At one point, you look around and you realize
that you're actually part of something. You're
not just sitting back passively enjoying this
thing and consuming a product. There's no product.
There's no consumer. It's just an experience
that everybody's having, and it's really cool.
Welcome to overeducated and underemployed. You
got fed in here. Thanks to those of you that
came out to the Blue Tavern on Friday for the
Danny Bedrosian solo show playing a historic
set of Parliament and Funkadelic songs. It was
really cool. George Clinton showed up and sat
in for pretty much the entire set. He showed
up like in the third song and then stayed the
entire show. It was really incredible. Let us
in like a gospel sing -along. So come out to
the Phipps Farm on April 11th for the Parliament
Funkadelic Festival. Let's take it to the stage.
I can't wait. I'll be there. Come say, hey, we'll
be broadcasting live during doing some interviews,
maybe broadcasting a performance or two. I really
hope you come out for that. And kids 12 and under
get in free with their parents. That's April
11th at the Phipps Farm. There is a ticket link
in the description of the episode. And it's really
fitting to have Carrie Hamby on the show this
week. She's the owner of the Blue Tavern. And
she was there Friday, obviously. when danny and
george were playing together and that was the
look on her face was priceless it was pretty
cool because nobody knew that george was gonna
show up i don't even think danny knew for sure
i think it was like a maybe he will maybe he
won't thing they're gonna be playing a show together
at word of south so i think that's probably a
pretty good preview i did videotape the whole
thing so we're gonna be getting some exclusive
clips on the youtube channel So if you are on
a different platform, make sure you check out
the YouTube channel. There is going to be some
bonus stuff that's only available there. This
week, we have Carrie Hamby, who is the owner
of the Blue Tavern, as I mentioned. She also
plays in Belmont and Jones, who play every last
Tuesday at the Blue Tavern. March 31st is their
next one. She's also part of... The History of
Punk, Legacy of Punk Festival this weekend. She's
playing with a group on Sunday at The Bark. We
had a great conversation about music and the
struggle of owning a venue in these times. And
yeah, it was great. I hope you enjoy it. And
stay tuned afterwards. I'll tell you about some
shows coming up at the Blue Tavern. Welcome to
Overeducated and Under and Full Road. I'm here
with Carrie Hamby. She is the owner of the Blue
Tavern and a musician. And I want to get into
all of it and probably a bunch of other stuff
I don't even know about. I'm going to ask you
the first question I ask everybody. Okay. And
that's, what's the first song that you remember
loving as a kid? Oh, it was probably something
on the Herb Alpert Tijuana Brass album that we
played over and over again. I love those records.
Yeah, my brother and I would. We pretty much
had full reign of the record player. It was one
of those pieces of furniture record players that
was huge in the living room. We'd dance around
and we'd listen to that. I forget what the song
was. It was probably Acapulco or something like
that. And we also listened to Jesus Christ Superstar
a lot. Yeah, that musical. Other than that, it
was probably the entire oeuvre of Disney animated
classics. Somebody gave us the whole pile of
records from Alice in Wonderland. Yeah. Those
had really beautiful artwork on them, too. They
had all the full color print. I can see those
being super enticing as a kid. Yeah, and the
production value. It really got me listening
to songs in a big way. Yeah, yeah. Were you,
so it sounds like you were in a pretty musical
household, but your parents weren't, music was
around at least, but your parents weren't like
playing stuff for you? It sounds like you. I
think that sometimes they did. Sometimes they
did. My mom was really, she still is very into.
classical music. So she had the whole, she had
a whole library of classical albums and she would
put them on when it came time to clean the house.
She had everybody helping her. All the kids would
help. She'd put on an album and blast it. And
it would be like Chopin or something or the Brandenburg
concertos or something. And she'd be dancing
around. It's good motivational music. Definitely.
Yeah, for sure. My dad was always more into Broadway
musicals, stuff like that. So we had all the
Broadway musical collections, South Pacific over
and over again, Music Man. The Music Man is probably
my, it's definitely a top five, but it might
be my favorite musical of all time. The original
with Robert Preston is just so good. Were you
interested in playing music at a young age or
were you just like consuming this stuff at this
point? I was probably, yeah, I was probably breathing
music from as far back as I can remember. What
I can remember, the first time I really wanted
to start playing was I grew up in the church.
There was a traveling choir with a pianist. coming
through and they did a special performance for
us it was probably after the church service probably
after the dinner the church dinner and this guy
sat down and played and he was this big huge
guy and he sat down at the we had a baby grand
piano in the sanctuary and he sat down and just
started wailing on that piano and it was like
later on I would hear things like like Rhapsody
in Blue or something like that. I'd think, that's
the kind of piano he was playing. He was playing
that kind of piano. Do you need to stop? No,
we're good. I'm just checking on things. I'm
listening to you. So did you start playing piano
pretty young? I listened to that. I was probably
four years old, and I said, that's what I want
to do. And we didn't have a piano then. My parents
found somebody in the church that wanted to get
rid of their piano and ended up in our house.
And it ended up in my house until probably 20
years ago. And I've just played it constantly.
Did you take lessons? Yeah, I took lessons. I
didn't really get into the lessons until I was
more like five. That makes sense, to be fair.
Yeah, when I was four, I wasn't really ready.
But my teacher said, hey, if you really want
to do this, you can do this, but you've got to
work at it. You've actually got to sit down and
practice. It's one thing we've talked about on
this podcast before is just having the talent
to do something isn't even everything. You have
to really want to put the time in and the effort
in. And that takes a desire to want to really
be good at it. And there's all these other things.
And also, if you don't have that innate talent,
most of the time you can develop it somewhere.
But it sounds like you had a very kind of early
affiliation, and you were in tune with it all.
Yeah, I had a really good ear. I had a good ear.
I didn't have the willingness to sit down and
look at the page and figure out what things are
until a couple years later. But once I got that,
then the math brain kicks in. into the music
theory, and I got it, and it was so fun. It was
like a little puzzle that you can figure out.
Yeah. You go, oh, everything makes sense, even
though nothing makes sense. You can say, oh,
this little part of the world makes sense. And
then someone shows you an Eastern scale, and
you're like, what? Yeah. So, yeah, I had a lot
of fun with it. I played pretty much constantly
for the next 10, 12 years. Did you... Did you
start playing with other people or you were just
playing by yourself? No, that's the thing about
the piano. Unless people are coming to your house,
which they weren't. I didn't know anybody who
played who wanted to come over to the house and
play when I was 10. Where did you grow up? When
I started taking lessons was when I was living
in southern Indiana. Okay. Yeah. And then you
moved where as a kid? I moved, when I was 10,
I moved to Ohio for about four years. And I got,
it took me a little bit to find the right teacher,
but I ended up finding this great teacher there.
