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SaxKixAve

Recently our friends at Mixed Alternative Magazine had the chance to rap with New Orleans-based hip-hop duo SaxKixAve, who are rising in popularity right now in the best of ways. Most musicians are lucky to have one successful project in a world where there are hundreds of thousands of songs being released every single day and the market is oversaturated. The chances of breaking through the noise are harder than ever, and those who actually do break through and see some success with one group is a rarity, let alone those who can take on and do well with multiple musical projects. Enter these fellas.

SaxKixAve is one of those groups who are doing it all. Comprised of award-winning rapper Alfred Banks and Albert Allenback, saxophonist and flutist of the twice Grammy-nominated group Tank and the Bangas, these two artists stay plenty busy with their main gigs, but thanks to the suggestion of Tavia Osbey, manager of Alfred and of Tank and the Bangas, that the two work together at the onset of the COVID-19 pandemic, they started a side project that is truly something special. Their first record, “I Don’t Wear Suits,” was released in April 2020 and is a celebration of this collaboration, and the duo has been performing those songs in front of live audiences whenever they can find the time to do so.

Earlier this year as SaxKixAve was finishing up their follow-up record, Mixed Alternative Magazine had them both over to chat about that record, about how they make this project work with their busy schedule, and about some of the band’s highlights so far. This is one bitchin’ Q&A with some super-cool artists that you’re gonna want to check out. Then, once you’ve read and pondered and laughed with them, check out their music, their videos, and support them on social media. SaxKixAve is rapidly on the rise and we’re all gonna want to keep an eye on them. Their music is as fresh, funky, upbeat, intelligent, honest, and unique as the guys who make it.

MaM:  I’ve heard a couple different versions of what “kix’ed” this all off.  How did this insane, wonderful experiment begin?

Albert: Well, Tavia—the manager of Tank and the Bangas and the engine, the logistic and business/life-path mind behind it all—hit me up and said [Alfred] was looking for beats. She said, ‘I know you make beats. Let’s get you in the studio together and see what happens.’

Alfred: It was great … I like Alby. He’s good money. We crack wild jokes. He sent me an email of beats, I picked one, I wrote to it, knock this one out. It was right when COVID hit. So yeah, I got in the studio with this dude, [and] we laughed for about three or four hours before we even started really recording. I thought, ‘This is a good guy.’ We recorded ‘Tawny’ and I guess he liked what I did. I loved it, and we just kinda kept goin’, kept goin’, kept goin’. Then it was like, ‘Hey man, you wanna make this a thing?’

Albert: It was like a ‘Step Brothers’ moment.

Alfred: Yeah! He was like, ‘Yeah!’ I was like, ‘Aight.’ [sic]

Albert: Are we in a band? 

Alfred: Are we a band?!

Albert: Yeah, I think so!

Alfred: (to Albert) Do you remember how we came up with the name? I know we joke about it.

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    Will Wesley

    Reflecting on our conversation, I felt as though it took Will some time to come out of his shell, so to speak. At first, his answers seemed slightly guarded and intentionally humble; contrived perhaps. But as the interview went on, I believe Will identified the sincerity in my contributions and line of questioning. And eventually he became more invested in the exchange. I’d say this would summarize his childhood years quite well. Where at first, he was tasked with navigating a tough populous in his hometown. But eventually, as he came to trust music as a nonjudgmental, creative outlet, he began to reveal his true self.

    I was speaking with Exhorder’s founder Vinnie LaBella recently. And the topic of punk music came up. We exchanged ideas about how it influenced thrash music, and how the two were both extremely intertwined and infectious. I brought an idea to the forefront that we both agreed was fact. If you do not live the genre of music you currently write and produce, you will not be successful. Moreso, you will be lying to yourself, a fallacy in the court of public opinion, and at the very least, a hard sell. I believe this to be true for all genres. And I believe it to be one of the many reasons why Will Wesley will always pass muster. At times country, at times rock and roll, and always with an underlying current of blues, he has lived and breathed these elements since he was a child. Growing up in Baker, Louisiana, which was settled but not thriving, an impoverished society delivered these principles to Will at a young age. He was the youngest of three children. And with a growing family to feed, his father had set down the guitar to pick up more shifts at a local plant. Though family finances had overshadowed his father’s dreams of being a full-time musician, Will quickly became of age to have that torch passed down to him. Sharing in Will’s ambition and love of music, he made sure to instill in him the idea that playing music was to be taken seriously. He wouldn’t have Will simply learn a few chords. He wanted him learning music theory. And he imparted to Will how important the business aspect of music would become in due time.

    Exploring his motives as a young man, Will was the first to admit that he picked up the guitar in an effort to get more girls. It is worth affirming there were a few other factors that garnered his attention, like the support of his father and the strength it lent their bond. He would also admit that playing guitar didn’t change much when it came to girls. But before long, ironically, he was passing up dates to play shows. Falling in love with the art gave him tunnel vision. No tangible thing could replace it. Unlike his surroundings, it didn’t judge him. It didn’t threaten him. And it brought him closer in the mind of a working father of three.

    Drawn to punk music in his early years, Will was a fan of the idea that “three chords and the truth” could transcend genres and audiences. The similarities in the cores of genres, he pointed out, kept him relearning the things he already knew. These subtle resemblances provided comfort for a youth that was constantly trying to find his voice in music. Yet he did not hesitate to decide upon original songs as his chosen path. Like many, he would practice covering a variety of songs in his room to get his chops up. But for Will, his expression manifested itself as original compositions of straight rock and roll. Given his propensity for punk rock, he became an avid fan of bands like Green Day, Sublime, and 311. His first band would be called Crotch. Before you knew it, this kid from the small town of Baker, Louisiana had orange hair and was stage diving. He recalled a surreal experience one night at a Green Day concert when he was just fourteen. “Billie Joe Armstrong asked if anybody plays guitar. And my brother at the time lifted me higher than anyone else and this dude gets me on stage. And I look out in this crowd and there is just thousands and thousands of people. I’m scared but its just like… I am alive! You know what I’m saying?” He went on to tell us what Billie whispered in his ear at that moment. “Look dude I really hope you know how to play. The chords are G, D and C. And I was like, yeah yeah I know that. And the dude just gives me the guitar, and he kisses me square in the mouth. And when I started playing and the crowd started going nuts, I knew from there… man crowd applause and live audiences are quite addictive. I was addicted and I’ve been that way ever since”. 

    An experience like this made him want for nothing else. All he wanted to do was play bar chords and get laid. Luckily, the urgings of his parents would still permeate through the desires of a young Will. Though he had dropped out of school, to his mother’s wishes he acquiesced and returned, getting his diploma. And to his father’s wishes, he allowed words of wisdom to take the place of his immature cravings. As his father explained to him, “If you’re gonna do this, you can’t do it half-way. There’s musicians on the street homeless that can play you out of this city. You’re gonna have to be a business person to survive.” Into his twenties, Will became a music director for Grady Champion, a Grammy Award-winning blues musician out of Canton Mississippi, and toured around the world. During his time home, he got involved with a woman who was also a musician. The two would form a duo. The goal for Will at that time, aside from pursuing his relationship, was to see the music they made gain traction. So, he immersed himself and his efforts to that end. The relationship would eventually fade, as did their musical duo. The typical town gossip would follow and belittlement had him feeling low. Depression began to set in as Will began to question himself. Looking back, he realized that he had come from making great strides in his own career only to put himself in the background for a relationship. The promotion of this duo was perhaps motivated more by love interests and less by creative interests.

