Its 3:45 pm on a Friday afternoon and I am in line at the local post office when my phone’s notification ring goes off. It’s a text from my friend Lou, who writes: “rumor has its Phil Lesh is playing with his son’s band tonight at the Pourhouse. You know anything about this? “

That’s crazy talk! If Phil Lesh announced he’d be doing gigs with Midnight North (son Graham Lesh’s band) I would have read about it at Relix or Jam Bands online. But then I recall reading in the Relix daily 7 that he made an appearance this past Wednesday in Nashville and Thursday in Asheville with Midnight North. I quickly switched over to the Pourhouse’s web site and, indeed, Midnight North was scheduled to take the stage on the outdoor deck at 7. Could it be possible that Phil was along for the ride and make it three in a row?

Midnight North on the Back Deck at the Charleston Pourhouse

About 7:40pm, the band (Graham Lesh on vocals and lead guitar, Elliot Peck on guitar, keyboards and vocals, Connor O’Sullivan on bass and mandolin and Nathan Graham {no relation} on drums and vocals) takes the stage and begins their performance. I look behind me and ten feet back is Phil Lesh, watching the proceedings. He’s really here! This could be good! No, this could be great!! With Lou’s guidance, I position myself to photobomb a picture of Phil with me nearby. On both attempts, Phil is looking away and has no idea what we are doing.

Back to the band. They presented a nice selection of songs from their three albums, including “There’s always a story”, to be released July 23. Elliot Peck’s singing complimented Graham’s voice and the two delivered on their guitars. About thirty minutes in to the show, the rain stopped enough for people to spread out and dance. Each song was well received and enjoyed. I learned later that the band had been named “best New Act” at the Peach Music Festival in 2018. The magazine said that the band “takes the best parts of root music and Americana”. {Source: EverybodyWiki}

At one point, Lou comes over to me and shows me a selfie he took with Phil Lesh a few minutes earlier. He pointed me to where Phil was sitting and off I went. Phil Lesh was sitting behind a draped and skirted table that was likely meant for merchandise in an area where he could hear the band perform. As I approached the table, I told him that I followed the Dead since 1974 and wanted to thank him for all of the great music and memories the Grateful Dead has provided me all these years. It was when I extended my hand for a shake that one of the house security guys stepped between us to tell me that Phil wants to be able to enjoy the music. I told Phil I respected his wishes; he beat his heart with his closed fist to let me know “it was from the heart”. I returned to the crowd and the music and enjoyed my time with the band and our friends.

After about 90 minutes, the band took a twenty-minute break and returned to the stage with Phil on bass to the delight of the audience. They performed their own” San Francisco Rain” and got funky with the Grateful Dead nugget, “Viola Lee Blues”. After giving everyone a chance to contribute to the tune, they delivered a lovely “Ripple” from the Dead’s American Beauty album. This is one of my favorite Dead tunes and it touched a lot of hearts in the audience that night. They conclude their performance with another original tune and the show was over. Three hundred music fans were treated to a great performance by an up-and-coming band worth listening to and a four song sit in by the King of Jam Bass, eighty-one-year-old Phil Lesh. Here are links to the performance of Viola Lee Blue (https://youtu.be/j96D2A73WpI) and Ripple (https://youtu.be/Zetgzi64ohI ). Many thanks to Ed Congdon who posted these at his YouTube channel.

When the band left the stage, we ambled out to the parking lot to wade through the ponds that appeared due to the downpour. I was thinking of Phil Lesh, watching with pride as his son performs and follows in his dad’s footsteps. Just like many of us spent innumerable hours attending our children’s sporting events, cultural offerings and awards ceremonies, Phil was there to support his son and revel in a job well done.

As for those of us who took a gamble on a hunch that Phil wouldn’t pass up a chance to see Charleston and Midnight North, we were well rewarded. I didn’t know most of the three hundred or so fans who showed up for the show but I imagine that I will meet some when the conversation turns to great live music. As a lifelong Deadhead, along with friends Chris White and Jim Garvey, we have a memory that will always be a good story to tell when lovers of live music get together. My friends Lou and Chrissy Voylager Pfeiffer have been with us to see Dead & Co. shows but never saw the Grateful Dead live.  They love the music, the vibe and the crowd’s energy along with the spontaneous nature of the entire evening. My wife Karen, who was at the Summer Jam in Watkins Glen (1973) and the Cornell show (5/8/77), said it was like a trip down Memory Lane.

#midnightnorth #charlestonpourhouse #phillesh #gratefuldead #Lovelivemusic #thatswhatdreamsaremadeof

If you follow my blog, I published an article about this year’s RNR HOF nominees on February 14,” Is it time to rename the Rock and Roll Hall of Fame”?  I laid out the argument that the nominee list includes many artists that can’t be called Rock and Roll and offered some categories to recognize their contributions without diminishing the original intention of the Hall.

On May 12, the Rock Hall announced this year’s inductees to some fanfare. Among the performance winners are the Foo Fighters, the Go-Go’s, Tina Turner, Carole King, Todd Rundgren and Jay Z. Winners in the early influence category were Kraftwerk, Charley Patton and Gil Scott-Heron. The Musical Excellence award winners include LL Cool J, Billy Preston and Randy Rhoads. You may sit down now.