And she was probably 70, 80 years old, but introduced
me to ragtime. And that just changed my whole
perspective. She was still very much tied to
the page. I was tied to the page until. until
I left home, and I didn't have lessons anymore.
I was just trying to figure out what I was going
to do musically. But you had a piano. How long
did you go without a piano when you left home?
Oh, man. I went without a piano all four years
of college. I didn't really have a place to practice,
and I didn't have a piano anywhere nearby. And
then the first probably three years of living
up here. Yeah, probably seven years, maybe even
eight years, I didn't have a piano. And so you
moved to Tallahassee, and what kind of prompted
that move? I graduated from New College, and
I was engaged to be married at that time, and
my fiancé and I, who was later my husband, we
said, let's both try to get a job in Tallahassee,
because we both really liked Tallahassee. He
was more into it than I was, but we both had
this idea of working in state government. I thought
I could find something there. It very quickly
became clear to me that I did not fit in there.
State government? No. I later got a state job,
but it wasn't in the legislature. They had an
internship program. you had to go through all
these hurdles, all these hoops to get in. So
I, yeah, I gave up on that after we moved up
here and we, our agreement was if one of us gets
the job, gets the internship, we'll move up there.
If both of us do, of course, but if whoever doesn't
get it, we'll just work and find something to
do until we can figure out what we're doing.
We were just kind of like free forming. He got
a job and he's still there. And I, Yeah, so I
worked in a lot of different jobs after that.
And that was fine. I didn't really have a career
after that. What were some of the ones you enjoyed
and the ones you didn't? I always like asking
about... The ones I enjoyed and the ones I didn't.
I was one of the first people to work on Macintosh
computers in the printing business in Tallahassee.
That's how far back that goes. And this was in
the mid-'80s. Late 80s. And I enjoyed that. I
enjoyed doing the desktop publishing. And I was
in paste up before that. I was working at the
Flambeau. Okay. Did learn how to do darkroom
stuff and all the paste up. And I learned how
to use a line of type and picture what's there.
It wasn't WYSIWYG. It was like you had to figure
out what your letting was going to be, how much
space you needed for the next line, all that
stuff. And it had to be. right when it printed
out. And if it wasn't, you had to do it all over
again. It was a pain in the ass. For you kids
out there, a WYSIWYG is what you get. It's the
kind of design that a lot of people get to use
now. You just take it for granted now. Right,
exactly. But back then, we had a whole name for
it. Typesetting was... A whole field of expertise
that I just slid into by accident. And I did
that for a few years. I'm trying to think of
what I did after that. Were you playing music
at all this time? I wasn't. I found some people
to play music with off and on. And it was to
varying levels of satisfaction. When did you
start playing with others? Because you mentioned
earlier. You weren't really playing with other
people. Oh, when I was playing piano? I tell
you, when I started playing with other people
was when I picked up the guitar. I had a shout
-out to my friend Linda Mutiner. She still lives
in St. Pete. And she lived down the street from
me and taught me my first chords on the guitar.
And I like to tell everybody, especially in front
of her, that she taught me how to play my first
chords on the guitar, and she also taught me
how to smoke cigarettes. Thank you. That was
a revelation, though, because I got to play with
other people. That was, like, never a thing.
I take that back. I did play with other people
because I was the accompanist. So I was in the
background while somebody else was singing, or
I was providing a background for somebody to
play a flute solo or something like that. But
playing with other people in... In a creative
way. In a creative way, where it's not... Everything
is not already on the page. And then that's really
what I meant, too. And I'm curious, were you
writing songs on the piano? Not really. So was
the guitar kind of your way into writing songs?
Or is that not something that you do a lot of?
I write a lot now, but I didn't write for a long
time. I got into bluegrass and old time music.
Once I started playing guitar. I also had a friend
who taught me how to play mandolin, and there
were a bunch of people meeting every week or
so to play bluegrass and old time music. And
so I got into that, and I developed my ear more
that way because there was nothing written down.
We were just following the chord changes. Gotcha.
And I knew what the chord changes looked like
by that point because I had... Learn how to play
the chords. And so when you're playing the mandolin
or the fiddle or the banjo or something like
that, you look at the guitar player's left hand
to see what the chord changes are. And then a
few years later, I figured out the, some people
call it the Nashville method, where you just
do, you understand what the one, four, five and
the relative minor are. And you can pretty much
figure out most things from that. You start playing
guitar. You start playing with other people.
Yeah. What were you listening to that wasn't...
Because we talked about what you were listening
to early on, but what was some of the popular
stuff? Or were you into popular music at that
point? I was into all kinds of music. What did
you grow up listening to? Let's see. Besides
the stuff that we talked about that my parents
were listening to, I had an older brother who
would bring home stuff like... Queen records,
and I'd listen to those. ELO, those two really
stand out. Maybe Yes. There was a kid in the
neighborhood who was really into the Beatles,
and he would get all the other kids over to his
room to listen to the latest thing that he'd
gotten from the Beatles, even though the Beatles,
this was like 1978 by now. They were gone. But
that was his theme, was the Beatles. So what
I was listening to on my own, after that probably,
I listened to a lot of AM radio. Oh, cool. Yeah,
I got a little transistor that I could put in
under my pillow so nobody could hear that I was
listening to the radio instead of sleeping. And
I would listen to... I can't even remember. Let's
see. Now that I've said that, I'm thinking CBS
Radio Mystery Theater. I was listening to that
a lot. Do you think that sort of thing influenced
your songwriting later on? Everything's an influence.
Everything. So talk about that. When you're writing,
do you consciously try to bring in influences
or is it just like what comes out of you? No,
I really don't do that. It's going to come out
whether you want it to or not. I don't feel like
making something harken back to another thing.
That doesn't do much for me. I have done it as
an exercise just to see if I can write a ragtime
of something. When I was in my teens, especially
when I left home, I started listening to all
kinds of stuff. I was listening to Prince. I
love Joe Jackson. I love Joe Jackson. Especially
that record of like Louis Jordan covers he did,
Jump and Jive. Do you remember that record? Yeah,
it was the first one I ever listened to. Me too,
of his, yeah. I love that record. I still have
it. I got it over there. And that, I was already
into Big Band and stuff like that a little bit,
but I think hearing like a more modern take on
it was just like... Yeah. Otherworldly to me.