    Will began to hear his father’s words in his mind. There would be no more playing for the sake of playing, or playing for the sake of a relationship. He needed to return to his roots; creative writing through close attention to music theory, and creative direction through close attention to business acumen. He needed someone that existed outside the local whirlpool of small-town mentalities and rumors, someone that could help clear his mind and focus. He called a friend he had worked with in the past by the name of Phil Chandler. Phil had produced for Will in the past and done some bar gigs with him. But most importantly, Phil was from out-of-town. The two began to discuss a number of songs that Will wanted to get recorded, as well as Phil’s recently recorded EP under the band name Orange Joe. Opportunities to gig at that time were few and far between. Being that this occurred during the onset of Covid, the two had to get creative to kept things moving. One solution they settled upon was writing (and subsequently selling) commercial jingles. As their momentum began to accelerate, they decided to take what else they had and publish it together. The result would be a body of work that housed Phil’s EP as well as Will’s recorded songs. It was a seventeen song, double album called Both Sides of the Tracks. Characteristically typical of any bands’ first album, they described it as an extremely polar, country rock/ country americana album. But despite Covid, it kept them productive creatively. And it earmarked a moment in time, both good and bad. Some of Will and Phil’s friends, family, and fellow musicians that were involved with this album didn’t make it through the pandemic. But on the other side of this traumatic occurrence, Both Sides of the Tracks stood tall. Its reception was global, garnering radio play on stations everywhere. This was a fortunate break being that distribution services were backlogged due to many cooped up musicians at home writing and recording. This catalyst also contributed to the star-studded roster on their debut album. Singer/ songwriter and guitarist Kern Pratt, fiddle player Michael Cleveland, singer/ fiddle player/ producer Allison Krauss, singer/ songwriter/ guitarist Doc Watson, and singer/ songwriter/ guitarist John Marty Stewart were some of the people that contributed to this release.

    Obvious hardships gave birth to a robust independence for them both. The album that was recorded, produced, and promoted from their homes now had a global presence. They formed their own label, Roanoke Records and solidified management with Brian Abrams of Century Palm Agency on a beach over a fifth of honey whiskey. Since then, their hard work has resulted in a European tour, a spot opening for the globally recognized band Alabama, and multiple show dates in Switzerland and Bangkok. Their next album, Ready to Ride is set to drop this summer. Subscribe to our podcast by picking your streaming service below and hear about the duo’s experiences overseas, the noticeably darker tone of this next album, partner Phil Chandlers thoughts on music business, and so much more. Thanks goes out to Will Wesley and Phil Chandler for such a great interview.

    Author: David Trahan

    Neworleansmusicians.com

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    Okay, Boomhauer

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    One of three children, Conner Graham was born St. Amant in Ascension Parish, Louisiana. Where, according to him, disco and Swamp Pop never died. “At our middle school dances, they were playing Wilson Pickett. Yeah, they might do the Bunny Hop. They might have cranked some DMX in 2002. But then the very next song was Land of a Thousand Dances. It was very strange looking back. But we didn’t know it was weird at the time” His start as a musician began at just five years old on the piano. Before long though, he was turned off by it because of the urgings from his music teacher. She wanted him to play Beauty and the Beast. But he wanted to play Dr. John and Elton John. According to Conner, she took one look at material from Elton John and saw the title Jesus Freaks Out in the Streets and instantly objected. She countered with Be Our Guest from Beauty and the Beast. And so began a path away from the keys. His familiarity at an early age with his preferred genre came by way of his mother. She was a radio DJ in the 70’s for 102.5 WFMF, “Baton Rouge’s #1 Hit Music Station”. Her record collection at home was both a testament to her tastes in music and a big influence on Conner’s early musical experiences. It’s how he knew of bands like the Beatles, Crosby, Stills & Nash, Jonathan Edwards, and the Eagles.

    He would move onto trumpet, eventually playing in band at school. During this time, another one of his hobbies was playing Guitar Hero with friends. He actually became quite good at it and recalls watching an episode of South Park. Where, in reference to the game, Stan’s mom declared, “If they would spend half as much time learning a real instrument, they would be onto something!” He thought to himself, is that true? He knew his mom had an old guitar sitting in a closet somewhere. So, in the summer before his senior year, he asked her if he could start lessons. During his senior year of high school, his mother took him to his first Jazz Fest. She wanted to see folk artist James Taylor, and he wanted to see the alt-rock band Wilco. But halfway through Wilco’s set, he wandered off and was drawn to blues-rock artist Johnny Winters. People sometimes speak of the timeless quality music had in the 70’s. And even though Conner was born in ’91, that 70’s sound had him hooked. To his liking, there was not a lot of synthesizers, and that gated reverb snare hadn’t taken over yet, nor had auto tune. Rounding out his tastes was the influence from his older brother, who was into Pearl Jam, the Foo Fighters, Nirvana, and other 90’s grunge. Through his older brother, Conner was also able to witness the camaraderie that came with being in a band. Because his brother was in a band and would have the same close-knit group of friends over all the time. He wanted that for himself. So, between regular lessons and persistent after school practicing, he stuck close to playing guitar. Eventually he would form his own band; or try to, at least. Conner and three of his friends would assemble in his garage for practice. But this was short lived. Directly following graduation in 2009, two of his friends shipped off to the armed forces and one of them moved away. Conner himself would move on to college at LSU and join the Tiger Band playing trumpet. While this may have kept Conner in touch with music, it was always a highly regimented and scheduled out event. Playing trumpet in a school band, he felt boxed in. But with guitar, he was able truly be creative. And this is what fed his soul. He did try out for a couple of bands during his time in college. Being that he enjoyed karaoke, he tried out for a pop-punk band that needed a singer. And another was a bizarre reggae rap-metal band that needed a trumpet player. Though he felt himself veering away from the trumpet somewhat, it was the only one of the two bands that called back. But he stuck with the reggae band for a while. He also took gigs on the side, all with his trumpet. And all the while his affinity for guitar grew more and more.

    At the end of 2014, Conner would be reunited with high school friends for a bonfire. As luck would have it all three had moved back into town. It wouldn’t take long for the four of them to put the band back together. And in just four months they had written ten songs, calling themselves Bayou Bullets. Over the next four years the group would see changes in their line-up, a five song EP studio recorded album by the name of Five in the Chamber, and the addition of a singer, Jovin Webb. Which allowed Conner to focus on playing. But the group had yet to find its true identity. Conner recalls, “If you listen to the album, it sounds like three very different bands playing five different songs.” Pop-punk, blues, 70’s folk acoustic, and rock had somehow all found a way into their initial attempt. Though Conner’s preference leaned somewhat toward pop punk, an affinity reignited by his 2018 Warped Tour attendance, the future for this band would be shaped, in part, by two factors. One of the previous changes in the line-up was the addition of a guitarist that was heavy into 80’s metal. And their new singer, Jovin, had a voice that dwelled in that soulful grit. The territory where these factors would intersect, and where the band would ultimately settle, would be in 70’s blues rock. The coming years would be spent exploring this identity on stage and culminating in their sophomore effort titled New Lie. Parts of 2019 and 2020 were spent trying to get this album down, as it was fraught with its fair share of hurdles. Jovin had been picked up by American Idol that year. And his efforts would land him in the top ten on that show. But a seeming positive would often present itself as a negative when it came to scheduling time for the band’s album. A song he had written, After the Rain, was one that left a hole Conner kept scrambling to fill. And the fact that it was written as a duet didn’t help things. At one time Chloe from Alabaster Stack was supposed to accompany Jovin on the song. After that fell through, Maria from Riarosa was slated to fill the spot and had to cancel. Also, Covid had reared its ugly head which brought production at the studio to a halt. Suddenly, Conner found himself at a low point in his life. The album release would eventually see the light of day. But for now, it was botched. Depression was setting in and writer’s block was beginning to take hold.