Among the performers not voted in are Mary K. Blige, Kate Bush, DEVO, Iron Maiden, Chaka Khan, Rage against the Machine, Dionne Warwick, the New York Dolls, LL Cool J and Fela Kuti. So, what do you think?

Among the performers, Tina Turner (Ike and Tina Turner), Carole King (collaborator with Gerry Goffin) and Dave Grohl (Nirvana) are being inducted a second time. The rest are first timers.

Personally, I have no issues with the Foo Fighters, the Go-Go’s and Tina Turner’s solo career. They deserve a place in the Rock Hall.

On the bright side, I am a closet Go-Go’s fan and happy they made it in. Their Power Pop sound and all girl band style just hooked me in. With influences from Grunge and Rock and Roll, they stood out during the 80’s! I recall that they graced the cover of the Rolling Stone magazine in 1986 and I still have that magazine. As an entertainer, Tina Turner’s solo career is quite impressive and I see her as a great influence on women artists. Her live performances, including her duet with Mick Jagger at Live Aid in 1985 was memorable.

The Foo Fighters have hit after hit to their credit and are a tremendous live performance. Where else can you permanently lose your hearing while enjoying a 3-hour high energy performance with Nirvana’s former drummer now singing and playing guitar? I believe they deserve their induction!

My issues are with Jay Z, Carole King and Todd Rundgren, and the continued denial of Hard rock, Progressive (Prog Rock) and Metal bands getting the nod.  Let me state that I recognize Jay Z’s musical greatness and his influence in Rap and Hip Hop. I’m not stupid but I am also not in the demographic he is speaking to. Why not have a category for Rap and Hip Hop and recognize him there, rather than leaving out a deserving performer or band. Do you know that Joe Cocker, Jethro Tull, Bon Jovi, the Cars, Warren Zevon, Jimmy Buffet, John Mayall, Meat Loaf, Sting, Peter Frampton/Humble Pie, Little Feat, Phil Collins (solo artist), Judas Priest and Kansas are not in the Rock Hall?

Carol King was a great songwriter and an equally great performer. Her breakthrough album, Tapestry, was a large influence in my life in the early 70’s. I recall seeing her perform for free in Central Park in 1973, a great memory.  But she is NOT Rock. She is a Pop artist and should be in a separate category along with Dionne Warwick and other Pop artists. Name another of her albums that are memorable? The Hall has already recognized her for her songwriting ability.

In order to be eligible for induction to the Rock Hall, an artist has to have released their first recording at least 25 years ago. Other than that, it is up to a committee made up from all aspects of the music industry to nominate the artists and vote on the winners. The public is invited to vote for a slate of their favorite artists in the hope that their vote totals will influence the committee’s final decision. Based on the popular vote totals and the final selection, it appears that the public’s vote is largely ignored. Stay tuned next April for the Hall’s latest slate of nominees, certain to continue the madness. It’s sad.

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#rocknrollhalloffame #thefoofighters #thegogos #tinaturner #jayz #caroleking #toddrundgren

Flying Under the Radar is an ongoing series of interviews with those who are promoting and performing the arts in the form of live music in Charleston, SC. My goal is to introduce you to those who are shaping the musical landscapes in the Lowcountry. They deserve our praise and support.

Let me introduce you to Charles Carmody, General Manager of the Charleston Music Hall and force behind the “Around the Bend” concert series at the Bend in N. Charleston. Charles has done much to promote local artists and the arts community on a whole while bringing national touring acts to an intimate theatre for rare appearances.

Charles was born in Charleston, SC in 1989 and grew up across the river in Mt. Pleasant. He was in the fourth grade when his parents took him to his first concert, In Sync at the N. Charleston Coliseum. He grew up as neighbors with Mark Bryan of Hootie and the Blowfish. He recalls picking Mark’s brain and record collection for the sounds of Led Zeppelin, the Rolling Stones and Pink Floyd, among other influences. Mark Bryan took Charles with him, at fourteen, to his next show, Cowboy Mouth at the Windjammer on the beach in the Isle of Palms. He recalls that his ears rang for days! Like many of his contemporaries, he spent many nights in the cigarette smoke filled Music Farm. To this day, his Mom still doubts Charles’ claim of not indulging in those cancer sticks!

In grade school Charles learned to play the guitar and now enjoys the banjo and mandolin among the string instruments he plays. A regret that he admitted to was not learning to read music back then. His first live performance was playing guitar in the youth band at his church. In the sixth grade, he was a member of Circadia, his first live band. They recorded an album in HS. As is common for most musicians, he played in various arrangements in high school and college, mostly for fun. You might have caught his act on King Street as one half of the comedy duo “introducing Fish Taco”. In college, while living on Spring Street, he arranged weekly open mic nights at his rental house.  Referred to as “Bean Night” the rice and beans meal was served up every Tuesday. With help from friends, they built a stage in the backyard, added lights and a PA system. Voila! It was there you could find Charles alongside local musicians and the occasional touring group playing to an audience of his peers in the heart of college living in downtown Charleston. He credits these open mike nights as his first attempt at organizing events for the enjoyment of all. It was here that Charles first recognized that the heart and soul of the local music scene needed to be recognized and appreciated for what they were creating. Being a champion for local bands and artists is in the essence of Charles’ soul and a driving force in his work today.

