TRIBUTE | Women & Cohen: A Tribute to Leonard Cohen
Fri. April 14
In a way, it makes sense that this edition of the Charleston Music Hall’s “Women &” series will be performed in the smaller PURE Theatre on King Street. This time around, the nine vocalists involved (Lindsay Holler, Hazel Ketchum, Laura Alward Ball, Ann Caldwell, Jenna Ave-Lallemant, Hillary Keck Arnold, Clare Elich, and Ellie Jos) will take on the works of a singer-songwriter who was all about intimacy: Leonard Cohen. From his early acoustic folk gems like “Suzanne,” “Bird On A Wire,” and “So Long, Marianne” to the dour synthesized laments like “Hallelujah” and “Waiting for the Miracle” to his unexpected late-in-life musical renaissance, Cohen has sung about women and relationships with curiosity, passion, confusion, lust, and regret. It only makes sense that some of Charleston’s best female singers repay the favor and interpret some of his classics and lesser-known gems in a smaller, more intimate setting. —Vincent Harris FRIDAY
MUSICAL | Tiny: A Musical
Wed. April 12
Mt. Pleasant Regional Library
Tiny Tim (1932-1996) is remembered today not just as a musician, but as a pop icon. To celebrate the anniversary of his birthday, Tiny: A Musical will come to Mt. Pleasant for a one-day-only screening. Justin Martell and Alanna Wray McDonald’s biography, Eternal Troubadour: The Improbable Life of Tiny Tim, inspired the musical, which debuted last July at Lancaster Opera House in upstate New York. Martell says, “The Tiny Tim story is very theatrical; it’s a Shakespearean tragedy basically. The musical follows Tiny Tim’s incredible story and unprecedented rise to fame and opulence.” Producers Justin Martell, Richard Barone, J. Michael Landis, and Jay Wollin granted special permission for this screening of the first-ever workshop production of Tiny. “It has sad moments but is an inspiring tale,” Martell says. “Tiny Tim grew up during the depression and was born to immigrant parents. He was the most unlikely success story; he was not ‘supposed’ to be a pop star in the twilight of the ’60s.” —Caitlin Billard MONDAY
TRIBUTE | White Sabbath (featuring Jordan Igoe)
Thurs. April 13
The Royal American
It’s not like the White/Bogan Duo — keyboardist Ross Bogan (Sol Driven Train) and drummer Stuart White (Weigh Station) — hasn’t gone on some musical adventures before. One of their most recent gigs was a show called Acid Christmas, which took the standard holiday classics we all know and love and turned them into improvisation-heavy soundscapes. But this time, they’re taking on one of the most beloved bands in the history of heavy metal, and they’re doing so with vocalist Jordan Igoe along for the ride. So the fun here is going to be seeing how this combo, using just keyboards, drums, and vocals, can take on a catalog that’s seemingly built for cranked, monolithic guitars. Igoe definitely has the range of Ozzy in his early-’70s prime, and White is a killer drummer who can handle Bill Ward’s parts, but mixing synths into Sabbath classics like “Iron Man” and “Paranoid” is going to be an interesting endeavor indeed. —Vincent Harris THURSDAY
RAP | Live from the Underground
w/ Walter Brown, Mossy B 4 Prez, Salis
Sat. April 15
$5/before 10:30 p.m., $10/after 10:30 p.m.
Local rapper Salis is hosting the first part in his four part series, Live from the Underground. The show is meant to give better representation to local rappers. As Salis and Tolbert both claim, the biggest issue with booking a rap show in Charleston is finding venue support. Despite playing all around town, Salis notes that it’s tough finding a venue that will do strictly hip-hop. “I felt, sometimes, like I had to create my own show,” says Salis, when talking about trying to book performances that were exclusively rap. “I don’t know if they don’t want the music or they don’t want the crowd,” says publicist Tawana Tolbert, who organized the show. In some ways, the show isn’t about just showcasing local artists, but also proving that there is a market for rap shows. The local talent brought in for this show, Walter Brown and Moss B 4 Prez, were both chosen by Salis. “I picked Mossy because you can believe everything he say … he’s speaking straight facts.” Brown was chosen because “he don’t rap like nobody else.” The whole concept, as Tolbert puts it, is to focus on indie artists. “This is to give them an opportunity to stay true to themselves.” —Heath Ellison SATURDAY
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