    Fortunately, Conner had the presence of mind at the time to seek outside help from a therapist. In these sessions it was revealed to him that the pressures of coordinating practices and gigs, and fighting to get this album out had placed him in a position where his creative outlet had become a job. The solution was to start another project where “making it” was not the goal, effectively freeing him from the constricts of all those elements that muddy the waters of inspiration. In this new project he would not even play an instrument. He would front this band as its singer, it would be a cover band in his preferred vein of pop-punk, and their name would be Okay, Boomhauer. Though Covid would wreak havoc on this band’s ability to practice and function, he was still able to reclaim a broken block from his previous project, Bayou Bullets. Reexamining that material through the alternative lens of his new band’s genre, a song stood out to him. It spoke to him in the form of an emo ballad. He felt so strongly about this that he would eventually record it as such. Five songs would accompany it on an album that was to be his solution to the isolation and stagnation that Covid instilled in us all. Paired with just an audio engineer, Conner wrote and recorded an album under the name Okay, Boomhauer. Progress was finally being made. As for Bayou Bullets, a pivot in their business model would be the answer to the pandemic. They realized that if they steered clear of major cities they could circumvent restrictions in place at the time. Together they hit every honky-tonk and dive bar along the gulf south. Being that their mainstay was in covers this was an easy sell, and a lucrative one to boot.

    Finally, Conner felt as though he had some breathing room. Bayou Bullets was gigging consistently, restrictions began to ease, and Okay, Boomhauer began to practice. Conner let them hear what he recorded and the band really took a liking to the material. The revelation would expand the band into originals and would accompany a catalog of about thirty cover songs. Then one night while performing with Bayou Bullets in the college town of Starkville, MS, he contracted Covid. And it nearly killed him. “It was literally weeks and months of rehab to get back to the point that I could perform or anything like that. Heck, it took three weeks before I was able to walk more than a block down the street. But in that time of working through all that, we also had that hurricane (Ida) that hit in August. And that wiped the calendar for Bayou Bullets away. Which provided the opening for a couple of the members who had been waffling on leaving or not to decide, you know what, it’s not going to be putting them out if I leave now.” Conner’s health would eventually be restored. And his focus would then shift to Okay, Boomhauer.

    This new endeavor has found Conner and his band scheduled to perform from Dallas to Mobile. He has already written an entire album for the band to record in between shows and is currently writing the following album. They are going into the studio to release a single this spring, with another to follow toward the end of this year. It’s been a cathartic experience for him. He’s proud of how his own EP turned out ultimately being played by Okay, Boomhauer. Seeing results, his vision is no longer obscured by the familiar doldrums of years prior. He’s started investing time and money in an editing process that will enhance the band’s following on social media. And he is able to delve into the mechanics of a far-reaching band without feeling bogged down. “I have targeted a list of cities that are all between eight and twelve hours away from here to start building that network of cities that we can we can tour to, to get to the cities that really give a shit about this music.” In due time, after some replacement recruiting, his other project Bayou Bullets will reemerge redubbed as The Black Smokes. We talked more in depth about his journey throughout. And we went on to examine the findings of research he has put into elevating Okay, Boomhauer to the next level. You can hear all of it on our recent podcast episode titled by the band’s name. Thanks so much for reading and remember, support for these musicians and this site comes as easily as sharing our work.

    Author: David Trahan

    For Neworleansmusicians.com

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    Petty Betty

    With family roots in both Ecuador and Sicily, Petty Betty front woman Erica Calle was born into a vibrant, culturally diverse family in New Orleans East. To hear her describe it, this was not an atmosphere for the meek. “The only way you get heard at the dinner table… who talks the loudest is who gets heard. So, I’ve never been told I’m a quiet person. And I don’t think I ever will. I just found a way to turn that into a positive.” Music never really held a dominant presence in the household. And although natural heritage was held close on both sides of the family, focus was concentrated on assimilation into American culture. As a result, she recalls her mother having an affinity for vinyl with no distinctive musical genre. And her father being somewhat of a fan of smooth jazz. In lieu of concerts or music festivals, the pair would often opt for more peaceful outdoor experiences such as rock climbing and camping.

    After a short stint in Texas, her parents came back to settle in Denham Springs. And though Erica had grown fond of singing, she just didn’t have the knack for it. “I remember being in sixth grade and I went to St. John Vianney in Baton Rouge, a small Catholic school. I remember getting up and signing Rockin’ Around the Christmas Tree in front of my class. It was terrible. The kids laughed.” What one might think would have a negative impact on a young Erica, didn’t. She would tell you that she was (and is) more stubborn than talented. But her love for performing grossly overstated the reaction she observed from the crowd. And she would do it again and again. It wasn’t until she was about twelve years old that some things started to fall into place. She was in her room singing and her mother mistook her for the radio. But what both had not taken into account was that, through maturation, her voice had dropped. It was at that moment that her mother really took interest in nurturing what would blossom into a wonderful talent. The notion was sealed with procurement of a voice coach and lessons.

    Erica had come into the situation loving pop songs and expressed interest in singing one for her first recital. But her voice coach would insist she take on a more soulful approach, while trying to cater to a deeper tone. And this felt right.

    Later on in life, Erica would study through vocal coaches at LSU. And once again she found herself singing in less habitable, higher tones. She recalls this as being exhausting. While she realized that one of her goals should be to provide for a wide vocal range, singing soprano did not feel natural to her. This was compounded by the fact that singing in a deeper tone physically came from a different part of her body. Not to mention singing soulful music came from her heart. “You don’t understand the why’s that you feel that way until you’re older. There’s a difference in singing rehearsed music and singing from your soul. And that’s something you learn about yourself as you go. So, I think what’s really cool about music, about the arts is that you’re really… not so much you’re learning a talent, you’re learning and discovering yourself.” Beginning with an interest in pop music and singing in soprano really took her off course. But luckily, by following her heart, and with a little help from a voice coach, Erica found the way back to herself.

    With mental and emotional support from her family as a child, she was able to realize her own vision as a singer. Her father even once driving her all night to Atlanta, Georgia for a competition in The Voice; at which she garnered her spot in the second round. But attempting so much in the midst of a cold landed her with blown vocal chords; a wound that would take years to mend. Even speaking would render her hoarse. So, she buried herself in life away from singing. Depression and weight gain would soon follow. An abusive relationship helped to further suppress the voice of a once boisterous young woman. And a roughly ten-year break from involvement in music resulted. She likened the experience to boiling a frog. These things culminated slowly, but had a lasting effect on her. Some friends approached her one night after karaoke asking if she would be interested in joining their band, and she accepted. It was a way back into a life of singing which was good for her. But she didn’t know how to advocate for herself when it came to what worked for her as an artist. As tensions in the band rose, so did the abusive situation at home. And although she learned a lot while in that band, when the time came as she said, “When I got out, I had to get out”. Her abusive home life was intertwined with her band life. So, when she made the decision to leave the relationship, she also made the decision to leave the band.

    Her next foray into singing would be what we all know today as Petty Betty. Hearing things like, “no little sister, what works best for you” made her know for sure she had found the right place. For Erica, learning the ins and outs of musicians and how they work became possible in an atmosphere conducive to growth. And the bunch all became like family. Petty Betty practiced for a solid year before performing live. Since then, they have enjoyed immeasurable success. But to do this, they came out the gate ready to handle not just the gigs themselves, but bookings and networking as well. They began live having gigs booked out for months. The Betty Boop/ Betty Page theme underlying their name had given them a distinctive look. And their embracive style with the crowd had landed them a truly loyal following. Though Covid impacted them as deeply as it did many bands, Erica took the instance as an opportunity to network even harder, committing to livestreams and serving as a go-between to help other bands remain active.