After college, Charles was bitten by the traveling bug as many do. He loaded up his VW Rabbit and ventured out to Vancouver, BC in the hope of making a go of it with a lady he met in college.  He stayed there for a few weeks, after which he turned around and headed for Seattle and points south. Arriving back in Charleston in 2012, Charles faced an uncertain future as do many college graduates. Through some family connections, an interview was arranged with Michael Bennett, a local hotel and construction company owner. Their conversation led to a meeting with a General Manager of one of Bennet’s hotels. Both soon realized that Charles was not destined to work in the hotel industry. From his initial interview with Mr. Bennett, Charles had an interest and curiosity about a shuttered Bennett property, the Charleston Music Hall. At one time, Bennet collaborated with a Myrtle Beach promoter to bring a variety show, called Serenade, to the theatre for the growing tourist trade. The building, originally built in the 1850’s, was retrofitted with seats on two levels.  The show ran for four years and then the building went dark for many years.

On a personal typewriter Charles typed a letter to Mr. Bennett along with an eight-page business plan and mailed it off. His hard work paid off in a second meeting where Charles was given the green light to make something of the facility. Armed with an intense desire to succeed but not much else, Charles was sent off in search of the keys to the building. What awaited him was a “nightmare”, a dark, dank and dirty building badly in need of repair and one working phone line. Armed with a vision, beer and pizza, Charles convinced friends to help him clean up and paint the building. He built a box office, put a ticketing system in place and scrambled for staff to work those early functions. He learned QuickBooks, FB Marketing and wrote all of the social content for the Hall.   

 In September,2012 at the age of 23 he re-opened the Charleston Music Hall. Early shows in the fall of 2012 included Andrew Bird, Jimmy Herring (Widespread Panic), Victor Wooten (Flecktones) and Keb’ Mo. He was doing all of this with no real set budget and precious little involvement by the Bennett’s’. Charles wore many hats while figuring out how to staff and run a performing arts center. Flying by the seat of his pants, Charles realized he need professional partners to make this work so in the spring of 2013, he drove to Nashville and talked to Booking Agents and Operators, anyone who would give him the time. This resulted in an agreement with NS2, an exclusive talent buyer who promised him 20 shows to be booked that year. The reality was that NS2 brought 45 shows to the Music Hall that year and Charles was off and running. The Charleston Music Hall, a 965-seat theatre in the heart of the historic district began to set Charleston on the map for many artists who were not filling up stadiums and coliseums.

In 2014, Charles brought on Bonny Wolff to handle the box office, the volunteer staff and whatever needed to be done to operate this facility. In 2015, he recruited Nicholas McDonald to be the operations and technical manager, a role he performed most recently with the Music Farm, a block away.  Both remain integral parts of the Music Hall’s success, despite the CV pandemic.

In my conversations with Charles, one thing really stood out. He has always had an unwavering conviction that he would be a success in this industry. “I always knew it would work” was his answer to whether he ever doubted what he was doing and why. The Music Hall became a magnet for local artists of all styles and substance. Charles supports theatre, comedy, conversation and music by local artists looking for an outlet to impart their talents. He promotes diversity in the style of performance and the people he associated with in the product he brings forward. He has a vision to use the charms of the Hall so that local talent would have an outlet for their creativity. It was this way when he began and it remains that way 9 years later. Charleston’s growing popularity with tourists is hurting the local artist community. It’s become too expensive to live for many and is not friendly to the community. He has seen many talented people leave to ply their trade somewhere more affordable and welcoming.

I asked Charles’ to share some of the highlights of his days growing the business. He spoke about shows in 2014, his first full year with NS2’ backing/involvement. A large smile graced his face as he recalls shows by Shovels and Rope, Stop Light Observations and Brave Baby. Here is a trio of local acts that have gone on to gain national attention, tour the country extensively and in Europe, also. This was quite an accomplishment as these local musicians got critical support from the Music Hall and Charles, in particular, while developing their audience. Charles also co-managed the band Susto for four and a half year. Once more, a local act that has gone on to national prominence. He has fond memories of the shows he promoted in 2017 and 2018.During this stretch, Charles found the time to get married and start a family. With the love and support from his wife Becca Barnet and son Cassius, Charles delivered many memorable performances. In 2019, the Music Hall hosted 278 performances of music, theatre, lectures, movies and multi-media offerings to an appreciative audience. In the seven years of full-time promotion (2013-19) many artists returned again and again and spoke fondly of their love of performing here. If you are lucky, you just might come across that night’s performer grabbing an early dinner at any number of local restaurants within walking distance of the Hall.

