21 June 12–18, 2025 dallasobserver.com DALLAS OBSERVER Classified | MusiC | dish | Culture | unfair Park | Contents One More With Feeling Jamie Vahala’s the people’s jam open mic, an institution in Deep Ellum, bids farewell. BY SEAN STROUD A fter more than 20 years of providing a safe space for budding musicians to test out their songs on stage, it’s time for Dallas to say goodbye to The People’s Jam. Last week, it rained down outside as local artists took the stage at Cheapsteaks to play covers and original ma- terial together for the last time. “It’s been a forge for a bunch of different musicians,” host Jamie Vahala says. “It was the thing you go to before you’re all the way ready to play.” Vahala took the stage first with trumpeter Charles Mills and Justin Hoard on drums. The host’s light baritone voice washed over the room as Mills’ notes soared atop his acoustic strumming. Vahala wrapped his set with a song from the perspective of Lee Har- vey Oswald telling his wife he only had one thing he needed to do before making it to din- ner – a sick premise that could only be born from a mind like Vahala’s. Despite the somber occasion, Vahala kept the mood high with constant jokes and ban- ter all night. After one of the performers had a hiccup on stage, Vahala chimed in with a word of encouragement. “Every song is perfect,” he starts. “... Ev- ery song is perfect and beautiful until we fuck it up and we know we fucked it up, in- tentionally.” He’s hosted The People’s Jam for the last eight years and attended the open mic long before he wound up running it. Before Va- hala and Cheapsteaks, the jam was run by Scotty Isaacs at The Free Man. “I actually grew up going to his open mic,” Vahala says. “It was the first place I played out loud.” He became a regular, always sitting at the end of the bar closest to the stage, both to hear people play and to make sure he didn’t get skipped over. Vahala was around so often that somewhere down the line, the ‘host’ ti- tle just fell into his lap, and he ran with it. There’s no telling who’s going to walk into a jam session from one week to the next, or where they’ll end up after. Several of Dallas’ breakout singer-songwriters have appeared in the past, including Charley Crockett, Leon Bridges and Joshua Ray Walker. Hoard, the jam’s house drummer, was dressed to the nines for the send-off, sport- ing a black suit jacket with a pinstripe but- ton-up underneath. He started attending The People’s Jam four years ago after mov- ing to Dallas from Tennessee and has be- come a staple of the sessions. No matter who hits the stage, he almost instantly jumps in with a beat that matches their music so well you’d think it was rehearsed. “It is definitely the end of an era,” he says. “This was the thing that got me comfortable with the scene. I got to play with a lot of peo- ple, learned a lot, and I’ve seen a lot of peo- ple grow and get comfortable. I’ve actually heard people say, ‘Well, if they can get up there and play songs, I can go play my song.’” Whether with his band, Curl, or other lo- cal acts, Hoard is one of the best and most recognizable drummers in the scene. But he doesn’t just sit behind the skins — he soon approached the mic for an upbeat acoustic set. His bright voice paired perfectly with his empathetic lyrics, which delve into ev- eryday struggles with an optimistic outlook. “Shout out Jamie,” Hoard says. “He’s an interesting guy, but he’s got a good heart un- derneath it all. He really loves this and he’s done a lot for a lot of people. I hate that it’s ending for him, but he’s a very talented guy and I think it’s going to be good for him.” Hoard has been leaning more toward song- writing lately and hopes to release an EP sometime in the future. He also makes beats as DeepnthCut and has a few tapes on the way. One musician walked in wearing a blue denim jacket and sat quietly with his guitar in his lap, applauding for others and patiently waiting his turn to play. Once his name was called, Aaron Shipley stood up and put on an electric performance with fervent strum- ming and an earnest vocal delivery. Shipley was ashamed to admit this was his first time attending The People’s Jam. It was one of those things he’d meant to do but had never gotten around to, so he made sure to arrive early for the last night. Several factors led to the end of The Peo- ple’s Jam, but at the end of the day, the weekly session served its purpose. Count- less people faced their fears and took the stage for the first time, while others honed their craft and perfected their stage pres- ence. One of the most rewarding aspects of providing a space for people to perform is watching them improve day in and day out. “You get to see them come into their own and find their voice,” Vahala says. “It’s really cool to see, and that’s why open mics are important.” Jacob Hernandez brought his acoustic Midwest emo style to the stage, blending screams, nasal vocals and the occasional deadpan punchline. Without a word, Mills and Hoard hopped up, trumpet and sticks in hand, ready to join in. Moments like these are precisely why open mics are magical; having a space dedicated to cre- ativity and curating one’s craft among other musicians is an invaluable resource and leads to unplanned moments of bril- liant harmony, like here with this im- promptu trio. Ever the jokester, Vahala threw Hernan- dez a curveball after his set. “Quick! You have 35 seconds to play Oasis before the next guy goes up,” he says rapidly, without warning. Hernandez wasted no time and immedi- ately broke into the “Wonderwall” chorus, but with a special set of lyrics tailored to the occasion. “I said Jamie, I want you to have my baby,” he sang in complete sincerity, earning a round of laughs from the room. Hernandez originally found The People’s Jam while googling local open mics and has been a regular ever since. The musician from Rockwall started playing music as a street performer and used jams to flesh out his songs and network within the scene. “It’s good practice,” he says. “At first, it was pretty nerve-wracking, but it’s just a good community of people. Hernandez stumbled upon one of his big- gest musical inspirations at The People’s Jam. He still remembers walking in one night and watching in awe as Hoard played his heart out on stage. “He’s a fantastic drummer and song- writer,” Hernandez says. “The first time I heard him, I was just taken aback. I was like, ‘Wow, there’s real talent out in Dallas.’” Thanks to the abundance of open mics around the city, special connections like these are made more accessible and happen more frequently. Even though The People’s Jam has expired, there are still plenty of places around Dallas to get on stage to work- shop new material. “If you want to perform your songs and meet other creatives that can help you grow as a creative yourself, just get out there and do it,” Hernandez says. “There’s always a spot for you, no matter where you go.” Sean Stroud Justin Hoard sings with a relatable and caring message. | B-SIDES | t Music Hand built not bougHt. 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