Marc Maron, on stage at the Charleston Music Hall (photo by Jessica Mickey)

I used to check out his alternative comedy series “Eating It,” which he cofounded with Janeane Garofalo, at the Luna Lounge in New York City around 2000 during a brief stint in Hoboken. I remember looking across the room at him after a particularly awesome show and thinking, “Jesus, that guy looks miserable.”

Now, all these years later, after listening to his ramblings and making good with guests from his past on WTF, it’s pretty apparent that he was. He clearly longed for widespread acceptance and somewhat-massive success. And now he has it. I was curious to see how this turn of events would affect his material and how he relates to the audience.

Though the Charleston Music Hall wasn’t sold out on May 15, the crowd was warm, enthusiastic, and welcoming. Ashely Barnhill was a capable opener, warming up the crowd and gauging their energy well. Her monotone delivery and forced vocal fry seemed to turn off some of the crowd, though it felt apropos when touching on the subjects of Los Angeles and hipsters. Like Maron, a large amount of her material focused on various neuroses, to which the audience responded well, leading her to make the observation, “You are such a Maron crowd.”

Maron took the stage casually, carrying a cup of coffee and making small talk with the audience, including a late guy carrying a skateboard, which Maron brought up on stage and cautiously stood on, and a large group of roommates in the front row. He was funny and charming, casually riffing off their responses and relating past experiences to their current ones.

At some point, he went into material, but who could say when? He has such a conversational and naturally funny demeanor, it felt like he was just going with the flow, talking about whatever interested him at that moment. Considering he’s been doing stand-up since 1987, it’s clearly the markings of a pro.

Similar to the work of Jim Gaffigan, who occasionally checks in with the inner dialogue of an audience member, Maron continually checked in with his “inner blogger,” who would break in and judge his material. It works as a sort of security blanket, making a joke if a bit fails, but he really didn’t need to rely on it. From the expected talk of depression and anger and sex and love to a Jew making sense of Easter to his love of cereal and ice cream, it’s clear that Maron is still the malcontent I remember seeing almost 15 years ago. But now he’s an optimistic malcontent. He’s performing in front of people who know who he is and share in his struggle. And that makes him smile.

It’s been a full week since Boston-born alt-rock veterans the Pixies blasted through a massive set of classics and new pieces at the North Charleston Performing Arts Center, and my mind is still reeling and swaying. I caught them three and a half years ago at the PAC during their lengthy run celebrating a prolonged anniversary of the release of the Doolittle album, when the place was packed. On this evening, the room was at just over half capacity.

The Pixies at the PAC, May 2015 (photo by Jessica Mickey).

An early surprise of the night was opening act John Grant (ex-the Czars) and a backing duo comprised of guitarist Petur Hallgrimsson and pianist/organist Chris Pemberton.

Gracious and polite, the bearded lead singer/keyboardist with the rich baritone voice stunned the audience with a brief but powerful set of elegant and amusingly dark ballads and anthems.

A native of the Midwest, Grant spoke about moving around the States and eventually landing in Iceland. Grant and his bandmates played a number of tunes from his 2010 debut solo album Queen of Denmark (“Sigourney Weaver” was a fun stand-out) and 2013’s Pale Green Ghosts. Grant’s expressive delivery easily switched from sad to joyful. He and his combo’s emotive renditions of the proud and cheerfully raunchy “GMF” (the title stands for “greatest motherfucker”) and “I Hate This Town” were among several highlights that eventually earned a standing ovation by the set’s end.

John Grant and company at the PAC, May 2015 (photo by Jessica Mickey).

I remember the Pixies being impressively tight and dynamic at the PAC in 2011. This time around, with looser set of songs and a simple but elegantly lit stage set stage show, singer/guitarist Black Francis (a.k.a. Charles Thompson and Frank Black), guitarist Joey Santiago, and drummer David Lovering seemed more lively, and their show accelerated into something unexpectedly fiery.

The Pixies easily conveyed both sides of their personality — the darker, more terrifying side (via tales if evil, destruction, incest, and romantic dismay) and the weirder, happier side (via bubbly/twisted pop sensibilities and goofball lyrics).

