w/Bo Farish, Mackie Boles Band
Thurs. June 26
9 p.m.
The Royal American

Like many singer-songwriters, Jeremiah Stricklin wears his heart on his sleeve. Unlike many of his contemporaries, however, his songs feel less like diary-entry info-dumps and more like invitations to conversations about the deeper meaning of life. With two EPs already under his belt — 2013’s Tall Tales and Tiny Fables, and April’s Our Very Own Kingdom — Stricklin is quickly stating his case for becoming one of this generation’s most engaging, soul-searching troubadours. On Kingdom, tracks like the Americana ditty “Beautiful Monster” challenges listeners to consider what makes us beautiful to others despite our imperfections, and the folk-rock number “Two Animals” is a creative look at what a wonder it is that any two people ever come together at all. The folk-pop track “The Scenic Route” also contemplates the ups and downs of life by noting that Stricklin has seen both devils as well as angels. And on the acoustic finale “Brothers and Sisters,” he gives his soundest, most resonant advice when he says, “There’s no time/ To be angry in this life.” Stricklin is a striking talent, and Oh, Jeremiah is a project to keep an eye on. —Brian Palmer THURSDAY

Death Metal | Left to the Wolves
w/ Creature of Exile
Fri. June 27
7 p.m.
The Sparrow

Every once in a while a band’s bio sums up nearly all that needs to be said about them. In this case, that band is Lexington, Ky.’s Left to the Wolves, an utterly beautifully brutal death metal combo. Their bio on ReverbNation reads: “Formed in February 2010, Left to the Wolves set out to make music to express sorrow and hatred towards the human race. They released a single and two three-song demos before releasing an EP War Upon the Modern Age in early 2013. LTTW makes music for the misfits and those who see the same failures in society that they do. The time has come to wage war upon a failed system.” And wage war the guys in Left to the Wolves do. “Slave: Mother Earth” is a double-bass drum assault that’ll “make hate” to your eardrums, while “War Upon the Modern Age” is like a slab of Ministry, minus all the electro trappings. A word of warning: If you don’t think Cookie Monster is like the coolest Muppet ever, then this might not be the show for you. —Chris Haire FRIDAY

PUNK | The Coathangers
w/ The Frizz
Fri. June 27
9 p.m.
Tin Roof

In recent years, Charleston’s music scene has gotten progressively more diverse — and consequently, more attractive — especially for touring bands like the all-female garage rock powerhouse The Coathangers. Hailing from Atlanta’s concrete jungle, the band has a rough-and-ready, snarling sound that they’re excited to bring to Charleston. “We’ve never played there before,” says vocalist Stephanie Luke, a.k.a. Rusty Coathanger. “And we’re excited to go to the beach.” Everybody loves sand and sunshine, although you wouldn’t necessarily expect that from a group of women behind such song titles as “Nestle in My Boobies,” “Adderall,” “Smother,” and “Don’t Touch My Shit.” The girls originally decided to start the band solely so they could hang out and play parties — never mind their inability to play instruments at the time. This primal, no-holds-barred approach has likely contributed to the band’s success over the past seven years, and their unruly live show will no doubt be the kind of sweaty endeavor best suited for a drunken, rowdy Friday night. Their most recent and fourth album Suck My Shirt (Suicide Squeeze Records), received critical acclaim from Rolling Stone, Paste Magazine, and The album title refers to the girls’ attempts to salvage spilled tequila during a recording session. That should tell you everything you need to know. —Lindsay Anne Bower FRIDAY

ROOTS ROCK | Band of Heathens
w/ Joe Fletcher
Sun. June 29
9:30 p.m.
Pour House

The Band of Heathens grew out of a songwriter’s night at a popular Austin club, Momo’s. They evolved into a full-fledged band in 2006 led by three Momo’s regulars — Colin Brooks, Ed Jurdi, Gordy Quist — who decided to join forces after releasing solo albums. The quintet’s timing couldn’t have been better. Their blend of folk, country, root-soul, and ’70s rock helped 2008’s eponymous studio debut top the Americana charts. Two more studio albums followed over the next three years, each performing well, though never quite crossing over more broadly. In November 2011, eight months after the release of their third studio disc, Top Hat Crown & the Clapmaster’s Son, Brooks announced his departure. The longtime rhythm section left a year later, and Jurdi and Quist used the opportunity to renovate the band. The roots-rock elements get downplayed on last year’s Sunday Morning Recital. While the album isn’t as slumbering as the title suggests, it does pursue a gentle, early ’70s Laurel Canyon pop-rock style that blends the Eagles, Crosby, Stills & Nash, Jim Croce, and Big Star. The record is powered by particularly strong melodies and a warm, lived-in vibe. However, the song “One More Trip” does hint at a certain exhaustion and dissolution beneath the pleasant surface. —Chris Parker SUNDAY

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