Splitting her time as a staff writer (on ABC/TBS sitcom Cougar Town and the FOX series Surviving Jack) and a stand-up comedian, Heller frequently travels around North America. Fans of stand-up comedy have enjoyed her numerous appearances on appeared on Conan, Late Night with Seth Meyers, and Comedy Central’s John Oliver’s New York Stand-Up Show, among other broadcast and cable programs. Heller will be a series regular on the upcoming second season of TBS’ Ground Floor.

Paste Magazine‘s Robert Ham describes Heller as having “a comedic voice that is pointed and occasionally brutal, but with a delirious absurdist bent that helps the acidic social commentary go down a little bit easier.”

This spring and summer, Heller and comedian Adam Conover will co-host the weekly “Fresh Out!” stand-up showcase series at the Upright Citizen’s Brigade’s theatre on Sunset Boulevard in Los Angeles.

Local comedians Jason Groce and Metronome‘s Jessica Mickey will open the show at Theatre 99 on Saturday night. Heller took a few moments this week to chat with us about her career on comedy and her current East Coast tour:

Emily Heller (photo by Mindy Tucker)

Metronome: How, when, and where did you first get involved with comedy?

Emily Heller: I’ve been a performer of some kind or another ever since my entire family did a local theater production of The Music Man when I was five, but I started doing comedy my senior year of college. They offered a stand-up class and I took it and I got an A+. Highest grade I ever got.

Metronome: Was stand-up something you were immediately drawn to, or did you gradually get into it after writing and performing in other ways?

Emily Heller: I didn’t think stand-up would be my thing at first. I did a lot of writing and then sketch. But stand-up just seemed to fit the best. Once I moved to San Francisco, it was just the thing that made the most sense and that I had the most fun doing. I am terrible at so many other things.

Metronome: Who were your most favorite comedians, comedy albums, and comedy specials early on, back in the day as a kid? And why?

Emily Heller: I really loved Mitch Hedberg when I was in high school, and I still do. Just those perfect, silly, easily repeatable jokes. I went to see him when I was 17, and I’ve never laughed that hard in my entire life. And in college, I watched every episode of Maria Bamford’s web series about a hundred times. I also really loved David Cross’s album Shut Up You Fucking Baby! and listened to it on long car trips with my buddies.

Metronome: As a rookie stand-up comedian, were you drawn toward or aiming for a certain style of comedy or did your material and personal style sort of take shape in a gradual, natural way?

Emily Heller: Some advice I got early on when trying to figure out what material to do was, “Think about the stories you tell a lot, the things you say over and over, and start there.” I’ve never set out to have a particular style. I’ve just always talked about what I thought was funny and tried to present some funny ideas that other people wouldn’t think of. Things that can only come from my weird-ass brain. It’s trial and error — sometimes what I think is funny, no one else does.

Metronome: As a seasoned on-stage comic, how do you define your style these days?

Emily Heller: I still don’t know how to answer this question! My comedy has been called “brainy,” “gross,” “self deprecating,” “political,” and “alternative,” but none of those are things I’m necessarily setting out to do. It just sort of comes out that way.

Metronome: Which do you find more challenging: writing for TV shows or writing for your own stand-up material?

Emily Heller: I think writing for TV shows comes a little easier because you’re collaborating with other people and you get to build on each other’s ideas. Stand-up is tougher because it’s so personal to you. The jokes really have to feel perfect to you, and you have to say them over and over again a bunch of times, so you have to really stand by them. With TV, you get to write in a bunch of different characters’ voices, so there’s sometimes more freedom there.

Metronome: Have you developed a healthy balance between writing and performing these days? Or is it a wild, hectic, unpredictable zig-zag between those sides of your work?

Emily Heller: Total zig-zag with some loop-de-loops in there, too. This tour was my way of putting the focus back on stand up for a little while.

Metronome: If you had to spend an entire summer regularly doing stand-up at local clubs and venues, would you rather spend it in New York City, San Francisco, Chicago, Los Angeles, or somewhere very far away from any of those?

Emily Heller: That’s tough! New York City has the most, best stage time for sure, but there’s something about San Francisco crowds and shows that is very gratifying. Also, New York City in the summertime is super gross and sweaty, and everything smells like everyone’s armpits having a party. So, San Francisco.

(photo by Mindy Tucker)

Metronome: What do you enjoy most about touring as a stand-up comedian?

Emily Heller: I love seeing new places and eating new foods. Fried green tomatoes, here I come. And I love performing for crowds that I’ve never performed for before! It’s such a pleasure to see which jokes happen to tickle one city more than another. You get a real sense of a place based on what cracks them up, I think.

Metronome: What do you least enjoy about touring as a stand-up comedian?

Emily Heller: Definitely getting up early for flights. I love sleeping. It’s kind of my “thing.”

Metronome: When was he last you were genuinely star-struck — in the comedy world or elsewhere — and why?

Emily Heller: Amy Poehler came to a show I was performing on. She complimented my set afterward, and I momentarily lost the power of speech. Also I got to meet David Copperfield right after seeing him perform in Vegas, and that was pretty cool because he has just made a giant wooden dinosaur appear out of thin air.

Metronome: This will be your first time in Charleston. What do you look forward to doing, seeing, eating, or drinking in town this weekend?

Emily Heller: Fried green tomatoes! And who knows what else. What should I be looking forward to?

Metronome: She-crab soup. Theatre 99 is great venue for all forms of comedy — a proper seated theater where the focus is on the performers on stage. Do you prefer theater gigs like this, or are they more intimidating or challenging than the louder, looser comedy clubs and bar shows that pop up?

Emily Heller: I much prefer performing at theaters like this. I don’t like competing with drink orders and things like that. I think the shows are more fun when everyone is focused on one thing, like we’re all really in it together. It’s a great energy, and it’s great for stand up in particular.

Metronome: For someone who’s never caught your act before, what might surprise, shock, or freak out them about your show on Saturday?

Emily Heller: Hmmm… good question! I think my show is a little bit grosser than people might expect. You don’t need to bring a poncho or anything, but I do have a couple jokes that I always forget are a little gross until someone in the audience groans. My parents didn’t teach me manners, so I think that’s where it comes from. But for the most part it’s just a good time.

Emily Heller will perform at Theatre 99 at 10 p.m. on Sat. May 9 with support from local comedians Jason Groce and Metronome Charleston’s own Jessica Mickey. Tickets are available at the door for $15.

Visit emilyheller.tumblr.com, facebook.com/mremilyheller, and theatre99.com for more.

Photos by Mindy Tucker.

1. What is your favorite local hang and why? 

“The Tin Roof is my usual hangout — despite the fact that I work there — because I live in West Ashley, love the crowd there, and truly believe it is our city’s best venue in terms of unique and diverse acts and overall vibe. But you can spot me in North Charleston at the Sparrow or the Mill, and when I’m downtown, it’s Local 616. Good people at all those places.”