In February of 2020, Frank Productions, a national promoter based in Wisconsin took over the operation of the Music Hall while the Bennet’s’ remained the owners of the building. The future was looking brighter than ever and the possibilities seemed endless. Then came the Covid pandemic and the Hall, like most businesses around the country, was forced to go dark for an unknown length of time. Like most, the thought was this would be temporary and they would re-open in weeks or a month or so. By May, he realized that nothing was going to change soon. While some local clubs reopened with outdoor shows, constrained by the Covid regulations, the Music Hall remained closed. Things got really scary in June as the employees were furloughed or their salaries trimmed to face the reality that there would be no live music at the Hall anytime soon. Charles knew he couldn’t stay closed for much longer or there would be no more Music Hall. So, he set out to find an outdoor venue to bring music to the masses, within the protocols set by the state of South Carolina. He toured several, local outdoor facilities but there was always an issue that couldn’t be resolved favorably in order to promote the kind of program he envisioned.

He met with the local owners of a pleasant patch of land along the Ashley river in N. Charleston called “the Bend”. He realized that he could make a go of it promoting outdoor shows here. There was a big open field, a small paved lot for parking and easy access to the Interstate…but not much else. From this, Charles developed the plan to build two hundred and fifty secured spaces(pods) that four people could safely occupy. (Insert video of Charles venturing from downtown to the Bend) Sponsors were pitched; plans were drawn and in October the first concerts were announced. It has a festival like atmosphere where patrons bought a pod for four friends. One could bring their chairs and furniture, food and beverage and create a friendly spot to watch live music for the first time in a year. Eight of the eleven shows were quickly sold out while the remaining three had very respectable attendance. The downside? After most performances, everything needed to come down from the individual pods to the stage and tents used for the night. Quite the challenge. The “Bend” hosted local artists with a national following when Shovels and Rope, Ranky Tanky and Susto performed on the weekends. St. Paul and the Broken Bones, Marcus King and the duo of Jason Isbell and Amanda Shires were some of the artists that they were able to bring to a music starved audience this past fall. A partial schedule has already been announced for April and May and there will be more shows to come in June and possibly July. This is a testament to his vision and desire to bring the best possible entertainment to an audience desiring a return to normal. In grand Charles Carmody style, he and his friends created a short video which tells the story of Charles’ search for the Bend. Take a moment and enjoy.  https://youtu.be/5Ym9DMzYdyU

In full disclosure, I have worked for Charles Carmody as an usher since March of 2015 and have been witness to many of the spectacular performances they have brought to an appreciative audience. During the shutdown in 2020, the Music Hall exchanged the permanent orchestra seats for new, removable seating. For the right band, the orchestra can be converted to a dance floor for those so inclined and the capacity can be increased to 1200. Charles has spoken many times of the inability to book acts that demand an open space for dancing and carousing. With Covid restrictions none of this was possible but the future looks brighter for audiences to experience this new look and feel soon. What does the future promise? Hopefully, the Hall will be back in full swing by July and the house can be full beginning this September. He acknowledges that there is great interest from touring acts to fill the house from September through next January. Charles wants to continue trying to make Charleston the best music city in the world. That sounds great but exhausting! Charles thinks of the possibilities and just smiles.

If the past is any indication of what he can accomplish, I would say that the music and arts scene will be in good hands.

#CharlestonMusicHall   #TheBend   #CharlesCarmody   #MarkBryan #ShovelsandRope #RankyTanky #Susto #BraveBaby #StopLightObservations #FrankProductions #BonnyWolff #NicholasMcDonald

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On Feb. 10^th, the Rock and Roll Hall of Fame announced their latest list of finalists for the class of 2021. The voting is open to all at vote.rockhall.com. You can vote for up to five of the finalists and you are allowed to vote once daily until April 30^th. Although the public is allowed to vote, getting the most votes by the public is no guarantee of induction to the class of ’21.

The sixteen finalists include Mary J. Blige, Kate Bush, the Foo Fighters, the Go-Go’s, DEVO, Iron Maiden, Jay-Z, Chaka Khan, Rage against the Machine, Todd Rundgren, Tina Turner, Dionne Warwick, Carole King, the New York Dolls, LL Cool J and Fela Kuti. The list is one of the most diverse fields nominated. But are they missing the boat of the meaning of the Hall in the first place?

Last year’s inductees include the Doobie Brothers, T-Rex, Nine Inch Nails, Depeche Mode, Whitney Houston and the Notorious BIG. Gone from last year’s list are Dave Matthews band, Pat Benatar, Soundgarden and Judas Priest, most notably.

Let’s discuss the elephant in the room. One could make a case for the worthiness of the body of work of all of the nominees, but is their music really Rock and Roll or a strong influencer?   Mary J. Blige Jay-Z, Chaka Khan, Dionne Warwick, LL Cool J all have had great careers but is it Rock and Roll? Does anyone outside the Afro Beat fans and drummer’s world know who Fela Kuti is? Whatever happened to Rock and Roll? Their music is not played on most rock and roll radio stations. Let me reiterate, these are all major recording artists and concert attractions but is it Rock and Roll?

