Dinner and a Show: Koger Center for the Arts 35th Anniversary Celebration

The Koger Center for the Arts will celebrate their 35th anniversary of bringing the arts to the Midlands in January 2024. While the official anniversary date is January 12, the real celebration takes place on the 30th with an exclusive wine and food tasting event and a performance by The Four Phantoms.

“35 Years, 5 Tastings” is a ticketed pre-show event complete with a five-course sampler of fine French cuisine and wine. Tickets are $75 per person and do not include entry into The Four Phantoms. Guests at this event will be treated to a private performance by Kaley Ann Voorhees, the youngest woman to perform on Broadway as Christine Daaé, and the following menu:

·         Course 1: Mirepoix-foie gras stuffed local Manchester Farm quail, black winter truffle aged port reduction, leek-basil confit.

o   Wine pairing - Lucien Albrecht Cremant Brut

·         Course 2: Galangal-scallion crusted U-10 diver scallops, star anise basmati, black sesame dusted carrot straw, white miso-mirin pan jus

o   Wine pairing - Henry Fessy Vire clesse Maitre Bonhome 2019

·         Course 3: Coriander-cranberry venison loin, butter poached crispy brussel sprouts, mousseline fingerling, cappuccino Norwegian goat cheese & gin cream sauce, lingonberry cream fraiche

o   Wine pairing - Chateau Saint Roch Grenache Syrah

·         Course 4: Sous vide grass-fed New Zealand baby rack of lamb, pave potato, legume de provine timbale, petit lemon-thyme lamb demi-glaze

o   Wine pairing - French Blue Bordeaux Rouge Bien Ensemble 2019

·         Course 5: Cardamom-infused overnight pear tart, dark & milk chocolate mousse, almond crisp, cognac cherry compote, William pear schnapps vanilla bean ice cream

o   Wine Pairing - Louis Latour Coteaux Du Verdon Rouge Les Bastides 2019

Sponsorship opportunities are available for this event – if you are a business owner interested in participating or sponsoring, please contact Karen Magradey at (803) 777-9781.

The Four Phantoms is a production in the Koger Center Presents series of programming. Four Broadway legends that have portrayed the iconic leading role of the Phantom in The Phantom of the Opera will unite for a magnificent performance that celebrates the legacy and music of Broadway. The production features Brent Barrett, Franc D'Ambrosio, Marcus Lovett, and Ciarán Sheehan, with special guest star Kaley Ann Voorhees. The group will perform music from The Phantom of the Opera, Chicago, Les Mis, Sweeney Todd, and more! Fans of Broadway won’t want to miss out on this performance. Ticket prices range from $38 to $63.

Tickets for both events are available on the Koger Center for the Arts website, over the phone at (803) 251-2222, in person at the box office, or on the official Koger Center for the Arts phone app.

DAVID WILCOX IN CONCERT AT TOL COFFEEHOUSE December 16th

Singer songwriter David Wilcox will be performing at the TOL Coffeehouse concert this Saturday, December 16th at 7:30pm. Wilcox, a Coffeehouse favorite, will present a program including some songs off his newest album “My Good Friends.” The TOL Coffeehouse is located at 6719 North Trenholm Road, Columbia, SC 29206. Tickets are $27 when ordered on line before the concert. Tickets at the door are $29.

Wilcox, who has appeared at the Coffeehouse many times over the past several years, always draws a large enthusiastic audience. In fact, the way Wilcox feels about every tune on My Good Friends proves this is indeed a fan-requested labor of love. “I am grateful for the community that sustains me – my good friends,” he says. “These are the kind of friends that get you through difficult times. The kind of friends that you go to for a fresh perspective when the future looks grim. These songs grew out of conversations with friends, and they hold ideas that I like to have around.”

Tickets are available through The TOL Coffeehouse website tol-coffeehouse.square.site, Facebook page and by scanning the QR code on the poster and other printed materials. Doors open at 6:30pm for Groucho’s deli sandwiches, coffee, and home baked goods. Music begins at 7:30pm.

Due to heightened security please limit the size of purses and handbags. No backpacks are allowed. All bags will be subject to search. To keep everyone healthy we are using ionizing devices on each of our HVAC units. As air flows past the ionizing devices, positive and negative ions actively treat the supply air, reducing bacteria and viruses in the coil and living space This increases the efficacy of our MERV 8 filter. 

Out of respect for our hosts at Tree of Life, we ask that no pork or shellfish food items be brought inside the building.

On a Musical Mission The Musical Method Bringing An Indie Film to the Big Screen

When it came time to plan his third indie horror film project, Columbia filmmaker Christopher Bickel admits that he took an unusual route to get to the upcoming Pater Noster and the Mission Of Light, which involves a psychedelic thrift store record find that leads the main characters to a forgotten but murderous cult. 

Rob and Shauna Tansey, who supplied all the cool cars in Bad Girls sent me a message one day, at a point where I still had not figured out what I was going to do for the next movie,” Bickel says. “They had acquired an old school bus that they were planning on painting in psychedelic colors, like Ken Kesey’s ‘Furthur’ bus, and told me if I ever needed it for a movie, they’d have it available. So basically, I wrote a movie around the bus.” 

In Bickel’s creative mind, if you have a bus that looks like a hippie cult transport vehicle, you obviously need a cult to ride in it, and if it’s truly psychedelic, the music should be as well. 

“I based some of it off of The Source Family, a famous cult that had their own house band called Ya Ho Wa 13, and I found one of their records at a thrift store around that same time so I was obsessing over that rare, valuable record–so I wanted the cult in my movie to be like that, and have their own band.” 

Bickel spent many years immersed in the punk and noise scene via his time with In/Humanity, Guyana Punchline, and Anakrid, so his thoughts went immediately to what the music that band might make would be like, and for that part of the process, he called in his many musical friends.

“Before the script was even done I knew that there was going to be an album’s worth of music from the ‘band’ in the movie, so I started asking around, told them what I wanted to do–that I wanted it to sound like music a cult would have made in 1972, if they were a little ahead of their time, and these are some of the themes in the movie–and I asked them all to get together and bring in their ideas for songs.” 

The sessions at the Jam Room included a cast of musicians in and around Columbia, from Sean Thomson to Marshall Brown, Joe Buck Roberts, Stan Gardner, Kevin Jennings, Gina Ercolini, Alex McCollum, Darby Wilcox, Kevin Brewer, Tom Coolidge, and more, over what Bickel describes as a ‘miraculous’ two days. 

“It should have been awful, but I feel like it’s the best record that’s ever come out of Columbia,” Bickel says. “Everyone showed up the first day and all the songs they had come up with were great. Everyone just played on each other’s stuff, adding parts, and locking in quickly. We came up with the basic bones for the entire album in those two days.” 

As part of the promotional push to finish financing the film production and distribution, Bickel shot individual music videos for the album tracks and began releasing them once a week in November–two are out so far, with another due each week until they are all available online.

“Come Out and Sing, Father,” sets the scene perfectly of a slightly off kilter, cult choir sing-along. It’s a composition by guitarist and songwriter Joe Buck Roberts, who sings the lead atop a chorus of multiple voices and instruments including a zither, flute, violin, and more. 