2. You know you’ve played an excellent show when…

“Everything hurts the next day. Or longer.”

3. What was the last show you attended that really got you fired up in a good or bad way?

“Back in the fall, I caught a band at the Tin Roof from Canada called Single Mothers. I’d not heard of them prior to catching their live set, which left my jaw on the floor. A band with the noise and power of something like Black Flag fronted by a flailing frontman spewing William Burroughs-influenced lyrics in a narrative wail like the guy from the Hold Steady getting electrocuted. I still haven’t got over it.”

4. Define your musical style in exactly 10 words.

“Lighting your records on fire, then extinguishing them with shit.”

5. What’s your theme song, and why?

“‘Lost Highway’ by Hank Williams. I’m from West Virginia, so all of Hank Williams music has always spoken to me, but this song describes my journey in a beautiful way. He was a genius, hands-down.”

6. Gear-wise, what’s is your irreplaceable baby?

“Right now it’s a pair of CO2-charged confetti cannons, my favorite part of a Space Fags show.”

7. What’s the most overplayed album in your collection?

“The Descendants’ I Don’t Want To Grow Up. Admittedly, it’s not even one of their best albums, but this is the album they were touring on when I first got to see them live, and it’s the one album in my collection I have replaced a half a dozen times from overplay. [Drummer] Bill Stevenson’s predilection for pop is really beginning to emerge on this album on songs like “Silly Girl” and “Good Good Things,” and I just love this record so much. Now I gotta go listen to it when this is over just from thinking about it.”

Johnny Puke of the Space Fags (provided)

8. When was the last time you were genuinely star-struck?

“I suppose I have met a bunch of genuinely famous people and never really felt all that star-struck, but the two times I can think of immediately do not involve people who are really all that famous. My favorite singer/songwriter is a guy named Mark Eitzel, and I’ve probably met him a dozen times and still get nervous and giddy in his presence because I’m so overwhelmed by his genius.

I listen to a podcast about Las Vegas called “Five Hundy By Midnight” every week. It’s hosted by a couple from Minnesota. I love it. Last year, I ran into them out in Las Vegas at a casino and was so thrilled, I had to go outside and collect myself a little bit. I was kinda drunk though.”

9. What’s your poison?

“I guess that would be heroin, Ballard. Thanks for asking. Jeeez!”

10. In 10 years, I will be…

“Older than anyone ever thought I would be.”

Johnny Puke is well known in the Charleston scene as a dedicated musician, lead singer, barman, and show promoter. Over the last 10 years or so, he’s hosted a variety of rowdy, punk-fueled birthday parties at various Charleston venues with long lists of special local and touring punk and indie bands.

Old-school punks and clubgoers remember Puke as the lead singer with quick-witted punk band Cletus. Lately, he’s been screaming and singing and carryin’ on on stage with a newly-established five-piece called the Space Fags. The band’s current lineup features Puke on lead vocals, L’eggs Akimbo on drums, Howie Feltersnatch on bass, and the double-guitar team of Turd Ferguson and Randy Johnson.

Claiming to be inspired and guided by the “worldwide brotherhood of punk and love,” the Space Fags have been making a rumbling ruckus in Charleston for nearly a year and a half. With a loud, distorted, aggressive approach to melodic and occasionally dissonant punk rock, their style boasts a surprisingly healthy mix of celebratory, smart-assy, and buzzed-up attitudes.

Over the last year, the Space Fags have shared the Tin Roof stage on bills with such punk veterans as the Queers, 7 Seconds, and the Dwarves. This weekend, they’ll headline their own show on Sun. April 26 with support from Dumb Doctors and the Hybrid Mutants.

Check out facebook.com/thespacefags and charlestontinroof.com for more.

1. What is your favorite local hang and why? 

“The Charleston Music Hall. Aside from the best acoustics around, people come to actually see the show not to be seen.”

2. You know you’ve played an excellent show when…

“You hear the phrase, ‘Man! You guys…’ more than twice.”

3. What was the last show you attended that really got you fired up in a good or bad way? 

“Lionel Richie at Red Rocks; a paradox of emotions. The show was last year. I’ve been to Red Rocks before, but never for a show. Billed as ‘Lionel Richie: All the Hits, All Night Long,’ it was my first show at this amazing venue, and I wanted the U2 ‘Pride in the Name of Love’ experience but had to settle for ‘Penny Lover.’ ‘Penny Lover’ is still a good song, but I wanted fire bellowing from the tops of the rock formations but had to settle for ‘Hello.’ ‘Hello’ is a great song, but none the less a paradox of emotions.”

The Bushels (L toR): Guilds Hollowell, Whitt Algar, Mal Jones, and Jim Algar (provided)

4. Define your musical style in exactly 10 words.  

“Acoustic singer songwriter who loves to rock rhythmic jazz chords.”

5. What’s your theme song? 

“James Brown’s ‘The Boss.’ Three kids, a mortgage, and several businesses… Everyday I’m hustling. James Brown is always in control from start to finish. Listening to this track has James simply holding court — essentially being the classical conductor of funk, making sure everyone serves the groove and respects the down beat One. Being a father of three, broker in charge of 843 Real Estate, my music students and playing four gigs a week. My wife is an amazing woman, and time management is my jam.”

6. Gear-wise, what’s is your irreplaceable baby?

“My ’67 Gibson J-45. These late’60s Gibsons have these awful screws in the saddle that raised and lowered the string height — an engineering idea that was a total flop and limits the contact between strings and the wood of the guitar. I found a guy who worked on museum antiques who removed the metal saddle holder, filled in the void and painted the same wood pattern of the bridge so you can’t tell it ever had that awful set up.”

7. What’s the most overplayed album in your collection?

“Blood on the Tracks by Bob Dylan. Lyrically, it has no equal, and the arrangements are like my own personal spa music. I first heard this album in high school and was fascinated with how rather than verse lines rhyming couplets Dylan was having a conversation within the song while telling story. I didn’t realize it until years later Dylan’s marriage was dissolving at the time, but it just makes the lyrics even more astounding.”

8. When was the last time you were genuinely star-struck?

“Traveling around the country, I saw about nine shows in a row of Medeski Martin and Wood in ’98 with DJ Logic. Seeing the level of improvisation inspired me to try to create on any and every instrument I could.”

9. What’s your poison?

“Jameson. It’s something I enjoy neat, or it’s great to sip with a beer. Like salt on a margarita, you don’t have to have it, but it accentuates the experience.”

10. In 10 years, I will be…

“Watching my students make their way in the music scene. Most of my students currently are not old enough to play in bars. I try to teach my students towards their desire. Guitar, bass, piano, ukulele, drums, vocals, songwriting, etc. I’m willing to help anyone who wants to learn. My main goal is to teach my students to be musicians — to be able to communicate through music. I feel a true musician can create something on any instrument.

