Indie | Cat Power
w/ Mumford
and Sons
Mon. Mar. 18
7:30 p.m.
North Charleston Coliseum

Perpetually down singer-songwriter Cat Power grasps the power of subtlety. No matter how many instruments she adds, she keeps the volume low, all to her advantage. Despite being on her 10th studio album, two decades into her career, Power has used several different inflections on her sound without straying far from home. On her latest LP, Wanderer, Cat Power uses a little blues (“You Get”) and rhythmic country (“Woman”) to once again make a sound that’s familiar, but unique to her. On “Nothing Really Matters” Power ruminates on a question that Bob Dylan would pose: “How can other people’s ways/ be an estimate of your way of life/ Can’t the words and birds and trees and earth/ be the same thing and be just as right,” she asks. Just like the rest of her career, there’s way more to unpack in that statement than a first glance could manage. —Heath Ellison MONDAY


Indie Folk | Yotam Ben Horin, Shira
w/ CJ Deluca
Mon. Mar. 18
8 p.m.
Tin Roof

Yotam Ben Horin made a pretty bold move with his solo career. Starting out as the singer and bassist for Israeli pop-punk band Useless ID, Horin stepped away from bigger venues and sounds to write acoustic folk tunes in his house and upload them to the internet, with seemingly no plan to release them more formally. Out in 2012, his debut album Distant Lover was a stark contrast to the fast and loud philosophy of his band; it’s filled with downbeat ballads and love songs. For this stretch of time on the road, Horin will be accompanied by Israeli folk singer Shira. Comparably, Shira is sunnier, more optimistic than her touring counterpart, providing a good balance to their joint tour. —Heath Ellison MONDAY


Acoustic Genre Hopping | Lovers Leap
w/ Marshgrass Mamas
Thurs. March 14
8 p.m.
$10 adv.,
$12 dos.
Pour House

Sol Driven Train singer/guitarist Joel Timmons and Della Mae singer/upright bassist Shelby Means had a cool name at the ready when they formed a new duo project a couple of years back. They named themselves Sally & George, after Means’ grandparents. But they can’t take credit for Lovers Leap, the name of yet another new band they have going with the Biscuit Burners’ Mary Lucey (banjo) and Acoustic Syndicate’s Billy Cardine (dobro). “We performed at the French Broad River Festival and the promoter kind of put us on this blind musical date with Billy and Mary,” Timmons says. “I think they introduced us ‘Billy, Mary, Sally, and George.’ So we were asking the audience for suggestions for the name, and at the end of the set, this big, bearded lumberjack-looking fella looked up on the stage and pointed across the French Broad River to an outcropping called Lovers Leap, and he goes ‘You guys are Lovers Leap!’ And that worked so well because it was two couples who are taking on this new venture together.” The band’s instrumentation and pitch-perfect vocal harmonies make bluegrass a natural fit, but don’t be fooled; they play everything else too, from blues to gospel to world music and, naturally, the occasional Fleetwood Mac cover. They also switch instruments a lot, bringing electric guitar, cello, drums, and lap steel into the mix. “Mary is also an amazing bass player,” Means says, “so I can hand off the bass to her and play acoustic guitar and then Joel can play electric, which is really cool.” —Vincent Harris THURSDAY


Celtic Music–World Music | World Music Café
w/ Peter Kfoury, Pete Cortese, Clelia Reardon, Sadie DeWall
Sat. March 16
7:30 p.m.
$15 suggested donation ($5 student)
Gage Hall

Typically, oud-dude Peter Kfoury and his percussionist, Pete Cortese, play Middle Eastern jazz-fusion in their World Music Café sets. So when Kfoury realized they had a day-before-St. Patrick’s Day gig coming up, he knew he needed to add something holiday-appropriate. That’s where guitarist Clelia Reardon and violinist Sadie DeWall come in. “I have a Celtic music duo playing before Pete and I,” Kfoury says. “Clelia is a great guitar player and has been a guitar teacher for many years; in fact, she’s probably one of the best known guitar teachers in Charleston. And Sadie plays with the Charleston Symphony.” After the two duos’ respective sets, Kfoury and Cortese will join DeWall and Reardon for a few songs, a combination of styles that Kfoury says will work better than you might think. “The commonality is pretty striking if you listen to the different styles of music,” he says. “Authentic Celtic rhythms are very similar to a lot of the Arabic and North African rhythms. How that happened, I don’t know, but there’s a really strong overlap.” —Vincent Harris SATURDAY


Fuzz-Rock | The Stone Eye
w/ Mode Low, Sundrifter
Fri. March 15
8 p.m.
Tin Roof

Philadelphia fuzz-rockers the Stone Eye are in a unique position right now. In the studio, these guys are typically a loud-as-fuck guitar-and-drums duo in the manner of the White Stripes before Jack White got all artistic. On their current tour, however, they’ve expanded to a four-piece, adding an additional guitarist and a bass player. Without a doubt, the additions had an effect on their primitive-but-propulsive sound. “It allows for more intricate guitar playing while the bass anchors the sound,” says singer/guitarist Stephen Burdick. “As a two-piece you can’t do a lot of solos, but with a bass you can experiment more with that because it’s holding down the fort and adding rhythm to make it a bigger sound.” On top of that bigger sound though, we still have the haunting, minor-key vocal harmonies that differentiate the band from their peers. On studio releases especially, the interweaving vocals form a dark-but-attractive aural web. “I grew up loving Alice In Chains, and that certainly played a big part in those vocal harmonies,” Burdick says. “We record everything at home, so whenever I feel like recording vocals I can just overdub and layer the harmonies in there.” —Vincent Harris FRIDAY