Used Kids Records: Preserving Columbus' Music Legacy and Community Connection

The Enduring Pulse of Used Kids Records

In an era where music consumption has largely migrated to the ephemeral stream, a storefront on Summit Street is betting that the tactile experience of holding a record remains a vital part of the human experience. Used Kids Records, a mainstay in the Columbus music ecosystem, was recently named the best small business in The Lantern’s 2026 Best of OSU special edition. The recognition, backed by 231 votes from students and community members, highlights a persistent demand for physical media in a digital-first world.

The shop, located at 2500 Summit St., functions as more than a retail space; it serves as a cultural anchor for the University District. For owner Greg Hall, the store represents the continuation of a lineage that began in 1986 when the original Used Kids Records opened on North High Street as a sister store to School Kids Records. After working at the original shop for nearly a decade to fund his own education at Ohio State, Hall eventually purchased the business in 2014 and relocated it to its current home.

A Blueprint for Community Connection

The success of the shop is rooted in a deliberate effort to foster human connection through music. Hall describes his business model as a blueprint for engagement, one that prioritizes a “physical product” and a space where people can congregate to discuss their discoveries. This approach has proven effective, particularly during the shop’s high-profile listening parties. For instance, when the store hosted events for Twenty One Pilots, the turnout was so significant that staff had to organize back-to-back sessions, drawing over 400 attendees across two gatherings.

That kind of energy between having a physical product, having a place where people can come and hang out and talk about music and get turned on to cool music, and also to book the shows and put the whole focus on music — kind of on steroids, Hall said. That’s basically the blueprint that I’ve been trying to follow for the past many, many years.

The shop’s interior reflects this commitment to inclusivity. Hall aims to curate an inventory that mirrors the diversity of its clientele, spanning genres from jazz, country, and blues to punk, post-punk, and Brazilian world music. By casting a “big tent,” the store attracts a broad range of music lovers, ensuring that the space remains a welcoming environment for both seasoned collectors and students who may be just beginning to build a personal library.

The Organic Amalgamation of Columbus Music

The history of Used Kids Records is inextricably linked to the broader evolution of the Columbus scene. Jimmy Buttons, a shop associate who previously worked as a roadie, views the store as an “organic amalgamation” of decades of local musical history. According to Buttons, the store acts as a central hub from which the city’s creative energy radiates, connecting the past to a new generation of listeners. This sentiment is echoed by fellow associate and DJ Raymond Schwab, who notes that the store works in tandem with other area venues like Rumba Cafe, Skully’s Music Diner, and the Newport Music Hall to sustain the local arts community.

The shop’s influence extends beyond its inventory. Employees, whom Hall calls “Record Jerks,” take an active role in shaping the store’s atmosphere by queuing up diverse selections on a record player near the shop’s stage. This stage, salvaged from the original North High Street location, serves a dual purpose: it hosts live performances and meet-and-greets while functioning as a workspace for staff to organize new arrivals.

Balancing Commerce with Social Responsibility

While the business thrives on the sale of vinyl and audio equipment, Hall maintains a focus on the broader community’s needs. The shop frequently supports the Mid-Ohio Food Collective, Ohio’s largest food bank, through fundraising events where the business matches the donations contributed by its customers. This commitment to philanthropy reinforces the shop’s role as a staple of the local neighborhood, proving that a small business can be both a cultural curator and a community benefactor.

As Buttons suggests, the barrier to entry is lower than many students realize. One does not need to own a turntable to start collecting records; the act of purchasing music is, in itself, a form of support for the artists and the local scene. Whether it is through attending a free show, browsing the stacks, or participating in a listening party, the shop remains a focal point for those looking to engage with the enduring, youthful energy of a college town. For Hall, the goal remains clear: keeping the legacy of the original School Kids Records alive while ensuring that the next generation of Columbus music fans has a place to call their own.

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