The Pixies hit the stage with bassist Paz Lenchantin (previously of Entrance, A Perfect Circle, Zwan), who’s been filling in for original bassist Kim Deal since early 2014. Standing tall and confidently by drummer Lovering, Lenchantin flawlessly handled Deal’s basslines and sang expressively throughout the night.

After Deal’s departure three years ago, the band decided to press ahead with various replacement bassist, even as they recorded and mixed their latest studio album, Indie Cindy (their first new album in more than 20 years.

Sam old-school fans in attendance feared they’d have to sit through a ton of unfamiliar new material during the show, but the Pixies pulled numerous songs from the entire catalog, including their 1988 full-length debut Surfer Rosa, some big hits and deep cuts from 1989’s Doolittle, and a few from 1990’s more obscure Bossanova and 1991’s Trompe le Monde.

Early in the Pixies’ Monday night set, it became clear that the complex guitar interplay between Black Francis and Santiago was totally intact. Black Francis’ singing, shrieking, and whispering skills have not diminished. Lovering’s precision and attack on the drum kit was even more fluid than back in the day, and he and Lenchantin clicked quite well.

They never said a word to the audience. The closest Black Francis got to stage banter was in the opening line of Dolittle’s “Mr. Grieves,” when he sang, “Hope everything is alright,” which sparked an immediate approving roar from the crowd. Everything was indeed alright, and the enthusiasm from the audience couldn’t have been much more evident.

They touched on several giant tunes from Surfer Rosa including the anthemic “Bone Machine,” the shouty “River Euphrates,” and the well-covered “Where Is My Mind?” Cool obscurities included the eerie and sparse “Cactus,” the pounding “Break My Body,” and the fast furious “Something Against You.” With no Deal on hand, there was no rendition of “Gigantic.”

The Pixies’ Black Francis at the PAC, May 2015 (photo by Jessica Mickey).

Some of the Doolittle highlights included the hypnotic “Gouge Away,” the slow and dynamic “Hey,” the ironically cheerful “Debaser,” and “Mr. Grieves.” They played a slow and quiet version “Wave of Mutilation” in the set’s opening moments, then cranked up at full speed and full volume toward the set;s end. Fans sang along with Lovering on the bubble-gummy “Here Comes Your Man,” shouted along with the massive chorus of “Monkey Gone To Heaven,” and practically moshed in their seats to the fiercely fast “Crackity Jones.”

The spooky-but-hard-rockin’ tune “Magdalena” from Indie Cindy won over some of the old guard. Lovering banged well on the cowbell on the head-bangin’ “U-Mass” from Trompe le Monde. I’d still love to see and hear the Pixies render a version of “Velouria” from the Bossanova album… maybe next time.

It was a very pleasant surprise to hear cuts from their Come On Pilgrim EP, like the waltzy and creepy “Caribou,” and the even faster and menacing “Isla De Encanta.” The quirky “Ed is Dead” and the effectively repetitive “I’ve Been Tired” slayed the room.

The Pixies didn’t have a chance to exit the stage after their last song; the standing ovation and high-volume cheer kept them at stage-front before they launched in a three-song encore, which ended with a lengthy and noisy guitar cable/noise/solo from Santiago on the relentlessly pounding “Vamos” from Come On Pilgrim.

Three original Pixies: Black Francis, Joey Santiago, and David Lovering (provided)

Metronome Charleston has a chance to chat with Pixies drummer David Lovering, 53, the week of the North Charleston show. Friendly and articulate, Lovering shared more than a few amusing and enlightening big stories about the band’s reunion tours, Indie Cindy, and even newer original music on the horizon. Here are a few excerpts:

Metronome Charleston: Over the last 10 years, since the band’s initial reunion in 2004, it seems like the big story on the Pixies has turned from the familiar story of a group back together toward a more active tale of a band that’s actually writing, arranging, recording, and presenting new material. How does it feel?

David Lovering: I love it all, but I’ve always really loved touring and traveling. It’s a great escape and something that I love to do. I’m game for it on all levels, whatever it might be. The impetus for writing and recording new songs came during that Doolittle tour in 2011 or so. We realized that we just couldn’t continue on our laurels doing that thing. We didn’t think it was fair, so it was a kick in the pants to get the material for Indie Cindy going.

