METAL | Mosh Madness
Sat. March 19
2 p.m.
The Hive

A study by Australian public research institution University of Queensland last year revealed that metal music is good for you; it helps people process anger in a healthy way. Whatever — we’re not here to calm your ass down but to merely tell you where you can raise some hell this weekend. Summerville venue the Hive will host a mini, all-ages fest featuring face-melters from across the local and regional metal spectrum, including veterans from the thrash/nü-metal scene, like Charleston’s Breakin Skullz and Dying Breath, alongside Summerville’s Down Under, who performed their first gig at last summer’s Lowcountry Death Fest. “The goal is to bring together the entire local metal scene, young and old, with the most diverse lineup I’ve booked yet,” says William Manigault, bassist in Summerville metalcore act the Commoner and I and promoter/founder of 843Core Promotions. Other acts set to calm and/or rock you include Rock Hill progressive metal five-piece JYNZO, Fort Mill metalcore band Innervisions, Charlotte deathcore act Exiles, Charleston groove metal outfit Primo Noctis, Charleston prog-metal four-piece Above Livius, and Charlotte deathcore band the Culturalist. —Kelly Rae Smith SATURDAY


w/ Sweatlands and Secret Guest
Sat. March 19
9 p.m.
Local 616

The music of YR Lad strikes an interesting balance between the winding, experimental structures of progressive rock (think early Red House Painters) and melodic-yet-mournful guitar pop. It’s a delicate balance that never seems to tip fully in either direction, but their music does reward a patient listener with blissfully dreamy songs that wander but don’t meander. That said, “meandering” is a pretty good description of the long and winding path that led to the band’s new album, Little Point Sable. “We started recording it in August of 2014,” says singer/guitarist Harper Marchman-Jones. “Our bassist’s family has a cabin on Lake Michigan, so we went up there for a week and just set up a small mobile studio to do most of the basic tracking for the album. Then at various points in 2015, we redid a couple of the songs completely. We wrapped sometime in the summer of last year. It was a little frustrating waiting for it to come out, but we wanted to make sure we were doing it right.” The band produced the album themselves, which Marchman-Jones now sees as an approach with mixed results. “The main thing is that it wasn’t time sensitive,” he says. “It was a really laid-back process for the most part. We got a lot of work done, but we weren’t on the clock. But I don’t think I’d want to do an album the way we did this one again, because of the amount of time and the self-doubt aspect of it that comes into it when you’re self-producing. We did vocals three times over, and there’s always this lingering sense of, ‘I could do this better.’” —Vincent Harris SATURDAY


FOLK | Joan Baez
Wed. March 16
8 p.m.
Charleston Music Hall

Joan Baez is a name that is associated with activism as much as it is with music. Her Hispanic heritage, Quaker roots, and socially active father all influenced her to become outspoken about human rights. When Baez purchased her first Gibson guitar in 1957, she saw the impact music could make and the potential it had in social movements. Though her beginnings were humble, making $10 a show with roughly eight audience members, her popularity grew rapidly. By 1960, she’d signed with Vanguard Records. Commonly described as a folk artist, Baez draws from pop, country, rock, and gospel traditions and is well-known for her covers of other artists like Leonard Cohen, Woody Guthrie, the Beatles, the Allman Brothers, Pete Seeger, Paul Simon, Stevie Wonder, and the Rolling Stones. As her career expanded into the ’60s, she introduced the country to one-time beau Bob Dylan, and the two would go on to become the king and queen of folk music. In 2009, she celebrated 50 years of performing and in 2007 was the recipient of the Lifetime Achievement Award from the Recording Academy. Last year, the singer recorded a somewhat sentimental song with Charleston band A Fragile Tomorrow. The track “One Way Ticket” was written by Mimi and Richard Fariña — the latter of which is a cousin of A Fragile Tomorrow brothers Sean, Dominic, and Brendan Kelly, while Mimi Fariña is Baez’s late sister. For her Charleston show, Baez will perform her 2008 album Day After Tomorrow, which includes covers of songs from Tom Waits, Elvis Costello, Patty Griffon, Steve Earle, and more. Last weekend, Baez joined the Indigo Girls onstage at the Charleston Music Hall for a cover of Dylan’s “Don’t Think Twice, it’s Alright.” No word yet on if A Fragile Tomorrow will join her at any point this evening, but wouldn’t that be something? —Madi Kois WEDNESDAY


AMERICANA | Dust & Ashes
w/ Diaspoura and Kevin Venom
Fri. March 18
10 p.m.
Tin Roof

The instrumentation of the Charlotte, N.C. quintet Dust & Ashes is straightforward enough: acoustic guitar, fiddle, cello, banjo, some hand percussion — nothing too out of the ordinary in the ever-more-amorphous “Americana” category. And they rely on the same tight, emotional vocal harmonies that acoustic groups often trade in — and that’s about where the conventional part stops and the real fun begins. Singer-guitarist Heather Himes claims a wide range of influences, from Neil Young and Willie Nelson to Scott Avett and Brandi Carlile, and damned if she doesn’t manage to channel a little of all of them as a performer. Her low-moan of a voice lends a truly haunted sense of despair to the band’s songs, and the other instruments swirl around her bedrock rhythm guitar like some sort of gypsy funeral procession. And then we get to the lyrics, which combine the typical doomed-love-and-tragedy fare with some no-nonsense genre benders, like “Redneck Dyke,” which spins the tale of the tough-as-nails (and tougher-than-males) protagonist who takes on a “group of men/probably eight or 10” in a fight and shows them who’s boss before riding off on her motorbike. Image-wise, the band plays with tradition a bit more, with Himes and percussionist Tiffany Goodman favoring string-ties and suspenders while the rest of the all-female group often go for old-West burlesque lace, stockings, and garters. —Vincent Harris FRIDAY