And he took everything a step further. It felt
to me like he was taking everything a step further.
Like he was really just completely eaten up with
it. It wasn't just a show. It was an experience.
And what was the other thing I was thinking about
back then? I was like Sun Ra. I was listening
to Sun Ra. And I was also listening to John Fahey.
Oh, cool. Yeah. who was just an absolute monster
on the guitar. Were you going to concerts at
all as a kid or as a teenager? No, I wasn't going
to much. The first live music concert I went
to that was on my own with a friend from high
school was Fog Hat. Oh, nice. At the Lakeland,
what was it called? The big arena there in Lakeland.
Anyway. Good old Fog. Oh, no, no, no. Foghat
was opening for Blue Oyster Cult. That was it.
Blue Oyster Cult. Yeah. Nice. And they were already
pretty well seasoned by then. Yeah, yeah. They
were just going through the motions, but it was
phenomenal, though, because I had never been
to anything that big. Gotcha, gotcha. Yeah. Other
than that. Yeah, I didn't get out much. I didn't
have a car. When did you really fall in love
with live music, or was it always about the playing
with other people? Because if you weren't going
to a lot of live shows as a kid, but now you
own a live music venue. I'm trying to figure
out at what point did you feel like, oh, I love
live music so much that I want to do that with
everything. As with most things in my career
of sorts, it's not really a career, but in my
work history, everything was accidental. So I
started playing blues with Belmont, and we did
that for, we'd been playing together for about
15, 16 years now. And you all play as Belmont
and Jones. Belmont and Jones. I just want to,
for the listeners. Belmont and Jones, I'm Jones.
I'm so glad you're doing this at 1 o 'clock.
The last time I did anything like this, I don't
even think it was a podcast. I think it was a
live radio show, and it was at 9 a .m. No, no.
Oh, my God. It's like just late enough to be
awake but not late enough to be worn out. Yeah,
yeah. Early afternoon is the best time for these.
The happy medium. Yeah. Okay, so what happened
was Maggie McKeown, Belmont's partner, decides
that she wants to open up a venue, and she starts
looking at places in town, and Josh's place,
which was the speakeasy, he was just getting
ready to sell at the very moment. It was almost
like the planets lined up. And that place was,
I feel like, it was a really cool spot, but I
feel like they never quite found their footing
or figured out their crowd or anything like that.
It was just... It popped up for a year, maybe
two. Two years, yeah. Yeah, if they'd been able
to keep going, it would have been really nice
because it definitely filled a niche. So it was
like the Leon Pub, only more about the music.
Right. They did have live music. Yeah. The seating
arrangement made it hard to see because of the
booths and things like that. I'm remembering.
Yeah, the booths. You did a lot of remodeling
when you took over that space. Maggie took over
in 2016. Okay. And the way it went was I had
just taken a job at the state as a part -time
person over at Mission San Luis because I needed
to get off the road and stop constantly booking
and constantly. worrying about where we were
going to play, and that was really wearing me
down. I used to blacksmith with one of the guys
that worked over there. Jim. That doesn't sound
right. There was a bunch of them. The thing is,
there's also a group of them that meet, and so
I think I've met Jim. Oh, yeah. John, I think,
is who I was working with. And Mission St. Louis
is a really cool spot. Do you want to talk about
that spot for a minute? It's a very cool spot.
I don't think we've ever really talked about
it on this podcast before. Oh, okay. It's an
open -air museum. And at the time I was working
there, they had a full staff of reenactors, living
history interpreters, if you want to call it.
And I had a great job. I got to do all the cooking
outside. Right next to the Spanish lady's house.
They quote Spanish lady's house. And for those
of y 'all that don't know, Mission San Luis is
a, it was a Spanish settlement. Yeah. And now
it, and then it was an archaeological site. And
now they've rebuilt that settlement. Yeah. With
the original like methodologies of building in
a lot of cases. And it's a really fascinating
like archaeological site as well as museum. And
they did this living history thing for a long
time. I just want to give people a little bit
of back. We've got listeners that have never
been there. That are not from here. Yeah. And
even if you are from here, if you haven't been
out there, you need to get out there. It's really
amazing. It's wild. And it was the center of
government for the Indian town, for the Apalachee
town that was here before the Creeks moved in.
So it goes way, way back. Dodo's settlement,
if I'm not mistaken. Wasn't he involved with
that settlement at one point? I don't think so.
No? Okay. For some reason, I'm thinking. Anyway,
it is on the... I'm a historian of science, so
I don't know. What do they call it? It's on the
King's Road. Goes right through it. And you can
see, if you're on the grounds of the Mission
San Luis, you can go to a certain place. In the
middle, like the buildings are situated in a
circle, and you can go in the middle of that
circle and look due west, and you can see the
remnants of the road. And that is a really cool
experience. That's wild. Yeah. Yeah. There's
nothing left except just a dip. It's kind of
like, okay, this is where the – it's kind of
like looking at an old rail bed. And you were
one of the reenactors. You were doing some of
the – Yeah, so I was doing that. Can you give
them an example of, like, how you would cook?
there that would is different than like how we
would cook now in terms of doing the reenacting
oh yeah i was using all cast iron or either cast
iron or wrought iron cookware and i was on a
spider over an open flame a spider is like a
grate a very rudimentary grate and you can they
had a A pole stretched out over the fire pit
where you could hang. They have an S hook that
you would hang a big, like a Dutch oven type
of thing with a handle. And I would do all the
cooking right there over the flame, which was
great. But you were also doing some work at the
Blue Tavern. No, this is pre -Blue Tavern. But
you had just started there. I had just started
there. Yeah, I'd been there for maybe less than
six months. But I had told Maggie, if you ever
want to open up a venue, because I'd heard that
she wanted to. I said, we really need more venues
in this town. It was during that time when we
hardly had anything as far as live music venues.
And I just had Justin Long on a couple of weeks
ago. At this point, when this comes out, it will
have been a couple of months ago. We talked about
in the early 2000s, and I'm not sure if you were
in Tallahassee yet at that point, but in the
early 2000s, there was so much live original
music, full bands. Five bands got signed out
of Tallahassee in the same year. It's cyclical.