Pixies drummer David Lovering (provided).

Metronome Charleston: Was it more of a joy or a tough challenge to make Indie Cindy?

David Lovering: It took about a year to get everyone on board and to get writing. It was the first time we’d gone into a studio in a long time. I used to really hate recording. I just couldn’t stand it. Making Surfer Rosa was the first time we really went into a proper studio. With Doolittle and the following albums, we took less time to do the basic tracks. Things happened at a quicker pace, so there was more pressure in the studio, especially for me [as the drummer]. And I’m a bit of a perfectionist, so it was tough.

When we did Indie Cindy, there was some trepidation initially, but it ended up being an absolute joy. We had taken time to prepare the songs before going into the studio in Wales, so we were ready and confident. We worked with digital gear, so the pace was less hectic, and we could take our time with things. I had a fantastic experience making the album, and I’m very happy with the outcome of it.

Metronome Charleston: Describe the new chemistry of the band as it stands now, especially after touring so hard behind Indie Cindy.

David Lovering: We’ve spent almost two years touring on Indie Cindy, which has been wonderful. It’s probably the most touring we’ve ever done, and because of that, I think the band and myself are playing much better than ever before. Plus, we have Paz on bass right now. She’s a consummate bass player, and because of that, she’s making me play better. It’s working out well with the live sound of the band — and the personality of the band seems very well intact.

Metronome Charleston: It seems like the new bassist on stage has earned the trust and admiration of a lot of Pixies fans so far.

David Lovering: We’re incredibly happy with the situation Paz is a joy to be around, and most of all, the audience really likes her. It’s all been working great for us, as far as the chemistry and looking ahead … since we did Indie Cindy, we feel like we’re still a viable band that can do the thing that we love very well.

Metronome Charleston: Have you had a chance to step away from the band’s new music on Indie Cindy and them come back to it with fresh ear and an open mind?

David Lovering: We’ve been playing the new songs for more that two years, so we feel like we own them now. It’s wonderful because I can really listen and think about these songs better than I could with the early album, like when I had to prepare for a tour. We took six months off from the road before this current trip, so I did have to go back and refresh myself with them. I actually started playing a few things differently when new things came into my head, but it was all quite fun.

Metronome Charleston: Your drumming style seems a bit different from the band’s initial heyday — especially with the way you hold the sticks these days.

David Lovering: When I started playing drums, I played traditional grip. When the Pixies started, every other drummer I knew played match grip. We were doing some heavy and fast punk stuff, so just for speed and power, I switched to matched grip and played that way all the way through the Pixies’ years and the first reunions — all the way up until two years ago. Then I decided to change it up a bit.

You know, I never got complimented for my drumming — ever. I know I’m good with the Pixies and my drumming suits them well, and that’s cool and fine. But after switching over the traditional grip, I started stepping up my game a little more. It allows for some more subtle things in my playing. I’m very much more comfortable playing this way — plus it makes me look more like a jazz drummer, which helps make it look like I know what I’m doing. I’ve actually received more compliments over that last two years than ever before [laughs].

Metronome Charleston: The Pixies have obviously reconnected with old fans on these recent tours. Does it feel like the band is connecting with a new or younger audience as well?

David Lovering: It’s amazing, and I feel very fortune that we are connecting with young people now. I remember the first reunion shows back in 2004, like at the Coachella Festival with thousands of people there. Looking out at this sea of people, the majority weren’t even born when we first started out as a band, yet many sang every word to every song. That was a surreal moment for me. We played Coachella again in 2014, and it was the same thing, but it was with an even younger group of kids — 12 and 13 year-old kids, singing along.

Metronome Charleston: This month marks the final run of the Indie Cindy tour. What’s on the horizon?

David Lovering: This is the last leg of the tour supporting Indie Cindy. One extra special thing that I think we’re doing is new material. Back in the day, when we were playing Come On, Pilgrim and Surfer Rosa, those were songs that we’d rehearsed in a little band room and got to belt out around the little clubs of Boston. We’re trying to do that again with some our brand-new songs. We have a bout a dozen new tunes, and we’re picking about three or four to play at these shows, just to iron them out. That might be something a Pixies fan would be interested in.