“A World Of Our Own,” increases the psychedelia with a song composed and sung by Stan Gardner that echoes the ‘80s paisley underground, but with a more danger-filled undercurrent. 

It is the multiple levels of input from musicians such as Gardner, Roberts, and others that makes Bickel heap praise on how things turned out. 

“There are three people that I think are mega-geniuses who worked on the music–not that everyone wasn’t amazing,” Bickel says. “Sean Thomson, Joe Buck Roberts, and Marshall Brown. Sean has a couple of instrumental pieces that he did which are perfect for the film, and Marshall gets the psychedelic stuff but he also gets the pop stuff and he and Sean both can just come up with so much on the spot, for songs they didn’t even write, had just heard for the first time and their parts just came right out.” 

Of the remaining tracks yet to see full release, there are some that verge on Hawkwind psych-metal, hippie flower power era songcraft powered by Greenville’s soulful alt-country singer Darby Wilcox, and plenty of trippy, cult-ish chanting and vocalizing. Tim Cappello, the shirtless sax player from the ‘80s movie The Lost Boys, plays sax on one song, even. It’s a heady mixture of musical montage-making that’s potent even without the eventual pairing of the film visuals.  

The craziest part of this story isn’t that a bunch of cool music got made for an indie film, however. It’s that the film isn’t even done, and Bickel himself hasn’t quite figured it all out yet.

“The film is not edited yet, and I haven’t put it all together so I’m not exactly sure where the music will fit, or even if all of it will fit,” he admits. “There will be some pieces that may not be in the movie at all, but I still consider them part of the ‘world’ of the film.”  

It is that world-building that is the most intriguing part of making this film, Bickel adds, and how each step has led to the next in its creation. 

“It was important to me that I had the world established first,” he says. “I have the short film in the can, ‘Wunderlawn,’ and the music kind of informed what we did for the short film, and then the short film has informed what we did in the feature. When we came together to do the shooting for the feature, there was already a world established for the actors to draw on for their performances.” 

So, why do it in such an odd sequence? For Bickel, it comes down to one word: money. 

“In a way it would make a lot more sense if the music came out closer to the release of the movie,” he says. “Because I don’t have any money, I have to raise money to finish the movie and the music has been the best way to support that effort– ‘Here’s something entertaining for free, and if you like it you can buy the record of it and if you buy the record of it that will pay for finishing the movie, which is the ultimate goal.” 

Each film he has made, Bickel has raised the stakes, and the budget, to realize his vision for the next one. 

“The first two were around $15-16,000 budgets, just enough to pay the actors and feed everybody. This one is coming in around $20-25,000,” He reveals. “Some of that came from donations before we started, there was also a little profit from Bad Girls and then the rest is what I’m trying to raise now. It would be nice if I could make enough to keep doing them.”

Harbison Theatre Kicks Off New Season with Jim Brickman

Harbison theatre kicks off it’s new season of diverse entertainment options with a concert by Jim Brickman on September 15th at 730 PM.

Best-selling solo pianist Jim Brickman has earned a name for himself with 21 number one albums, 32 Top 20 radio hits, and two Grammy nominations. His star-studded vocal collaborations have crossed genres to feature luminaries like Martina McBride, Donny Osmond, Kenny Rogers, Olivia Newton-John, Johnny Mathis, and Kenny Loggins. 

A true romantic by nature, Brickman tells stories through emotive ballads and sweet sounds. Harbison Theatre is the perfect intimate setting to enjoy his hit songs “Love of My Life,” “Valentine,” and “Angel Eyes.” Grab the ones you love and settle in for an uplifting evening that is sure to bring everyone together.  

*Student, senior (over age 60), or military personnel will receive a $5 discount on signature series shows at check out. Bundled discounts are available when you purchase tickets for three or more shows at a time. Please contact the Box Office at 803.407.5011 for more details. 

Tickets are $50 and are going FAST!

Get yours today!

Indie Artist TiffanyJ Presents a Premiere Night of Music and Film during Suicide Prevention Month

TiffanyJ is thrilled to announce her highly anticipated Album Release & Film Premiere event for "Solbird Sessions Live." This extraordinary evening promises a fusion of live music, cinematic artistry, and a unique ALL DENIM AFFAIR experience, all set to take place at Spotlight Cinemas Capital 8. 

The event will be a celebration of music, creativity, and community, showcasing the culmination of TiffanyJ's musical journey through her third album which was recorded live in concert at South Carolina ETV in May. TiffanyJ, a Columbia native, musical artist, and inspirational personality, has hopes to encourage those, like herself, dealing with mental health challenges through the power of her melodic artist expressions. This project has been successfully crowdfunded. 

Event Highlights:

  • Date: Wednesday, September 13, 2023

  • Time: 7pm

  • Venue: Spotlight Cinemas Capital 8, 201 Columbia Mall Blvd Ste 211, Columbia, SC 29223

  • Dress Code: ALL DENIM AFFAIR

  • Tickets: Starting at $10

  • Featuring:

    • Pink Carpet: Capture the essence of guests arriving in their denim best.

    • Live Music by Rod Foster & Company: Immerse yourself in live soulful, jazzy tunes that will set the perfect tone for the night.

    • Feature Film Presentation: Experience the captivating transformation of a live concert on the big screen, featuring exclusive behind-the-scenes and documentary footage. Witness the concert's power unfold before your eyes.

    • Album Merchandise: Exclusive album merchandise will be available for fans to take home a piece of the experience.

 

The event acknowledges support from the South Carolina Arts Commission and Every Black Girl, Inc. Solbird Entertainment invites music enthusiasts, cinema lovers, and all those seeking an extraordinary night of entertainment to join this exceptional celebration. 

Tickets are available at sslpremiere.eventbrite.com, and with limited seating, early reservation is recommended to ensure participation in this immersive musical and cinematic experience. The “Solbird Sessions Live” album will be released worldwide on all digital media outlets on Friday, September 15, 2023

Want to know more about TiffanyJ? Watch for Kevin Oliver’s feature story on her in the fall 2023 issue of Jasper Magazine!


About TiffanyJ: Indie Soul Artist TiffanyJ has one of the most unique and incomparable musical styles and sounds. Her powerful voice alone engages listeners both young and old. TiffanyJ is a singer and songwriter creating a soulful approach to melodic art that is guaranteed to uplift those who witness her gift.

 

ALBUM REVIEW: Decadence - Book of the Redeemed by Kevin Oliver

Decadence

Book Of The Redeemed

Self-released

 

There comes a time in the shelf life of a heavy rock band when the sum total of its experience and commitment adds up to a career defining moment, whether it’s that hit song that connects with a mass audience, or just an artistic statement that is so clearly above and beyond anything else they’ve done to that point. For Columbia’s Decadence, this new album Book of the Redeemed is the latter–an astounding, bracing listen that reveals more depth and meaning with every page that’s turned. 

The band has been a stalwart presence on the local and regional heavy music scene for a while, and this release was a long time coming–now we know why. Not only is the production and songwriting top notch, singer Scott McGrady’s lyrics are deeply personal. This had to be a difficult set of songs to write and record, not to mention let loose into the world for others to judge if they are worthy or not (They are.). 

