Documentary | A Poem is a Naked Person
Wed. Feb. 24
7:30 p.m.
Charleston Music Hall

Les Blank’s documentary of musician and Hall of Famer Leon Russell, A Poem is a Naked Person, is the latest in Charleston Music Hall’s spring film series. Created over 40 years ago and digitally remastered in 2013 by Les’ son Harrod Blank, the doc was seen publicly for the first time last year. Les died in 2013, and the posthumous release of A Poem is a Naked Person is dedicated to its creator. The project began in 1972 when Russell reached out to the American Film Institute seeking a filmmaker to create a documentary about him. En route from filming black Creole music in Louisiana, Les stopped into Paradise Studios in Grand Lake o’ the Cherokees, where Russell was recording. For the next two years Les set up shop in the floating commune of musicians and artists to capture over 60 hours of 16-mm footage. He followed the artist through recording sessions, rehearsals, and concerts in New Orleans, La. and Anaheim, Calif. As Les was filming, he realized the documentary would be as much about Russell as the artists that surrounded him. At Paradise, Russell worked with musicians such as Eric Anderson, Charlie McCoy, Willis Alan Ramsey, Willie Nelson, and George Jones, and the film includes a soundtrack of countless Russell hits and collaborations with some of those artists. —Madi Kois WEDNESDSAY


Fri. Feb. 19
9 p.m.
The Royal American

Charles Dean is D!Z, a local DJ who’s been spinning an obscure mix of everything from funk to mellowed-out soul in the Holy City for nearly two years now. The Charleston native has also been a drummer for over two decades, but his real passion is inspiring a room full of people to get up and dance to old-school grooves. From finding that really special but forgotten seven-inch record hidden at the bottom of a dusty thrift store box to putting that 45 on a turntable and filling up a dance floor, D!Z’s goal is to create an inspired, nostalgic atmosphere using only vintage vinyl. “The thing about 45s is that every time I find a good collection to look through, I find a new label or a new artist, and something great comes out every time,” Dean says. “And it’s maybe one out of every 15 chances you take on a record.” In fact, Dean’s the only guy in town who strictly sticks to all-vinyl soul and funk — that’s why he’s spinning at the Royal American, a bar that never features DJs playing popular dance music. The DJ is also a regular host and founding member of the Soul Preservation Society of Charleston, an Ohm Radio 96.3 FM show that serves up soulful brunch-time sounds every Sunday. You can tune into the program anywhere using the station’s new app each week from 11 a.m. until 2 p.m. —Kelly Rae Smith FRIDAY


Rock the Vote | Bernie Bash
Sun. Feb. 21
4 p.m.
Pour House

If you’re into left-field politics mixed with music, this weekend’s Bernie Bash will tick all your boxes. In an effort to get more folks off their derrières and into the voting booth, the Pour House is hosting a voter registration drive Sunday complete with the promise of #HeartBern. A registration booth will be set up outside, while acts like bluegrass artist Rev. Jeff Mosier, Southern rockers Weigh Station, country-celtic troupe the Hungry Monks, bluegrass band Rusty Hook Ramblers, and bluegrass-folksters Sweet T and Chuckwagon take to the deck stage, inspiring you to rock the vote. In addition to feeling the Bern, you’ll also be able to get a photo voter ID. While registering now won’t allow you to vote in the Democratic Primary Sat. Feb. 27, you’ll still be all set for the November election. —Kelly Rae Smith SUNDAY


AMERICANA | The Accomplices
w/ Dangermuffin
Fri. Feb. 19
9 p.m.
$13/adv., $15/door
Pour House

The Savannah, Ga. group the Accomplices might have the trappings of a bluegrass band (acoustic guitar, fiddle, mandolin, upright bass), but pigeonhole them at your own risk. On their new EP Mountain Buzz, the band weaves genres ranging from rock to jazz to bluegrass into a harmony-drenched patchwork of American music. Sure, the title track is a straight-ahead slice of bluegrass, but the other tracks are a mix of laid-back country rock (“Transatlantic Blues”), folk balladry (“Lean on the Wind”), and even a Beatles cover for good measure (“If I Needed Someone”). The one element that remains the same from track-to-track is the stripped-down instrumentation. “It’s important to us to actually be able to play our songs live, and to have our recorded material sound like authentically us,” says the band’s singer and fiddle player, Colleen Heine. “So we consciously stay away from lots of overdubs that we could never recreate live. Plus, I think we all have a deep appreciation for the true sound of acoustic instruments.” In fact, singer/bassist Zack Smith thinks that the limitations of an acoustic combo can actually be helpful, especially onstage. “Acoustic instruments are especially expressive because of their constraints,” he says. “Each instrument has a special role within the group to occupy a certain frequency range and maintain a certain rhythmic responsibility. Maybe it’s about doing more with less — you can’t just turn it up to 11. Some serious creativity can come out of these constraints and parameters.” —Vincent Harris FRIDAY