The Pixies will be touring up and down the East Coast and visiting parts of Canada and the Midwest through late June. Check out pixiesmusic.com for more.

Photos by Jessica Mickey.

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.

Welcome to Night Vale’ at the Music Farm (photo by Jessica Mickey)

Opening the show was musical guest rapper/singer Dessa, part of the indie hip-hop collective Doomtree out of Minneapolis. Joined by musician Aby Wolf, the two quickly warmed the docile crowd, impressing them with their skillful flow and easy-going banter.

During the second song, Dessa passed a $10 bill into the audience, saying the bar would be closed during the “Night Vale” portion of the show and she would like a shot of Fireball. “It’s a test in faith!” she proclaimed. Not only did an audience member return with a shot and her change, she was treated to two more shots through the remainder of her five-song set. By the end, she was in the crowd, now on their feet at her request, and alit by cell phone flashlights.

The “Night Vale” portion of the show was greeted by thunderous applause and squeals as much-beloved Cecil Baldwin took the stage. Podcast composer Disparition sat to the side, surrounded by the tools of his trade to accompany Baldwin as he and fellow cast mates recited from the script in their hands, as if they were part of an old-time radio show.

Characters making their way to the mic to engage with Cecil included a sentient patch of haze that goes by the name “Deb” (Meg Bashwiner), who was hawking Dasani (and may or may not have poisoned the town’s water in attempt to sell her product); Carlos (Dylan Marron), a handsome Latino scientist that is the object of Cecil’s infatuation; intern Joseph Fink, the actual co-creator of the podcast; an inept Sheriff’s Secret Police spokesperson (podcast co-creator Jeffery Cranor), who is completely incapable of calming the townsfolk regarding a murder in the area; Tamika Flynn (Symphony Sanders), the 13-year old leader of a group of child vigilantes; and the hilariously portrayed John Peters (Mark Gagliardi) — “you know, the farmer.”

Longtime fans delighted in seeing familiar voices they had heard so long in the flesh, and the actors did not disappoint, committing to their characters and emoting to the back of the room. Of course, as the voice of Night Vale, Baldwin really was the glue that held it all together, engaging with the adoring and polite crowd while sticking to the script, expertly knowing when to pause for the laugh, and appearing to have a wonderful time on stage. All that’s left to say is “All Hail the Almighty Glow Cloud.”

Visit commonplacebooks.com for more.

Photos by Jessica Mickey.

Special guest Carlene Carter of country royalty the Carter Family opened the show with a lively solo set of old-time gospel and country tunes, many of which tied in with the music of her late mother, June Carter Cash, and grandmother, Mother Maybelle.

Mellencamp and his bandmates — violinist Miriam Sturm, accordionist Troye Kinnett, electric guitarist Andy York, bassist John E. Gee, and drummer Dane Clark — followed Carter with a slightly formal set of new tracks from his recently released album Plain Spoken (Republic Records) and classic hits like “Small Town,” “Check it Out,” and a stripped-down version of “Jack & Diane.”

Charleston-based musician and longtime Mellencamp fan Bruce Szego touched base with Metronome CHarleston this week about his experience at the concert. “The show was very good,” he said. “I thought Carlene Cater was an excellent choice for the opening act. Her set was interesting as far as her choice of songs. She surprised me as an accomplished pianist, and her voice was strong, and on pitch all evening. She is a great entertainer.”

“Mellencamp and company were great,” he added. “The audio mix was superb. I thought the players were very tasteful, as far as the two guitarist all night. The drummer was solid, like a metronome. The only negative criticism I have is the keyboards could have been a little stronger threw the sound system. The stage setup was kind of old-school, simple — and that is a good thing. Mellencamp’s vocals were still strong, and his stage performance fine. I liked his newer material as well. I enjoyed the selection of songs all night. It was an enjoyable evening for sure! I would sum up the evening in three words: Mellencamp still rocks.”

