AMERICANA | Jordan Igoe
w/ Stagbriar and Rachel Kate
Fri. Feb. 14
9 p.m. $8
Royal American

Charleston’s Jordan Igoe first began recording tracks for her debut album in 2012, but on Valentine’s Day 2014, she’ll finally release the long-gestating disc, How to Love. And if we don’t mind saying, How to Love was well worth the wait. The lead off track, “Paper May,” is a sultry shuffler with ample doses of old-school country and retro-soul, while a mid-album number, “Losing It,” is a lush piece of pop Americana, the kind of track that the love child of Jeff Tweedy and Burt Bacharach might have written for Cary Ann Hearst. As for the album’s final song, it’s a particularly nasty jazz-F.U. that comes complete with some even nastier guitar playing. “I’ve been playing out for 13 years, and I have never had an album made, so just this was a huge accomplishment for me alone,” Igoe says. How to Love was co-produced by Wolfgang Zimmerman, who is rapidly becoming the preeminent producer in town. Not surprisingly, Igoe has nothing but respect for her comrade in arms. “He is not only easy to get along with and a good listener, but he adds his own creative input. Making this record was not only an unforgettably pleasant experience, but listening to what we created with our hard work and creativity makes me happier than I can describe.” —Chris Haire FRIDAY

[image-2]SOUL | Erykah Badu

w/ The Isley Brothers
Sat. Feb. 15
7 p.m.
North Charleston Coliseum

The hook to Erykah Badu’s first hit, 1997’s purring “On and On,” is built upon the mantra-like repetition of the following line: “My cypher keeps moving like a rolling stone.” Since her ground-breaking debut Baduizm, Badu’s kept her cypher moving, all right, relentlessly experimenting with her sound and pushing the boundaries of R&B. Just don’t ask her to do it quickly: She’s released just five albums in 17 years, and she’s only appeared on a handful of collaborations since her last record in 2010. But whenever Badu steps into the limelight, she does so with a vengeance. Her New Amerykah series supplements the neo-soul of her early years with deep, heavy, Mothership-approved funk and psychedelic, slow-motion soul-jazz. Her voice, languid and reedy and lissome, remains one of the most perfect in recorded history. An uncompromising innovator, Badu never fails to stimulate. —Patrick Wall SATURDAY

[image-4]SYNTH JAZZ | The Mike Dillon Band
w/ Dopapod
Fri. Feb. 14
9 p.m., $10/adv., $12/door
Pour House

Mike Dillon grew up a jazzhead in Texas and got a degree from North Texas State, where he studied percussion. Dillon eventually turned to underground rock (Ten Hands, Billy Goat), but he was drawn back into jazz by the Thelonious Monk documentary Straight No Chaser. This time he gravitated toward the vibraphone because of his love of mixing melody and rhythm. Dillon then joined lively experimentalists Critters Buggin in the late ’90s before joining Garage a Trois, the Dead Kenny Gs, and the Les Claypool-led Fancy Trio. Dillon’s also released four solo albums that echo the adventurous, boundary-pushing spirit of his other combos. The albums mix a record bin of styles from skronk to satin-smooth jazz, Latin rock to horror movie synth, hip-hop, hard funk, and klezmer — the last five all within “Cedar” off 2012’s Urn. The disc features a terrific three-song collaboration with MC Silver Ice that evokes not only golden age hip-hop (copping the sample underpinning Public Enemy’s “Welcome to the Terrordome”) but ’80s hard rock. The album ends with the pretty bossa nova-tinged electro-pop instrumental, “Yeah It’s Christmas (So You Went and Shot Some Dope).” —Chris Parker FRIDAY

[image-3]RETRO SOUL | Sharon Jones

and the Dap-Kings
w/ Valerie June
Mon. Feb. 17
9 p.m. $23/adv., $25/door
Music Farm

Sharon Jones didn’t have a great 2013. First, her mother passed away from brain cancer. After that, she was diagnosed with cancer of her own, initially detected in her bile duct, but eventually discovered to be stage-two pancreatic cancer. She endured surgeries and chemotherapy, but the fiery soul singer is still here. And she’s still singing, returning to celebrate her South Carolina roots with a concert at the Music Farm. Her newest album with her backing band the Dap-Kings, Give the People What They Want, arrived earlier this year, and as her records typically do, it infuses gritty, old-school funk with irrepressible verve. On the opening “Retreat!,” she’s buttressed by insistent back-up singers and smoldering horns as she looks for a little more than Aretha Franklin’s “Respect.” “Retreat!” she cries. “What a fool you’d be to take me on.” This is not the sound of a woman who’s easily defeated — by illness or anything else. —Jordan Lawrence MONDAY