    Though some of this was about self-preservation, much of it became about the worth of a community of musicians as a whole. She gained an understanding of her own self-worth, as well as the worth of the musicians around her. And it now can be heard in her speaking about the way venues and musicians currently do business. She walked away from her experience with Covid realizing that a line must be drawn for musicians to uphold, whereby venues understand that a respectable business practice is in order. Like she said, “ I think that working within the music and the venue community, building those relationships helped to understand that value.” Instilling a perspective in people comes over time and through the efforts of not just one. Petty Betty has also sought to add value to what they do by making covers uniquely their own. At their shows you might hear House of the Rising Sun w a soulful nature, or Johnny B Goode w a double bass, or even Gangster’s Paradise and Lenny Kravitz Fly Away mashed together. An active schedule gigging has strained the band’s ability to find a spare moment to work on some originals. But a life, for some time, lived on an emotional roller coaster has Erica at no shortage for material. She has so much written that she can’t wait to work on. You can hear more about the artist on our podcast interview and the video version will be on our Youtube channel soon. In the meantime you can keep up with the band on facebook, including live examples of their work at https://www.facebook.com/PettyBettyLIVE.

    Author: David Trahan

    For Neworleansmusicians.com

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    Tamarie T and Thee Elektra Kumpany

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                    First and foremost, I love the energy Tamarie brings to this interview. There are moments of bare sincerity which speak to me meaningfully as a fellow musician and bandleader and I wanted to share my thoughts. I was unable to check out the show on Frenchmen he recently hosted, but I hear it was out of sight. Please consider listening to the full interview on the Neworleansmusicians.com Podcast. Thanks for reading, and I hope you enjoy. Here is a brief bio summary of Tamarie for anyone who missed the podcast.

                    Tamarie T is an artist born in Inglewood, Chicago who has recently moved to New Orleans to continue his artistic career and bring his signature funk vibrations into the musical melting pot of the city.  Continuing in the tradition of early funkateers, Tamarie performs with a full ensemble complete with rhythm section, horns, vocalists and even dancers. His early career, which included covering the music of powerhouse artists such as Prince, eventually led to a role as a booking manager at Chicago’s Underground Wonder Bar. During these early years, he was able to establish a network of musicians (both peers and mentors), as well as begin to develop what would become a signature musical styling and dynamic stage presence. Tamarie calls his music “Exotic Funk”.  Let’s dig in.

                    What is exotic funk? On an immediately relatable level to many musicians, exotic funk is the opposite of “everything”. Tamarie details a discussion wherein he was cautioned against saying the band plays everything. Personally, I have received similar advice from many of my mentors over the years. I have been a bandleader for over fifteen years, and I have changed styles and tastes in various ways. As the years go by, material from previous phases begins to accumulate and decisions must be made about the direction of the group musically and from a marketing perspective. Many artists find themselves in between established “genres” and must choose the lesser of two evils when deciding how to file paperwork on streaming platforms, etc. I tip my hat to Tamarie for putting boots to the pavement and taking on long-form interviews like this in order to be clear and descriptive.

                    Tamarie paved his own way toward expression. He describes his career ascent from self-promoting on Craigslist as a “frontman extraoridinaire” to developing his musical and industry chops by reaffirming his constant desire to find his own sound. Tamarie speaks about “assuming the roles of our elders” as he describes the foundation and reformations of his ensemble. Again, I would encourage anyone reading this to give a listen to the full interview, especially if you yourself are at a transitional point in your career where you are looking to expand beyond covering other people’s tunes. I personally continue to perform occasionally with cover groups, but when I perform solo or with my band, I choose to do exclusively original music. This is a transition I was only personally willing to commit to after the pandemic, but this portion of the interview was especially compelling for me as a listener.

                    Venturing into a personal aside, I also found it relatable when Tamarie spoke about various elements of sacrifice that are sometimes required to be a musician. And doubly so if you choose to forge your own path. As with most things in life, the factors at play will not be identical between any two people on this planet when it comes to major decision making. This topic, that is- the sacrifices musicians make to purse the lifestyle which suits them, could be the subject of a novel on its own. For the time being I intend to leave the subject alone, but perhaps will write a separate opinion piece to take a closer look at the matter in general.

                    For now, let’s talk about New Orleans. It is a visceral city in which to be a musician and there is enough excitement generated per day to power a small-town power grid. For many, the first performances in the city are absolutely electrifying and can generate enough mental momentum to make you feel like you can conquer the world. This certainly seems to be the case with Tamarie, and I hope to see his career continue to grow during his time in the city. There are likely enough articles out about the potential roadblocks and the pitfalls which lay about, so let’s instead take a tangent.

    Tamarie mentions the lack of response by various venues to his email requests to schedule a performance date, which is something I believe most musicians can empathize with in one way or another. There are, of course, some band leaders (the names change, the game doesn’t) who will prey on new-to-town musicians and there are always suspicions that venues may not be paying what is owed. But beyond the surface-level (and unsolicited) cautionary tales any local musician could share, and to avoid potential slander, I would like to use this article to encourage Tamarie and others to continue pushing for opportunities to perform (for money) their original music.

    He describes his first performance in the city with local musician Sierra Green. I have personally had the pleasure of working with Sierra Green numerous times and I am vicariously thrilled for Tamarie to be introduced to such a business-minded (and bullshit-avoidant), charismatic and knowledgeable veteran of the scene. Anyone who has heard Sierra knows she possesses an incredible voice and a powerful stage presence. Certainly, a potentially exciting pairing for as vibrant of an artist as Tamarie. He also mentions trombonist and band member Maurice Cade, another New Orleans transplant born in Chicago. Maurice, in addition to performing with Tamarie and Sierra, is the trombonist in my horn section, The KB Horns. Maurice’s playing was recently featured at the Blues Music Awards in Memphis where The KB Horns accompanied blues guitarist Kenny Neal. All that to say, I believe Tamarie has found himself in exemplary company when it comes to fabulous musicians with earnest intention.  

    Returning to the interview, Tamarie makes an aside about “assuming the roles of our mentors” which I found quite compelling. As the years pass, we do inevitably find ourselves in a position wherein we must take the mantle from whoever paved the way for us. Although we may never get an opportunity to inherit a legacy show or even meet our musical icons, I believe Tamarie is right in pointing out that we must appreciate the mentors who shaped our early years and we must express that gratitude to them in whatever way we can. Tamarie talks about the eventual reformations of his ensemble which led to staffing decisions that excluded long-time band members. He spends some time on this point, elaborating on the delicacy of the situation and the process by which bands transition to new membership while still showing respect for the members who are not chosen to represent the current trajectory. Having been a bandleader for over a decade, I relate to this deeply because sometimes the decisions can be absolutely gut-wrenching. It takes a certain type of person to balance the role of a business manager and that of the artist. Music is very often emotionally involved work, and I appreciate that Tamarie took the time in the interview to speak on the necessity of being considerate to those who must be let go in a transition. Life is hard enough; we must be nice to each other.

    Coming to a final quote, Tamarie speaks about an interaction with Sierra Green where he was told to “not be humble”. Now we are playing with fire, and I love it! There is always a necessity for respect and decorum, relative of course to the situation, but there is a sound truth in the sentiment that the meek will not inherit the stage in New Orleans. I think there is a sound logic within this idea, and I want to point out again that this interview in its entirety goes into great detail about this point (I don’t want to see anyone taking this out of context). I personally relate to and agree with the sentiment, and I believe it goes without saying that in the context of all other topics discussed in the interview Tamarie shows a consistent empathy and compassion for his core band as well as temporary hires. Disclaimers aside, holy shit what a good thing this is to hear early on in your New Orleans journey.

    This is a fiercely competitive gig market, with a lot of room for sidemen and fill-ins. But there are only so many stages and so many tourists to entertain on a given day. Until the point in your career where you are selling tickets with your name on them to pay your bills, being a bandleader in a tip-driven economy is no small undertaking. Recruiting band members who will make themselves available to you to take a chance on original music in a cover-dominated environment can be tricky, and Tamarie points out that even once you clear that hurdle the musicians will likely be involved in several other projects simultaneously. Scheduling rehearsal can be a nightmare, and commitments can often be quickly severed when the prospect of higher-paying work is introduced. It is not an easy task, and can be complicated even still by the lack of response by bigger name venues. Speaking from experience, it can be exhausting.

