My First Gig in Myrtle Beach

Moving to Myrtle Beach has been one of the biggest transitions of my life, not only personally but professionally. After decades of performing across the Finger Lakes and Central New York, suddenly relocating to a brand-new scene came with excitement, curiosity, and a fair amount of uncertainty. When you build a music career anywhere, so much of it depends on relationships and reputation. In a brand-new city, those things have to be built from the ground up.

That’s why my first gig in Myrtle Beach meant more than just a night of music. It represented the beginning of an entirely new chapter. I didn’t know what the musical landscape would feel like, how local musicians would respond to me, or whether I’d start working quickly or slowly. I knew I was ready for the change, but I didn’t know yet if the change was ready for me.

And then, unexpectedly, I received a last-minute booking for a holiday party at the beautiful Dunes Golf & Beach Club. It was the perfect setting for a jazz trio, and even though I had just moved here and was still getting my bearings, I felt immediately grateful. It was a sign of momentum, a sign that things were already moving in a positive direction.

What I didn’t realize at the time was that this gig would give me a chance to connect with local musicians, revisit my favorite creative holiday arrangements, and experience the Myrtle Beach event world up close. It would also remind me why I love doing corporate events: the blend of professionalism, atmosphere-shaping, creativity, adaptability, and the joy of elevating someone else’s gathering with music.

This is the story of that night.

Arriving Early 

Old habits die hard. In the Finger Lakes, I often drove anywhere from one to three hours for gigs. That meant always leaving buffers of time—plenty of them—to account for snowy roads, winding routes, farm equipment on back roads, or simply the unpredictability of New York State geography.

So for this gig, even though my map told me it was close, the musician in me couldn’t help but leave two hours early.

I arrived an hour and forty minutes before the event.

And the drive home? Only fifteen minutes.

That alone felt like a gift. After years of marathon drives, seeing a gorgeous venue appear only a few minutes from home felt like a preview of a more spacious, balanced, and enjoyable performance life ahead. If this was the norm in Myrtle Beach—short drives, no blizzards, no mountain roads—it was already feeling like the right place.

A First Impression of Myrtle Beach Talent

One of the things I was most curious about when I moved here was the musicians. How would the scene feel? What would the players be like? Would they be open? Adventurous? Traditional? Creative? Comfortable with jazz? Comfortable with more modern twists? Would they take to the odd-meter holiday arrangements I love doing every December?

I booked two musicians whose names kept coming up in conversations: bassist Ed Fuqua and saxophonist Jordan Hutcherson.

From the moment they walked in, I knew we were going to get along. They were friendly, grounded, and clearly seasoned performers. But what surprised me most was their professionalism. They were fully set up a full 30 minutes before downbeat.

That almost never happened in New York. I joked with them about that right away.

Because we were so early and the room was still empty, we decided to rehearse a few holiday tunes that require a bit of special attention. Over the years I’ve developed a handful of Christmas arrangements that lean into odd meters, unusual harmonic substitutions, and creative twists. They’re not the kind of arrangements you throw into a pickup gig without warning—even the best players appreciate a quick run-through.

I started by playing Jingle Bells in 7/4. Without hesitation, they jumped right in. Then we hit Rudolph in 5/4. Then we moved to Winter Wonderland and Happy Holidays with Coltrane changes integrated into the harmony.

It was the musical equivalent of a handshake that instantly turns into a friendship. They understood the language, they embraced the creativity, and they were clearly having fun. In that moment, I knew the evening would be the kind of musical collaboration that reminds you why being a working musician still feels magical.

Christmas Music, Jazz Standards, and Everything In Between

Once guests arrived and the event began, we played Christmas music for the first hour or so. The trio gelled immediately. The feel was relaxed, confident, and cohesive. It didn’t feel like a pickup band—it felt like a working group.

