DANCE ROCK | The Young Step
w/ Mojo McGee
Wed. Aug. 2
9 p.m.
Tin Roof


The Young Step hail from St. Augustine, Fla., but they don’t really have a distinctly regional sound. Instead, they seem like one of those classic rock trios that comfortably flits through popular music history with an easygoing shuffle, barging from a stoner rock riff to a New Wave hook, showing off their wide range of influences. The quartet, led by three singers, including married couple Micah and Lauren Gilliam, readily cites a bevy of ’70s influences that run the gamut from David Bowie and T. Rex to Jimi Hendrix and the Doors and are even more apparent in their gritty, garage and grunge-tinged aesthetics. In some ways, their classic rock fetishism will recall the early 2000s rock revival heyday that’s gotten some bubbles of renewed attention thanks to the release of Meet Me in the Bathroom, an oral history of the music scene in New York City during that time period. But ultimately they feel like the result of a certain kind of timelessness that pervades conventional rock bands in 2017 rather than some sort of hipster nostalgia. Whether or not they can make a larger dent on the national scene, there’s no doubt that their fun, irreverent embrace of rock ‘n’ roll eclecticism provides welcome relief from the increasingly electronic and rock-decentering that seems to be proliferating music these days. —Kyle Petersen WEDNESDAY


Fri. Aug. 4
8 p.m.
Charleston Music Hall

The closest thing to the actual Beach Boys or Brian Wilson’s band has long been the formerly Charleston-based Explorers Club, led by Beach Boys diehard, Jason Brewer. The Explorer’s Club (TEC) is still very much a thing — last year the band released Together, a collection of original tracks performed in the uncanny style of the Beach Boys complete with the same amount of sunshine, killer harmonies, and stunningly complex arrangements as the California crew themselves. But now Brewer can go full-on Beach Boys with his latest creation, Sail On. Named after the 1973 Beach Boys track “Sail On, Sailor,” Sail On features nearly all TEC members — switching out Kyle Polk for John Salaway — to form at last a full-blown Beach Boys tribute band that looks and sounds like the real deal. Some of these guys have even performed and recorded with members of Brian Wilson’s band, and when they hit the Music Hall stage you can bet they’ll stir up many a good vibration. —Kelly Rae Smith FRIDAY


w/ Tripping the Mechanism and Heathen Bastard
Fri. Aug. 4
8 p.m.
The Sparrow

The music that Charleston’s Bokor Law makes is a louder-than-God, brutally uncompromising hardcore metal — from the sludgy death march of their rhythm section through crisscrossing guitars strafing the landscape to aptly-named singer Robert Gore’s earth-rattling, guttural growl. The band can take ultra complex, dueling riffs that sound like a dead ringer for early Megadeath and suddenly shift them into choruses that ring with sepulchral vocal harmonies a la Alice in Chains. Which is interesting, because guitarist Danny Reich says they’re largely influenced by European bands. “We started out being interested in bands like Metallica and Cannibal Corpse and Pantera,” Reich says of himself and band co-founder/bassist Matt Bryson. “But we got more into the Swedish death metal bands like Soilwork and In Flames, the more melodic-type stuff. And all of that shows up in the music we make.” The melodic part is important for the band, because it’s not always a given in their genre. “I think the riffs and the catchy grooves are something people can hear, and it’s memorable,” Reich says. “There’s a lot of technical death metal out there that’s great, but there’s not anything you can really latch onto.” —Vincent Harris FRIDAY


PUNK | Spray Tan
w/ Hybrid Mutants, Hearts On Fire, Broken Factory Windows
Sat. Aug. 5
9 p.m.
Burns Alley Tavern

What’s interesting about Atlanta trio Spray Tan’s brand of punk rock is the way it mixes up the different kinds of punk that have sprung from that long ago explosion in the late 1970s. A listen to their rhythm section immediately calls to mind second-and-third-generation groups like Stiff Little Fingers and Green Day; the band is tight and streamlined, pounding out rhythms that fit the bass and drums together like synchronized machinery. The guitars are a dead ringer for Billy Joe’s cranked-up blur, too, eschewing riffs for blocks of chords that lay perfectly over the beat. But the vocals, largely handled by the one-named bassist, Luke, are all sneer and out-of-tune attitude, heavy on don’t-give-a-shit snottiness and a serious disdain for whatever subject is unfortunate enough to wander across his misanthropic path. In some ways, the band is a perfect synthesis of everything punk has branched out into over the last few decades. —Vincent Harris SATURDAY


Stay cool. Support City Paper.

City Paper has been bringing the best news, food, arts, music and event coverage to the Holy City since 1997. Support our continued efforts to highlight the best of Charleston with a one-time donation or become a member of the City Paper Club.