Outfitted in dad hats and windbreakers, the boys of Daddy’s Beemer are about the last people you’d expect to find on the Clemson campus. In a place notorious for tailgating and frat parties, Luke Waldrop (guitar), Wesley Heaton (bass), Brady Sklar (guitar/vocals), and Dan Fetterolf (drums), are ushering in a new age for the college’s music scene. With the formation of the Pablo Generation and the release of their latest EP Pucker, the boy’s musical renaissance has peaked.

       A follow up to their debut self-titled EP released last May, the boys have maintained the same recording habits: practicing each song in their basement and loading up on Bojangles. From the first breathy seconds of “TV Lied To Me,’ it was obvious that Daddy’s Beemer was the band that the upstate had been waiting on. Featuring the sentimental psych-ballad “Penthesilea” and the dream-dazed banger “Rain Dance,” the EP created a buzz throughout the scene.

       For months the band teased at a new EP with quirky hints dropped through their lemon themed social media posts. A subtle nod to their album art, the clues made sense with the release of “Joan.” A sugary-dose of 80’s inspired synth-rock, the single felt like a straight head-rush. Pushing the boundaries of their usual slack-rock, the track incorporates everything from bongos to a violin hook proving they’re unphased by experimentation. Skylar's vocals fluctuate throughout the song parallel to the realization that ‘darling you ain't the future I dream.’

       That open-minded approach progressed onto Pucker as the band pulled influence everywhere from the Motown era to The Smiths. Starting out with “Time We Killed,” Daddy’s Beemer doesn't waste a second, jolting you straight into the EP with the shrill alarm clock. Falling into an easy groove, the track has an aura of zapping energy with a lo-fi charm. On “Thespian,” the boys embrace a more vulnerable side. Waldrop’s guitar cuts through the fog as emotions swirl. With unbraced regret Skylar crones ‘Don't act like you're better than that/Don't act like you don't want someone to love you back/Don't act like you got somewhere better to be,’ underscoring the band’s lyrical growth.

        From there, the EP seamlessly transitions into “Eventualities,” a hazy confessional that dissolves into a transcendental blur. Reminiscent of “Rain Dance,” both tracks start out as a power-trip melting into a psychedelic trance. The title track, “Pucker,” flits between high energy jangle pop and a mellowed out laze. Through the winding road of loves and losses, the EP concludes with “Terry’s Song,” a sunlit tribute to their friend. The track glows with optimism at the prospect of getting better and moving on to a life where they aren’t stuck ‘waiting on weekends.’

       Pucker successfully affirms that Daddy’s Beemer is more than a casual college band. While maintaining their DIY charm, the band begins to move towards a more dynamic sound. Crashing through Clemson’s glass ceiling, the band takes huge strides not only in developing their sound but in expanding the scene. What started as a few boys making music has grown into a flourishing community of musicians ranging from the sweet-side of pop to mountain-folk. Dedicated to creating an atmosphere that fosters talent that would otherwise go unnoticed, Daddy’s Beemer represents a whole generation, not a single band.


samantha sullivan