


JASPER: What is your favorite thing you've written and why?

ANDREWS: If I think about everything I’ve written, I think I’ll be spinning my wheels a bit. There are a few songs that stick out to me.

One of my favorite songs I’ve ever written is on my most recent album, and it has to be IOU. The feelings that I’d felt while writing it are still there. You can feel the pain of someone being asked to completely change who they are to please others in the workplace. I feel like a lot of people, especially Millennials, can identify with some of these feelings of just being there, making little money, not getting ahead, etc. While a lot of songs were honest, this one was like talking to my therapist.

 

JASPER: If you were to associate a condiment with each of your albums what would they be and why?

ANDREWS: Well, If we’re talking about my personal music, this is an easy one. Exodus Pt. I would be more like ketchup because when you’re growing up, your taste buds haven’t developed enough to appreciate more than ketchup. This album is easy listening compared to the next one.

Exodus Pt. II is like a hot sauce that I make called Sri-HOT-cha: you can feel the heat at the beginning, but then you get some garlic and fruitiness coming through until you reach the slow burn, ramping up and taking you on a roller coaster. Exodus Pt. II was like that for me, especially in the way it was laid out. Hot sauce is my favorite condiment and Exodus is my favorite album that I’ve ever recorded.

 

JASPER:  How has becoming a father impacted you and your music?

ANDREWS: Being a father has changed a lot for me! I used to have instruments set up everywhere in the house, but they’ve since become his play areas. Almost every one of my instruments is packed up and in the closet because there’s nowhere to put anything. This has also affected my practice time because I want to give Miles more attention. Family time is important. After he goes to bed, it gives me a chance to actually visualize what I need or want to play since I can’t just plug in and play out loud. It is very interesting to see how he reacts to different styles of music. I can’t wait to see what Miles does in the future.

 

JASPER: What is the biggest assumption people tend to make about you and your music?

ANDREWS: What a question! People assume a lot about me simply by the way I look. Being a big Black man in the South, I get a lot of interesting questions and looks. I’m a big guy so people look at me like I’m a Grizzly bear instead of a Teddy bear. I was releasing an album with Autocorrect one evening and someone asked me if I was playing and if I make the beats. I used to make beats when I was a teen and there’s nothing wrong with making beats, but you can’t just assume that since I’m a Black person that I just make beats and not play an actual instrument. When I was at Carolina, I’d be carrying an instrument in a case and they’d still ask if I was a DJ. Those are small examples.

There are many other ways people have made assumptions about me and my music, but it has also happened in the white church. Being in predominantly white spaces, people learn one thing about you and they assign that one thing to you. You change yourself to help people feel more comfortable so that you don’t risk being “too Black” or look like a threat. Over time, you strip yourself away and become this completely different person playing Contemporary Christian Music only to have people approach you and talk about Gospel music and how much they love Andrae Crouch. I’d spent so much time away from Gospel music that I’d forgotten what it felt like to play it and be challenged by it. They assumed I was still in Black American Christian culture when I was so far removed from it.

 

JASPER: What are some things you like or dislike about the Columbia music scene?

ANDREWS: Some of the things I love about the music scene in Columbia is that there are always new artists coming out with music. Just watching people like Lola Grace is so cool. Another thing I like is that we have places like New Brookland Tavern and Foxfield that welcome musicians no matter how many people they draw. This is where they can grow and become somebody.

One of the things I dislike about this Columbia music scene is that there is still so much division. There are still cliques and people only know each other passively. I wish I could see more people working together. I think it’s so common these days to see the Person of Color being the one building the bridge or going the distance to create harmony. We always have to be the person to make the move and invade these spaces to add more color. I can name a handful of people of color in a lot of these spaces. I can guarantee you that when they are in these spaces, they feel like they’re the only one at that particular time.

 

JASPER: What wisdom do you wish to impart on musicians just starting out? 

ANDREWS: 

  • Make friends with everyone. Break down the barriers.

  • Stop booking the same kinds of shows all the time.

  • If other artists or bands are coming out to your shows/gigs and buying your music or “merch,” make sure you are returning the favor. So many people can’t get anywhere because we aren’t supporting our own musicians in our own towns.

  • Learn how to play more music. If you learn more styles of music and get good, you may get called into the studio to do session work.

  • Change your attitude. Be humble. There are musicians that I know who think they’re amazing, but they can’t play more than four chords. All they bring is an image, a vibe. The time has come to learn and grow. Take time to work on things and come with something new.

  • Make space in the community for people who don’t look like you, and not just the tokens or the ones who make you comfortable.

You can see Andrews perform  Thursday, August 18 at 8pm at Uncle Festers with St. Jupiter, Deft Key & MC Beetnik and listen to his newest album on his bandcamp.