    I encourage Tamarie, and anyone else looking to present their original music, to pursue this goal to the fullest extent possible. Tamarie, you are in good company (Kumpany?) and I wish you nothing but success. Don’t let the bullshit wear you down, and do what you can to stay true to your vision. I don’t believe there is any dishonor in taking pickup cover work if it helps keep things moving, and there are lots of places beyond tourist-populated clubs to perform. Big crowds are nice, but it’s hard to retain people’s attention and even harder to make fans who seek you out independently. I wish you success, and I am looking forward to meeting you out on the scene!

    I’ll say this, nobody is going to see you as anything but yourself in New Orleans as long as you put it out there. Shine on!

    Author: Kasey Ball

    For: Neworleansmusicians.com

    About the author:

    Kasey Ball is a Louisiana born composer/arranger, multi-instrumentalist and producer. He is a 15-year veteran of the Louisiana music scene and bandleader of KB & the Backbeat.

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    David Trahan

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    In mid-January of this year, I was joined on one of my new podcasts by the proprietor of NewOrleansMusicians.com. We met originally on the Mississippi River in a previous life and time under considerably different circumstances. I wouldn’t call it a chance encounter as it was our respective day jobs that brought us together that morning, but it was, without question, an intriguing introduction. He wasn’t like any other I’d met in his position. Little did I know the complexities of the man standing before me.

    The opportunity to observe and study David’s mind in action was one with which I’d been eager to embrace. I wanted to know what made him tick. There was an odd connection that morning on the river. I most certainly had a sincere interest in his intended topic of discussion for our podcast visit, but also very much in the side of him that he seemed to be low-key deliberately keeping separate from his web presence. I appreciated his candor and participation in my podcast project, and owed him the very same respect he’d shown me, though our very first moment meeting would have suggested no such thing. 

    I was working for one of the largest towboat and barge companies in the country, and his employer was no slouch either. They were a contractor for us. I’d boarded the vessel at an opportune time where I got to spend time with back watch first. Back watch had the characters (I thought). Some of those guys preferred it. It was such a different pace of life out there.  I could feel it in the air in the wheelhouse that morning.  A certain choking silence intruded as he came back up for his next six-hour watch.  A flurry of perceived thoughts resounded across the space between us and in that glare that stared at me as he came up those steep, wooden stairs…

    “You mother fucker. I haven’t had coffee yet. Who the fuck is this guy? Why is he in my wheelhouse?”

    And then the other pilot chuckled his way back downstairs.  I may have fabricated these thoughts in my recollection and retelling here, but anyway, I digress.  I paused for a moment when he first appeared before me. I blinked myself into quiet and regained my composure. This guy was different.  He was distracted by a pointless distraction, but I was really only there to make money.  I had a household to support.  I’d been visiting boats to help coach pilots on a new computer system every other week for a while by then.  David didn’t really need my help in the system. A few pleasantries and minor questions about the new system precluded a much deeper and more engaging conversation.

    It turned out that our mutual misconceptions were forgotten when the coffee pot began dripping behind him. I kept in touch deliberately over time. He wanted to promote his project on my new podcast, and his passion for this website I hadn’t heard of was clearly evident and on display. I didn’t much follow the music scene these days, but I was, indeed, from just outside News Orleans.

    My podcast projects document the lives of my guests from a broad array of origins and journeys through life. I’d kept in touch with David over the few short years since we’d first met, and often discussed the side projects upon which we’d both been so feverishly working on our time off. In one of the more recent of those conversations, he shared the story of a passion project of his to develop a service for the local music industry in The Big Easy that had been in production for many years, lingering forever in the back of his mind.

    ‘I sat back in quiet awe as I studied the backdrop before which he sat looking toward me. His studio mic reached out from left to right on screen and sat ready at his chin. He’d done this before. I knew this should be a good one.’

    The conversation began as they all did, and I learned we grew up in the same area of southeast Louisiana just outside New Orleans, but we did so a decade apart.  It was a different world.  He was in my older brother’s generation, but some sort of trust had somehow developed between us over time. There was an unspoken acknowledgement of mutual respect, understanding and comprehension, but from when he had first left home to the time I met him, our lives couldn’t have been more divergent.  

    His journey through life began as most others do. He showed up one day in 1976 and developed a love and appreciation for music at a very early age. Gifted in school, but drawn more to life in the streets, he found himself traveling aimlessly down the wrong path.  Disenchanted and distracted, he didn’t even finish college. Working odd jobs between and after classes wasn’t cutting it, nor were the jobs he’d been able to secure in the interim after cutting ties with his tertiary education.

    The need and desire for disposable income and a happenstance job listing led him to a career entirely unrelated to music. It provided a path and direction out of trouble and well offshore.  Amidst a developing career in an industry to which he’d had little to no exposure previously, an opportunity arose for him to acquire the full rights and ownership of a website project he believed in. He endeavored to secure a web presence and acquired every available domain he could that may pertain to his new project.

    His respect for the industry in which he worked professionally, and the knowledgebase upon which he drew on the job, led naturally to the drive and ambition that structured his pursuit of the passion project he sought to develop online when he was at home. It had become an obsession. With a growing family and an already demanding career, NewOrleansMusicians.com had not fallen by the wayside. It remained at top of mind for him no matter where he was or what he was doing.

    What began as a networking tool for local bands, the website, NewOrleansBands.net, had grown organically to about 300 bands in its original configuration. The website was hosted out of town, so it remained online through Hurricane Katrina in late 2005, and kept local bands in touch with one another. David’s intended acquisition was delayed due to his job offshore, but in all of his spare time, he was drawing out by hand every page he’d imagined for the website he sought to own.  

    The challenges of web development at that time were obstacles preventing his dream.  He persisted nonetheless. In 2021, after years of spending money to maintain an excessive amount of owned domain names that tied directly to his website, he was spurred by a wife that had seen and heard enough about it.  Since then, he found and hired a programmer to deliver the dream he’d envisioned. While he hasn’t yet realized the grand design, he’s moved it every month toward the finish line.  If you’re a band anywhere in the state of Louisiana, or a part of any supporting service for the entertainment industry, check out NewOrleansMusicians.com.  

    Grow together.  Geaux together.

    We touch on his wife and family after he paints the dreamscape of his website.  Then, from rebuilding a ’76 Chevy to tinkering on the piano, the website still outshined the rest. There was a certainty about him, a dreaminess, a gleaming eye. He knew he wouldn’t be where he was without the nudge of the support system that awaited him at home for ten days at a time on repeat seemingly forever.

    “Here I am all grown up, Tim,” he’d finished with a laugh.

    “I’m watching it live,” I responded.

    You can expect two podcasts, at least four videos, and two articles every month on the site. And he hosts interviews to find and develop worthwhile content for the page. Musicians that join his site get immediate podcast and playlist placement, Youtube features, and promotional assistance all for free. And they can use his site to network, buy/ sell gear, read articles about Louisiana’s music scene, and experience music and videos from Louisiana’s scene. This man means it. He’s chasing the dream. Hop on that train before it leaves the station.

    Anyway… All that to say, “Cheers, David.”

    I find it difficult to comprehend the passion and commitment David demonstrates with NewOrleansMusicians.com. The schedule, agenda, and deadlines that he upholds for this thing are untenable to me. If I was nearly half as passionate about my own podcasts, I could probably make a career out of it. But I had the same concerns about financial security, the same reasons he maintained his day job, the same uncertainty that plagues any dream. David needs a better work schedule though. I’d like to start a petition…

    Author: Tim Tregle

    For Neworleansmusicians.com

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    “The Living History Collection” on YouTube. 