Writing songs is big for me, learning how to put a band together, getting a gig, how to correctly wrap a cord, understand that buying more gear isn’t going to make you a better player, creating arrangements that feature one’s talent over falling short of the original song. I’ve discovered and struggled in my 25-year career being a professional musician. and I try make my students aware what to expect.”

The Bushels kicked off as an acoustic string quartet in the Charleston area in 2008, playing an eclectic, harmony-laden mix of classic country, folk-rock, gospel, and Americana. Guitarist Jim Algar, mandolinist Mal Jones, banjo player, Guilds Hollowell, and bassist Whitt Algar (Jim’s younger brother) leaned toward the traditional side of bluegrass and mountain music, but they cleverly snuck fun reworkings of vintage rock ‘n’ roll and old-school country hits into the set as well.

In 2013, the Bushels released an independently produced, self-titled album of original songs. Compared to their two string-heavy previous discs — a self-titled EP from 2009 and a sophomore mini album titled Wood & Steel from 2011 — the new stuff rocked and bounced with an aggressive “full band” sound. The band invited local drummer Jack Friel to sit in on the sessions at Mantis Studios.

The Bushels is available on iTunes and will be for sale at Monster Music in West Ashley.

Last month, the Bushels launched a new weekly residency at the newly established, award-winning downtown brewpub Edmund’s Oast, located at 1081 Morrison Drive. Every Tuesday evening this spring (and possibly into the summer and fall), the quartet will perform in the courtyard by the Bower (the brewpub’s elegantly covered outdoor seating area and bar, see top photo) from 6-9 p.m. It’s always free and open to the public.

Visit thebushels.com and the band’s Facebook page for more.

Top photo by Ballard Lesemann.

Lead singer/guitarist Taylor Nicholson, lead guitarist Dave Beddingfield, bassist Max Becker, drummer Patrick Drohan, and pianist/organist Bryce James tracked the 11-song collection in three different studios over the course of five months— with Rick Beato at Black Dog Sound studio in Atlanta, with Cory Plaugh at Plaugh’s House Recording Studio in Lexington, and with Jay Clifford at Hello Telescope in Charleston.

In their latest press kit, the band describes their latest material as a kind of “twangy, swampy Southern rock ‘n’ soul that one might expect to come out of a Muscle Shoals session in the 1970’s … but it’s as immediate and fresh as anything on the contemporary scene.”

Full-bodied and well polished, we found that Halfway to Hopkins offers a big, radio-ready production quality while demonstrating the band’s evolving skill as a songwriters, lyricists, and musicians. Some moments borrow heavily from the bluesy-rock, double-guitar grooves of the Rolling Stones and the Black Crowes. Others boast a fine ear for strong riffs, majestic choruses, and pop melodies.

Halfway to Hopkins opens with strong, riff-filled funk-rocker titled “Voices,” a fan favorite with a healthy dose of Black Crowes swagger and soul. It’s a bold, anthemic kick-off replete with rich harmonies, Hammond organ, and fiery guitar solos. If “Voices” shows off the band’s Black Crowes leanings, the follow-up track “Black Eye Sunrise” switches gears toward the more modern alt-rock side of things, a la Kings of Leon and R.E.M.

Early in the set, the upbeat, slide guitar-driven “Low Country Blues” sounds like Widespread Panic on a caffeine bender, but then the strummy, breezy “Wasted Time” and power chord-heavy “Lose Control” both roll confidently like a slow-groovin’ anthems. The title track, “Halfway to Hopkins,” is deeply rooted in the band’s long-running Southern garage rock twang.

Atlas Road Crew (provided)

Becker’s chordal bass line propels one of the catchiest modern pop-rock tunes on the disc, the crisp and melodic “I Want You to Know.” The acoustic guitar-based waltz “Weeping Will” steps away from the hard-hitting Southern rock approach, too. With extra doses of echo and reverb, the spacious rockers “Abilene” and “Betty” — the album-closing double shot — rumble with John Bonham-style rhythms and U2-esque guitar effects.

This week, Metronome Charleston caught up with drummer Patrick Drohan for an interview about the music and style of Halfway to Hopkins and the band’s plans for the rest of 2015:

Metronome Charleston: The production quality is impressive on Halfway to Hopkins — big, full, clean tones and sounds, tight arrangements, tasteful instrumentation and harmonies. Altogether, what was the band’s game plan going into these studio sessions? 

Patrick Drohan: Thanks, man! That was exactly the sound that we were going for with this album — big, full, rock ‘n’ roll … something that you can crank in your car speakers.

Metronome Charleston: What were the biggest challenges for you as a drummer and as part of the rhythm section during the making of Halfway to Hopkins? Did any of the three producers push or guide you to new territories at all?

Patrick Drohan: The biggest challenge for me was that I had to go first when tracking. The way we recorded this album — the drums recorded first, then bass, then guitar, and so on. I would record the drums that we had done in rehearsal, then again after hearing a new guitar part or bass line that Dave or Max recorded. Looking back, sometimes I wish I’d changed up the beat a little bit, but, hell, I’m the drummer. What do I know, right?

Metronome Charleston: Did the process of conducting three different studio sessions with three different producers/engineers in three different towns create a challenge for the band — perhaps a challenge to achieve a cohesive sound for the collection? Or did breaking things up allow for a less stressful, low-pressure, more sane approach to doing certain songs in small batches?

Patrick Drohan: I think using three different studios kept the recording process exciting for us. There’s nothing like walking into a big venue that your’e going to play for the first time, and the same goes for a studio. Naturally, you want to try everything out, twist every knob, see what tones you can get from your instrument. The whole process was amazing.

Metronome Charleston: Did you have any favorite classic, modern, or obscure rock albums or rock drummers in mind as you went into recording these songs — whether in style or drum sound or attitude?

Patrick Drohan: I’m not gonna lie; I listened to The Black Crowes’ Shake Your Money Maker a few times before we went into the studio. Sometimes I’ve got to remind myself that less is more in the studio. Drums that walk all over everyone else’s part just sound terrible and make you look like a jackass.

Atlas Road Crew on stage (photo by Sean Money and Elizabeth Fay)

Metronome Charleston: Listening back to the tracks, which ones are your own personal favorites on Halfway to Hopkins, and why?

Patrick Drohan: I really like “Black Eye Sunrise” and “I Want You To Know.” I think both recordings really capture the energy perfectly. It’s great when you get get a recording just right.

Metronome Charleston: Which of these songs sound strongest live on stage, and why? 

Patrick Drohan: “Voices” is really strong for us. It gives Taylor a time to really belt out a loud rock chorus, and Dave can go off on a raging guitar solo.

Metronome Charleston: Which of these songs have changed or readjusted the most on stage — maybe by taking on a more “live” personality?