And it really did, like, by 2016, there really
was nothing, like, at all. Like, less than there
is now. Yeah, there were a lot of forces against
it. But anyway, I told Maggie, if you ever want
to open up a venue, I will drop whatever I'm
doing. And those were fateful words, I'll tell
you. I was like, okay, this happened. And she
said, you want to partner with me? We weren't
really partners. I was basically working for
her. But she said, you want to be my music person?
And I said, yes. You dropped the cast iron skillet
on the ground right now. Right in the fire. And
yeah, so that's. She bought the place in July,
and we were open by October. And there was a
lot of work in between. And let's talk about
what are some of the things that you weren't
expecting that would need to be done when opening
a music venue? Rebuilding the bathroom. Oh, yeah.
Yeah. When... When you have a venue, you're responsible
for the people that are in there. And they're
having a good time. They're having a safe time.
You're responsible for what happens there. And
it's her being the owner, she was legally responsible.
But I felt a very deep sense of responsibility
for people having a good time and having the
kind of experience where they would want to come
back. Because when we started out, It wasn't
like a college kid hangout. It wasn't a hangout
for any particular group of people. She had just
moved back to town. She knew some people, but
she didn't know a lot of people that were going
out. And it was at that period of time when acoustic
musicians were not touring and they were doing
house concerts instead of playing in bars. Because...
you take your chances when you're playing at
a bar. As you've experienced with Taylor Hollingsworth.
Yeah, people are going to talk. They're going
to talk while you're playing sometimes. And I
came to find out, I was talking, we talked the
next day after that show, or no, we talked right
before that show, but I saw him the next day.
in Jacksonville. Those people were his friends
that came from out of town. Like a lot of the
people talking were like his friends that came
from out of town to see him play. Yeah. And then
they sat there and talked the whole time. I've
had my friends show up to see a show that I was
playing in and they'll be like jabbering the
whole time. And it's just okay. Frank Linamood.
You ever had Frank Linamood on this show? No.
You should get him. Okay, yeah. No, I've been
in the works to talk to him, yeah. Yeah, he'll
tell you. He could tell you so many stories.
But he said something that was really... He doesn't
have much of a filter either, which I've always
enjoyed. If he's allowed to bring his flask.
I don't have any rules here except... Oh, good.
Let me get out my syringe here. That's what you
want to do on camera. No, he said something that
really... You might demonetize the video if someone
starts shooting up. Anyway. Our sponsor today...
Narcan. Yeah, Narcan. TMH Apalachee. He said,
I don't really care if there's people talking
while I'm playing. It means they're having a
good time. Now... There's a line between people
talking while you're playing and people yelling
so much that you can't hear yourself. And I've
played in plenty of places like that. That's
why we have monitors. I think there's also, there's
a difference between a bar band and like a concert.
Yeah. And I think that you have always had to
really kind of walk that line because. And the
line is constantly shifting. They're really,
it's very fuzzy. And then, and to me. A concert,
the word concert is misleading a lot of times.
I feel that in our culture, seeing music, I'm
using my air quotes here, seeing music, hearing
music, going to a concert, experiencing a concert
is unnecessarily putting you at a distance from
the music, from the creative process that's going
on on stage. The stage... In the Blue Tavern,
there's not much of a line between the stage
and the rest of the room because of necessity,
because it's such a tiny room and there's no
change in altitude there. But I think the best
musical experiences I've ever had that could
be classified as concerts were ones in which
the audience was participating. And I'm not talking
about necessarily, okay, we're going to have
a sing -along here. Everybody sing along. It's
more like you just at one point you look around
and you realize that you're actually part of
something. You're not just sitting back passively
enjoying this thing and consuming a product.
There's no product. There's no consumer. It's
just an experience that everybody's having. And
it's really... Cool. And the thing that I want
to happen the most is something like that. If
that can happen, then it's a good night. And
most nights are like that. Yeah. Most nights
are like that. There are times when it feels
very stilted, like the person isn't really quite
comfortable enough. With the scene, with playing
in such a small room or playing that close to
somebody sitting practically in your lap while
you're playing. But you have to get over it.
Yeah, yeah. I think what you're talking about
is exactly what I love about stand -up comedy.
Because it requires... One thing we've talked
about on this show is a band can have a good
show with or without the audiences. participate
like they feel good among each other there that
was a great show i had so much fun playing a
stand -up even a solo artist can have a good
show without the audience like confirming it
or reaffirming it or whatever or feel like they
did right they can have that feeling of satisfaction
a stand -up com a stand -up comedian cannot it
requires the audience to engage It requires that
give and that take that audience energy, like
reciprocal energy between the audience and the
comedian is like, it has to happen. Or you're
literally just dying. It's like the worst experience
for everybody in the room, right? Like the audience
is miserable. The comedians, if everybody's just
sitting there. Oh yeah. Even if they're like
booing or heckling you, that's better than silence.
But what you're talking about, and it's why I
love club shows and smaller venues. I don't like
going to arenas. There's a couple of bands I'll
go see. I'll go see Weird Al in an arena. First
of all, the show fits it. It's like an extravaganza,
right? But it's also, that's the only place you're
going to see Weird Al. But most of the time,
I'd rather just watch a live concert film on
my really good sound system with lights. And
you can see all the different angles. Yeah, if
it's an arena show, because half the time you're
just watching the screen anyway. And I'm not
saying I wouldn't go to those shows. They're
just not that important to me. And the experience,
if I have a handful of friends over at my house
and watch it like an event, it's not much different
than going and watching the giant screen from
the nosebleeds, because that's all I'm going
to afford anyway. But what you're talking about
there is a spectacle. Sure. Sure. The last big
show I went to that I can recall was at the Civic
Center, and this was probably in the early, late
80s, early 90s. Lyle Lovett, Trio, back before
he had his large band, he was traveling. He opened
for Reba McEntire. Oh, hell yeah. And she came
out, and she had a different costume every two
or three songs. That was, she put on a show,
brother. Wow. Wow. And you can tell like some
artists get so big so fast that they can't, they
don't grow into those venues. Yeah. So they just
go up there and they play like a club show in
front of 20 ,000 people and it's, there's this
weird disconnect. But the real concept, like
what I, I guess what I'm saying though is being
in those arenas is not much different to me than
just like watching a really good live film. Whereas
like going to a club show and where the energy,
like. My favorite band is the Drive -By Truckers.
I've seen them like countless times over the
last 21 years. And their shows are completely,
everybody sings every word along to every song.
They're feeding off the energy of the crowd.
