ROCKABILLY FREAK SHOW | Coney Island Rock ‘n’ Roll Roadshow
w/ Urban Pioneers, Jesse Ray Carter Trio, Skye Paige
Thurs. Nov. 21
8 p.m.
The Sparrow

If you like some “pretty crazy dick tricks” with your music, then you need to get yourself to the Sparrow on Thursday. The Coney Island Rock ‘n’ Roll Roadshow — a traveling troupe of musical acts, burlesque performers, and freaks — takes to the road for a few months a couple of times each year. They switch up the musical acts with each tour, and for this go-round audience members will hear the Americana bluegrass group Urban Pioneers and the hardcore rockabilly act the Jesse Ray Carter Trio. And sometimes, tour manager and self-proclaimed Weirdo Wrangler Eric Bruce says, if there’s enough time, they add a third group. “They call themselves the Bourbon Pioneers, and they’re this total jam band. They cover anyone from Johnny Cash to Motorhead,” he says. Local songstress Skye Paige will perform as well. Bruce is all about creating a memorable show for his audiences, and this tour’s already made Roadshow history. “Cut Throat [of the Cut Throat Freak Show] has these shark hooks he inserts into his eyeballs, and he lifts anvils, all kinds of stuff with them,” Bruce says. “There was this guy in the audience last night who had these huge nipple clamps — I think he was some kind of pervert. They ran the chains from Cut Throat’s eyelids to the nipple clamps and lifted these outdoor patio chairs.” Ew. —Elizabeth Pandolfi THURSDAY


AMERICANA | Gaslight Street
Wed. Nov. 27
8 p.m.
Home Team BBQ (Sullivans Island)

Two years ago after Gaslight Street’s sophomore record, 2011’s Idle Speed, singer-guitarist Campbell Brown and company — Whitt Algar (keys), Dan Wright (guitar), Noelle Pietras (vocals, percussions), Stratton Moore (drums), and Ben Kinser (bass) — are back with a brand-spanking new LP, Heavy Wind. The title track is a weary Southern rock ballad that recalls the Allman Brothers Band and Widespread Panic. Brown and company allow the music to build bit by bit, and we guarantee the song will still be in your head long after the tune ends. The third track on Heavy Wind, “Uptight,” feels like a straight-up country rocker before it mellows into a Dead-style ballad, while “Blue Skies for Fools” is a country-reggae shuffler featuring co-vocals by Brown and Pietras and “Stone Rollin’” is a good ole-fashioned Little Feat-esque boogie. If you’re interested in hearing the title track, head on over to Gaslight Street’s Reverb Nation page, but if you’re itching to hear the album in its entirety, you’re going to need to throw down some green at the iTunes store. —Stephen Pappas SUNDAY AND NEXT WEDNESDAY


w/ Futurebirds, Luke Cunningham
Sat. Nov. 23
9 p.m.
$10/adv., $13/door
Music Farm

Like the wind whistling gently through the trees at dusk, broadcasting news of fall’s approach, there’s something sweet and wistful about New Madrid. Recent transplants to Athens, Ga. from Tennessee, the quartet released its full-length debut Yardboat last August, and the band members’ loose, reverb-laden songs linger and loom, spiraling skyward before swelling back to life in clamorous finales. At times, the group’s dreamy unhurried builds and prog-like structures recall post-rock instrumentalists like Explosions in the Sky, while in other cases New Madrid stretches out like a jam band behind noodly riffage. But the Athens outfit also takes time to evoke the cosmic country of Beachwood Sparks (“Country Moon I”), and the bandmates even manage to combine calypso and jangly folk-rock (“Country Moon Pt. II”). Toss in a 10-minute-long ambient track seemingly pitched at the massage therapist market, and you have a rather disparate gumbo. This eclecticism undoubtedly produces lively, freewheeling performances that can keep the audience guessing, but on disc it feels a tad disjointed. Still it’s hard not to marvel at the craft and musicianship. —Chris Parker SATURDAY


w/ Brian Wright
Fri. Nov. 22
8 p.m.
$22/adv., $25/door
Charleston Music Hall

It’s official: Sarah Jarosz has graduated from child prodigy to a full-fledged adult with her latest album, Build Me Up from Bones. It was released this fall, and music critics have been gushing over it — or, more specifically, over Jarosz’ increased confidence in her voice and songwriting abilities. And they’re right, too. Jarosz has really grown into her sound, which was already quite beautiful, enriching her acoustic bluegrassy style with hints of rock and eschewing the few twangy vocal affectations that were apparent on her previous albums. But the album isn’t the only thing she’s accomplished this year. In May, she graduated from the New England Conservatory of Music and in August moved to New York. The move was followed by the release of Bones in September. “It’s been a whirlwind, to say the least,” she says. “To work so hard for something and have it be so well-received, that’s a great feeling.” Jarosz credits a lot of her growth as a musician to the things she was exposed to in college, especially poetry writing. “Being able to stretch a little bit in my writing, and being able to write poetry and not be tied down to a song form has really been good for me.” You can listen to the full album on her website, sarahjarosz.com. —Elizabeth Pandolfi FRIDAY