Patrick Drohan: “Halfway To Hopkins” and “I Want You To Know” have changed the most to make them more exciting live. Sometimes the little intricacies that are picked up in the studio don’t sound as good in a high-energy live setting.

Metronome Charleston: If you had to honestly list your top five influential drummers, who’d make the list, and why?

Patrick Drohan: Travis Barker from Blink 182 is who I listened to most when I first started to play the drums. I still do. He’s incredible; so fast but intricate at the same time, and not sloppy. I love John Bonham’s hard-hitting, steady style as well. Jon Fishman from Phish is also an influence of mine. His “tension and release” style of playing is phenomenal. Love me some Mitch Mitchell and Keith Moon, too.

Metronome Charleston: Currently, who are some of your least favorite contemporary “rock” bands on the national scene, and who are some of your favorite?

Patrick Drohan: I don’t really get the whole Imagine Dragons thing. Like, why does everything have to be so huge and “Ohwoaaahaooooo!” all the time like we’re in some Tom Cruise post-apocalyptic movie? I don’t know; that’s just me. Different strokes for different folks. Bands that I’m really digging right now are the Weeks, J. Roddy Walston and the Business, the Districts, and Moon Taxi.

Metronome Charleston: In which ways has Atlas Road Crew tightened up the most over the last two years or so?

Patrick Drohan: We’ve gotten pretty good at touring over the past two years, in my opinion. By “good,” I mean it’s not a surprise of how early we need to leave one city to get to the next to load in, sound check, etc. We know not to buy lottery tickets in the state of Alabama. We know its probably not a good idea to stay up until sunrise when we have four shows left in a run. We know how these venues work now, who to talk to, where things are, all of that. In my mind, our playing has improved over the years, too, just by simply playing these songs over and over again, but we’re constantly trying to get better and expand on our playing otherwise things will get boring.

Metronome Charleston: What kind of a rock band is Atlas Road Crew evolving into in 2015?

Patrick Drohan: Our style is turning into that of a band that might have it’s three-and-a-half minute song recorded, but we’re not afraid to jam on it live.

Metronome Charleston: Musically and artistically, how can the band best move forward?

Patrick Drohan: By “moving forward,” I’m going to interpret that as evolving/keeping things new and exciting for the band and it’s fans.

Metronome Charleston: As the drummer for Atlas Road Crew, what would you most like to achieve in 2015?

Patrick Drohan: I’d like to play in front of as many people as possible!

Metronome Charleston: When people compare Atlas Road Crew to other bands, what have been the weirdest or most offensive you’ve heard so far?

Patrick Drohan: We haven’t received many odd comparisons but we did get a request for a Tim McGraw song last weekend. I think we’ve gotten a Michael McDonald request one time, too. Like, I understand the “Freebird!” and “Wagon Wheel!” chants but … “Michael McDonald! Play that real obscure deep track from his 1981 release!”

Metronome Charleston: On the road and at local gigs, what’s your poison, and why?

Patrick Drohan: Love me some Makers Mark … if it’s purchased for me.

Metronome Charleston: What might a newbie who’s never seen Atlas Road Crew expect at your Music Farm next week? What might surprise them the most?

Patrick Drohan: Expect a rock ‘n’ roll show. Get boozed up, have some fun, dance with someone you’ve never met — make some mistakes. Don’t be afraid to get wet.

Atlas Road Crew shares the stage with Delta Saints at the Music Farm on Fri. March 20 at 8 p.m. Admission is $5 for students and $10 at the door (general). Visit atlasroadcrew.com and musicfarm.com for more.

Top photo by Sean Money and Elizabeth Fay.

Josh Roberts and the Hinges on the Pour House deck stage, Jan. 2015 (photo by Ballard Lesemann)

1. What is your favorite local hang and why? 

“I must admit I don’t do a whole lot of going out, except to play or attend a show, so all of my hangouts are venues. The Pour House feels like family, and so does Home Team BBQ. I like Jack of Cups [on Folly Beach] a lot. Nick [Della Penna] and Leslie [Carroll] have built a really nice place, and the food is great. I’ve been to a couple shows at Royal American, and I’ll definitely be there again. When my wife Leslie and I aren’t being hermits, those are the spots.

2. You know you’ve played an excellent show when…

“I know it’s been an excellent show when it flat-out feels that way. There’s nothing more important. ‘Man, that felt great, and I think the audience agrees!'”

3. What was the last show you attended that really got you fired up in a good or bad way?

“I saw Jack White in Columbia not too long ago, thanks to tickets given to us by my friend Jimmy, and it was spectacular. My favorite shows I’ve seen recently are some of the bands we play with. The Whiskey Gentry, Radiolucent, Have Gun Will Travel, the Royal Tinfoil, the Higher Choir, the Calamity Cubes. Danielle Howle and Jordan Igoe at the Pour House recently was a fantastic show.

4. Define your musical style in exactly 10 words.

“High-energy American melting-pot harmonizing guitar-ripping science fiction.”

5. What’s your theme song?

“My theme song is ‘Eyes Without a Face’ by Billy Idol because it’s so kick-ass.”

6. Gear-wise, what’s is your irreplaceable baby?

“My Caroline Wave Cannon overdrive pedal. It’s a cornerstone for me.”

7. What’s the most overplayed album in your collection?

“I love vinyl, and when I’m listening, the album that’s always in the mix is Aretha Franklin’s Spirit in the Dark [released in 1970]. The song ‘When This Battle is Over’ never fails!”

Josh and Leslie Roberts on stage at the Pour House back in the day (photo by Ballard Lesemann).

8. When was the last time you were genuinely star-struck? 

“Being around Neil Young felt surreal. My wife and I followed him and Crazy Horse around like puppies one day.”

9. What’s your poison?

“A nice ale.”

10. In 10 years, I will be…

“In 10 years, I will be feeding chickens and writing songs.”

Born and raised in the town of Lancaster (just south of the N.C. border), Josh Roberts landed in Charleston after a long spell in the Columbia area. He spent time on Hilton Head Island as a youngster before relocating to the Irmo (not far from Columbia) where he spent his high school years and early adulthood playing music and working in the Columbia scene.

Longtime fans and colleagues revere Roberts for his raspy singing style, his tastefully and often fiery electric guitar style, and his versatility as a songwriter. With the Hinges, Roberts and his bandmates — singer/rhythm guitarist Leslie Branham Roberts (his wife), drummer/singer Dennis Ware, and bassist/singer Corey Stephens — work from a groove-heavy blend of blues-rock, soul, reggae, country, and a bit of gospel.

Local clubgoers first caught on to Josh Roberts and the Hinges in the late 2000s, shortly after the band released its second studio album, 2008’s raucous My War Cry Is Amor (produced by Alan Moon). Their latest collection is a earthy set of funky and soulful originals titled Mighty Old Distance and Murky Old Time.