Rarely do they play places with a barricade.
And if they're allowed to get the barricade removed,
they do. They just don't. I'll be seeing them
at the 40 watt. play four nights next week up
in Athens. There's no barricade. You're just
on the stage if you're up front. They're like,
don't put your beer on the stage kind of thing.
I guess my point is what you're talking about
is exactly what I love about live music. Once
it gets to be a certain size and you have that
distance that you were talking about between
the artist and the crowd, you might as well just
be watching something happen. And the only way
to make it organic is to invite some friends
with you or invite some friends over and watch
the thing on whatever. But I just don't see those
two things as much different. Whereas going to
a club or going to see a show at an intimate
venue like the Blue Tavern is a very different
experience that is an exchange of energy, requires
the audience to want to be there too, I think.
Oh, yeah. If you don't want to be there, there
have been. I mean, granted, there are times when
people do talk so loudly, and they're obviously
not there for the music, and I'll invite them
to go out to the courtyard and continue their
conversation outside. Especially if it's nice
out. Yeah, if it's rainy, I'm like, get out of
here. Go to the Leon Pub. But, yeah. One of my
favorite things is when people come in and they
just think they're going to have a beer or they're
going to check the place out because it looks
like a dive and they're curious. And then they
end up staying for the rest of the night going,
oh, my God, I had no idea. And they're just like,
and they've converted to fandom for whoever was
playing that night. And you might be unlocking
like. Either a new love or a newfound love of
live music again, too. Because I think... That's
what I'd like. Especially after the pandemic,
so many people just got out of the habit of living,
going out and doing stuff. Yeah, doing things
together. Myself included. That I think having
a night like what you're talking about can reignite...
Oh, this is what life used to be like. This is
what it used to be like back before. And it's
not... I can't blame everything on the pandemic.
There was a famous book called Bowling Alone.
It's about people losing connection with each
other, not doing things together. I used to go
bowling alone. Not going to clubs or bowling
in front of the TV using Wii or whatever it is.
Just the loss of community that came with the
breakdown of social networks. For some people,
that's the church. Sometimes it's like the Elks
Club or the Bowling League or whatever. I mean,
you're talking about third spaces. Third spaces,
yeah. And I think we have so few of them. And
the Blue Tavern has succeeded in being like this
really great safe haven. And not only that, but
I think the elephant in the room that we haven't
really addressed is like it opens in October
of 2016. right before the election and and the
country has gotten like more and more and more
divided and not only that but people have felt
like less and less safe around people that advocate
for certain policies and things like what are
some of the things that you've done to keep the
blue tavern i don't want to say just like a hate
free space that's i think as far as i'm like
speaking for you. If you want to talk about more
about what you've put behind. During the shutdown,
I embroidered a little needlepoint thing that
says, be nice or fuck off. And I put it on the
wall and that pretty much says it all for me.
If you are making somebody uncomfortable, if
they have asked you to stop and you won't, you're
out of here. Yeah. If you can't deal with the
fact that there's different kinds of people in
here from what you look like, then you don't
need to be in here. What about people wearing
overtly political or like hateful? We have one
guy who comes in, he always has this big Trump
sticker on his music, on his instrument case.
And the way that his fellow musicians have dealt
with that is that they get more and bigger. Pride
flags to stick on their cases. So I was like,
okay, you can wear your Trump sticker. I can
wear my pride flag. I got a freak flag right
there in the window. I'm a walking freak flag.
My version of the freak flag is the state of
Florida with the, I don't know who made this,
but I saw it online and I was like, I have to
buy this. And it's the pride flag with the state
of Florida. seal in front of it and we're what
three blocks from the governor's mansion something
like that yeah isabel ruano one of our bartenders
she brought in a flag and stuck it up on the
wall and it hate has no place here love is love
science is real i can't remember what it is it's
one of those things that just kind of it's like
a man it's like a mini manifesto of what we believe
in because we're reasonable nice people and i've
seen every once in a while i'll see somebody
looking up at it going like they're having to
think about that like whether or not they want
to participate in that social contract but the
thing is they don't feel unsafe there they don't
feel like they're going to be beset by hordes
of angry lesbians or something it's just Yeah,
that's what we believe here. And if you don't
like it, you can leave. I think some people pay
for that, by the way. Some people pay for that.
Yeah, yeah. Paid agitators. Yeah. So what are
some of the things that you have had? You talked
about the line shifting for crowds and their
volume level over the years. What are some of
the other things that have changed for you over
the nine years? Almost 10 years now that the
Blue Tavern has been open. What are some of the
things that are very different now than they
were when you started? Jeez. We have a full kitchen
now. Yeah, we used to have to cook behind the
bar. I remember that. Yeah. And when we closed,
when the bartender closed after you were done
doing the dishes, then you had to clean the dishes.
The glassware. Then you had to clean all the...
Yeah, and gumbo, man. That's some residue there,
man. Okay, so things that are wildly different
now. I'm more thinking about things that you've
had to adjust to in the world over the years,
too. I'm sure there have been times where you've
had to... I don't adjust. I don't adjust. The
world adjusts to me. But I think that's part
of why you've been successful. To be fair, I
think being this consistent, hold steady throughout
the last decade has been truly part of your success.
We haven't really changed very much. I know that
we have the same sound system as we had when
we opened. The one thing that I did change, and
it's not always, but when Maggie owned it, she
said absolutely no, ever. Never any canned music.
And no TVs. And I will never, ever have a TV
in me. Actually, we hooked up a TV during the
last election, courtesy of Kim McShane. She brought
in a TV and hooked it up to her computer, and
we watched the results come in. And then she
got the hell out of there. And she got the hell
out of there, yeah. I was like, I want to get
the hell out of here, too. Yeah, but so I'll
have canned music. I have an Apple Tunes subscription.
I won't lie. It's great because there's not any
ads. I don't have to listen to crap that I don't
want to listen to. And I can make my own playlist
for whatever. And you can listen to this podcast.
I can listen to this podcast. And Hal Padgett
makes a birthday playlist every month for the
last Thursday of the month. We have a bed. a
happy birthday party for anybody who had a birthday
that month. And you usually have somebody who
was born that month play as well, right? Yes.
Greg Brown played this past month. And I was
sick, or else I would have played the playlist
that Hal Padgett made for me, which was like
wall -to -wall Lucinda Williams. I'd say one
of the main things that, or one of the most recent
things that has happened in the bar that I've
been to I've been wanting to happen for a long
time, and it just, the planets lined up again.
