By Steve Chase

With the “E” revolution roll-ing forward at full speed, its im-pact on music is more evidentall of the time. Small bands that would have never been able to build a fan base when the record companies controlled their destiny are now the in-novators who will keep good music reaching our ears. Nichemarkets have become the new  keep their improvisations freshand cutting edge. Only 50 tick-ets were sold for this third S2 program held at the 9:30 Club inWashington D.C., and we were really excited when the doorsopened for our small group atexactly 3:30 on that chilly Sat-urday.We strolled into the main room to have a drink and check   framework where each group can build and serve a sufficient fan base to be able to tour, cre-ate new music, sell merchan-dise, and, with luck, earn a decent living. Internet tools like Facebook, Twitter, iPhone feeds, band websites, and music purveyors like livedownloads.com all contribute to this new way of business, and we’re all the better for this. This new musical reality was in full motion when one of myfavorite bands, Umphrey’s Mc-Gee (umphreys.com), ended their autumn tour at Wash-ington, D.C.’s 9:30 Club in late November. They were in D.C. for a two-night stand, but this year, between the two eveningshows, the band presented a cool new twist. On Saturday afternoon we attended the Stew Art Series, or S2, an experimental session de-signed by the band to increase interaction with their fans and  out the stage up close. On the right side of the room a hugevideo screen was set up to con-vey the audience interaction that is integral to the S2 expe-rience. Using our cell phones, we texted phrases to the band’s“sound caresser,” who would then pick from the dozens of messages and project a theme on the screen for the band to use as inspiration for their playing.Right on time the band came on stage, and we all started tex-ting our thoughts. Almost im-mediately, the first selection ap-peared, “slayer plays techno,” and the band launched into a techno metal romp. As the next theme appeared, “Nemo in a Sushi Roll,” the music instant-ly transitioned into an Asian-tinged version of their greatsong Nemo. We went through several more themes, includ-ing the desperate cacophony inspired by “running to make  it to the bathroom before youpuke.”I think you get the idea. In-stead of long 20-minute jams, we were presented up to a dozen musical vignettes, eachchallenging the imagination and the chops of these great musicians. Sure it was a nov-elty experience, but man was it fun—we were directing what we heard. Probably the biggest chal-lenge was to get your theme on the screen. With about 50 themes being chosen and, I would guess, at least 500 themesbeing sent, that was a tough task. I sent one up called “the Big Jake Arpeggio” (for guitar-ist Jake Cinninger), and minuteslater a theme came up called “Arpeggio Overload,” so maybe  that was an interpretation ofmy theme. Selection must be anissue, because one of them that came up was “guy in the crowd who doesn’t get any texts puton screen.” The last theme for the session was “summon the gods,” and the band responded with a vocal ensemble of longharmonious chants. After the show, the band joined the crowd for a drink, and we were able to spend per-sonal time with these extraor-dinary musicians. These guys are really supportive of the  fans, and allowing us essen-tially to direct their music was a thrill and a privilege. I asked keyboardist Joel Cummins if they saw this series continuing,and his answer was an enthu-siastic “yes.” He said they look forward to the creative chal-lenge posed to them, and woulddefinitely continue. When we left we were each handed a fresh disc containing a recording of the entire ses-sion. Next time Umphrey’s Mc-Gee does S2 in the D.C. area, I’ll be there, cell phone in hand.