Roberts and his wife spent much last year moving from Columbia to Charleston, traveling out West, and recording new original tunes.

“We’re in the mixing stage of a new album now,” Roberts says. “Ryan Monroe [of Band of Horses] was my bandmate in Captain Easy and other earlier bands. He’s producing. He’s doing a great job. We did a week at Quad in Nashville and a week at Southern Tracks in Atlanta. It’s very exciting: new approaches, trying new things. It should be done in the next couple of months.”

“It was really time for a change for all of us, and moving to Charleston seemed the right thing to do,” Roberts adds. “We’ve never all lived in the same town before, and it’s done wonders for our work schedule. Also, Charleston’s pretty great. We’ve felt close to so many people and places here for so long that it doesn’t feel like moving away.”

Josh Roberts and the Hinges kicked off a weekly residency at the Pour House earlier this month, performing every Tuesday evening on the deck stage.

“It’s a guaranteed good time, once-a-week, as well as a challenge we’re enjoying to keep the shows interesting week after week and upgrade our repertoire,” says the bandleader. “We’re adding new songs, bringing back old ones, and learning new covers. It’s great motivation.”

Josh Roberts and the Hinges will play on the deck stage at the Pour House from 6- p.m. on Tues. Feb. 3, Tues. Feb. 10, Tues. Feb. 17, Tues. Feb.24, Tues. March 6, and Tues. March 24. They’ll visit Awendaw Green’s Barn Stage on Wed. Feb. 18, and they’ll hit the newly opened Rusty Rudder in Mt. Pleasant on Thurs. Feb. 19 at 7 p.m. 

Visit joshrobertsandthehinges.com for more.

Photos by Ballard Lesemann.

Josh Roberts and the Hinges at the Pour House, Jan. 2015 (photo by Ballard Lesemann)

Half-jokingly self-labeled as “the world’s number one Christmas band,” the Silver Bells steer clear of the usual holiday standards and cover songs, opting instead to compose their own original material in the vintage power-pop style (think the Beatles and Beach Boys crossed with early-era R.E.M. and classic Elvis Costello).

Silver Bells on stage at Cumberland’s back in the day (provided)

This fall, lead singer and guitarist Nicholas Doyle — the band’s main songwriter — invited his longtime/core bandmate Douglas Thompson (guitar/keys), and a team special guests into West Ashley’s Ramshackle Studio to record an all-original pop/rock Christmas album titled It’s Christmas, Everybody! Every track deals with the holidays and the emotions involved.

The roster of musicians and singers on the album is impressive: Jack Burg, Jonathan Gray, Matthew Bivins, Bill Carson, Jay Chapa, Andy Dixon, Julia Dixon, Michael Flynn, Lauren Jones, Nathan Koci, and Brooke Pennell. The eight-song collection was financed by a recently successful Kickstarter campaign, and it’s set for release on vinyl (and digitally) this spring.

Metronome Charleston chatted with frontman Nicholas Doyle this week:

When, how, and with whom did you start the Silver Bells musical project?

Nicholas Doyle: I’m originally from Virginia, and I have a good friend in Richmond, Lee Harris, who would make mix CDs of original holiday songs each year to give to his friends. He had a home studio, and he’d just have people get together and record music. Lee’s a really great songwriter, and I was always grateful that he’d include me.

I basically copied him. I’d take my two songs and make little CDs and give them to my friends and family. I guess the first “real” Silver Bells single was in … 2002? Those songs aren’t very good, but the next CD, from 2004, had an early version of “I Wanna Love You For Christmas,” which we re-recorded for this record.

When I moved to Charleston in 2005, I hadn’t really given much thought to continuing with it, but I went to that year’s Chord & Pedal show and had so much fun and wanted to be a part of it. I gave a CD to [C&P’s] Kevin Hanley in 2006. I guess he liked it, because he let us play that year’s show, and we’ve been a part of all the holiday shows ever since. I can say without a doubt that this record would not exist without Lee and Kevin.

Were all of these original songs on It’s Christmas, Everybody! initially written as Christmas songs or “regular” pop/rock songs? How did they take shape?

Nicholas Doyle: All of the songs were written as Christmas songs. I do have non-holiday songs that I play in public occasionally, but I’ve never really tried to rewrite any of the Silver Bells stuff as “regular” songs. I don’t know if they’d really work. When putting them together, I usually take a “normal” song idea — making out, being sad, being lonely, the usual — and then figure out a way to relate it to the holidays.

Tell us about the making of the new album — the planning of the studio sessions with Andy Dixon (of Punks & Snakes) as engineer/producer and the musicians involved.

Nicholas Doyle: I met Andy Dixon through Jack Burg [Punks & Snakes’ frontman]. Andy produced the fantastic Punks & Snakes record, and I’d kind of jokingly asked him how he’d feel about recording “novelty Christmas music.” He was into it, but I didn’t see him again for a few months. The next time I saw him, the first thing he asked me was when we were going to make the record. I’d been thinking about making a record of these songs for years, but my mother-in-law had just passed away, and I was definitely in a “do this now, because who knows what could happen tomorrow?” head space.

I knew I wanted to have a core “band” with all of the songs having the same people playing the basic tracks. Jack is one of my favorite drummers, and he was gracious enough to agree to play. A few years ago, I realized that I’ve probably seen Jonathan Gray [ex-Jump Little Children] play music more times than any other musician. He was my first choice to play bass on the record. My friend Douglas Thompson is the only other constant member of the Silver Bells. He’s a fantastic guitar player, and I really love what he does with the songs. For lack of a better term, he’s probably the band’s “musical director.” I couldn’t have done this without him.

We then just looked at the songs individually and tried to figure out what we could add to them. Anyone that plays music in this town knows how welcoming and supportive the music community is, and I was really lucky to have Michael Flynn, Bill Carson, Matthew Bivins, and Nathan Koci record parts for the record.

Andy was great to work with. He made the entire process fun and easy. I kept telling him that I was waiting for it to feel like “work,” but it never did. We recorded everything in about a month. It went really quickly.

The Silver Bells’ Nicholas Doyle, on stage at the Tin Roof, 2014 (photo by Jessica Mickey)

Have you ever done a studio project like this before with any other bands?

Nicholas Doyle: Not on this scale, no. The older Silver Bells stuff was always more lo-fi. I’d see who was available/willing to be in the band/record songs. It was always kind of a last minute, hit-and-run type of thing. I loved doing things that way, but with this record, I wanted it to be more of a piece, with the same basic group of people on each song.

Listening to the final mixes, what are your favorite moments on It’s Christmas, Everybody?