Jelani Marks of the Tallahassee Vinyl Club brought
the club over, and they had a record party. I
saw that. I really wanted to be there. The place
was packed, and Maggie lives right down the street.
She lives like a block and a half from the bar,
and she walked up to see what was going on. We'd
been taking turns checking on the water. because
of the freeze. And so she came up to check the
faucets and she walked in and there was this
like, she said, I didn't recognize the place.
It was great. And that's happening every month.
On a happy hour. No, it's going to happen until
I can figure out something more regular. The
fifth Saturday, whenever there's a fifth Saturday.
Whenever there's a fifth Saturday. They own that
Saturday. Cool, cool. Yeah. What are some of
the challenges? that you're dealing with in the
last couple of years that, that what are some,
like if somebody is out there trying to start
their own live music space, what are some of
the things that you do it? Yeah. There's that.
But if you can't talk them out of it, that's
the thing is I think if you can do something
else, then you probably should. But if you can't,
yeah. What would you advise to them? And this
is funny because when I, and this is like, My
own little personal story. But when I went to
work for the, for St. Louis, I had decided I
was going to stay home and get a regular job
for a while. And at almost 50 years old, that's
a hard thing to do if you've been out of the
job market for a while. And I have all these
different skills and I could not put them to
use anywhere. The market was just not there.
And so when I found that, then instantly that's
how it happened. The tavern opportunity opened
up. But I would say if you wanted to do this,
one thing that I did that I'm really glad that
I did, I called the people who I knew that had
done something remotely, anything remotely like
this, and I got advice. Get advice from somebody
who's been there. It's not always going to apply
because they might have started their business
back when you could do things that you can't
do now. Or they might have started the business
when you couldn't do things that you can do now.
Yeah, yeah. Get some real world talk from people
who've been there. And another thing that I think
has really helped me is... keeping in contact
and keeping connections with the people that
I know in the music community. I know I've always
known a lot of musicians, but since doing this,
I feel like I know more musicians and I know
them better. And so communicating with them and
giving them the respect that they require, not
talking to them like they're just a commodity.
you're going to provide something and I'm going
to give you this. And it's more of a, you really
have to establish trust. And that was what I
was going to say is it's like more than just
knowing them. Like you have to, I think one thing
that's really important is you always kept people
around you that you can trust. Yeah. Yeah. And
I've tried to be trustworthy. I try to let people
know that I'm not going to bullshit them. I'm
not going to promise you something that I can't
deliver. Right. And. And I realized, as a musician,
you can go someplace else and make way more money,
but you're not going to get treated better. You
might get treated as well, but I like the fact
that we have our own sound system. I know how
to run it. Several other people know how to run
it that I trust. And as a musician coming into
a place, having to schlep all that... and set
it up yourself, that gets real, real old. And
there are a lot of places in town that expect
you to do that. It's really absurd to me. I'm
like... Yeah, just invest in a sound system.
I have my own sound system just for house shows
and trivia. It's not even that big of an investment
to get something for the kinds of shows that
a lot of these places are having anyway. Yeah.
I do think the upside, and I was actually talking
to Taylor Hollingsworth about this, of somebody
like him having, he has a little touring rig
that he can just set up anywhere. He always knows
how to make it sound the way he wants it to sound.
And so I think that that's the upside for musicians
and that's how venues like can justify it. But
I think it's bullshit. I think like. Most of
the time, a musician knows how to make their
stuff sound the way they want it to sound anywhere
in any system. Yeah. And having a sound system
with somebody who knows it, a sound person, is
so much better than having that. Because here's
a story about the Dolce Trio, and I won't name
the venue, but I went up to a venue with them
where they had to bring their own sound system,
and they're trying to do their own sound check.
They can't be in two places. They can't be on
the stage and in the audience at the same time.
In order for them to have a full sound check
where everybody was playing at the same time,
they needed somebody else to just hear it. Just
little things like that I think are so important.
And it's not always possible to have somebody
free to do that. Hopefully you have a friend
who will be there to help you with that. You
mean as a band? As a band. As a musician. It's
good to have an ally. And it's, I think some
people will think about all of the things that
a creative person who is successful might do
that is like a little bit different than the
average person. Like they might have a personal
chef or they might have some super odd things
on their tour rider. Yeah. And I'm not talking
about green M &Ms because that was like a test
for making sure they read it for pyrotechnics
because it was like a safety thing. But I am
talking about a particular kind of food or just
being particular about something like that. As
a creative person, the more of those things that
you don't have to worry about that day allows
so much more energy to go into. the performance
or the writing or the recording or whatever.
So having, I think somebody that's there to take
care of the artist and like really make sure
that they are like in, they have everything they
need and that they're in a good spot. They're
fed. Like, I know you always feed your artists.
Well, we don't always, I try to, I was more thinking
about touring musicians, but yeah, I agree. I
think there should be a concierge role. For people
who... Because they don't need to have to worry
about all that. To make sure that they're comfortable.
They've been traveling all day. And I think the
particulars of food and stuff, it's hard to eat
on the road and eat well on the road. So I just
think what you do makes for a better show, too.
Because it allows... Treating an artist well
allows them to not have to worry about any of
that stuff. Yeah. Especially the second time,
because the first time they don't know. But the
second time they're like, oh no, Carrie's got
me. Everything's going to be fine. I can just
focus on putting on a good show. Yeah, and that
frees your energy up in a big way, what you're
saying. Yeah, and I believe that my experience
as a musician, as a touring musician, really
helped me figure out how people want to be treated.
Because if I hadn't had that experience, I don't
know, I might be clueless about this. I might
be just learning it. Now I feel like we skipped
over some stuff. Let's talk about when you were
a touring musician. Do we have to? No, we don't
have to talk about anything you don't want to
talk about. Let me tell you about the other day
when my eye blew up. Oh, yeah. Go for it. Did
you ever see Election with Matthew Broderick?
Yeah, I did. Remember when he gets stung by a
bee or a wasp on his eye? That's what my eye
looked like. Oh my goodness. It was horrible.
Okay, now I just need to get that out of my system.
I'm fine now. I'm just still aware of it because
my eye feels weird. Also, what a great callback.
That movie rules. I love that movie. I just saw
it a second time within the last five years and
it's still just... It's so funny. It's so funny.
I feel like it's one of those movies that's gotten
better, too. It's more apropos. It makes more
sense. It's funnier than it ever was. It hits
hard. Yeah, it really does. You toured as a musician.