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    Between the Levees and Getting to Know You – Where Y’at Studios, LLC

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    What a Waste – Demo Review

    Dave-vocals, Joe-guitar, Bobby-bass, Billy-drums

    So, I was on a freshman class field trip one time down to the Gulf Coast. A group of six of us were staying in a hotel overnight and attending a seminar the next morning. The chaperone was our basketball coach; a middle-aged flub whose appeal had waned where sarcasm had waxed. Out of boredom, I had taken to the hallways of this place, staring out the windows at the dimly lit sand wishing I could figure out a way to get some beer and a bit of freedom. It was late, and the parking lot was dark. But I was positive I had just watched our coach kiss some woman and then get into her car, inexplicably driving away in the night. I knew immediately that this was grounds for mayhem and the time was now. And I have said all that to say this… This memory is what came to mind while listening to the first track on this demo by What a Waste, “Nailed to Your Southern Cross”. The sticks count in and instantly you’re hit with a motivating bassline that says action. I like it already. Tip of the toes kids, the pit is a calling! “You won’t see me. I’ll see you”, is what it sounds like he said. And that’s what I’m thinking jumping in that pit. The song is quick; in and out in just over a minute. I do hope the final cut gives us a bit more of this gem.

    Moving on. Second track “So Far Away” finds Dave on the vocals with trail-offs at the ends of vocal bars leaving listeners with an almost melodic presence; almost. I like his style. It’s cool to scream your ass off. And maybe it’s the Southerner in me, but when the grit is mixed with a bit of butter, I like that. A quick two-and-a-half-minute track that, at a minute and twenty-eight seconds in goes through a change-up. And this change-up slowly builds in pace until they plop the original rhythm back in our laps. This is good stuff people! It’s like they’re milking the anxiety cow’s teats for all their worth. I’m spewing adrenaline.

    Next up is the title track “What a Waste”. And apparently some guy works every day and has either pissed off Dave, or Dave is telling us the over-worked guy is pissed. Whatever the case may be, the guitar gets a little funky in this one. I mean its punk, but with a little snazzle-razzle on it. Ok it’s just a sharp note followed consecutively by the two flat notes beneath it. But I like the way Joe twangs his thang.

    “Huffing Glue” is almost as short as the first track at only a minute thirty-seven and the final track on this demo. I think my laptop was huffing glue because it kept pausing, or buffering, whatever that means. Anyway, good ole Billy on drums counts us in and we blast off into a four-note mainstay broken up by a couple high notes that signify the chorus is here.

    All in all, they’re quick, they’re tight, and pay them their respect. This is a middle finger to your day, to my day; something to spruce up your morning coffee. And I needed it because I’m out of creamer and sugar. Whoever said “once you go black, you never go back”….. lied. But to the ex-members of A Hanging, The Pallbearers and AR-15 that gave me this lovely dose of audio intensity, I say thank you. And definitely, definitely follow up on this project with an expansion, both in catalog and song exploration. With that, I will hand over the reigns to Neworleansmusicians.com member and bassist for The Grooxs, Jorge Caicedo.

    Jorge: This is the demo debut of What A Waste from New Orleans. Four tunes of straight-ahead punk rock with the Black Flag and Circle Jerk influences coming through nicely. The rhythm section of bassist Bobby Bergeron and drummer Bill Baxley, both of whom were in the excellent A Hanging, keep the bottom end tight while the guitars and vocals do their thing.

    The tunes are more of a mid-tempo style as opposed to straight speed, although “Huffing Glue” is the exception. As per punk aesthetics, the songs are short, catchy and to the point. Catch these guys the next time they play a show, it’ll be well worth your time. You can get your cassette or digital download plus more perks using the Bandcamp link below.

    Authors: Lingo Starr and Jorge Caicedo

    Neworleansmusicians.com

    Here’s Bandcamp link: https://l.facebook.com/l.php?u=http%3A%2F%2Fwhatawaste504.bandcamp.com%2F%3Ffbclid%3DIwAR1qHDi7-YcdCfHk36bybfH5CQa3x3AWBwmdQQ9bIC9tDl_Bu_RAu1r1mgk&h=AT3hVWNQln-Dn_3JCYOifCvsR-qr-I0n2oxEFM7s6r9pGu7IC2cra16EE_JQncM7l4ALvhV2V9lq4-MCePrwd1GsOXuMUyzcJIBx4YtqGzqOW8WV5-GERHByBSlHIBWu1Z2K-xDATc4vDYnw3WnC

    Here’s Spotify link: https://l.facebook.com/l.php?u=https%3A%2F%2Fopen.spotify.com%2Falbum%2F0UsFCf4F2g9NubbriqBCi6%3Fsi%3Dtq3LWXCTRyieg-LvN7xpKA%26fbclid%3DIwAR0ulr3P8Zpwxz3e0zM5vCjDvGVQQZUMG2GIFDTQTqYilO1LV_vc4UrEvLY&h=AT3GFNMrxBPZJKMavFz13Gogfi_MPJkB3xB4qzY-aiNW20ZquVMwLvLDb7vhgfYHn1HkqKDWxmcsohiRlNIXPrgpPhvE40sCnNyHp1Z89hOcDqFZmYaHYR4RIhf_HvZTFcHxLxtyU8RkTyb3Qh4J&__tn__=H-R&c[0]=AT35_ULSKWdmLksrhwlj-VeIyQLsFNDME4LwNQVj3sIhCV2SvotBqP0iseJg0iyn2biCPcMp6pigdPTYmxqNLzQfoyWS0-8eTBmgJbozLrtkn7yrkyTZMac2RUo8dQ5hxDdxbwDcDlUAr2q6xOlfXXRxoQb8eR13uyhN4YChBpAAupZ90RsN5tI96nQezCUFnleQQy1vikbj

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    Fuel the Funeral Entertainment

    In Louisiana, thirty-seven miles from the Gulf of Mexico, lies the town of Cut Off, the place where Hunter Bruce was born and raised. At that time (and still to this day), it was the type of place with nothing to do. You could find Hunter with friends hanging out in the parking lots of Sonic or Wal-mart. And the music scene… well it didn’t exist there. Experience with music for him at that time was whatever played on the radio. Streaming could only be found on Pandora and music in his household wasn’t a focal point. It wasn’t until Hunter graduated high school and moved away that he got to actually see live music. His first experience was on a grand scale and it would change his life forever.

    On June 27th, 2016 the Warped Tour made its stop in New Orleans. And Hunter was one of the thousands in attendance. With most of his friends off to the military, he went to this event alone, and would spend most of that day at the smaller Full Sail University Stage. He affectionately recalls, “I saw Bad Seed Rising, incredible. I wish they would’ve never broken up. I saw Palaye Royal. No one knew who these guys were. There was like twenty people standing in front of that stage with me. Now these guys are touring the world and that’s so awesome to see.” He was later spotted and stopped by the guitarist for Palaye Royal, who signed and gave him a CD, thanking him for coming to their performance. He still has that CD to this day. And he’s kept a record of all the bands he’s seen over the years. Later that same year Islander, whom he was unfamiliar with, would headline at The Varsity Theater in Baton Rouge. He remembered Bad Seed Rising from the Warped Tour, and they were on the bill along with local supporting band Ventruss. That night, he became a fan of Ventruss and would see them countless times in the future. “The guys from Ventruss came, ‘aw dude thank you so much for being here’, you know, shook my hand. ‘Oh man we really appreciate it.’ And whenever that kind of stuff happens, you start realizing; man, this is really a tight knit community. You know, it feels genuine. They’re not just trying to sell me a CD or something. They actually appreciate you being here. That’s a really cool feeling.”

