BLUES | B.B. King
w/ Elise Testone
Tues. April 23
8 p.m.
$49, $69, $119
North Charleston Performing Arts Center

When this year’s Best of Charleston cover girl Elise Testone was chosen to open for blues god B.B. King, she landed the gig of a lifetime. And for the Holy City’s favorite American Idol, the opportunity is something of a dream come true. “In one of the first interviews the City Paper has ever printed about me … I stated that B.B. King has been the only performer I’ve ever seen that can sing one note and make me cry. It’s like he has the ability to wrap up a lifetime of passion and emotion and channel it through a single sound,” says Testone, who is currently working on a new album with Charleston City Paper Music Award winner Wallace Mullinax and other Holy City notables. “I couldn’t be more honored to be a part of this show. He is truly a living legend who has inspired me throughout my musical life.” Congrats, Elise. Now we have yet another reason — out of the hundreds and hundreds — to catch B.B. King in concert at the North Charleston Performing Arts Center on Tuesday. —Chris Haire TUESDAY

Polished Pop Rock | Breaking Laces
Wed. April 17
9 p.m.

Breaking Laces’ singer/guitarist Willem Hartong got his start a decade ago with the 2003 releases Sohcahtoa and Operation Income, and quickly established himself as a crafter of punchy power pop, a la Weezer and Fountains of Wayne. Hartong eventually found kindred spirits in bassist Rob Chojnacki and drummer Seth Masarsky, and they’ve backed him since 2006’s Astronomy is My Life, But I Love You EP. It took five years (and two more EPs) before they finally released their first LP, 2011’s When You Find Out. However, they made up for lost time, following less than 18 months later with Come Get Some. Lace’s latest showcases a band honing and broadening their chops, from the chunky “Be a Hammer” with its Soundgarden-like breakdown to the Cheap Trick-ish high school paean “Mr. Curry is a Cop” and the nervy “I Used to Be a Boy Scout,” which mixes dubby, Beasties-style rap with a jumpy subterranean rhythm and an emo-clean verse. The album bristles with cheeky wit and an insouciance that makes for an enjoyably breezy good time that won’t insult your intelligence. —Chris Parker wednesday

Americana Pop | Water Liars
w/ Elim Bolt, Scott Dance
Mon. April 22
9 p.m.
Royal American

Last year, the duo of singer/guitarist Justin Kinkel-Schuster and drummer/multi-instrumentalist/producer Andrew Bryant, a.k.a. Water Liars, released Phantom Limb, a spare, faltering country/folk-rock album with the autumnal air of summer’s fading light. The LP collected critical accolades left and right. Now, they’re touring in support of their latest, Wyoming. As on Phantom Limb, Kinkel-Schuster is just as heartbroken as ever. On the album’s title track, he sings, “I thank you for beating all the trusting out of me/ You showed me that the world is just an empty hotel room/ I will die in Wyoming in a drugstore parking lot/ So high I’ll believe that I’m parked outside your house 2,000 miles away.” Wyoming’s slow, understated arrangements correspond to the disc’s desolate evocations of isolating wide-open spaces. Reportedly, Water Liars’ live shows showcase more anger and electric guitar so that listeners won’t drown in their beers before making it to the merch booth. —Chris Parker monday

Newer New Wave | The Winter Sounds
w/ Quiet Company and Sleepy Eye Giant
Tues. April 23
9 p.m.
$8/adv., $10/door
Pour House

Patrick Keenan and his evolving cast of collaborators known as The Winter Sounds craft pretty, atmospheric indie pop that relies on creamy Britpop swoon and a propulsive synthetic sound that blends The Verve’s sweeping songs with the new wave shimmy of New Order and Echo and Bunnymen. Runner, the band’s new album, is tauter and much more driving than The Winter Sounds’ previous releases. On the LP, inspired in part by the dystopian sci-fi classic Blade Runner, Keenan’s melancholy croon glides as he sings about today’s breakneck pace (“Run From the Wicked”), embraces EDM (“Young Love”), and explores ornate Roxy Music-style synth rock for the closing track “Carousel.” —Chris Parker tuesday