Decadence straddles that line between commercial appeal and unapologetic, raw power better than most, and the production on the new songs showcases the intensity of the band’s sound, with stop-start arrangements that drop out completely, then blast back moments later with even more unrestrained fury. Drummer Ben Burris and bassist Ryan Wicker have played together long enough now they move and groove like a single unit, powering the monster riffs that cut through each tune. McGrady has a decent singing voice when the song calls for it, but most of these tracks require his most angst-laden, guttural near-screams. 

The content of the lyrics is as intense as the music, and McGrady has said online that there is an intentional running theme present, related to a friend who dealt with abandonment, pain, and anger, and moving on from that. “Abandonment” relates a story of being placed in foster care, inserting a line out of a childhood prayer to really drive home the innocence lost in the process:

 

Strangers tuck me in my bed

Shuffled through this castoff’s deck so

Now I lay me down to rest

Left alone through your abandonment

 

The most furious track is “Take Your Shot,” which addresses that person with a problem that won’t allow anyone to help, or even admit they need help in the first place. It’s like the band pours that frustration directly into the stacked guitar riffs of Dustin Welch, as McGrady sings: 

 

Tell me how to understand

Why you need to live this way

While I watch you take another shot at what this could have been

 

The somewhat title cut “Redemption” is the slowest, most melodic one of the bunch. McGrady channels Roger Daltrey of the Who, circa “Behind Blue Eyes,” as he sings the chorus in triumph: 

 

And now I see

A new dawn rising

I feel redemption

And I’ll leave

It all behind me

Won’t let it blind me

 

This is the sound of someone, or maybe some band, that’s gone through hell, come out the other side intact, now appreciating but not dwelling on the experience. Sounds a lot like they’ve been redeemed, doesn’t it? 

 

Decadence releases Book of the Redeemed officially this Saturday, with a release show at New Brookland Tavern that will also feature The Baldwin Massacre, Ozmyridis, and Sorrow Of Silence. 

 

Don’t Call It A Comeback: The Redemption of Shekeese Tha Beast

by Kevin Oliver

 

On Fat Rat Da Czar’s classic 2009 release Cold War 2, “Do Whud I Do” opens with DJ Shekeese The Beast shouting “Can you hear me out there? We back!” before Fat Rat intones, “If you knew what I knew, then you could do what I do.” The partnership between the two Columbia, South Carolina hip-hop artists made them a marquee act and flag-bearers for the genre across the southeast for nearly twenty years, before Shekeese, in his own words, “went dormant” and focused on other business pursuits. Last year, as Fat Rat Da Czar readied a new campaign of hip-hop shows and productions, he re-enlisted his former DJ to appear on stage with him again and just like that, Shekeese Tha Beast was back as hype man extraordinaire and hip-hop ambassador. In a recent conversation with Jasper, Sherard Shekeese Duvall opened up about his entry point into hip-hop, the other pursuits that have occupied his time, and how he has come full circle to reconcile his disparate, multiple pasts into a unified future with a mission to bring South Carolina hip-hop into a new generation. 

Before he was Shekeese Tha Beast, he was just a kid named Sherard, growing up in the neighborhood–but it was the formative experience of his life, he says now in retrospect.

“I grew up in Ridgewood behind Eau Claire High School, so it was a super, super black experience,” Duvall says. “The only time we saw white folks was when we went downtown.” It was a childhood surrounded by family, who shaped his worldview from an early age.

“My family was huge, and there were relatives on both my mom and dad’s sides who were into music, art, sports, politics, it was all there. I had an uncle who was political but also into Stevie Wonder, he gave me Malcolm X books when I was a kid. I had another uncle who played guitar, my grandfather played piano, so art, music, and all this stuff was all around me.”

It was a specific moment that led directly to hip-hop for Duvall, however, a purchase his mother made.

 “She bought me a 45 of LL Cool J’s ‘Candy’ and on the back side was ‘Go Cut Creator Go’ and it blew my mind, I didn’t know how they were making those sounds,” He says. “Prior to that it was seeing the video for Run DMC’s ‘Rock Box’, and I couldn’t figure it out, like was the band the DJ on top of the car? That’s what made me want to be a DJ.”

As an entry point into hip-hop, it turned out to be the right one for Duvall as high school turned into college and beyond. 

“After I got out of Columbia High, I met all the guys in Beat Junction Project, and around that time I also met Fat Rat Da Czar. The Beat Junction Project was doing its thing around Columbia, and he was doing his, and Streetside had put out a record that I was spinning at WUSC-FM.” As a student DJ, Shekeese Tha Beast was born and the show “Non-Stop Hip-Hop” put him on the airwaves weekly, featuring lots of local hip-hop talent in addition to his own DJ skills. His reputation grew, he hosted shows on Hot 103 and the Big DM, and Fat Rat came back around.

 “Fat was coming out with a mixtape, and they were looking for a DJ for it,” Duvall says. “Not sure that one ever came out, but shortly after that he went on to start doing his solo stuff and we ended up collaborating on the mixtape ‘Fat Rat Is Dead,’ which was the beginning of the whole Shekeese Tha Beast and Fat Rat Da Czar thing.”

 It was a perfect collaboration, Shekeese says, which explains the longevity of the relationship that endures to this day.

 “We have a lot in common when it comes to not only how we saw hip-hop but also how we thought about opportunities and hard work, it was just a similar perspective that clicked.”

There were multiple releases that flowed after that, from the “Cold War” series of traditional hip-hop albums with Shekeese as hype man and DJ while Fat Rat dispensed rhymes and wisdom using his instantly recognizable flow. For a time, the pair was synonymous with South Carolina hip-hop, and credit is certainly due to them for all they’ve done to promote and support the genre within the state. Then Shekeese Tha Beast went silent, at least as a performing personality. The reasons behind that dormancy were both personal and professional, he reveals.

 “Unintentionally, the separation with that part of me had to do with its popularity,” He says. “I was all over the radio, people knew me from that, from TV, doing the Love Peace and Hip Hop festival, all of that added to the notoriety and recognition.” What was happening behind the scenes, however, was that he was pursuing a professional career as a filmmaker and videographer, first with Genesis Studios and then with his own, still thriving operation as OTR Media Group. 

 “For the film stuff I felt like it needed to be different, so I was Sherard Duvall, not Shekeese Tha Beast, in that world,” He says. “When OTR came along I was still of the mind to keep things somewhat separate, because I didn’t want to enter rooms as Shekeese, I wanted to be Sherard, to be taken seriously as a business owner and not have it be like ‘Oh, the DJ is here.’”

For Duvall, the link between his hip-hop DJ persona and the work he was doing as a short film specialist and documentary filmmaker wasn’t immediately apparent, but it slowly dawned on him that he wasn’t doing anything all that much different after all.

 “Hip-hop is a storytelling form, and OTR Media Group is built around storytelling in everything we do, from media literacy to media strategy work, nonfiction, short and long form media content,” He says. “Hip-hop is incredibly dense, we’re able to use a lot of words, mesh a lot of styles together, and we’re able to connect with more people in more ways than you can with a lot of other forms of music.”