After the holiday set, we transitioned into jazz standards, many of which bridge both worlds this time of year. We played My Favorite Things, Autumn Leaves, Take the A Train, My Foolish Heart, Confirmation, and several others. It was an easy, natural flow, and throughout the night I continued offering ideas for arranging Christmas tunes with different grooves or feels—like doing Do You Hear What I Hear as a 2-3 clave salsa tune.

One of the best parts of the night was seeing how seamlessly the music fit the event. Around sixty or seventy guests were enjoying blackjack and other casino-style games right in front of us. They were laughing, mingling, interacting, and just having a good time. The music elevated everything without competing with it—exactly what live music should do at a corporate event.

There’s something uniquely rewarding about watching a room come alive because of music, not in an attention-seeking way, but in a subtle energy-shaping way. It’s one of the reasons I’ve always loved playing corporate events.

Here is a short montage video of the holiday music we played.

Why I Think I’ll Love Myrtle Beach Corporate Events 

This gig reminded me of everything I love about performing for corporate clients:
• the challenge of reading the room moment by moment
• the mix of structure and creativity
• the careful balance of being present but not overpowering
• the freedom to choose the exact genre, groove, volume, and texture to fit the mood
• the joy of knowing you helped shape the event in a way that feels effortless to the guests

Corporate events aren’t about showcasing yourself as a musician. They’re about understanding the purpose of the gathering and serving it. They’re about professionalism, versatility, and atmosphere design.

Over the years I’ve played every type of corporate event imaginable—conferences, holiday parties, networking mixers, employee appreciation events, product launches, client receptions, fundraisers, charity galas, and more. Every one of them has its own personality. But the underlying principles are the same: arrive early, stay flexible, manage volume, understand the client’s priorities, and enhance the space rather than dominate it.

That’s why I show up early. That’s why I always bring extra gear like wireless microphones even when they’re not requested. That’s why I keep such a huge repertoire ready to go. And that’s why I love tailoring the feel from minute to minute—shifting from soft jazz to Latin grooves to soulful ballads to holiday arrangements depending on what the moment calls for.

Myrtle Beach is the perfect place for this type of work. With so many resorts, golf clubs, convention centers, oceanfront properties, retreat venues, and luxury event spaces, the city is full of organizations hosting gatherings all year long. Live music is an easy way for a company to elevate its event, and I’ve already seen how much value it brings here.

Inside the Venue

Even though this blog isn’t focused on the venue (that will be its own post), the setting deserves mention.

Dunes Golf & Beach Club is stunning. The room we played had that ideal combination of elegance and warmth—spacious enough for a crowd, intimate enough for a trio. The event staff was professional, friendly, and attentive. After the gig I had a great conversation with Jessica McManus, one of the banquet and catering assistants. She shared insights about the venue, upcoming events, and the overall atmosphere the club strives to create.

That conversation sparked the idea for writing a second blog dedicated entirely to the venue itself—not just because they were great to work with, but because I want to highlight the spaces in Myrtle Beach that support live music and community-centered events. This city has a lot of them.

Reflecting on a Night That Meant More Than a Gig

As the night unfolded, I kept returning to the same feeling: gratitude.

I felt grateful that my first Myrtle Beach gig was a creative one, not a background-only situation where we simply played the safest choices. I felt grateful that the musicians were open, talented, and enthusiastic. I felt grateful that the clients enjoyed themselves. I felt grateful that everything ran smoothly. And I felt grateful that, somehow, just weeks after arriving in a new city, I was already making music with people who felt like collaborators, not strangers.

There’s a special kind of satisfaction that comes from playing an event where you know you contributed something meaningful. Not in a dramatic way, but in the subtle ways that only live music can—shaping the energy, supporting the atmosphere, and elevating the experience for everyone present.

When we packed up at the end of the night and I walked out toward my car, it hit me: this was the beginning. Not just a gig, but the first chapter in my musical life here.

And if the first chapter felt this good, I can only imagine what comes next.

Here’s to a great beginning—and many more creative, joyful, and meaningful events in Myrtle Beach.

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