 If elected, Tina Turner and Carole King will enter the Hall a second time as solo artists. Tina was elected in 1991 to the Hal for her early work as part of the Ike and Tina Turner revue and Carol King entered in 1990 as one half of a songwriting team with former husband Gerry Goffin. Dave Grohl would be a two-time winner, first in XXXX with Nirvana and maybe now with the Foo Fighters.

Should the Hall create categories such as Rap or Hip Hop, R&B or Early influences? What about Country, Jazz or even Classical artists? If we’re nominating Hip Hop artists, shouldn’t the hall consider the likes of jazz greats such as John Coltrane, Thelonious Monk or Louis Armstrong? Do you know that the ONLY jazz great in the Hall is Miles Davis? One of the most overlooked genres of Rock is Metal. Why not have a separate category for this and make sure to recognize a deserving artist or two each year?

Are any of the Hip Hop artists more of an influence on Rock and Roll than Dave Matthews or Pat Benatar? Many rock artists list jazz greats as influences. Shouldn’t that make the case for John McLaughlin or Herbie Hancock? I could go on for days but you get the point.

Should the Rock-N-Roll Hall be renamed as the Recording Artist Hall of Fame with nominees in separate categories and the worthiest from each category gaining admission?  Is the Board ruining the Rock Hall by diluting the nominee list? I ask for your opinion on the subject?

FYI, artists become eligible for induction 25 years after the release of their first record. While fans get to vote on their favorites, winning the fan vote is no guarantee of election Just ask Dave Matthews, last year’s winner of the fan vote who is not even listed this year! The Rock Hall Board has the greatest influence on who gets in as who does not. Perhaps the decision makers need to pay more attention to the fans and not their egos.

Trivia question- Twenty-three artists have gained induction two times. Who’s the only artist to have been inducted three times? Reply with your answer!

#RockandRollHallofFame #MaryJBlige #KateBush #FooFighters @GoGo’s # DEVO #IronMaiden #Jay-Z #ChakaKhan #RageAgainstTheMachine #ToddRundgren #TinaTurner #DionneWarwick #Carole King   #NewYorkDolls #LLCoolJ #FelaKuti #DoobieBrothers #T-Rex #NineInchNails #DepecheMode       #WhitneyHouston #Notorious BIG #DaveMatthews #PatBenatar #Soundgarden #JudasPriest #JohnColtrane #Thelonious Monk #Louis Armstrong #MilesDavis #HerbieHancock #JohnMcLaughlin

Enjoy live music this past year? Well, that was a shit show. The touring year began as most do, picking up steam in February before the emergency break was pulled mid-March in most of the country. From that point on, live music became increasingly rare to find. All sorts of music began streaming across the web. Artists began playing in their living rooms, which for some bands amounted to more than five homes. It was intimate, there was great variety and a lot of historical concerts got airplay! What’s not to love?

For me, it was sharing the experience of the performance with friends, old and new together, that was missing. The shutdown demonstrated to me the tremendous impact to one’s psyche of experiencing music live with others! This is not a knock on the great streaming shows available, just an acknowledgement that there is no substitute for the live thing. Streaming shows service an audience who either can’t physically make it to a show or get shut out of tickets for a live performance. However, this digital option can easily get overexposed.

The year began with a surprisingly strong array of musicians coming through Charleston.  January saw performances by Lettuce, Grace Potter, St. Paul and the Broken Bone, local favorites Forty Mile Detour, and the ensemble performance of Women and Willie Nelson. Grace Potter’s opening act, Devon Gilfillan deserves special recognition as an up-and-coming artist!

Working at the Charleston Music Hall puts me in position to see more than my share of music and other performances. In February, comedians book-ended the music in between. Kathleen Madigan and Gary Gulman played to sold out houses while Tesla/Bad Marriage/Red Reign, Amy Grant and Tommy Emanuel provided excellent performances across different genres.  Amy Grant receives special kudos for an impressive performance.

March comes in like a lion…in March, I got to cross another off my Bucket list when I took in Bob Weir and the Wolf Brothers at the Ryman Theatre in Nashville, TN (8). Weir’s performance took place about a week after a tornado ripped through western parts of Nashville. He turned the show into a fundraising effort for tornado relief, featuring a dazzling array of country artists, both unknown and famous. You can read about this fabulous show in a blog post from April 3, if you would like to know more about an awesome concert. I returned from my Nashville weekend to see Sturgill Simpson and Tyler Childress in their only US show (10), after a successful European tour. On that Friday (13), I saw what was to be my last show, Forty Mile Detour (FMD), at the intimate Coastal Coffee Roasters in Summerville, SC.

Then the music industry, and life in general, locked down for most people. We all know what happened next. No need to relive those times. How long the lockdown continued depended on where you live. Here in the greater Charleston, SC area live music began again in limited locales mid-May. My first show back from the lockdown was my last show, FMD! They played at Holy City Brewery in N. Charleston and it was as if I had emerged from hibernation. Over the next three plus months, I got to be a patron at 17 outdoor concerts, many at the Charleston Pourhouse of which I wrote about in a blog on this site on Sept 8.