 In 2023, Sherard Shekeese Duvall, the filmmaker, husband, and father re-emerged as Shekeese Tha Beast on stage with Fat Rat Da Czar for several performances, something that Duvall says he’s enjoyed even more than he thought he would.

 “Stepping back into the Shekeese Tha Beast thing has been one of the most joyous times in my life,” he says. “It was weird when I put it down because there was an article in the paper about me quitting, people didn’t know what to call me anymore, I treated it like ‘that thing I used to do’--but I realized when I was back on stage that I had been neglecting a part of myself; I’m hip-hop through and through and it made me feel whole to be on stage again.”

 It’s the example and the role model, even mentor that he can be for the next generation that’s driving Shekeese Tha Beast now, he says–starting with his own son. 

“Until recently my son had never experienced Shekeese Tha Beast, he was too young to remember me taking him to meet KRS-One or Lauryn Hill,” Duvall says. “He’s eleven now and I took him to the show we did at the Music Farm in Charleston. Him seeing me do that might not register now, but he’s a creative, free spirit kid and it might matter later on when he’s thinking, ‘You know, it’s alright that I’m left of center, that I’m different, because my dad is super different.’” 

For now, Duvall says being “back” just means he’s whole, that his work in film and in the community will go hand-in-hand with his hip-hop persona and all that it entails.  

“I feel like Shekeese Tha Beast is back for all the right reasons,” He says. “Where I find comfort now is in being a hip-hop ambassador for South Carolina. It’s more beneficial to the culture of our state to celebrate the diversity instead of nitpicking what is and isn’t hip-hop. So, all I can tell you is that wherever South Carolina hip-hop is, that’s where you’ll find Shekeese Tha Beast.”

A Small Part of the Change – An Interview with Columbia Operatic Laboratory

By Emily Moffitt

Pictured from left to right COLab members, Christopher Lopez-Moore, Jennifer Mitchell, Jerryana Birch-Bibiloni, Joseph Birch, and Bradley Fuller

July welcomed a new Artist in Residence at the Richland Library—or rather, 5 of them! Columbia Operatic Laboratory (COLab) is a 501(c)(3) organization that started in 2015, initially created as a project through Spark, a music leadership initiative at the University of South Carolina’s School of Music. The group will serve as Artist-in-Residence at the Library from July to December; this is the group’s first artist residency. We spoke to board members Joseph Birch, Jerryana Birch-Bibiloni and Jennifer Mitchell about their goals for the rest of the year, what they will offer and life at the library.

The first couple weeks were dedicated to getting acclimated to life at the library, but COLab immediately felt welcome among the staff. The board noted that many of the librarians held an appreciation for opera. “It is encouraging to know that there’s already a love for the art form held here,” Birch-Bibiloni said. “We really want to connect with the other departments here and have a lot of big ideas on how to achieve that.” Their rehearsals make the guests walking around the second level stop in their tracks and tilt their head towards their meeting room, and strangers stop by their office hours to ask questions about their passion for opera. The board has taken this as an extremely good omen, giving them the platform to prove that opera is in fact, the complete opposite of a boring art form.

As part of the expectations for Artists in Residence, the group has created a curriculum of free workshops that caters to all the age groups that the library aims to work with. Mitchell will host a prop making workshop in the children’s area where kids will get to create their own props inspired by The Pirates of Penzance, which they will get to take home with them. For both younger audiences and parents, Mitchell states that she is extremely excited about their group story time event in November. “We’re hosting an aria and story time event where we read stories to young kids and listen to arias that correlate with the content of the story,” Mitchell said. “This provides early exposure to the world of opera for the young audiences while also helping defeat the stigma around the genre for adults, too.” COLab continues to look for more vocalists to support and welcome to their family, and they have an open audition day as part of their library schedule on August 28. “We always want to make sure that we have a safe and welcoming space for all of our performers,” Birch-Bibiloni said. “We hope that this invitation to audition expands our reach to audiences we do not always connect to as well.”

The desire to disperse the stigmas surrounding opera and to foster support for the library motivates COLab to make the absolute most of their residency. Mitchell has made note of the immense number of “statement questions” they have received and takes the opportunity to reiterate that all one needs to get into opera or to learn how to sing, is to simply want to learn. “We get a lot of questions asking about how we got into the field, and people are always surprised to hear just how much work is involved with opera outside of just singing and performing. Singing is not just a skill that someone is born with; if you want to be able to sing, you can absolutely learn how to do it!” The drive that the COLab board harbors to help develop the cultural landscape of Columbia is palpable; Birch made a poignant point about COLab in relation to the greater city limits: “COLab is a very communal project and mission for a misunderstood art form. We’re a small part of the change it always goes through and sharing it through a direct line of communication to the cultural scene of Columbia is meaningful. It is also an opportunity to marry the missions of both us and the Richland Library, which we have always been big supporters of as a system.” There are many moving parts behind an opera and putting one together. COLab has managed this challenge with aplomb as they continue to perform at venues of all kinds around Columbia, from churches to local dive bars, with the same effervescence and care. Their end-of-year performance of The Pirates of Penzance is a big production of theirs that the board decided to bring back, and it also functions as a sing-along for the audience to participate in. The production has always focused on community, but with their library residency in full swing, the board is able to make it even more community oriented from the beginning, incorporating rehearsals and opportunities to learn the lyrics into their outreach curriculum. COLab is filled with hard workers and catalysts for cultural change, and it’s a beautiful thing to witness.

The full schedule of COLab’s educational events can be found on their Facebook page as well as the Richland Library’s calendar of events. Their next event is an informational session where audiences can learn more about COLab’s mission on August 24, from 6-7 p.m. They will also have a percent day at Sweetwater’s Coffee and Tea on Park Street on August 25. There is a plethora of educational resources available on behalf of the Richland Library and COLab about the art of opera for any interested audiences, including a “summer reading list” of books related to the field available for checking out.

Music for All Ages–The Columbia Arts Academy Celebrates its 20th Anniversary

By Liz Stalker

Saturday, August 12th, the Columbia Arts Academy will be hosting open houses at all of their locations to celebrate their 20th Anniversary! The open houses will take place that day from 3-6 p.m., and the public is encouraged to stop by any of the three locations spread throughout the Columbia area: the Columbia Arts Academy (Rosewood Dr.), the Lexington School of Music (Barr Rd.), and the Irmo Music Academy (Lake Murray Blvd.). The festivities will include free food, tours, and an “instrument petting zoo” where guests can get a taste of the various instruments the school provides lessons for. As a part of the celebration, the school will also be giving away door prizes, including a grand prize of a year of free music lessons!  

Starting in 2003 as a small-scale studio with founder Marty Fort as the only instructor to 30 students, the Columbia Arts Academy has since grown into the largest private music school in the state of South Carolina. The journey has involved plenty of ups and downs. In fact, when Fort first acquired the Rosewood space, he had a lot of work to do to make it habitable for his business. “When I started Rosewood,” he says, “there were rats, there was broken glass, there was no carpet, no wall. It was $60,000 on a Visa and a MasterCard to get Rosewood off the ground.”  