For more than five years, the club’s Charleston-centric T.R.O.M. (Tin Roof Open Mic Comedy) series has provided a great opportunity for established and up-and-coming local stand-ups to try out new material and showcase some of their strongest stuff on stage. Designed as a monthly open mic night (with free pizza from Little Caesar’s), T.R.O.M. is usually hosted by local stand-up/improv/sketch veteran Jason Groce.

Jason Groce at the Tin Roof (photo by Ballard Lesemann)

Last week, on Sun. March 22, busy Charleston comedian Jeremy McClellan (pictured above) filled in as host to welcome 10 performers to stage. Fresh off his recent assignment as Charleston Fashion Week correspondent for CharlestonGrit.com, McClellan looked and sounded particularly sharp.

Sunday’s official roster featured McClellan as the emcee and opening act followed by Joseph Coker, Hunter Gardner, Lily Slay, Andy Rider, Peter Schwartz, J.T. Hooper, Michael Clayton, Bill Davis, Hagan Chase Ragland, and Metronome Charleston’s own Jessica Mickey. Each comedian delivered solid stuff and earned more than a big laughs. Several rookie performers tried out a few things after the show on the still-open mic.

The monthly T.R.O.M. series continues in April with a show set for Sun. April 12 at 8 p.m. Admission is always free. Visit charlestontinroof.com and the venue’s Facebook page for more.

Photos by Ballard Lesemann.

Before I discuss the ever-charming Alejandro Rose-Garcia — a.k.a. Shakey Graves — I must mention that I was taken by his opening and equally charismatic act, Nikki Lane. Those that showed up to the Charleston Music Hall to admire Shakey were met with a pleasant surprise in the boot-stomping and swoon-inducing tunes of Lady Lane.

Nikki Lane and company at the Charleston Music Hall (photo by Jay Chapa)

I walked through the doors of the Music Hall just in time to hear the Greenville native say, “It’s amazing that I get paid to complain. I love writing songs, and most of them are me complaining. I mostly complain about men, but that’s just because they are an easy target. But remember, just like men can be dicks, women can be huge cunts.”

Shakey walked onto a dimly-lit stage donning a Johnny Cash-esque suit and tie with a straight-bill cap strategically placed atop his head, a symbol for the blend between younger generation of Americana/Country musicians that are bursting onto the scene and the roots that preceded them.

Shakey had been on this stage before, opening for Charleston’s Shoves and Rope in the fall of 2013. This evening, he kicked off his own headlining show with a solo set, armed with only a vintage six-string and a D.I.Y. drum kit composed of a bright red suitcase fitted with a kick drum pedal and tambourine. Stomping back and forth on his kit, Shakey delivered a solo performance that left the crowd not missing a full band sound at all. The growl of his guitar blended perfectly with the hoots and hollers from the crowd as they drank in Shakey’s fine-tuned performance.

Shakey Graves on stage at the Charleston Music Hall (photo by Jay Chapa)

Backing band members trickled on and off the stage throughout the set. At times, they provided huge-sounding electric bass and drum accompaniment, and at other times, they only provided stick clicks and backing vocals.

Shakey Graves’ set list consisted of favorites off his latest record And The War Came and even some more obscure tracks off his limited release B-sides album Nobody’s Fool, which was only set out into the internet world for a mere two days this past February.

By the end of the show, Shakey Graves had gotten a good mass of people out of their seats and piled up at the front of the stage leaning in for even an inch of closer glances. Probably due to his charismatic stage banter and musical aptitude, the mass consisted of mostly swooning ladies and one exceptionally burly/intoxicated gentleman.

Never one to disappoint, Shakey delivered a double encore with the second caused by a fan screaming, “Hard Wired!” at the top of her lungs. Shakey returned to the stage just as he had begun, alone and with a sole guitar to sing at the request of an adoring crowd.

Photos by Jay Chapa.

Shakey Graves at the Charleston Music Hall (photo by Jay Chapa)

Shakey Graves at the Charleston Music Hall (photo by Jay Chapa)

Shakey Graves at the Charleston Music Hall (photo by Jay Chapa)

Shakey Graves at the Charleston Music Hall (photo by Jay Chapa)

Shakey Graves at the Charleston Music Hall (photo by Jay Chapa)

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.