    I can’t help but draw attention to the idea that, just like Hunter came away with a good feeling from his interaction with the band, the bands exist in that moment on stage drawing their feeling from the crowd. When the energy and excitement is projected from those in attendance, they witness a better performance. For many, these shows also become a new source of friendships. Regular attendees recognize one another from previous shows and began to strike up conversations among one another. And speaking from personal experience, I can say that a band grows in their appeal once you have some sort of personal vestment in them. Gaining friends with mutual interests, meeting members of the band that just blew you away on stage, and perhaps coming away from a show with a memento of some sort all make people feel connected and a part of something greater and more relative. These experiences also help to quell the overwhelming nature of today’s uber-convenient paths to new music. We have the world at our fingertips when it comes to new music. But there’s just so many options that make all too easy to get lost. Indie bands in Louisiana, for instance, often times get drowned out by all the other music with which they have to contend globally. Neworleansmusicians.com has focused on the niche of Louisiana bands, in part, for that reason. Bands who join our site intermingle pools of fans, helping to lift one another up. Likewise, when a booking agent does their job well, you can show up because you recognize one of the bands on the bill, and walk away gaining interest in new ones. In his present-day capacity as an entertainment company owner, Hunter recognizes and has been able to lend his services to bands in the Gulf Coast region, an area that he paused to recognize in this interview as rich with new talent. This is a pleasant surprise, given the havoc that Covid wreaked on the live music community as a whole.

    “There was a lot of bands that broke up, which is unfortunate. There’s a lot of bands that took that time and said, well we can’t perform right now. But we can write. We can go to the studio. We can record. We can really spend this time honing our craft and come out swinging. And I think once the lockdown stopped and people came back, you could really see who spent those two years just kind of sitting around waiting, and who spent those two years still diligently trying to hone their craft.” As anyone can tell by now, Hunter remained an attentive understudy of the local music scene throughout. From his break out from Cut Off, to a stint in Houma, to finally settling in Folsom, Louisiana, that list of bands he’d seen grew to over 300. And all of these places were and still are rather obscure when it comes to hotbeds of music activity. He was constantly driving out to see these bands play. So, when a new venue, the Hideaway Den & Arcade opened up near him in Folsom, he was elated to attend their first rock show. Pious, Thornprick, and Dead Machine Theory were on the bill. The venue was pleased with the turnout and Hunter, well he saw opportunity. He approached the owner about booking another rock show and they accepted. On the bill was Acala from Covington, 4Mag Nitrous out of Baton Rouge, and Dead Savage from Hammond. The three fit well and, barring the fact that he accidently booked it on his wedding anniversary, the show was a success. “From that show, we’ve expanded so much. We built out the stage. We brought in an in-house sound tech with a full sound rig. They’re looking to do more and more. Whenever they first opened up, they were like man, we want to be the Southport Hall of the north shore in the sense that we want to offer a wide array of entertainment.” In the past, many places in the north shore area have been accustomed to the safety of cover bands. Every so often a local act performs. But Hunter hopes to see more original talent performing in the area. And he hopes The Hideaway, where he has become the main talent buyer, sets the standard. His intention is to strategically mix local bands with regional, national, more widely recognized names. Shortly after approaching and booking his first show at The Hideaway, Hunter approached about twenty venues between Slidell and Hammond with the interest of booking shows. “I went to these places. You know, here’s my business card. I understand you don’t know me from Adam. But, you know, give me a chance. Let’s see what we can do. Everywhere turned their nose at me; slammed the door in my face. They didn’t want to work with me. I get it, you know. You don’t know who I am and a lot of these places, they have their in-house people already. But after that, I’m like alright I guess I’m all in on this place (The Hideaway). And I’ve been all in with them ever since. And I don’t regret it man, I never looked back. And I think now if one of these places that originally turned their nose to me came back and said, oh man we’ve been seeing what you’re doing for this place, maybe we can do something, I’d probably tell them no. They take really good care of me here. I’m all in over here.”

    Reflecting on his start, Hunter couldn’t remember the last time he did something that brought him so much joy. From booking the bands, to doing the fliers, to the online promotion, he fell in love. He became a true believer in the old adage “Choose a job you love, and you will never have to work a day in your life.” So, unbeknownst to most, during his days booking, he spent four months registering, recruiting, and building his own roster. By its proper name, Fuel the Funeral Entertainment is now a booking agency with a list of developmental and promotional services, some of which include EPK one sheets, public relations, advertising, and website creation. Through dedication and diligence, Hunter hopes to bring to these bands what they have brought to him, loyalty. “There’s a lot of nights where you’re working until two or three in the morning.  behind the computer making sure that it’s done the right way. I don’t want to approach these bands and say hey, let me give you booking representation if I don’t know what I’m doing, you know? There’re enough thieves out there. I don’t want to be another one of them. And that’s what really lead me to starting this venture.” Before he began the process of forming this LLC, before he even had the idea, he was hired by an up-and-coming artist management firm that wanted to expand into booking. Though initially excited about the opportunity, upon working for the firm he began to notice business practices that he would only describe as a little less than reputable. “We’re taking these bands’ money and we’re not doing much for them. How are we justifying this? I just took a big step back and I’m like, I don’t want to do this. This feels wrong.” And just as one experience inspired him to book for The Hideaway, his experience with this company prompted him to forge his own path.

    Since its inception, Fuel the Funeral Entertainment has been focused on transparency. The contracts come with personal advice from Hunter himself advising recipients to bring the documents to an entertainment lawyer. And I wouldn’t be surprised if honesty is the best bait out there these days. He’s been in discussions with bands that he’s had to turn away. Though he has confidence in his future ability to become more adept at the art, if what they’re seeking is outside of his level of current experience, he’s not above informing them. During our discussion, he stressed the importance of knowing one’s limitations and not embellishing upon them. This, coupled with his humility and true appreciation for what bands bring left a lasting impression that tells me his candor in business will take him far. You can view their list of services and submit works for review on the contact form at Fuelthefuneralentertainment.com.  

    Author: David Trahan

    Neworleansmusicians.com

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    MJ Dardar

    Eleven miles from the head of passes on the Mississippi River, Michael Dardar grew up in the small fishing community of Venice, Louisiana with one older sister always by his side. In his house could be heard a wide variety of sounds, as his mother was a Barbara Striesand and Frank Sanatra fan, while his father loved listening to The Eagles, The Allman Brothers, Boston, and Foghat. His first live musical experiences came from the local church, where his mother was a leader in the church choir. Gazing across such contrasting soundscapes, he would ultimately gravitate toward his father’s tastes. And around fifteen or sixteen years of age, he began to experiment with the idea of writing and making music along with a childhood friend. “You know the Fischer Price microphone things? We would go in there; we’d put these little cassette tapes in there and we’d put the scotch tape on top of them. And we would basically tape songs on a different stereo, whether it would be a Beatles tape or something like that. And we would overdub our own lyrics and melodies on top of the tapes.” Looking back, he laughs at the thought of his father popping in one of his favorite tapes only to find his own voice beaming from the speakers. Years of this would eventually culminate in his first album, Rust, recorded in April on 2021.

    From his days of experimenting with recordings of his own, the allure of one day making the transition into live performances seeded deep within him. And it never left. And although he rounded up a talented bunch of musicians to pull off the album, his only experience performing it came as an acoustic set with friend and co-writer, Jerry Martin. The two would eventually translate the work into an all-inclusive performance, implementing more band members and instrumental elements to his act. Gradually, guys like Mark Kryvanick and Tim Belanger would join them on bass and drums respectively. And he would implement a rotating roster of guys like Tillis Verdin, Brett Guillory, Teddy Baudoin, and Travis Thibodeaux on keys. Larger shows would even see a horn section taking to the stage. Adding the horns to his live performances, MJ feels, really resonated with himself as well as the crowd. “Adding that horn section is kind of the big one. The last time we did it was an album release party which was early May, May 6th I believe. And every song on our last album had full horn sections. And so, to be able to perform them that way, with the actual horn lines as opposed to transposing keyboard parts and things like that… it’s so much better and is really able to translate what we recorded into the live performance.” These elements were a refreshing change from the previous acoustic performances which had eventually become stale in his eyes. As Jerry Martin points out, “There’s nights, as an acoustic gig, where you’re struggling to hear yourself (above the crowd).”