But get it off the ground he did, with the school expanding into a second location just a decade later in 2015. This expansion was necessary as the Columbia Arts Academy had hit 500 students and counting, a huge milestone for the company, though it pales in comparison to the over 1700 students the school now serves.

 The school offers instruction for an incredibly wide range of instruments–piano, guitar, voice, bass, drums, banjo, ukulele, violin, and even mandolin. Fort himself is well-versed in most, if not all, of these instruments. In the spirit of modesty, he admits that violin would likely be his weakest instrument but notes that, “Once you really lock into music, there’s so much crossover.”  

The school also sees an incredibly diverse age range among its students, with the youngest of its pupils being just three and four years old and its oldest musical scholars approaching their eighties and nineties. This broad range of ages reflects the school’s highest purpose: to serve the musical passions of the community at large.

In addition to music lessons, the Columbia Arts Academy has provided opportunities for its students to perform at highly respected and admired venues and performance halls, such as the Rock and Roll Hall of Fame and the Guest House at Graceland. Most recently, students traveled to New York to perform at the Weill Recital at Carnegie Hall.  

Closer to home, the Columbia Arts Academy band, including Fort himself, performed alongside Kirk Hammett, lead guitarist of Metallica, at the Columbia Museum of Art, an opportunity that opened the school up to a massive platform.  

Fort is immensely proud of the growth and success his business has seen over the last two decades. He has such an obvious and enthusiastic love for each location he has been able to bring to life, describing them all as “kind of like kids–they all have their own personalities.” Their perpetuity within the community is a testament to not only his robust work ethic and the excellence of his staff, but the surrounding community’s love and appreciation for music.

“You know, most businesses don't make it five years,” he says. “20 years is a long time, I’m just so proud, and now, I think for me, it's a reset. High fives, we've got a great party planned.”  

Regarding this party, Fort says he’s most excited just to see the community turn out and show their support. “We love it when people come and check us out,” he says. “We work very hard to keep our places nice, clean, looking awesome, and what I'm looking forward to is people coming and saying ‘hi.’” 

For more information visit the Columbia Arts Academy website, or call or text (803)-787-0931.

Spend the 4th with the SC Philharmonic at Segra Park!

From our friends at the SC Philharmonic —

TUESDAY, JULY 4, 2023 | GATES: 6:30 PM
CONCERT: 8:00 PM |
@SEGRA PARK

BUY TICKETS NOW

DON’T MISS THIS EPIC 4TH OF JULY CELEBRATION!

Join us at Segra Park for Fireworks with the Phil 2023. Gates open at 6:30 PM and the orchestra will begin playing around 8:00 PM. In its third year, this patriotic program has become a new Independence Day tradition for Midlands families. This year’s fireworks display is even bigger than last year’s, and you’ll get to enjoy all of Segra Park’s fun ballpark food and drink.

Segra Park is a CASHLESS venue and is a CLEAR BAG POLICY venue.

Call 803-726-4487 ext. 1 with questions or to inquire about Club Seating / Suites and food packages.

Please Note: Our rain date is July 5th, 2023 at the same times.

BUY TICKETS NOW

VISIT OR SEND US SNAIL MAIL:
1704 Main Street, Suite 100
Columbia, SC 29201

GIVE US A CALL:
803.771.7937

Columbia Arts Academy to Perform at Carnegie Hall!

“How do you get to Carnegie Hall?