We were enjoying live music with safety precautions. Many local bands were first to take the stage and I enjoyed performances by GD tribute band, the Reckoning, and Phish tribute band, Runaway Gin. During the summer, I attended my first house concert at the home of musician, promoter and friend Fleming Moore. Those in attendance enjoyed intimate performances by several local artists. The Larry Keel Experience was the first regional act to come to Charleston to play their first live music (Aug. 1) in many months until Yonder Mountain String band played on the beach at the Windjammer October 6. And then the Bend opened to large scale (1000 people) outdoor shows that drew local, regional and national touring acts to Charleston. See my blog, “Live Music done right”, published on November17, at this site. The Bend provided the Charleston Music Hall with an outdoor venue to bring music to a starved audience. Performances by Susto, Shovels and Rope, the Marcus King Trio, St. Paul and the Broken Bones, and Jason Isbell with Amanda Shire sold out 8 shows in October and November.

Shows continued to be produced at the Pourhouse and Windjammer in Charleston. I got to see performances by Keller Williams, Baysik (Brendan Bayliss and Ryan Stansik from Umphreys Mcgee) as an acoustic duo, the Marshgrass Mamas (an all-women Bluegrass ensemble) as well as Schema and Robotrio’s memorable live performances. As the weather turned colder in Charleston, the Music Hall reopened in early November with all of the safety protocols being followed on up to 25% occupancy. My first night showcased local country artists, The Travelin’ Kine, for an album release party. Comedian and NC native Jon Reep brought the laughs to a smaller audience than would have been there in better days. The best performance in November and December was the Traveling McCourys’, a Grammy award winning bluegrass band and the sons of Del McCoury.

So many shows were cancelled or postponed this year, too numerous to recall on these pages. Throughout the year, I was fortunate to attend 48 performances from local, regional and national acts, working 18 of those shows. My top 10 performances this year were:

1) Bob Weir and the Wolf Brothers at the Ryman in Nashville on March 8. His support cast included Emmy Lou Harris, country artists Jamey Johnson and Margo Price along with Nashville session artists Buddy Miller (vocals and guitar) and Russ Pahl (pedal steel guitar),among the notables.

2) Grace Potter and Devon Gilfillan at the Music Hall January 8

3) Lettuce at the Music Hall on January 4

4) SUSTO at the Bend on Oct. 9

5) Baysik (Brendan Bayliss and Ryan Stasik of Umphreys Mcgee) on the beach at the Windjammer on October 23

6) The Traveling McCourys at the Charleston Pourhouse on Nov. 13

7) Jason Isbell and Amanda Shires (they made this into a live performance record) at the Bend on Nov. 10

8) Yonder Mountain String band on the beach at the Windjammer on Oct. 6

9) The Acoustic Syndicate at the Charleston Pourhouse on October 10

10) Amy Grant at the Music Hall on February 27

Special recognition needs to be heaped on the Reckoning and Forty Mile Detour. These local bands played whenever given the chance, providing the audience with live music to help counteract the limitations from the lockdown.

Musicians and their audiences really were impacted by the new set of rules we all had to abide by. Many of the bands we saw after our restrictions were modified were playing their first shows in more than six months. They were stoked to be playing in front of live audiences and feeling the familiar vibe one gets when performing.  

The moral of the story this year? If you’re not seeing all the live music your heart desires during the pandemic crisis, you’re not looking in the right places. It’s out there!

#CharlestonPourhouse  #CharlestonMusic Hall  #TheBend #WindjammerIOP #RymanAuditorium

#BobWeirandtheWolfBrothers  #Lettuce  #GracePotter #StPaulandtheBrokenBones #WomenandWillie

#DevonGilfallin #KathleenMadigan #GaryGulman #AmyGrant #TommyEmanuel #Tesla #EmmyLouHarris

#MargoPrice #JameyJohnson#BuddyMiller #RussPhal #SturgillSimpson #TylerChilders #FortyMileDetour

#FlemingMoore #theReckoning #TravelinKine #JonReep #YonderMountainStringBand #Susto

#ShovelsandRope #MarcusKingTrio #JasonIsbell #AmandaShires #KellerWilliams #BrendanBayliss

#RyanStanik #MarshgrassMamas #Schema #Robotrio #AcousticSyndicate #havemorefunin21!

The CMA annual award show usually has the pulse of what the country music community currently likes and is spending their hard-earned dollars to listen to. Their annual awards show has focused most of their time on what is new and hot. They’re also known to put together a star-studded band of musicians who pay homage to a giant in the business, postmortem. Many fans tune in for the collaborations of both new and classic artists. That is why we cannot fathom who they did NOT pay tribute or offer a touching reference at their recent award show.

Let’s start with who they did pay tribute to during the broadcast. Charlie Daniels, Kenny Rogers and Joe Diffie each received a memorial tribute. There’s no arguing giving them their due. CMA found time to remember the movie, “Urban Cowboy,” as a major influence on the country music world. The argument that there wasn’t the time to include these artists is a bogus statement. Hell, the CMA’s give each artist who is up for a major award a slot to highlight a tune.  We believe there’s room to allocate some of their time to the influential artists, in my humble opinion.