Nicholas Doyle: Oh man, there are so many. I love Michael Flynn’s keyboard on “Can We Stay Together Through New Year’s Eve?” and I really love Doug’s solo on that one, too. Nathan played the horns on “Poor Excuse,” and it changed the whole song for me. Even though he lives in Chicago now, having Matt Bivins [ex-Jump Little Children] play harmonica on “Letter From Mrs. Claus” was very important. He played on the original recording of the song, and is probably part of the reason we were able to be involved in the local scene to begin with, as both he and Evan Bivins were in the band the first year we did Chord & Pedal and probably gave us some “cred.” So I definitely wanted to make sure he was on there. I’ve been steering-wheel drumming along to Jack’s parts for the last two months. Basically, I’m just really happy and proud of this silly little thing we’ve put together.

Overall as an album, what might surprise people about It’s Christmas, Everybody!

Nicholas Doyle: That they’re Christmas songs that don’t suck? Oddly enough, I don’t really like most Christmas music. There are some go-to records that I love — your Ella Fitzgeralds and Phil Spectors — but as a whole, holiday music is pretty lame. I’ll be the first to admit that these are novelty songs, but I also think that they’re just good songs. Whenever I feel silly about this stuff, I just remember that the Beatles would get together each year and make a Christmas single, too. I’d say they’re probably the second best Christmas band, after us.

What led to kicking up a Kickstarter campaign this season? Was that a strange experience overall, or has it been fun/positive/encouraging?

Nicholas Doyle: My friend Catie Myers-Wood just recently started working there in New York, and I’d picked her brain about the company, never really planning on doing a project myself. Kickstarter is fascinating to me. I love the idea of being able to pre-order a thing in order to help get it made. Once the songs were all recorded, she agreed to create the artwork for the record, and she offered to help me with the rewards and give me pointers on how to run the project. I’ve always been terrified of running a Kickstarter, because I’ve read all the horror stories of people who didn’t plan on how much all the extra stuff would end up costing, but she’s been super helpful in helping me get everything together. The whole experience has been both strange and fun at the same time – the self-promotion side is new to me, but I really do think we’ve made something pretty great, and this has been an awesome way to get it out into the world. We’ve had people from other countries pledge to the Kickstarter that would never have heard of us in a billion years. It’s just amazing.

Douglas Thompson and Nicholas Doyle, on stage at the Tim Roof during the 2013 Jinglebang show (photo by Ballard Lesemann)

You hit your Kickstarter goal of $6,500 last week. When will copies of It’s Christmas, Everybody! be pressed and made available for sale?

Nicholas Doyle: Yeah, we actually hit our goal, which is awesome! I plan to send the files off to the manufacturers within a week of the project ending. One of the Kickstarter rewards is that people can get their name in the “thank you” section in the credits, so we can’t lock that down until the funding period ends. I’m giving March as the “official” date, but it could end up being done before then. Regardless, I’m making sure to keep people updated through the Kickstarter. I want people to feel confident that they’re going to get the stuff they’ve paid for.

What is it about putting It’s Christmas, Everybody! out on vinyl that’s so exciting?

Nicholas Doyle: Even though I buy most of my music digitally, I wanted to make/have an actual “thing.” There will be digital downloads available, but I kind of felt like it wouldn’t be “real” unless I had an physical item. I don’t really buy CDs anymore, and I love the idea of having a big vinyl record of these songs. I know that some people look down on the recent vinyl resurgence or whatever, but I’m in a friggin’ Christmas band, so…

What might be on the next holiday record this time next year?

Nicholas Doyle: Well, I have one song left from the earlier singles that we didn’t record, and I’m toying with the idea of maybe re-doing that one — I’m nothing if not a completist — and then writing another song, and making a “real” single, but I guess we’ll see how it goes. I haven’t even really released this thing yet!

The Silver Bells (with Danny Infinger of Alswel on bass) will share the stage with Laura Jane Vincent at the Tin Roof on Wed. Dec. 10 at 9 p.m. Cover is $5. They’ll return to the Tin Roof on Wed. Dec. 17 for the annual Jinglebang! showcase (benefitting the Charleston Animal Society). Admission to Jinglebang! is a $7 donation.

Visit the band’s Facebook page for more.

The Silver Bells at the 2013 Cord & Pedal Christmas show, Charleston Music Hall (photo by Jessica Mickey).

1. What is your favorite local hang and why? 

“The Recovery Room and the Royal American are my favorites. Both have awesome food, drinks, and staff. The music they play at Royal is always good, and the slushy things rule.”

2. You know you’ve played an excellent show when…

“When we haven’t gone over the bar tab. It’s one of those things we can give ourselves a pat on the back for. Being responsible is cool.”

Rob Kampert of the Frizz (phto by Ballard Lesemann)

3. What was the last show you attended that really got you fired up in a good or bad way?

“The Paul Collin’s Beat show at the Tin Roof the other night [Nov. 4] ruled. The whole power-pop genre rules on so many levels, and he’s pretty much the king of it. Since Charleston doesn’t get that much music that I’m really into, hearing a guy I’ve listened to for years and play right in front of me was rad. There’s still a glimmer of hope left. Ha!”

4. Define your musical style in exactly 10 words.

“Fun, raw, simple, loud, fun, riffy, stupid, creepy, rock ‘n’ roll.”

5. What’s your theme song?

“‘Good Head’ by Turbonegro, besides me having to sling pizzas, the song is a pretty good description of myself.”

6. Gear-wise, what’s is your irreplaceable baby?

“I don’t have anything really irreplaceable. I’ve had a weird MIM Strat that I’ll probably never get rid of, but if someone were to hand me a bunch of cash for it, it’d be sold in a second. I go through amps like shoes. Pedals are stupid.”

7. What’s the most overplayed album in your collection?

“LAMF by Johnny Thunders and the Heartbreakers and Nocturnal Missions by the Barreracudas. They rule.

8. When was the last time you were genuinely star-struck?

“I don’t really get star-struck. If Slash or Wayne Kramer were in the same vicinity of me, I’d probably try to ask them some weird question just to hear their answers. Two people I’d definitely resurrect would be Link Wray and Johnny Thunders — and then I’d force them to make a band because of the resurrection.”

9. What’s your poison?

“Wacky tobaccy, Red Bull, and fun in general. Ain’t looking for nothing but a good time.”

The Frizz at Big Gun Burger (provided)

10. In 10 years, I will be…

“Hopefully, not dead and with my fingers intact because I’m not trying to be Jerry Garcia. And still have feet because dancing is cool.”

The Frizz came to life in Charleston in 2013 when singer/guitarist Rob Kampert (formerly of the Lean Few) and drummer Neil Thomas (formerly of the Explorers Club) hooked up and started bangin’ out riffy, upbeat, fuzzed-out rock tunes with various guest players. They initially played around town and recorded as a trio. but they’ve settled into solid rock twosome-ness this year.

Kampert’s choppy chord work and rowdy solos draw equally from the trashiest garage-rock of the late 1960s (think Sonics, Love, Flamin’ Groovies, early Stooges) and the rawest early-era punk of the late 1970s (think Buzzcocks, Ramones, Devo, Swell Maps — if you can).