Yeah, I did some traveling. I've done some traveling.
Was that with Belmont Jones? Yeah, I did some
solo. I did some with the band The Mayhaws. Okay.
Yeah. When was that band? Oh, let's see. We formed
up in 06 or, yeah. I remember the name, but I
don't think, I can't, I'm trying to picture it.
You remember Sharla June of Beggs and Aiken?
So she started writing, she went to Europe, she
came back, started writing a bunch of stuff and
put together this little band called the Mayhaws.
And I was her bass player. And we found some
harmony singing. together. We had a blast doing
that. We had Deb Berlinger on the drums, Dave
Leperati on mandolin, and we did some of his
songs too. We had some four -part harmonies sometimes.
Adam Straubinger played with us on fiddle. Yeah,
we had a really tight little band. We played
at Bird's a bunch. Originals? We played mostly
originals. We played, I don't know, I'd say maybe
two -thirds originals. We did some really old
rockabilly stuff. We played some Iggy Pop. We
played Patsy Cline. Yeah, we were all over the
map. But yeah, we went all the way up to Vermont
a couple times. We did a tour. I think we did
three tours. What were some of the biggest challenges
that you faced when you were doing that? Oh,
we had a diesel step van. which is now owned
by Rick Ott. Oh, okay. Yeah, he bought it from
me. I bought it from Anna Alvarez, who just sold
the Healing Center. It was a challenge to drive.
That was our band bus, and driving hairpin turns
up in the Smoky Mountains. Yeah, that sounds
scary. It was scary. Yeah. Yeah. We had some
challenges, just like every band. spending a
lot of time together and getting tired of each
other. Yeah, fair enough. And then deciding,
hey, this is really fun. What else are we going
to do with our lives? Well, that's one aspect
I think that I've heard the drive -by truckers
talk about. Patterson Hood has talked about this
before, where it's like you've got to like the
people that you're on the road with. You've got
to want to be around them 24 -7 for a while.
Even when they irritate the shit out of you.
Yeah. You have to love them. Yeah. Yeah. One
thing I wanted to talk about both as I feel like
maybe your perspective might be different depending
on which hat you're wearing. Maybe not. But what
do you think about the abundance of covers in
music today? Because I think I think cover songs
are fine in general. I think playing like an
all and I'm just going to be like open about
my opinions on this. I think like playing an
all cover set is kind of lame. I think playing
covers that you are going to hear at karaoke
is lame. I think the covers can be done really
well if it's like introducing you to maybe a
song you haven't heard by an artist that you
might already know. Or when you're doing like
a really different cover of a song. So you're
like making it your own. I really get tired of
like bands just all playing the same 40 songs
that are. on karaoke, though. I don't experience
that at your venue. I've experienced it more
at the part when a band has to fill four hours
kind of thing. What are you going to do for four
hours? Yeah, some people have enough original...
They can pick more. They can also just pick better
covers. They can pick better covers. You're talking
to somebody who does a lot of covers in the form
of old -time music, and those are all covers,
unless you're playing... an old -time style piece
that was written by somebody like Bronwyn Shillette.
There are people, I've done a couple, I've written
a couple of pieces that have been played at Contra
Dance bands. It's just, it's really a matter
of expectations. Yeah, I think that's true. I
think when you're playing, and I'm also a blues
musician, so I play a lot of Ma Rainey covers
and Memphis Mini covers. Those are covers I try
to make them my own. I'm not trying to be Ma
Rainey because I will never, ever be Ma Rainey.
That would be stupid. But what I do try to do
is respect the material and respect the artist
and especially, let me just say, respect the
fact that a musician of color created something.
And I'm using that thing that they created. And
when that happens, I try to make sure everybody
knows I did not write this. I didn't come up
with this. And I need you to know who did. Yeah,
yeah. I think that's a really important thing.
I think if somebody plays a cover and it's instantly
recognizable to everybody as a cover, great.
If somebody's doing a cover of somebody else's
song and they're passing it off as their own
material. They need to be straight about that.
Yeah, for sure. I think that's lame. One thing
that you, no, it's super, I was going to use
a way stronger word than that, but I just moved
on. But yeah, you know, it's super, super lame.
I think one thing that you brought to my attention
that maybe unintentionally is that you're talking
about a lot of, when you're talking about bluegrass
and blues. You're talking about a lot of music
that at a certain point just starts being considered
like traditional. Yeah. They're traditional tunes.
Yeah. And it made me realize, is that just, am
I just getting old? Are we just getting old?
And that's, so now all these songs that are from
like the 70s and 80s are starting to slip into,
we've never had traditional rock, but are we
starting to? Are we starting to have these traditional
modern classics? That's what it feels like. It
could be. And when a rockabilly song gets played
by Grateful Dead and Bob Dylan and then another
band and then another band, it goes through all
these iterations. And today, in 2026, that could
be considered a traditional song. I don't know.
I think Wagon Wheel is a really good example
of this. Yeah, we're all tired of that fucking
song. But that song started, that was an unfinished
Bob Dylan lyric, okay? And then Old Crow Medicine
Show does it in like 2004, 2005, and it becomes
like a bluegrass hit. And then Darius Rucker,
I think. It's like an anthem now. It's now, it's
like a, but it, you could say that it's a Bob
Dylan song. Yeah. And it's not necessarily because
he didn't finish it. And they altered it. But
I don't know. You get what I mean? At what point
does it stop being a Bob Dylan song and start
being an Old Crow? You know what I mean? But
here's the real question. Is Darius Rucker covering
Old Crow Medicine Show or is he covering Bob
Dylan? Yeah. You want to get into splitting hairs
about that kind of stuff. I'm reading a book
about. the origins and the history of St. James
Infirmary. That song is, it threads its way through
all of the traditions in this country. And there's
some threads that go back to the British Isles.
It's pretty wild to think about. Yeah. We could
be sitting back a couple hundred years ago talking
about another song that is now, Falling into
public domain because nobody even really knows
where it came from. I mean, maybe just our record
keeping is better. Our record keeping is way
better. But the amount of time between what was...
Because traditional blues songs were considered
traditional blues songs in the 80s too. At what
point were they... But back then they didn't
have as good a record keeping. We know who wrote
all the 70s and 80s rock classics. But they're
becoming traditional, like culturally speaking,
they're becoming the traditional songs. You can
look at Ma Rainey's entire discography and you
know exactly who wrote what. Right. She was really
a pop singer. When she started out, she probably
would not have considered herself a blues singer.