    With Houma and Lafayette being mainstays for the MJ Dardar band, the Tasting Room and Howlin’ Wolf in New Orleans have also played host. But Houma has always marked home base for MJ. Enlisting a full-time manager and maintaining a strong online presence has enabled him to broaden his reach, which he hopes will eventually lead to a venture outside of normal boundaries. Finding value in this, MJ has been sure to engage with fans and followers in the thousands across multiple platforms. I, for one, have enjoyed the personal aspect in videos where he sits down in front the camera, playing acoustic guitar and singing. This ability to connect with his audience was instrumental during the height of Covid back in April of 2020. Along with Jerry Martin and other band mates, he committed to remotely filming forty-one full request, multi-track videos in thirty days. It was through this personal challenge and the resulting encouragement of online audiences that the genesis of the Rust record took hold.

    At their core, the songs on Rust feel good. The rhythm guitar strums, tambourines, and shakers keep you in the groove while story lines originate from the heart. And bringing in that brass section gives it a feint departure from your typical country sound. Hammond and reed organ contributions back MJ’s soulful vocals nicely. And he’s got just enough grit in his voice, like the perfect mix of sweet and savory. Track “Leaver” pulls us away from this rural soundscape completely, delivering a surprising R&B plunge. Softer rhodes and sustained piano take the edge off as MJ sings about the value of his family as a child. The overall quality of these recordings is unquestionable. And this is important to point out because it doesn’t take much to pull a listener outside of an enveloping experience due to a distractive distortion or overwhelming level. It’s a delicate balance that MJ and the band maintain very well. And their ability to cross over from country to R&B seems completely natural.

    MJ recorded his debut album at Audiosmith Studio in Prairieville, Louisiana under the guidance of owner Robbie Smith, a long-time friend and associate of his band mate Jerry Martin. As luck would have it, this would give way to a host of opportunities for him. Not long after completing his album, Robbie would go on to help form Redstick Records, a label out of Baton Rouge, Louisiana. And he asked if MJ would be interested in signing a recording contract with the label. Travis Thibodeaux, whom I mentioned earlier, would also do work for the studio on keys. Bringing his experience as the keyboard player and vocalist for Journey, and writing credits for “Take My Hand” recorded by Grammy winner Wayne Toups, Travis would prove a valuable asset. Through Redstick Records, MJ would have the pleasure of working with Brignac Lane Studios in Saint Amant, Louisiana while still reaping the benefits of Robbie’s production skills. He would also go onto be featured in several works by Jambon and Company, a band that had also recorded at Audiosmith Studio. Taylor Nauta, another artist on the Redstick roster, recorded guitar on MJ’s upcoming record “Caught Up In The Middle Of The Rain”. And Deanna Scott, MJ’s manager, would be taken on as Artist Management at Redstick Records. Being within this circle of musicians, recording studios, and labels has enabled MJ to implement things like strings into his work. The extension has also accommodated him in his quest to expand across country, blues, R&B, and pop genres. And being in the room with some of his personal heroes while soaking in the camaraderie and confidence of others has really inspired him to push the envelope.

    With album number two, “The Reason Why”, nearly complete. And his third album taking shape, MJ am Jerry still intend to release stripped down, acoustic versions in the midst. The impact of growth through their journey, first with Robbie Smith of Audiosmith Studio, then Redstick Records and manager Deanna Scott continues to propel the two forward. Over 100 shows this past year and so much time logged in the studio is proof positive of their drive. I couldn’t be more delighted to have the privilege of sitting down with MJ and his team, and discussing how things took shape as well as where the band hopes to find themselves in the future. Below you will find relevant links to the players mentioned in this article. The full interview can be found on our podcast where MJ, Jerry, and myself go on to discuss navigating festivals and venues, chord structures and story lines of previous albums versus upcoming ones, and much more. Special thanks goes out to Kevin Sevin in Houma, Louisiana for the use of his beautiful home during the filming of this interview, which you will soon be able to see on our youtube channel by subscribing today.

    https://mjdardarmusic.com

    https://www.audiosmithstudio.com

    https://redstickrecords.com

    Author: David Trahan

    Neworleansmusicians.com

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    CRABS

    We’re all adults here, true enough. But sometimes we don’t all act as such. And if there’s one concept in the local music scene that gets under my skin more than any other, it’s this mentality that is commonly referred to as “crabs in a bucket”. You see, our delicious crustaceans are all piled into a bucket, much like musicians in a parish. And sometimes one of those crabs gets close to toppling over the edge and escaping (a.k.a. “making it big”). And for some reason, a crab beneath him will reach up and pull that crab down. Now this crab beneath him doesn’t stand to gain any ground by doing this. In fact, if crabs had morals, one could probably hear the others sneering at this bizarre activity. But they just gargle and bubble, and keep on pulling each other down. I come to work here at NOM because I believe in the cause. I believe that if we all unite under one flagship, we could each become greater than the sum of our own individual parts. In other words, if your band joins and several hundred other bands join, we pool our resources and become this collective. And why not? We share the common goal of improving our skill set, broadening our reach, increasing our opportunities. Yet there are some knuckleheads out there that operate under the notion that “you’re either with me or against me”.

    I’ll never forget the moment I fell in love. It was when I noticed there was such a thing as a comfortable silence that could be shared between two people. There was no need to engage or provoke. I opened her door when her hands were full. She popped open a beer and brought it to me. We shared the same space and contributed to one another’s existence. There was no competition. There was no pulling one another down or trying to get ahead of each other. Ah, to coexist.

    This mentality needs to be spread amongst the local music community. And I’m not just saying that for the betterment of Neworleansmusicians.com. I’m saying it because IF this community is going to flourish, we are all going to have to come together. Some of us are alphas and we butt heads. Some of us have a competitive streak and are quick to react out of spite. But ultimately, we are all brothers and sisters of the groove. And if y’all want to keep this train running, we’ve all got to push in the same direction.

    I recently spoke with a bassist that relayed a story to me about how he was kicked out of one band for behavior that was later embraced by another. I talked to a singer that pointed out how people began to question her new band’s talent simply because they were able to open up for somebody big their first show. I spoke to a guitarist that recalled when a guy from another band came to his show just to mess up his merch table. Mess up somebody’s merch table?? Come on man! Swallow your pride and revert back to the comfortable silence. With the same femme fatale by whom I once discovered love, I noticed this sort of super power I possessed. There were times when she would lash out. And everything in me wanted to push her away for it. One time, for a reason I can’t recall, I instead extended an olive branch. And it wasn’t in the context of a direct response to her lashing. It was just a, hey I’m still here. I’m still the same person regardless of your acting out. We’re still cool and I hold no malice. In fact, you seem like you’re in a bad place and please, let me know if I can help.

    This was all an unspoken understanding or gesture between her and I. But if you were to get this dialogue rolling after some crabby situation took place, I think you’d be surprised at the outcome. Looking back, I can tell you my gesture toward that alleged femme fatale was disarming, and things de-escalated quickly. One last story before I call it a day. Years ago, two guys from the neighborhood got into it over who knows what. But they were both heated and it culminated in a fight right in the middle of the street. In the end, as with any fight, there was a winner and there was a loser. But in this particular situation, the winner extended his hand. He helped the loser up. The beef was squashed with that one simple gesture. It’s been well over a decade since that fight. And the two are friends to this day. In that one moment, when this disastrous apogee clearly became out of control, a helping hand was extended. And just like that, the bucket had vanished.

    Author: Lingo Starr

    lingo_starr@yahoo.com

    Neworleansmusicians.com

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