It’s who they omitted that has caused such a stir. There was no mention of John Prine, Jerry Jeff Walker or Billy Joe Shavers. They too passed away earlier this year, having left an indelible mark on country music and the public, at large. These artists are on equal footing with Charlie, Kenny and Joe, I believe. That’s why it’s so puzzling that this was allowed to go on. Surely time can be found so that each artist could get a 4-5-minute tribute. The CMA needs to acknowledge the influence and notoriety these artists had on today’s country music stars as well as generations before them!

My stance on this matter is apparently shared in part by Jason Isbell and Amanda Shires. They cited the failure to pay tribute to these artists as enough for them to cancel their lifetime memberships to the CMA’s.  At the time of writing this, I have heard that Sturgill Simpson, a close friend of John Prine, is also considering taking similar action. The lesson here is that the CMAs need to shine the light more on the artists who are responsible for influencing the popularity of today’s country music. If they do, we’ll be listening!

On the bright side, ESPN opened up their November Masters broadcast on Thursday morning with John Prine’s, “I Remember Everything.” The tune was the last song Prine recorded before his death in April of this year. It was set to a collage of memorable moments and recognitions that makes Augusta National a nearly mythic oasis set in time and tradition. You can likely find it on YouTube.

Having a lifetime affair with both music and sports, I have caught snippets of tunes from bands such as the Grateful Dead and Phish being played when a sporting event is going to or from a commercial break.  It doesn’t show up in the credits but it is recognizable to the discerning ear. Keep up the good work slipping in the Masters of Rock with all variety of sports.

#johnprine #jerryjeffwalker #billyjoeshaver #CMA #AugustaNational

Since early October of this year of years, the CMH has been producing live shows showcasing a wide variety of artists. The eleven-show outdoor season had nine sell-outs of a socially distanced, outdoor tailgate/concert atmosphere in a pastoral field surrounded by mature oaks and massive pines. Sell-outs included two nights each of Shovels and Rope, St. Paul and the Broken Bones, and Jason Isbell with Amanda Shire, one night each of Susto, the Marcus King Trio and Ranky Tanky.

The Bend is a large open field bordering the Ashley River, north of the Charleston peninsula. It is surrounded by live oaks, tall pines and a variety of other live trees and shrubbery. There is a tidal pond near the entrance and the portable johns are found near the water. One of the main focuses of the CMH was to have a safe environment for all to enjoy. I’m here to report on their success.

The mission was to create a safe atmosphere so people would feel comfortable enjoying live music with friends once again. To that extent, the field was subdivided into 250 four-person pods for you and your friends to relax and enjoy within! They are large enough for four people to safely occupy the corners of their pod, yet feel close to those in their party. Ticket-holders are invited to bring their coolers of beverages and food to enjoy tailgate style. Bringing in your seats was encouraged. I saw patrons bring in tables and sofas, stringing up lights to their pod and setting out a buffet of foods for their friends to enjoy. Starting a fire is prohibited but relaxing in the sun with food and friends is encouraged. The staff enforces the current safety protocols and encourages groups to remain in their space unless they’re headed to the restrooms or their cars. Gates open at 5 and allow you up to two hours to enjoy this new venue. Concert tickets are on your phone for touchless scanning and the only amenity provided were the afore mentioned port-a-potties. 

We have been blessed by good weather during the six-week run.  The CMH staff, guided by the vision of director Charles Carmody, created an atmosphere where you can have a great outdoor music experience and keep yourselves reasonably distanced and safe.

People everywhere are eager to get out and enjoy live music once again. The demand appears to outweigh the supply. Several of the bands that performed here were playing their first shows since the shutdown in March. They were open with their compliments of the site and the atmosphere. Many, if not most of the patrons were experiencing their first live shows in eight months or more. I have heard many words of thanks from cars of patrons as they left after the show. The season came to an end November 14 with Grammy winners Ranky Tanky. The Music Hall reopened on the 12^th of November with local artists the Travelin’ Kine and an album release party. Will there be a spring season of the Charleston Music Hall at the Bend? Stay tuned…

#attheBend  #CharlestonMusicHall #Susto #ShovelsandRope #StPauland the BrokenBones #MarcusKingtrio #JasonIsbellandAmandaShires #RankyTanky #CharltonSingleton #ZandrinaDunning #BlackNoyze #BlackDiamond #GoodTimes #DoYouBeleiveInMagic

Everyone I know has been depressed over the loss of the live show experience this year.  From mid-March till mid-May, gathering for a live show was banned in all of South Carolina. I understand there are places all around this country where there still is NO live music being played at this time.

Amid the ashes of cancelled and postponed tours rose the Charleston Pourhouse, reopening in May. They have a game plan where they were going to accommodate up to 150, give or take, on the outdoor back deck stage for live shows. Theirs is a no-nonsense plan which follows spacing guidelines and governmental mandates.

