VARIETY | Umphrey’s McGee
w/ Perpetual Groove, The Artisanals, and Doom Flamingo
Thurs. May 31
5 p.m.
The Grove At Patriot’s Point

Interesting lineup of bands here. Umphrey’s McGee and Perpetual Groove are the veterans, one band having been together consistently for over 20 years, the other having taken several extended breaks and shifted personnel. Umphrey’s has consistently produced an intoxicating combo of progressive rock and danceable grooves since 1997, while Perpetual Groove is a jam band with some serious song-stretching skills, and they’re going strong again after a lengthy hiatus earlier in the decade. But the rest of this bill is worth a look, too. Charleston’s own Artisanals have been creating some real buzz with a melodic, psychedelic folk-rock sound that recalls both the late-’60s country-inflected sounds of the Byrds and as well as the pure American pulse of Tom Petty & the Heartbreakers. And don’t skip out on Doom Flamingo, a new synth-heavy side project featuring Umphrey’s member Ryan Stasik on bass and local heavyweights Mike Quinn (saxophone), Ross Bogan (keyboards), Thomas Kenney (guitar), Stu White (drums), and Kanika Moore (vocals).The event is divided into two parts with Umphrey’s McGee and Perpetual Groove at Patriot’s Point, immediately followed by a late-night afterparty at Omar Shrine, featuring the Artisanals before Doom Flamingo’s synthwave dance party. —Vincent Harris THURSDAY


TRIBUTE | Let’s Groove: The Music Of Earth, Wind & Fire
featuring/ Quiana Parker, Charlton Singleton and Friends
Fri. June 1
8 p.m.
$22, $17/student
Charleston Music Hall

History can play some interesting tricks. In the 1970s, Earth, Wind & Fire and George Clinton’s Parliament-Funkadelic were both superb funk-rock ensembles making groundbreaking music and creating eye-popping live shows (EWF with a pyramid, P-Funk with a spaceship), but commercially, there was no contest. P-Funk scored a couple of gold and platinum records and a few hits like “Flash Light” and “One Nation Under A Groove,” but, led by drummer Maurice White and vocalist Philip Bailey, EWF owned the second half of the ’70s. Between 1975’s That’s the Way of the World and 1981’s Raise, they scored seven Top 10 albums and sold over 90 million records thanks to hits like “Shining Star” and “Boogie Wonderland.” But for whatever reason, Clinton has become the more revered figure over time, possibly because of that very lack of commercial acceptance. The Charleston Jazz Orchestra’s conductor and artistic director Charlton Singleton and his tribute ensemble aim to change that with their “Let’s Groove” tribute show, along with featured vocalist Quiana Parker. —Vincent Harris FRIDAY


TRIBUTE | The Music of Wes
Sat. Jun. 2
8 p.m.
$15/adv., $17/door
Charleston Music Hall

Wes Anderson is the undisputed King of Quirk. There’s too much to write about his visual style, his auteur dramedies, and the characters that pervade his filmography. Often the aesthetic of his motion pictures overtakes the soundtracks, which are often equally great. “This is a little baby of mine,” says Charleston Music Hall Director Charles Carmody. “It’s the kickoff to the Summer of Wes.” The show will feature a series of local musicians — Brett Nash, Lily Slay, Lindsay Holler, Jack Burg, Bill Carson, Beattie Porter, Jenna Ave-Lallemant, Brian Hannon, Matt Williams, Duda Lucena, and Carmody himself — performing music featured in Wes Anderson films. The event will take that idea and run with it by showing the film scene that goes along with a specific song on the big screen behind the band. “The show will go chronologically from Bottle Rocket to Grand Budapest Hotel,” says Carmody. Some of the acts to be covered include the Velvet Underground, the Clash, Bob Dylan, and the Rolling Stones. Oh, and pop by early, from 5 ’til 7 p.m., for the Summer of Wes art opening reception to celebrate the Summer of Wes, which encompasses the Music Hall’s screening of eight Wes Anderson films across the summer, the Wes Anderson art exhibit (works from 20+ artists in all mediums on display all summer), and, of course, the Music of Wes Concert. Also notable: each film poster was created by a local artist, including musician Marshall Hudson of SUSTO for Rushmore. —Heath Ellison SATURDAY


HIP-HOP | Bass Ghost
w/ Abstract that Rapper, Don Crescendo, Joshua Davies
Sat. Jun. 2
8 p.m.
Tin Roof

Bass Ghost, a.k.a. Wayne Hampleton, is pretty damn busy lately. The hip-hop genre-blender is currently working on setting up a Southeastern tour for the winter and putting the finishing touches on a couple of music videos set to be released over the summer. As if that weren’t enough on his plate, Hampleton is doing a few “collaborations with over half a dozen local artists, to bridge the gap among different scenes,” he says. Finding the common ground between various musicians and genres has been Hampleton’s thing for a while now, and he’s trying to take it to new heights by teaming up with Charleston Sky Ent. The rapper says that they hope to “create a collective of different creators in the Charleston area.” They put no limit on who can join the group. It can be bands, rappers, photographers, graphic designers, painters, or anyone partaking in an artistic field. “The idea is to create a hub for artists to find fellow creatives to work with, but also to have a place to share your art and have your art get shared,” says Hampleton. —Heath Ellison SATURDAY


OLD-TIME JUG BAND | Flat Foot Floozies
Sun. June 3
8 p.m.
Jack of Cups

You ever hear someone say that they like the oldies, but they’re talking about Led Zeppelin or Paul McCartney? Please direct them to the Flat Foot Floozies for a living history lesson. Employing two guitars, an upright bass, a trumpet, harmonica, and a tap dancer, the Floozies are museum owners of music. They curate jazz, blues, and some tin pan alley to show they aren’t messing around. “We like to play the old standards,” says ukulele and harmonica player Tim Edgar. “The old pre-World War II, old time stuff — that’s what we shoot for.” The band often puts their own little spin on the music they play, rearranging and repackaging the old standards to prove they still have some life in them. Local scene enthusiasts will notice that the Floozies don’t get together too often, so fans need to make it count when they do. “Everybody’s pretty busy, so it’s rare that we are all able to get together,” says Edgar. “But, anytime we can, it’s always a fun time.” —Heath Ellison SUNDAY

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