The band recently issued three new studio tracks on its Bandcamp page under the title Summer Demos. Rob and Neil tracked the tunes last spring in Atlanta with Matt McCalvin (of the Zoners) at the mixing board. “Matt’s been in Gringo Star, Mermaids, and now doing the Zoners,” says Kampert. “They’re all rad bands, and he’s an all-around rad guy who knows his shit. There’s more songs but I’m waiting to put them on out with other things.”

Most recently, Kampert’s been recording new Frizz material on his own studio gear. Stay tuned.

The Frizz shares the stage with First World Problem at the Recovery Room on Tues. Nov. 11 at 9 p.m. Admission is free. The Frizz will head up to New York for a big show at the Don Pedro venue on Sat. Nov. 15 with the Jigglers and Rob K. & Uncle Butcher: The Jam Messengers.

Visit thefrizz.bandcamp.com and facebook.com/frizzband for more.

Top photo by Ballard Lesemann.

1. What is your favorite local hang and why? 

“Already a tough question with the variety of great venues and hangouts in this town. I’m going to have to give it to Salty Mike’s. The place has a lot of character. Never been anywhere else quite like it. And they’ve been real kind to me the last few years.”

2. You know you’ve played an excellent show when…

“You have a bit of a natural buzz going afterwards, and you feel like you could stay up playing music all night. That is a sign that things went well.”

3. What was the last show you attended that really got you fired up in a good or bad way?

“Bandswap at the Royal American a few weeks ago. It was a great communion of the diverse musical talent we have in this little city for a noble cause — Musician’s Healthcare Fund — and it left me feeling inspired, hopeful, and a little tipsy.”

Bo Farish (provided)

4. Define your musical style in exactly 10 words.

“Ambient soul-rock, folk-blues guitar jam-outs, and stuff. So far.”

5. What’s your theme song? 

“It changes frequently, but recently it’s been ‘Keep Your Head Up’ by [British singer/songwriter] Ben Howard. I often shuffle through my music collection, looking for something that immediately strikes a chord with me, and this one has been hitting home the last few months. It’s the type of song that can come on and pick you up if your day is dragging and maybe you’re feeling a bit uninspired. A lot of my favorite music is useful in that way.”

6. Gear-wise, what’s is your irreplaceable baby?

“I’m going to have to say my old-school Ovation Balladeer acoustic guitar that my Dad handed down to me when I moved to Charleston. Anything else I have could probably be swapped out or even upgraded, but you can’t replace the family history I have with this guitar. It’s the first one I ever picked up, and I still use it all the time.”

7. What’s the most overplayed album in your collection? 

“Simon and Garfunkel’s Greatest Hits. I’ve fallen asleep to it many times, in a good way. I think Paul Simon’s a great lyricist and songwriter, and Art Garfunkel is an incredible vocalist, too. Also, their production and arrangements were really inventive. They have some great records of great songs that have held their power over the years.”

8. When was the last time you were genuinely star-struck?

“Seeing Darius Rucker and Cary Ann Hearst tell stories and sing songs up close and personal at one of the ‘In the Mix’ sessions at College of Charleston this year was really cool. Other than that, probably about seven years ago when I got to briefly meet Rage Against the Machine’s guitar wizard Tom Morello after a show he did with Ben Harper at House of Blues in Myrtle Beach.”

9. What’s your poison?

“Bourbon or whiskey. Or beer. And CTC’s — the Cinnamon Toast Crunch shot.”

10. In 10 years, I will be…

“Opening up a couple dates on Creed’s globe-trotting final reunion tour, and sitting in on guitar for ‘Higher’ and ‘My Sacrifice’ … no, but seriously, I hope to still be writing songs and playing instruments. And hopefully be a bit better at doing both!”

Bo Farish and company on stage at the Royal American (provided)

Bo Farish is an eclectic singer/songwriter/guitarist based out of Charleston, SC. His “If Not Now” EP showcases an imaginative take on a range of styles, blending soul, blues rock, pop/rock, and modern folk and filtering it all through a wide-eyed starlit sky like prism.

Bo Farish came up in the Murrell’s Inlet/Myrtle Beach area before attending the College of Charleston and making the Lowcountry his home base. Over the last few years, he’s performed, collaborated, and recorded originals and renditions with friends and colleagues in the local indie pop/rock scene.

He describes himself as an “eclectic singer/songwriter/guitarist” playing a variety of styles, “blending soul, blues-rock, pop/rock, and modern folk, and filtering it all through a wide-eyed starlit sky like prism.”

He recently independently tracked and packaged a lush and elegant, four-song debut EP titled If Not Now. Under the guidance of engineer Trevor Marron at Charleston Sound, Farish handled the mead vocals, guitars, and keys with additional guests including drummer Jeff Borckardt and bassist Ryan Frederick. It’s a melodic, soulful, attractively foot-tapping mini-collection.

Bo Farish celebrates the release of his new disc at the Tin Roof on Fri. Oct. 10 at 9 p.m. Local songstress Estee Gabay opens. Admission is $5. Visit Farish’s Facebook page and bofarish.bandcamp.com for more.

Thomas Concannon (photo by Jessica Mickey)

1. What is your favorite local hang and why? 

“My favorite local hang has to be Recovery Room. It’s just like a real-life Cheers; everyone knows your name. The owner [Chris “Boston” DiMattia] is a very awesome person, down-to-earth, heavy handed with the Jameson, and will go out of his way to make sure he talks with you. The bartenders are the best in town — hell, best in town and for 10 towns over, in my opinion. It’s nice to walk in and have a drink ready for you at the bar without doing any more than making simple eye contact.”

2. You know you’ve played an excellent show when…

“I know I have played an awesome show when my thumb and index finger have been sliced open from the strings of my guitar. Fresh splats of blood and sweat glistening on my white Tele. I especially am satisfied after a show when I’m too dang exhausted to talk to anyone. I have to put 110 percent into shows to feel good about them. And if you have ever seen me play, then you know I usually bring the ruckus.”

3. What was the last show you attended that really got you fired up in a good or bad way?

“The last show that got me fired up in a good way was the D’Allesandro’s block party in Elliotborough. It was great! Fiasco got to kick that event off playing a short but sweet set inside Cutty’s. After I was all packed up, it was outside to sling beers and listen to amazing local talent; The Royal Tinfoil, SUSTO, Ka’tet, Jordan Igoe, Gangrene Machine, just to name a few. It was a very epic time, and I was thrilled to be a part of it.”

4. Define your musical style in exactly 10 words.

“Fast. Energetic. Boisterous. Punkish rock. Pedals. Pedals. Pedals. Nine. Ten. Eleven.”