Excel as a student at Columbia Arts Academy!”

~~~~~~~~~~

On Saturday, July 8th, music students from the Columbia Arts Academy will perform at Carnegie Hall in New York City! The performance begins at 1 p.m.  

The students are invited to perform one acoustic piece each. Regarding what kinds of music they will be tackling, founder Marty Fort says, “I’m very excited for the program. We’ve got performers from age 7 to 65 performing piano, violin, voice, guitar, drums, and it’s a real eclectic mix. We’re performing everything from Chopin to KISS and that says it all.” 

He goes on to say, “Admittedly I’m a little nervous to perform at the Weill Recital Hall at Carnegie Hall. Being from Columbia, starting out playing in Five Points at the age of 15 at Rockafellas and now being on that stage in New York City, it’s pretty surreal. But I’m thankful for the experience, the staff, teachers, students, and parents for all being a part. It’s a key part and perfect way to help our 20th Anniversary for Columbia Arts Academy”. 

This isn’t the first time Fort has taken his students on exciting excursions. In fact, it is becoming part of his modus operandi. In the past Fort has taken students on the road to such iconic music locations as Graceland, the Rock ‘n’ Roll Hall of Fame, and Columbia’s own Koger Center for the Arts.

Columbia Arts Academy Student and Faculty Performing at Graceland

 

Columbia Arts Academy Student Shane Manning Performing at Koger Center for the Arts

Screen capture of Metallica’s Kirk Hammett social media post — performing with (pictured) Columbia Arts Academy Founder Marty Fort at Columbia Museum of Art, 2020

Family, friends, and supporters of all kinds are encouraged to attend if they are able, and tickets are $25 each. For more information about the performance, what audiences can expect, and to purchase tickets, visit the Columbia Arts Academy website.  

And watch this space as Jasper continues to celebrate the 20th Anniversary of the Columbia Arts Academy in the weeks to come! To give back to the community, the school is hosting a special 20th Anniversary celebration Friday August 4th through Sunday August 6th. The public is welcome and encouraged to stop by any of their locations in Columbia on Rosewood Drive, Lexington on Barr Road, and Irmo on Lake Murray Blvd.

 

By Liz Stalker

Make Music Day at the Koger Center for the Arts featuring USC School of Music, SC Philharmonic, Whiskey Tango Review and MORE!

On Wednesday, June 21, the Koger Center for the Arts will host Make Music Day, a free family friendly day of creating and listening to music. The Koger Center is presenting the day in conjunction with Rice Music House and the SC Philharmonic, as well as the City of Columbia.

From 12 to 8 p.m., every hour will bring musicians of all ages to the Vista for everyone to enjoy. Presented by the NAMM Foundation, Make Music Day is a worldwide celebration held in more than 1000 cities in 120 countries, with origins from France in 1982. The day is all about exposing communities to the power of music from all genres.

The early half of the day features an experimental “ruckus hour” where visitors can play around and make music with unconventional instruments--like boomwhackers--alongside percussive ones like steel drums. Varna International Music Academy, Rice Music House, SC Youth Philharmonic, and Rhodes Music Studio will have several students and affiliates perform recitals throughout the Koger Center lobby, stage, and Upstairs Gallery. The SC Youth Philharmonic will also host an instrument petting zoo, a perfect opportunity for aspiring musicians to learn a little bit more about different instruments.

At 4 p.m., Columbia Operatic Laboratory will perform excerpts from their production of Pirates of Penzance as well as give an announcement about their season. Afterwards, around 4:30 the duo Alexandra Fowler and Max Feltes will perform covers of hit indie songs for audiences.

The night concludes with outdoor events, starting out with a drum circle open for everyone to participate in. The circle will be led by Ashley Cobb, a graduate assistant at the University of South Carolina’s School of Music. There will be three bands afterwards performing on the plaza stage: Whiskey Tango Revue with Lauren Sherr, Martha’s Vault, and Sam & Illia. All stage performances are also free, and don’t forget your lawn chair or blanket!

Make Music Day Columbia is a yearly event that helps to make the slower summers of Columbia that much more musical. For more information on the complete lineup, visit the Koger Center website or the Make Music Day Columbia site.

Grammy-Winning American Songster DON FLEMONS at Columbia Museum of Art

From our friends at Columbia Museum of Art —

The Columbia Museum of Art presents More Than Rhythm: A Black Music Series Featuring Dom Flemons, the season two finale of the popular concert and conversation program, on Friday, June 23, from 7:00 to 9:00 p.m. The evening features The American Songster himself, Dom Flemons, GRAMMY Award winner, two-time EMMY Award nominee, and 2020 United States Artists Fellow. In the pre-show conversation, series host and ethnomusicologist Dr. Birgitta Johnson and Flemons discuss his passion for storytelling through old-time music, his experiences with the award-winning Carolina Chocolate Drops, and his current projects that champion the Black contributions to American folk music.
 
“For two years, the More Than Rhythm train has passed through a myriad of genres and celebrated the indelible impact of Black artists and musicians on the rich fabric of American music,” says Dr. Johnson. “From sacred music to the blues, soul to hip-hop, classical to jazz, we have experienced some of today’s most innovative and genre-expanding artists from around the country. For our season finale event at the CMA, we are pulling into our final stop and digging into the ebony roots of American folk music with The American Songster, Dom Flemons.” 
 
Flemons is a songwriter, multi-instrumentalist, producer, actor, music scholar, historian, record collector, and the creator, host, and producer of American Songster Radio Show on 650 AM WSM in Nashville, Tennessee. He is considered an expert player on the banjo, guitar, harmonica, jug, percussion, quills, fife, and rhythm bones. Co-founder of the beloved Carolina Chocolate Drops, Flemons left the group in 2014 to pursue his solo career.
 
In 2018, Flemons released a solo album titled Dom Flemons Presents Black Cowboys on Smithsonian Folkways and received a nomination for “Best Folk Album” at the 61st GRAMMY Awards. This record is part of the African American Legacy Recordings series, co-produced with the Smithsonian National Museum of African American History and Culture in Washington, D.C. In 2020, Flemons was selected for the prestigious United States Artists Fellowship Award for the Traditional Arts category, which was generously supported by The Andrew W. Mellon Foundation. Available now, Traveling Wildfire is Flemons’ first new album since Black Cowboys and second for Smithsonian Folkways. In it he turns to an important, overlooked voice that he's proudly rediscovered: his own. Flemons is on tour this year traveling across the country.

“Be it string band, old-time music or Piedmont blues, Flemons is a GRAMMY winning multi-instrumentalist and storyteller who has been a part of amplifying the often-erased contributions of African Americans to American roots music styles,” says Dr. Johnson. “As a founding member of the acclaimed Carolina Chocolate Drops and as a solo artist and board member of the Music Maker Relief Foundation, Dom is a leader in connecting people — young and old — to Black folk music pioneers in the blues and country music. His recent album Black Cowboys illuminates another hidden gem in American music and folklore — the songs and stories of the original cowboys of America’s westward expansion. Our season finale show with Dom will also be a time to thank our More Than Rhythm audience regulars who have helped the series grow and make a powerful mark in Columbia’s thriving art and music scene for the last two years.” 
 
Series host Birgitta J. Johnson, Ph.D, is a jointly appointed associate professor of ethnomusicology in the School of Music and African American Studies Program at the University of South Carolina. Her research interests include music in African American churches, musical change and identity in Black popular music, and community archiving. She has published articles in the Black Music Research Journal, Ethnomusicology Forum, Liturgy, Oxford Bibliographies in African American Studies, and the Grove Dictionary of American Music.
 
Dr. Johnson’s recent publications include a chapter about 21st-century gospel archiving in The Oxford Handbook of Musical Repatriation, a chapter about gospel remixes of Beyoncé songs in Beyoncé in the World: Making Meaning with Queen Bey in Troubled Times, and sacred themes in the music of Outkast in An OutKast Reader: Essays on Race, Gender, and the Postmodern South. She has been quoted or featured in media and news outlets such as Rolling Stone Magazine, NPR, Vox, Public Radio International, and South Carolina ETV. 
 
A multi-instrumentalist and singer, Dr. Johnson has performed professionally and/or recorded with artists and ensembles from a variety of genres including the Southeast Symphony Orchestra of Metropolitan Los Angeles, the Gospel Music Workshop of America, Francisco Aguabella’s AfroCuban Folkloric Group, and the ESPY Awards with Justin Timberlake, The O’Jays, Yolanda Adams, Talib Kweli, and BeBe Winans. At USC she teaches courses on world music, hip-hop, the blues, African music, Black sacred music, Beyoncé, and the history of ethnomusicology.
 
