SOUTHERN ROCK | The Higher Choir
w/ James Hall
Fri. Dec. 6
10 p.m.
Tin Roo

If you’re itching to catch a high-energy show from a band playing a stuffed spliff of folk, rock, psychedelic, country, blues, and soul, then look no further than The Higher Choir from Atlanta, Ga. After The Higher Choir plays the Tin Roof, they plan to wrap up work on their latest collection. “We have a few more South Carolina shows before going back to the studio,” says lead singer Grant Mitchell. “Then we’ll be finishing up our tentatively titled When the Smoke Clears EP that will probably come out next spring.” You won’t have to wait until then to hear the new songs that Mitchell and his THC bandmates have been working on, though. The Higher Choir will be performing new songs as well as tunes from their 2013 release Steeped in Southern Tradition. Want more from THC? Mitchell promises that a lot of secret things are happening behind the scenes and just might come to fruition next year. —Amanda Merritt FRIDAY


EMO NO MO | Jimmy Eat World
w/ Flashlights
Wed. Dec. 11
8 p.m.
$26/adv., $30/door
Music Farm

Out of all the acts to emerge from the early ’90s emo scene, Jimmy Eat World is the last band standing while similarly minded acts Get Up Kids, The Promise Ring, and Saves the Day faltered. Unlike those bands, the guys in Jimmy Eat World built an enduring fanbase out of their breakthrough 2001 release Bleed American. For the last few records, they’ve chased different iterations of the same hooky sound, from 2004’s dark Futures to 2007’s radio-ready Chase the Light and 2010’s singer-songwriter-influenced Invented. The band’s latest, Damage, is a polished-but-still-punchy breakup album that strives toward greater maturity. Like the music, the subject matter’s more befitting a legacy artist than a young turk. “It’s important to be honest and look at the world as it is,” says frontman Jim Adkins. “Singing about the discovery of relationships — it’s just not interesting for me anymore, and I don’t think it would be believable.” That honesty and commitment to growth has kept Jimmy Eat World relevant for two decades and counting. —Chris Parker WEDNESDAY


Folk SOUL | Goner
w/ Dulci Ellenberger
Thurs. Dec. 5
9 p.m.
Royal American

The Asheville-based band Goner is a little like the Avett Brothers getting their Bon Iver on, thanks in part to the trio’s earnest, anguished, and haunting sound and singer/guitarist Andrew Costantino’s rich tenor-baritone croon. Formed a year ago, the three-piece outfit recently released its three-song debut Every White Water Moon, a promising effort that lands in the center of the rustic folk-soul fairway at a moment when that course is particularly hot. They guys in Goner are canny musicians with a woodsy swing that’d feel at home alongside Edward Sharpe or Nicki Bluhm and the Gramblers. Which sort of begs the question: How do smart people poach the name of an extant band that’s been around since 2001 and with four albums under their belt? Not only that, but how can you swipe the name of a band that’s based 250 miles away — Raleigh-based Goner — and which regularly plays the region’s biggest festival, Hopscotch in the Triangle. It’s an almost unpardonable rock sin. Hopefully, next time we see Asheville’s promising new singer-songwriter Andrew Constantino, he’ll have adopted another moniker. —Chris Parker THURSDAY


Thurs. Dec. 5
9 p.m.
Home Team

Knoxville, Tenn.-based country boy Matt Woods is currently finishing up work on his latest album. And while the LP won’t hit the streets until the spring, Woods has released a three-track 7-inch vinyl and digital single, “Deadman’s Blues,” which offers a little bit of insight into what’s to come. Unlike 2011’s The Matt Woods Manifesto, the new record features fewer players and more open arrangements. “I think the result has been a pretty intimate feeling album,” Woods says. Expect to hear some of his new tracks at the Home Team show, including one of his personal favorites, the prison tune “With Love from Brushy Mountain.” Though Woods describes his sound as “outlaw country” and “Southern roots,” he doesn’t care much for labels. “Mostly, I’ve come to realize that we are all just folks on different blocks of the same street, songwriters hoping to have one of our tunes matter to someone,” he says. In the future, Woods expects to continue his journey as guitar-strumming, day-drinking pinball wizard. He laughs, “I will be wherever life takes me — somewhere with a guitar strapped to me playing songs for folks.” —Kalyn Oyer THURSDAY

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