She was really a pop superstar. But if you go
back and think about the Lomax recordings or
something like that, though, like he didn't even,
sometimes he was able to figure out who wrote
the songs, but sometimes. Or they'll say, yeah,
I learned this from my uncle and he learned it
from some guy he was in jail with. Exactly. Yeah.
The folk tradition. And where I just think like
the avenues for that have changed. Yeah. Carrie,
it's been awesome talking to you. Is there, first
of all. The last question I really want to ask
you is, like, where do you see your role and
the role of a venue like yours in times like
these where people feel very scared of what's
going on in the world, feel like some people
feel like the end is near? And I don't mean to
be dramatic, but even, and I don't even necessarily
mean, like, the apocalypse, but, like, Our current
way of life seems like it's in danger. Yeah,
we're definitely at a critical moment right here.
I feel like you guys have always been a safe
haven, though. How do you feel about that? And
how do you feel about music's role in that, creating
a safe haven for people? One of the most comforting
times for me is when I... When there's an old
-time jam going on, I go back to the old times,
okay? There's an old -time jam that meets there
twice a month, or a jug band jam, and there's
maybe one or two people who call, or they go
around in a circle and they take turns calling
which tune they're going to do. That's usually
the way they do it. And the act of sharing agency.
Of what's going to happen next is a really important
thing to me. And I think when people come in
the room and they see that, it changes their
whole perspective. It doesn't just make their
day better, I think it makes life better. And
that's the one thing, if I had to give up everything
else, I would want to keep that. Yeah. Is there
anything else you want to mention before we...
Before we wrap this up. I feel like we've talked
about a lot of different stuff. I also, I don't
want you to. We've gone around the world. Yeah.
Wow. I appreciate. I didn't know what to expect.
I appreciate you asking me to do this. Like I
said, last time I did anything like this was
on, it was actually a radio. I think it was an
actual live radio show. Radio, for those of you
who don't remember. Oh, I do want to give a lot
of appreciation to WBFS. I think that's one of
the coolest things about our community. And they
do play a lot of stuff that's not from here,
but they play a lot of local music, and they
are part of the community. That's the only radio
station I listen to. Oh, wow. Yeah, that's it.
Otherwise, I'm streaming stuff. But if I'm listening
to the radio, it is locked on 89 .7 WVFS. All
right. College Radio is where it's at, y 'all.
So if you have a local college radio station,
support it. If you're in Tallahassee, make sure
you support WVFS. Make sure you support the Blue
Tavern. Go see some live music. I'll have a link
to their calendars and everything in the description
of this episode. Anything else you want to say?
All right. I feel like in the last few years,
I felt a lot better about where we live. And
I hear a lot of people saying, talking, everybody
talks smack about where they live. Yeah, the
grass is always greener. Yeah, yeah, I hate this
town. There's nothing to do. But I feel like
it doesn't really matter. There's always something
to do. I don't mean to sound like there's a platitude.
There's always something to do. You just have
to look for it. And sometimes you have to look
a little harder. If we were in Atlanta, it would
be different. Then you run into the problem of,
I don't know what I want to do. Because there's
too many choices. I don't know how far I want
to go. How much money do I want to spend? But
I feel like in the last few years, there's been
a lot of grasping language and activity behavior
about, We need to put ourselves on the map. We
don't feel like we get any respect as a town,
as a location. And I feel like, fuck that. Who
cares? My feeling about that is... Let's just
keep doing what we're doing and enjoy where we're
at and enjoy being with each other. And it's
kind of like the law of attraction. If you're
trying too hard... then that pushes people away.
Yeah, yeah. The developers love it. They'll come
in and capitalize on that dissatisfaction all
day long. And they sure have been. And they have
been. Yeah. They have been. My philosophy is
if you're unsatisfied with what's going on in
your town, then give them something to talk about.
Do something. Do something. Yeah. Okay, so this
is the last thing I'll say. Next Tuesday. not
next Tuesday. This will probably have already,
this probably won't be. Oh yeah. Okay. That's
right. That's right. Nevermind. But, but what
I will, what I will do, Carrie, I will make sure
like I reach out to you like the week that this
is actually coming out. And then in my intros,
I'll talk about stuff that's going on and, and,
but there'll also be a link to your calendar
in the description of this episode. So whenever
you listen to this, whether it's the week it
comes out or a year later, it'll take you to
the current. and everything like that. But I
can tell you're excited about this show. So tell
us about this show that already happened. It's
not a show. It's a parade. It's a Mardi Gras
parade and party out and back. And this will
be our fifth consecutive one. So, hey, come next
year. But on Carnival Day, on Fat Tuesday, every
year we have a parade, and Job Goldberg and the
function play outside. It's a New Orleans -style
brass band, and it's big fun. I was there, I
think, two years ago. Okay, yeah. You want to
talk for a minute about how that started? Oh,
it started the first year I was the owner. I
said, we've got to do this. We've got to make
a parade because everybody is despondent. We
were still dealing with it. No, 2022. The spring
of 22. So people were still... The next trauma
that the country went through. Yeah, the next
thing. This is like post -quarantine. And so
I was like, let's get out here and do a parade.
And it was very small, but then the next year
it was a little bigger and a little bigger. Now
we got... The Nini Fest people are coming with
some puppets. Oh, cool. Big head puppets. Nice.
Yeah, we'll have a good time. Thank you so much
for being here, Carrie. Thank you. We'll have
everything in the description. Make sure you
go check out the Blue Tavern. Thanks for being
here. Thank you. That was my interview with Carrie
Hamby. I really enjoyed having her on the show.
Go check out the Blue Tavern. You will not regret
it. It's a really cool spot. And who knows, maybe
someone like George Clinton will randomly show
up. They've got some really cool shows coming
up. Reverend Robert and John Ford are playing
this Saturday night at the Blue Tavern. It's
like pre -war blues. It should be really cool.
Klezmer Local 42, they're a band from Athens,
Georgia. They're playing on Thursday, March 19th.
I actually ran into one of the guys outside of
the 40 Watt a couple weeks ago. Super nice guy.
Seems like a really cool band. I'm going to go
check them out for sure. And then, you know,
as always, the last Tuesday of every month, you
got Belmont and Jones featuring Kerry that we
talked to today. So go check that out. I'll see
y 'all at P -Funk Fest, April 11th. See you next
week on here. Take care.