POST-HARDCORE | Single Mothers
w/ Montauk
Thurs. Oct. 30
9 p.m.
$8/adv., $10/door
Tin Roof

Single Mothers’ music exists somewhere between one drink too many and the car ride home the next morning. “With all the drugs you could imagine/ Think of all the parties we can make happen … I was blacked out in the basement like a soft pillow on hard pavement,” rants Single Mothers frontman Andrew Thomson in their song “Half-Lit.” Fans of Refused, The Hold Steady, and Bear vs. Shark will recognize the influences and appreciate this post-hardcore sound. Emotions burst forth and are sedated throughout Single Mothers’ debut studio album, Negative Qualities. It may be one of the most refreshing and lyrically honest records we have heard in a long while. “She’s all like blah blah blah blah, something about McSweeney’s, something about her thesis,” Thomson screams in the abrasive song, “Marbles.” “‘Cause I don’t care about your first editions. I don’t care about your typewriter ribbons … At least I don’t pretend my whole life is held together by bookends.” Single Mothers are a fine example of being able to succeed in a world where you’re told you won’t get anywhere without a formal education, a subject “Marbles” fittingly doesn’t shy away from. “He’s got passion and penmanship. A BA in the soft sciences,” shouts Thomson. “And I’m just a dropout without a clue. At least I’m not incubated.” —J. Chapa THURSDAY


COUNTRY | Sturgill Simpson
w/ Cris Jacobs
Tues. Nov. 4
9:30 p.m.
Pour House

If you’re of the opinion that country music hasn’t had much of a soul over the past three or so decades, you’ll find salvation in the music of Sturgill Simpson. With a killer voice that’ll make you slap the nearest wall and shout, “Amen,” this Kentucky native delivers the goods with an honesty the genre has lacked for too long. Unlike today’s machine of morons blasting tired tales about dirt roads, pickup trucks, and baby’s blue jeans on popular country radio, Simpson offers a welcome change of pace. “I’ve been spending all my money on weed and pills/ Just trying to write a song that’ll pay the bills,” he sings on “You Can Have the Crown” from last year’s High Top Mountain. Later in the track, his humor really shines through with, “Well they call me King Turd up here on Shit Mountain/ If you want it, you can have the crown.” After he was recently named Emerging Artist of the Year at the Americana Music Honor & Awards, we couldn’t help but love how things have changed since he wrote that track. His big breakthrough came this year with Metamodern Sounds in Country Music. Since then, he’s been mighty busy spreading his neo-country gospel with tours that have taken him around Europe and back. No thanks to country radio, Simpson’s album was sitting pretty at No. 5 on iTunes and No. 35 last week on Billboard, prompting him to call it “The Little Album That Could.” If you’ve yet to dip your toes, we recommend a Sturgill starter-kit of “Turtles All the Way Down” and an old song you need to hear again, “The Promise.” It’s going to be OK, dear Nashville haters. It’s gonna be just fine. —Kelly Rae Smith TUESDAY


AMERICANA | Megan Jean and The Klay Family Band
w/ Erin Johns and Jason Brachman
Fri. Oct. 31
10 p.m.
The Mill

Megan Jean and The Klay Family Band are taking a break from their grueling tour schedule to put on their sixth-annual Charleston Halloween show. “Our theme changes every year,” says Megan Jean. “Previous years have included Dead Disney, Beetlejuice Dance Party, and Addams Family Dinner. It’s always a great time, and this year will be no exception.” The 2014 show will focus on classic Universal Studios monsters. “We will be showing an assortment of the original Frankenstein, The Wolfman, and The Creature from the Black Lagoon,” says Megan Jean. “We chose Frankenstein because it really is a classic piece of the genre. And we chose The Creature from the Black Lagoon because how can you leave out the most infamous creature of all time? Also, I’m pretty sure it was a Ravenel underneath all that swamp gunk.” Megan Jean’s music is filled with tales of the rising dead and skeletons in the closet. It’s Americana for the modern monster inside of you. The band will also host a costume contest for the best-dressed creature in the crowd, and prizes are to be had. “I will be hand-making some cross-stitched plaques laced with profanity, and bar cash at The Mill will also be awarded,” says Megan Jean. “The real prize is obviously winning at life in an awesome costume.” —J. Chapa FRIDAY


POWER-POP | Paul Collins Beat
w/ Dumb Doctors
Tues. Nov. 4
10 p.m.
Tin Roof

You may have never heard of The Beat frontman Paul Collins, but he’s here to save rock ‘n’ roll — again. Since the mid-’70s, Paul Collins has been influencing big names like The Exploding Hearts, Def Leppard, Blondie, and Green Day. In 1976, his then-band The Nerves recorded “Hanging on the Telephone,” which would later on be covered by Blondie and reach No. 5 on the U.K. charts. Collins’ latest release Feel the Noise is full of hooky power-pop goodness that demonstrates he can still write incredibly well in the genre that he helped develop. An unrelenting work ethic has allowed him to remain an important figurehead in the underground, but Collins has also figured out a way to remain significant in a time when musicians are spit out at rapid speed by a merciless business. Since 2010, he’s been using a D.I.Y. method of touring he calls The Beat Army, which is an online network of fans connected through their love of power-pop, punk-pop, and new wave. “D.I.Y. is a very down-to-earth and real way of operating in today’s world,” says Collins. “It allows an artist like myself to function and work and make some kind of living instead of not doing anything at all.” Before the Tin Roof show, Collins is stopping by Monster Music & Movies for a 5 p.m. free in-store performance. —J. Chapa TUESDAY

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