More Than Rhythm: A Black Music Series Featuring Dom Flemons
Friday, June 23 | 7:00 – 9:00 p.m.
Conversation at 7:00 p.m. | Concert at 8:00 p.m.
Galleries and bar open at 6:00 p.m.
Free admission

 
Presented by the Baker & Baker Foundation. This program has been made possible in part by the National Endowment for the Humanities: Democracy demands wisdom. This program is supported by a Connected Communities grant from Central Carolina Community Foundation.

The Beat: Bedlam Hour Returns With New Album, Live Shows

By Kevin Oliver

The last time anyone in South Carolina heard from the positive hardcore band Bedlam Hour was in 1995, when the band released **Contact**, their final album–until now. Rumblings started online earlier this year as Bedlam Hour archival videos surfaced on YouTube, posted by bandleader Chuck Walker; news of new material on the way soon followed. Larry Parker’s River Monster Records signed the band, released **Win A Billion Dollars!** on May 1st and announced a trio of live shows, which happen this coming weekend in Charleston, Columbia, and Myrtle Beach. 

Here’s a brief history lesson for those unfamiliar with the impact Bedlam Hour had on the Columbia music scene in its prime. Formed in 1983, the band was an unpredictable, entertaining live experience, with cereal and hot dogs involved in classics such as “Frankenberry Mosh.” The song “Grey Sweater” has been mentioned in several “Best Columbia Songs” lists over the years, and the album it appeared on, 1987’s **Rock The Cradle** made them one of the first bands from the local rock scene to put out a record on a widely distributed indie label, Positive Force. Over the next 8 years the band toured internationally before what Walker terms as a “hiatus” in 1995.

“I was a first year teacher and wrote that album in my garage in Georgetown,” Walker says. “We recorded it at the Jam Room in two days.” After a few shows in support of the album, the band decided to take a break, he recalls.

“My wife and I were starting our family, several of the band members had moved away for their families and careers, it was a good time to take a break. So I checked out of the professional music business, though I still regularly wrote and recorded music, and stayed active as a player and singer in church for 27 years, which helped me develop my skills.” Walker is still teaching, and is now both a father and grandfather, and survived a cancer diagnosis in 2021.

Walker has always been more of a musician than the hardcore scene would give him credit for, whether it’s the perfect pop structure of “Grey Sweater,” the alt-rock precursor of his side gig with the band Virgin Ironpants, or the little-known garage project Mill Village Apostles that saw him write new punk and hardcore style music for ancient church hymns. Bedlam Hour drummer Derek Roddy has been the band member who took the professional musician path the most, he is well known internationally as a music educator and drum clinician and has played with several major death metal acts including Nile, Malevolent Creation, and Hate Eternal. It was Roddy that prompted this new chapter of the band, Walker says.

“This new album is the result of a dinner conversation between me and Derek, when we talked about the 40th anniversary of the band and how it would be fun to play a show,” Walker says. “Derek recommended we record something new to go with it, and I went home and wrote most of this album.”

The other core band members represented on the new material include bassist Adam Kolesar, who lives in New York, Scott Kenneally and Ed Baker, who are in Columbia, Brian McKenzie in Myrtle Beach, and Roddy, who lives in Florida. Johnny Walker contributes saxophone parts, and guest vocalists include Billy Riot of Soda City Riot, Chris McLane and David Sease of Stretch Armstrong, and Dylan Walker, Chuck’s daughter. 

“We recorded all of the tracks at Brian McKenzie’s studio, The Spiritual Center for the Creative and Sonically Inspired,” Walker says. “Brian and I handled production, and co-wrote two of the songs.” With modern recording techniques, the parts were done in various locales, from Roddy tracking drums in Florida to Ed Baker doing his keyboard parts in his own Columbia studio. For the live shows, all of the musicians will play live with the band, along with some of the guest vocalists. 

Getting back to Bedlam Hour after all these years has been both easier and more enjoyable than Walker had imagined, he notes.

“We are older and wiser, and technology has made punk rock a lot easier in terms of production and promotion,” He says. “Bedlam Hour was always its own category, we never really fit into trends–we just tried to create music that we loved and put on the kind of live show that we would like to see.”

The new Bedlam Hour album reflects both that newfound enthusiasm and the maturity that comes with several decades of personal and musical growth. Walker’s take on the new material shows that personal side, especially.

“Brian once pointed out that Bedlam Hour was a combination of heartfelt lyricism and humorous mosh-fueled bedlam,” Walker says. “So, the new record has "RE: Generation" which deals with staying positive and keeping the punk rock DIY ethos alive across generations. That song is also an anthem of encouragement for anyone going through tough times. "Quest For Truth" deals with the search for significance through reflection, exploration, and logic. "$1 Billion" tells the story of growing up in South Carolina punk rock, falling in love with my lifelong soulmate (my wife of 32 years), and becoming a proud grandfather. "Uncle Sam Slam/Kashi Moshy" is a humorous and autobiographical ode to living in an old man's body and all that comes with it. "Never End" is a love song to the South Carolina hardcore scene and a celebration of getting together to celebrate punk rock life.” 

This weekend’s flurry of shows isn’t a one-shot deal, Walker confirms. “My plan is to stay very active in music for the next 15-plus years,” He says. “There are already plans for future Bedlam Hour releases, and I am working on a new project called Astronaut Assembly for 2024-2026. Brian and I perform in a 60s garage rock cover band called Small City Rock, you can see us performing at the beach this summer.” 

Bedlam Hour plays the New Brookland Tavern on Saturday, June 17th. Brandy and the Butcher and Soda City Riot open this show. 

Facebook Event and Tickets

Shaping the Summer Music Scene – USC School of Music’s Southeastern Piano Festival Returns for 2023

By Emily Moffitt

From June 11-17, 2023, Columbia will transform once again into a cultural destination for piano and classical music enthusiasts alike as the University of South Carolina School of Music’s Southeastern Piano Festival returns for its twenty-first year. The lineup this year includes distinguished pianists John O’Conor, Roman Rabinovich, Ying Li and Anthony de Mare. The festival has always had its roots in Columbia culture: founders Marina Lomazov and Joseph Rackers served as professors of piano at the School of Music. This year, Phillip Bush and Caroline Earp stepped into the leadership roles of Artistic Director and Executive Administrator respectfully. Earp believes one of the reasons that makes the festival so great is that “it’s a week of many different musicians showing off their own masterful interpretations of the instrument and the repertoire.” The festival draws in guests from across the Southeastern United States and gives pre-college age pianists an experience of a lifetime. Bush states that the festival is “an opportunity for the USC School of Music and particularly the piano department to showcase the work we are doing and the artistic values to which we are committed.”

Earp herself holds the piano in high regard; she credits the instrument as her first love. “Because the piano was my first love within the world of music, it’s extra special to me to serve in this role—it feels like a real full circle moment.” Earp said. She holds a Bachelor of Music degree in vocal performance, but she is ecstatic about working on SEPF since it allows her to share the wonder of piano with Columbia. She also addressed the power of the festival to attract prospective college students to the university; “The SEPF team and Tayloe Harding—the Dean of the School of Music—believe this is truly a wonderful opportunity to highlight what our school has to offer. Young musicians that participate throughout the week get to study with our illustrious faculty and get a personal look into USC’s School of Music.” Of course, it is difficult to isolate one specific thing that Earp is looking forward to the most about the festival; the idea is like picking a favorite child or song.

The festival will host several concerts that easily appeal to newer fans of classical music, or any interested guests who want to experience live music. The content ranges from unique works to standard repertoire, but accessibility to new audiences does not go unnoticed. “The opening celebration concert is very accessible, and we hope it will prompt attendees to attend more concerts throughout the week,” Earp said. The opening concert features the School of Music faculty including Bush and Associate Director of SEPF Nicholas Susi in a diverse and delightful program that features a few four-hand and eight-hand pieces. Later in the week, Anthony de Mare will perform selections from his project Liaisons: Reimagining Sondheim from the Piano. This project is a culmination of the efforts of de Mare and multiple modern-day composers like Steve Reich and Jonathan Batiste. Earp said, “De Mare’s Liaisons project consists of unique takes on recognizable show tunes. It appeals to fans of contemporary music and musical theatre all at the same time.”

