Reggae | Satsang
Wed. Oct. 30
9:30 p.m.
$12/adv, $15/dos
Charleston Pour House

For lead singer Drew McManus, Satsang, or “in the company of truth,” is an ongoing reminder that it is his job to spread the message of strength, growth, and resilience through song. According to McManus, it was during a month-long backpacking trip in the Himalayas, while immersed in certain spiritual exercises, that he realized the importance of sharing poetic snapshots from his own journey of recovery from addiction and other demons with the world. The group’s latest single, a mantra of sorts, called “We Are Strong,” is a perfect example of what such introspective reflections can look like when they are writ large, and given a catchy beat. There are nods to everything from classic Motown to ’90s hip-hop to Tom Petty & the Heartbreakers in Satsang’s recent work. Still, the spirit of McManus and company’s artistic vision is perhaps most akin to that of Michael Franti & Spearhead, in that Satsang’s creative output is soulful, conscious music, first and foremost. The fact that the material is also melodic, and you can dance to it, makes it all the more fun for audiences to groove their way into becoming more centered human beings. —Kevin Wilson WEDNESDAY


w/ Dylan Leblanc, Baby Yaga, Nicole Atkins, Ona
Thurs. Oct. 31, Fri. Nov. 1
8:30 p.m.
Music Farm

Justin Osborne has never settled for being told what to do. Osborne and his band, SUSTO, have always been breaking the rules and bending the lines of confinement, and their newest album does just that. Their sound dances between rock and alternative while holding hands with blues and folk. In their combination of southern gothic and psychedelia, SUSTO tells stories through their music, representing life, change, and vulnerability. In other words, there’s a whole lot going on in the multi-genre world of SUSTO. And that world is coming back to Obsorne’s home for two nights at the Music Farm. Their newest album, Ever Since I Lost My Mind, was a bit different than their first two — it was the first album solely written by Osborne. Every song on Ever Since I Lost My Mind narrates something different. Songs like “Cocaine,” “If I Was,” and “Off You” are more emotional and slow-burning, while “Livin’ In America” and “Homeboy” are loud and fast-paced. Obsorne’s music mimics how life gives us a mixture of fast and slow, loud and quiet. “Susto,” as highlighted on the band’s website, “described an intense fear understood as a condition of the soul — an ongoing, spiritual panic attack.” Good music is fueled by more than the desire to entertain; it is fueled by the inherent need — the spiritual panic attack — to release what’s inside and share that with the world. It’s obvious that Osborne continues to use his susto to inspire his music. In his song “If I Was,” Osborne sings, “But I am just a singer with an electric guitar in my hands, trying to work through my own set of problems, trying the best that I can.” The beauty of Osborne’s music is its raw transparency. It doesn’t attempt to put a glossy film over life; it works to portray the messiness and realness of the world around us. —Abrie Richison THURSDAY


POST-HARDCORE | The Disquiet
w/ Haymaker, Chaos Ensues, Primo Noctis, Fulcrum, Skull Druggery, Echoes of Chaos
Sat. Nov. 2
6:30 p.m.
The Pub on 61

Kingdom, the new EP by Columbia band the Disquiet, is a five-song blast of hardcore-influenced guitar rock. The quartet, led by singer/guitarist Alex Roberts, weaves together sheets-of-sound guitars and winding, propulsive rhythms, perfectly framing Roberts’ heart-bearing lyrics. There are some emo touchstones in the Disquiet’s music, mostly in the way Roberts takes aim at both his own shortcomings and those who have betrayed him, but the sound is heavier than the typical emo group. Roberts wrote much of the material on Kingdom on acoustic guitar after the breakup of his previous band Cover Of Afternoon, then honed them into juggernaut rockers over two years before recording them. “These are songs that I envisioned in my brain for that band,” Roberts says, “but I just didn’t have an opportunity to do that until this group.” What Roberts did have, however, was former Cover Of Afternoon drummer Ryan Johnson on hand to help him with his new project. “Ryan is a highly trained instrumentalist,” Roberts says, “and probably one of the most gifted drummers I’ve ever worked with in any capacity. And he also understands musicality, so when I brought these shells of songs to the band, not only was he thinking about rhythms, he helped with the writing process. He can vocalize what he thinks the guitar, or the bass should be doing.” As for the album’s lyrical directness, Roberts says it’s the only way he knows how to write. “I’ve always been, for better or for worse, a really direct writer,” he says. “For me, music has always been about the things I want to say. That’s my outlet.” —Vincent Harris SATURDAY


ROCK | Battle of the Bands: Chili Cook-Off
w/ Bizness Suit, Guardian’s Warlock, Circus Fire, Community Pool, Pluff Mud Queen
Sat. Nov. 2
7 p.m.
The Sparrow

Battles of the bands have always been known as friendly competitions among highly talented musicians. But for Bizness Suit’s battle of the bands, the real competition will be for the best chili. “We have five bands playing for the competition, but the winner will be chosen not based on musical performance,” says Bizness Suit vocalist Sean Barry, “but by who has the best and most interesting chili.” Among Bizness Suit, who call themselves an alternative rock band somewhere between The Doors and Arctic Monkeys, four other bands will be performing not only what they put on stage, but what they put in the cauldron. For those hardcore rock ‘n’ roll fans out there, Pluff Mud Queen will satisfy your needs with their barbaric electric guitar, accompanied by a matching voice. In need of some groovy synths that will make you float away? Community Pool and their dreamy melodies can contribute to your night. Circus Fire, with their grandiose and lively performance, will leave you curious and wanting more. Lastly, Guardian’s Warlock’s substantive metal is not only pressing, but is unrelentingly melodious. All proceeds for the event will go towards Keeper of the Wild, a non-profit organization committed to conserving, preserving, and rehabilitating South Carolina’s wildlife. —Matthew Keady SATURDAY


COUNTRY | Kelsey Waldon
w/ Sally & George
Tues. Nov. 5
8:30 p.m.
Charleston Pour House

Kelsey Waldon can’t remember a time in her life when she was not singing. Growing up in Monkey’s Eyebrow, Ky, her influences ranged from local bluegrass bands to the Beatles. After moving to Nashville, and honing her performance skills for more than a decade, Waldon’s career suddenly got a big boost when she caught the ear of John Prine, who signed her to his record label, Oh Boy, earlier this year. Throughout her latest LP, White Noise/White Lines, Waldon’s insightful lyrics and plaintive vocals are enhanced by the sensational sonic environment she was able to cultivate in the studio. “One thing in particular that was so special to me,” Waldon says, “was getting to use my live band on the record. We’re seriously telepathic at this point, and it comes through in the music, even though a lot of what we captured was perfectly imperfect in many ways.” Waldon also seems pleased that this collection of tunes, which has only been out a few weeks, is already being perceived as more forward-looking than her previous work. “When the last album came out, people labeled me as a throwback artist. And I’m not. I am just an artist. One that’s making music right now. I am not stuck anywhere in the past. I think that reality was a little more apparent this time around.” —Kevin Wilson TUESDAY