5. What’s your theme song?

“I’d like to say James Brown’s “Sex Machine” is my theme song for obvious reasons, however, it’s probably more like Beck’s “Loser.” We’re all losers to someone out there.

6. Gear-wise, what’s is your irreplaceable baby?

“Gear-wise my irreplaceable baby would have to be my vintage Fender Bassman head. I have had few problems with it and the tone that bad boy kicks out is incomparable.”

Thomas Cocannon at the Pour House (photo by Steve Aycock).

7. What’s the most overplayed album in your collection?

“The most overplayed album in my collection would probably be Repeater by Fugazi. I find that entire album to be amazing. Ian MacKaye and Guy Picciotto are such minimalists gear-wise. I think they both use tube screamers and that’s it. But the way they play is like nobody else. The sounds, tone, and noises they make are such an impressive display of pure style. It’s amazing! I use like eight or nine different effects pedals, and, to me, being able to get texture and atmosphere and ambiance all through pure style is amazing.”

8. When was the last time you were genuinely star-struck? 

“The last time I was star-struck was a few years ago at the Music Farm [when the Shaniqua Brown opened for them in 2011]. It was late afternoon, and I was watching Bad Brains run through their sound check. I was too nervous to talk to them at the time. However, after we played, I was shocked and honored that they went out of their way to talk to me. I spoke to Earl Hudson, Darryl Jenifer, HR, and Dr. Know. The most meaningful was Dr. Know, who I spoke to for a long time about music and guitar.”

9. What’s your poison?

“My poison … wine, women, and left-handed cigarettes.”

10. In 10 years, I will be…

“A cowboy astronaut.”

Thomas Concannon, a Charleston native, has played a variety of indie rock, hard rock, and punk styles over the years. He played lead guitar in the Shaniqua Brown in the late 2000s and early 2010s, releasing some impressively dynamic and complex rockstuff along the way. He played bass a bit with local band Bully Pulpit recently as well.

These days, Cocannon’s main musical focus is with the experimental/shouty indie rock band Fiasco alongside singer/guitarist Scott Frank, drummer Allen Andrews, and bassist Brandon Carpenter.

Fiasco is set to share the stage with Cepheus at the Tin Roof on Fri. Sept. 26. They’ll headline the Recovery Room on Tues. Sept. 30 as well. Visit the band’s Facebook page for more.

Top photo by Steve Aycock.

Holler will share the Tin Roof stage this weekend as part of Metronome Charleston’s second anniversary party. Her eclectic backing band, the Western Polaroids, will feature drummer Stuart White, guitarist Conor Donohue, and one or two special guests.

Holler initially established herself in Charleston in the mid 2000s as a solo performer and songsmith. In addition to the Western Polaroids, she led such projects as Oh Ginger and Matadero (alongside drummer Ron Wiltrout, keyboardist Sam Sfirri, and bassist George Baerreis).

Metronome Charleston caught up with Holler this week.

Metronome Charleston: It’s been a year since you performed at our first anniversary bash. What are the top five life lessons you’ve learned — as a musician/songwriter — since that gig?

Lindsay Holler: Have patience, focus, trust yourself, know when to walk away; it’ll get better.

Metronome Charleston: Who will be joining you at this week’s show, and how did the lineup come together?

Lindsay Holler: Conor Donohue will be on guitar and backup vocals, Stuart White will be on the drums, and we’ll have a guest on bass! Conor and I have been playing each other’s shows for the last couple of months, which has been a lot of fun. We’ve be able to focus a little more on the songwriting and arranging aspects of things, which has been great. I’ve been playing with Stu for years, so that’s a no-brainer. I’m so grateful when he answers my calls!

Stuart White and Lindsay Holler at the Tin Roof (photo by Jessica Mickey)

Metronome Charleston: With various members tag-teaming duties, it seems like the Western Polaroids have been your most flexible and constant musical project over the last few years. Is it fair to say that the ever-changing ensemble consistently reflects your most personal material?

Lindsay Holler: I was actually thinking about this the other day. The “Polaroids” reference is good because each show is a little bit of a snapshot, and like most snapshots, they are never the same. The Polaroids’ lineup tends to change frequently, and maybe I’m winking at that a little bit with the name. I like the option to throw in a little twang whenever I want. As far as the Polaroids reflecting my most personal material, I’m not sure about that one. Maybe?

Metronome Charleston: Please update us on the status of Matadero. Are there plans for new music, gigs, recordings, etc. in the next year?

Lindsay Holler: Oh, my sweet, sweet Matadero. George, Ron, Sam, and I love this band. I wonder if it’s like the boy you can’t have? Sam is back up at school in Montreal, starting his final year.  Hopefully, there will be a show around the end of the year holidays, when Sam’s back for a second, on a visit. And then we’ll see what the future holds for Matadero. I’m hoping there’s a future there.

Metronome Charleston: Who are some of the new local and/or out-of-town musicians and songwriters with whom you’ve recently connected and worked?

Lindsay Holler: I’m very excited to start recording a new album this fall with Andy Dixon, who recently moved to Charleston via Chicago. Andy’s got crazy ideas about taking our time and doing a full-length, and I’m jumping on board, head-first. I’ve never worked in a recording situation where there wasn’t a clock hanging over my head, so this will be an exciting creative adventure for me.  I’m really looking forward to it!

Metronome Charleston: How would you describe the state of Charleston’s current original music scene? How is it different from when you first started playing in town?

Lindsay Holler: Man, the quality of music in Charleston is kind of mind-blowing, actually. I’ve hung out with some people who’ve recently moved here, and they’re all asking what’s in the water here? There are so many really really good bands and musicians, in all kinds of different genres. Quality! The support that they all give to each other is so awesome.

I guess things are different from back when I first started playing around, in that information is much more widely available so you’re able to explore other local music outside of your immediate circle.

Metronome Charleston: Song-wise, attitude-wise, and spirt-wise, what might the audience expect from you and the band on Saturday night at the Tin Roof?

Lindsay Holler: I feel like the Western Polaroids are on a slow boil right now … which is going to translate in the set. We’re gearing up for a big fall!

Metronome Charleston: When it comes to booking, organizing, and promoting special theme nights, benefit shows, and local showcases, you’ve worked with friends and colleagues and totally on your own through the years? What expert advice would you give Metronome Charleston when it comes to putting these kind of shows on?

Lindsay Holler: The best advice I can give you is to be prepared for problems and try to be flexible.

Lindsay Holler’s Western Polaroids will share the stage with Scott Dence, the Danielle Howle Band, and Sexbruise? at the Metronome Charleston Anniversary Show on Sat. Sept. 13 at the Tin Roof (1117 Magnolia Road). Showtime is 9 p.m. Admission is $5. Proceeds will benefit the bands, Metronome’s website expenses, and Camp Happy Days.

Look for Matadero’s recent three-song EP online at matadero.bandcamp.com. See facebook.com/lindsay.holler.5 for more.