De Mare will also host a lecture with Bush—who also serves as a professor of piano at the School of Music—to discuss the field of piano pedagogy. The lecture series formed in 2005 and was named after Marian Stanley Tucker, a staple of the Columbia music community who taught children the joy of piano playing for almost six decades. Earp highlights the importance of her impact on Columbia’s musical landscape, as there has been an endowment created in her name that supports the lecture series. “We always want to make sure that we recognize [Tucker’s] lasting impression on the lives of everyone she came across,” Earp said. “The lecture series in turn functions as educational outreach for piano teachers and connoisseurs who want to learn more about piano pedagogy.”

The SEPF team also includes Elizabeth Churchya, a doctoral candidate at USC in Music Performance who serves as the Associate Administrator, and Graduate Assistants Zhenyu Gao and Megan Rich. Earp considers the team, as well as School of Music Marketing Director Marlena Crovatt-Bagwell, invaluable to the planning of the festival. Outside of SEPF, Earp’s other role in the university is the Director of Alumni and Donor Engagement for the School of Music. When asked about the experience of working with the team outside of the academic school year, Earp said “getting to interact with my colleagues outside in separate roles and contexts, but still in the realm of music performance, has been a wonderful experience. This is something we are all passionate about, and I am overjoyed to see it all unfold and to watch everyone’s efforts come to fruition.”

Earp notes that every year, the Southeastern Piano Festival at the USC School of Music grows in its prestige. The Arthur Fraser International Piano Competition held at the end of the festival week is now considered one of the most prestigious piano competitions in the Southeast for pre-college students. The high rate of return from out-of-state attendees motivates the leadership staff to continue transforming Columbia into a cultural landmark for musicians everywhere. “It’s inspiring to hear piano artistry at the highest level from the visiting guest artists and to witness the talent and dedication of the young aspiring pianists attending the festival,” Bush said.

Tickets are available to purchase for each performance on the Koger Center website. Each performance will be held at the School of Music’s Recital Hall, and tickets for each performance are $20. More information about the Southeastern Piano Festival at the USC School of Music can be found online as well.

REVIEW: Chad Henderson's HUNDRED DAYS at Workshop Theatre

This is a show for those who love live music. Even if you don’t typically like musicals this is a show for you. Honestly if you have ears and a heart this is the show for you. I’m only partially kidding, but I have a hard time imagining anyone not enjoying themselves. Hundred Days feels like a concert, but better, and tells the real-life love story of Abigail and Shaun Bengson through songs they wrote as a family band. I won’t go into details, but their love story, like most, is not easy. This musical memoir illustrates well what happens when past trauma and anxiety go head-to-head with true love. 

Director Chad Henderson consistently delivers great theatrical productions to Columbia, and this was no exception. He has pulled together an excellent cast of local musician-actors, and it was obvious he had been thinking about producing this show for years. Well-known local actress and musician, Katie Leitner, was the perfect choice for lead, Abigail Bengson, and probably one of the few actors in Columbia with the vocal chops to play her. Katie along with the band elevate Abigail’s songs and put a polish on them that make them sound more modern than the original cast recordings. Her incredible voice and magnetism on stage draws you in so much so that this could have easily become the Leitner show. Thankfully, Henderson balanced the show well and cast co-star, Taylor Diveley, to play Shaun Bengson. Diveley held his own next to Leitner with equally exceptional vocal ability and a number of endearing qualities.  

Making up the rest of the family band we have singer and cellist Catherine Hunsinger, front-woman for local band Rex Darling, and multidisciplinary director and performer, Bakari Lebby, on bass. Both have speaking roles throughout the show, providing levity where needed, and sing harmony on the majority of songs. At times, the harmonies in these songs were overwhelmingly good – chill inducing and magical. USC professor, musician and musical director for the show, Tom Beard, sings, speaks, and plays accordion as well as synthesizer throughout the show. Drummer and vocalist, Patty Boggs, rounds out the band with near perfect dynamics. Both are stellar musicians and great in their roles.  

Musically the songs in this production run the gamut from Indie folk to electronica with several more traditional musical numbers sprinkled in. Be warned you will leave with songs from the show stuck in your head.  

The hour and a half performance kept the audience’s attention the whole time, and in the age of TikTok with our ever-shortening attention spans this is an impressive feat. Patrick Faulds the lighting and set designer did an impressive job of making the stage feel like a music venue, while also keeping it interesting. There were constantly little things I noticed on stage throughout the show, and like any good modern concert, video was a big part of the performance. Screens on the stage complemented each song and reinforced major themes throughout the show.  

100 Days runs through May 27th and is definitely worth the ticket price and your time. It is moving, fresh, and thoroughly entertaining. Learn more about the show at Workshop Theatre’s website.

An Ode to Garage Rock (In Appreciation of the Woggles) by Kevin Oliver

(Photo: Steven W. Terrell)

Rock ‘n’ roll is old enough to have a Hall of Fame and a museum, and enough subgenres to confuse even the most dedicated music fan. One of the constants, however, has been “garage rock,” a subgenre of rock that’s indebted to raw, unfiltered sounds coming from a basic guitar/bass/drums band from the 1960s. Think Sam The Sham and the Pharaohs, The Kingsmen (of “Louie Louie” fame), The Standells (“Dirty Water”), The Troggs (“Wild Thing”) and many more. It’s an energetic, danceable style, something that has probably fueled its enduring popularity over the years, to the point where there are now “Garage Rock Revival” acts keeping the original style alive in various ways. 

One of the latter is the long-running Atlanta band The Woggles, which has been around in some form or another for over 30 years, so to call them “revivalists” may not be entirely accurate–they probably influenced many of the newer bands themselves.  

Featuring a two-guitar lineup, classic bass and drums rhythm section, and the irrepressible frontman “The Professor” Mighty Manfred, The Woggles have taken the garage rock blueprint and built their own sound on that foundation. 60s British Invasion, R&B and soul music classics and more form the border-less abandon of a Woggles show, with Manfred holding court up front as a slightly lunatic ringmaster of his own rock ‘n’ roll circus. It’s like a “Nuggets” compilation manifested in human form on whatever stage they appear on. 

The problem with writing about a band like The Woggles is that there’s no real substitute for actually hearing them or seeing them live. So, in preparation for this Friday night’s Art Bar show, here’s a quick primer on some of the best Woggles tunes:

 

My Baby Likes To Boogaloo” 

From their 1992 debut LP “Teen Dance Party,” this is a cover of an obscure 60’s tune from Don Gardner; it’s typical of the dance numbers they would make their name on. 

Sweet Tea

From 1998’s “Wailin’ With The Woggles,” this one shows off their mostly instrumental surf rock tendencies, a fun side of the band. 

Zombie Stomp

A must-have for your Halloween playlists, this one from 1996’s “Get Tough!” is another surf-rock style number but with spooky sounds added.  

Take it To The People

A veritable mission statement for the ever-touring Woggles, this one’s a great showcase of the slightly unhinged vocals of Manfred. From the 2012 album “The Big Beat.”  

Collector of Broken Hearts

While not quite a ballad, this one proves that The Woggles can slow down a bit and throw out some great melodic pop tunes when they want to. Great harmonica solo here, too.  

I Got a Line On You

A terrific cover of the Spirit classic that takes the dizzying speed of the original and fuzzes everything up even more. From the 2005 collection of singles, “Soul Sizzling 7” Meltdown.” 

 

The Woggles with the Capital City Playboys:

Art Bar

Friday, May 19th 

9:30 PM

Facebook event: 

 

Announcing the Sun for Everyone Lineup & Release of Jasper Magazine’s Spring Issue

Among the performing artists Richardson has invited are Columbia’s new City Poet Laureate, Jennifer Bartell Boykin, writer Johnny Guillen, singer-songwriters Beaux Jamison and Jae Rodriguez, independent filmmaker Gil Grifaldo who will be screening film footage inside the Co-op, and performing artist Maya Harris aka Dragonfly Beatz. Visual artists Alyssa Eskew and Bohumila Augustinova will be showing and selling their art as well.

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