CLASSIC ROCK | Women & Petty: A Tribute To Tom Petty
Featuring Lindsay Holler, Hazel Ketchum, Hillary Arnold, Jo Kokri-Bhatt, Becca Smith, Cindy Jane Kearney
Fri. March 30
Charleston Music Hall
Going from the Grateful Dead to Tom Petty is a somewhat jarring transition, but that’s exactly what Lindsey Holler, Hazel Ketchum, Becca Smith, Cindy Jane Kearney, and various others will be doing for the second edition of the 2018 “Women & …” series at the Music Hall. The loss of Tom Petty, by any standard one of the great songwriters of the rock ‘n’ roll era, is still fresh in the minds of many music fans, and any chance to celebrate Petty’s way with a gorgeous melody and sly lyrics is welcome. This performance in particular will be an interesting challenge, because Petty’s singing voice was so singular. It’s difficult to imagine any voice other than Petty’s vinegar pucker delivering songs like “Free Fallin'” or “Don’t Come Around Here No More” or “American Girl,” but if there’s a group of singers that’s proven they can rise to the challenge, it’s these ladies. —Vincent Harris FRIDAY
ELECTRO-PUNK | WASI
w/ Southern Femisphere
Sat. March 31
Once you hear the music of the California duo Jessie Meehan and Merilou Salazar, a.k.a. WASI, it should be obvious that there are no genres that can’t be combined to find some sort of common ground. That’s because WASI joins up the shimmering keyboards of an electronic band, the curled-lip attitude of punk, the polished beats of a pop group, and the off-kilter, skittering rap style of M.I.A. into one shimmying, bird-flipping entity. The duo got together in high school because they’d signed up for a gig but didn’t have a band. They quickly learned the basics of their instruments and came up with a name. Not WASI, but The Midol Poppers (thankfully changed later on). With about two weeks of practice they had what they call “six shitty punk songs about cafeteria food and underpants” ready, but that’s a little too self-deprecating a description, because the band’s sound is a lot catchier and more complex than that. And it’s worth noting that their songs are strong enough that they can ditch the keyboards and beats and play them acoustically with no loss of quality.
—Vincent Harris SATURDAY
HARDCORE | Backwards Youth
w/ Forced Impact, Backbone, War Bonds
Sat. Mar. 31
Cory’s Grilled Cheese
Every lactose-tolerant person’s favorite grilled cheese joint is rolling out another set of skull-cracking mosh-friendly bands from around the country. Local hardcore show coordinator Ethan Slaughter put this round of circle pit-inspired groups together as a comeback show for Backward’s Youth. “They haven’t genuinely played a show locally in over a year,” says Slaughter. In addition, Wisconsin metalheads Backbone and straightedge punks Forced Impact will make an appearance to show the Southeast what the Midwest sounds like. Virginia Beach powerviolence band War Bonds will also throw down their two-minute bursts of social outrage. As Slaughter explains, inviting them was a way to extend an olive branch. “There’s been some beef in the past with them that was misinformed, and someone was speaking for them toward the South Carolina scene,” he says. “I wanted to clear that up and let them see that our scene doesn’t have any hostility toward them and they don’t either, toward us.” Despite recently dropping the frequency of hardcore shows at Cory’s to once a month, Slaughter assures audiences that he has big things in the works. “I have a lot of plans coming for the summer that people are definitely not ready for,” he says. —Heath Ellison SATURDAY
COUNTRY SOUL | Durty Dub’s Tribute to Charley Pride
Wed. April 4
Charley Pride scored his biggest country hits in an era before music videos, so perhaps that explains why he was so successful and such an anomaly. Virtually the only African-American country singer of his time, Pride was the first black member of the Grand Ole Opry, and between 1969 and 1971, he landed eight singles, including “All I Have to Offer You (Is Me),” “(I’m So) Afraid of Losing You Again,” “Kiss An Angel Good Mornin’,” and “Is Anybody Goin’ to San Antone” at No. 1 on both the country and pop charts simultaneously, a feat that’s difficult to imagine anyone ever accomplishing again. What’s interesting about this tribute to Pride’s music by the Durham, N.C. band Durty Dub is that they’ve managed to take the warm Southern burr of Pride’s voice and set it to languorous, percussion-spiked soul-jazz, complete with muted guitar solos and laid-back tempos. The twang is still there, it’s just nestled into a quiet R&B storm. —Vincent Harris WEDNESDAY
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