ROCK ‘N’ ROLL | The Artisanals
w/ Parker Gispert (The Whigs)
Wed. Sept. 13
10 p.m.
The Royal American

The last time we checked in with the Artisanals, back in January, they’d hit the jackpot, more than once. A brand-spanking-new band, they’d opened for Band of Horses in Washington D.C. on New Year’s Eve, and the universe had opened a series of doors leading the guys to the Magic Barn, a studio-converted barn in BF Iowa. It was there that the group recorded a collection of songs written by frontman Johnny Delaware and guitarist Clay Houle using the old Neve console from the storied Magic Shop in New York City, through which David Bowie’s final album, among many other masterpieces, was conceived. Part of that collection is getting a release at last on Thurs. Sept. 14 — the four-song EP is called Literally, Anywhere. “We could have recorded this on anything we wanted,” Delaware says, “but we decided to respect our art and we did it on a ton of badass gear. I don’t know how many times in our lives we’ll get to do something like that. It wasn’t the cheapest thing to do, but we wanted to go all the way.” The EP features four tracks, including “Roll With It,” premiered last week by Paste Magazine, and “Angel 42,” which gets a video premiere by the City Paper this week. Delaware says they have about four albums’ worth of material in the Artisanal arsenal but that he believes in patience, in waiting for the right time to unveil it all — careful not to settle. That’s his general outlook on life, and it has, after all, worked out well thus far. You’ll sense such mantras throughout Literally, Anywhere, particularly in “Roll With It,” the uber Tom Petty-esque anthem from which the EP title originates. The song is all about following the wind despite yourself. “The most special thing about being alive is the mystery,” Delaware says. “You just have to go with it, this wave, and honor it but understand it’s OK to have fun and not take it so seriously at the same time.” —Kelly Rae Smith WEDNESDAY


OLD-TIME MUSIC | Mikey Collins and Hoot & Hollar
Thurs. Sept. 14
8 p.m.
Tin Roof

Mikey Collins spent a long time on the traditional acoustic music scene as a one-man band, but eventually tired of trying to handle everything himself. He decided that he wanted to ease his way into playing with a full band, and was lucky enough to meet Hoot & Hollar, an old-time music duo made up of violinist Amy Alvey and guitarist Mike Kilianski at around the same time. “I met them at a show in Charlottesville,” Collins says. “They were just passing through; I don’t even think they were playing that night, and we had a really fun time and jammed all night. We hit it off as friends as well as musically.” After spending some serious jam time together, the trio planned a handful of shows together, and they’re planning to be as freewheeling as possible when it comes to the set list. “That’s one of the things I love about traditional music,” he says. “When you’ve been doing it long enough, you learn to recognize the tunes and the patterns, and you can play with anybody. Flying by the seat of your pants is just part of the scene in general. I love it.” —Vincent Harris THURSDAY


PUNK-ROCK | Cheetah Chrome’s Dead Boys
w/ Secret Guest, The 33’s
Thurs. Sept. 14
9 p.m.
Royal American

If there’s ever been an old-school punk band that laid out a path for generations of sneering, guitar-wielding brats, it’s the Dead Boys, with their 1977 debut album Young, Loud & Snotty, which is somehow celebrating its 40th anniversary this year. Initially led by singer Stiv Bators and guitarist Cheetah Chrome, the band created an album of pure bad attitude, chock full of instant filthy classics like “Sonic Reducer,” “Caught with the Meat in Your Mouth,” and “Ain’t Nothing to Do” — songs with sloppy tempos, flamethrower guitar, and leering shouts to spare. It was such a stunning debut that, in retrospect, it seems like it might have thrown the band for a loop. They only recorded one more album before fading away in the early ’80s, reuniting occasionally even after Bators was killed in 1990 after being hit by a taxi. But in the wake of a new reissue of their classic debut, Chrome and original drummer Johnny Blitz have regrouped to take those bad attitude-laden gems to the stage one more time. —Vincent Harris THURSDAY


FUNK-ROCK | Otanana Trio
Sun. Sept. 16
9 p.m.
The Sparrow

Even for a genre as off-the-wall unpredictable as Japanese rock, the Otanana Trio is seriously unusual. Led by singer/guitarist Kentaro Saito, the band has created an oddly alluring concoction of raw indie rock and surprisingly effective funk, layering Saito’s choppy riffs over top of Kazuhisa Maekawa’s incredibly percussive slap-bass and Hikari Kuroda’s in-the-pocket drumming. What they use that alchemy to create is somewhat difficult to describe, but the best comparison we can think of is the Gang Of Four’s rhythm section running full-speed-ahead into the B-52’s’ frontline, creating a kitschy but musically solid brew that defies traditional genres. On songs like “No Ramen No Peace” and “Sensei,” Saito links together disconnected phrases that play at social commentary, self-help, and world history, somehow making what could be a shallow style into something more serious. It might sound disjointed, and it probably should be, but the songs are so damn funky that it’s hard to argue with the band when they lock into a groove. ­—Vincent Harris SUNDAY