When you arrive at the Pourhouse, you are met by a friendly but direct, masked employee who scans your temperature and checks for your name and table number. In this fashion, there’s no ticket to exchange or barcode to scan. All are required to wear their masks while entering the PH and while going to your table, bar and restrooms.

I should mention that their ticket policy requires you to buy a table of 4, 6 or 8 seats. Therefore, you are around people you have selected to be with. Tables are at least 6 ft. apart. Dancing is limited to next to your table. Oh, yeah, and everyone gets a seat. This feature has its benefits! I have been going to the Pourhouse for ten years and recall only two shows I’ve been to inside where there were seats in the indoor room. That was before the PH brought back music to Charleston.

The beginning shows featured local bands, as one would expect. Like many of us, local artists are sitting around hoping for something to do and the Pourhouse is just a car ride away! They brought back many favorites such as Reckoning (Dead), Dallas Baker and friends (bluegrass), Runaway Gin (Phish), Doom Flamingo (Electronica), Robotrio and the Motown Throwdown.

The word must have gotten out as several regional bands such as Gino Castillo, Interstellar Echoes, Larry Keel Experience and Brock Butler(Perpetual Groove)have played the outdoor stage in the last month. The Acoustic Syndicate and Keller Williams will be here in October. It’s getting better every day!

Different bands do two 90 minute shows each Friday and Saturday night, with tickets generally $10 each seat. There’s no opening act so each night. The staff has clearly marked the necessary spots to stand at the bar and in the restrooms. They all wear masks and are keeping a good eye on people playing by the regs. I like that they are direct but reserved in letting you know the way things are at the PH. I have been there for more than a half dozen shows since the end of May and have watched the staff in action. We have been blessed with dry weather conditions for the nights that I have been there.

The bottom line is that people are looking for live music and the best seats are going quicker with most shows coming close to a sellout days before the shows. Patrons are having a good time and playing by the rules. For that, they get an outdoor live music experience with their friends. What else can you ask for? Kudos to Alex Harris and the staff, including Kim and the outdoor crew.

#CharlestonPourhouse #thePourhouse #Reckoning #DallasBakerandFriends #RunawayGin #DoomFlamingo #Robotrio #MotownThrowdown #GinoCastillo #InterstellarEchoes #LarryKeelExperience #BrockButler #PerpetualGroove #KellerWilliams #LoveLiveMusic #AlexHarris

As the mournful voice of Michael Stipe escaped from the speakers in my car, another piece of my heart broke. While REM was playing as I drove down the road, the lyrics spoke to me just a day after having to let man’s best friend go. My fourteen-year-old golden retriever, Hunter, finally had enough of the seizures and the maladies for which he took four medications daily. It was time to let him go but the reality of the situation overwhelmed me.

If you’re a fan of live music, you’re probably an animal lover, too. While this article does not follow in with the live music theme, I will beg your indulgence for a minute. Hunter was a big, soft, shedder of a dog who loved being among a crowd of people when the party was going on. He loved people and pizza crusts with equal vigor.

While waiting for him to join our home in January of 2006, the conversation centered on what we would call him. Names were proposed and rejected for one reason or another. I suggested Hunter, after the fabled Grateful Dead lyricist Robert Hunter, and the name was accepted by all. This little golden furball grew up to be a favorite of all who met him. He spent fourteen years and seven months making our lives better by his presence. Everyone who came in contact with him would leave with some souvenir fur. I’ve had yellow labs and mixed breeds before, but he was my first pedigree pup, complete with the papers to prove his bloodline. I regret that I didn’t keep the bloodline going, preserving the legacy of this quiet, loveable companion.

While we may have a favorite band or two who receive our devotion, we love all of our pets as we do our children, equally. Each day with a pet is a day to be cherished for their lives are much shorter than ours. The bond between man and his furry companions is one that doesn’t break. Just like when you discover a new music love and become a devoted fan, the experience such is the same with a companion such as Hunter. He was the biggest fan of the four members of our family. When our son or daughter took him to spend time with them in college, he was happy just to be with them. Whether he wound up taking selfies with sorority girls or drunken hockey players, he was just happy to not be alone. Pets like him want to share their gift with everyone they come in contact with. May he rest in peace.

This blog is being published on the fourth anniversary of the introduction of my blog, Do You Believe in Magic. Four years and 50+ posts have been more than I could have imagined. With so little live music happenings to write about, I was compelled to write this in the memory of my constant companion of these last fourteen years. I appreciate that you read this post and allowed me to try in some small way to ease my aching soul. Your support of this blog, reading what I can’t keep to myself, is cherished more than you may know. Peace and Thanks.

#Hunter #mansbestfriend #everybodyhurtssometime #REM #MichaelStipe #DoYouBelieveInMagic

These days it’s commonplace to hear the news that another musician has crossed over into the next life.  We reminisce a bit about their music and maybe a performance of theirs that left an impression on our psyche. Everyone’s tastes vary and often our musical paths don’t cross. A devastating loss to one fan is met by another fan with, “Who?”, This is especially true with artists who cross genres or appeal to people with varied tastes.