VINYL | Auntie Ayi, Sista Misses, Charleston Shop Curator
Sat. Nov. 24
8 p.m.
Graft Wine Shop & Wine Bar

We can’t think of a better pairing than wine and vinyl, which is why Graft, the King Street wine shop opened by Femi Oyediran and Miles White earlier this year, is so appealing. Record covers line the walls, many of them holding the kind of music that ages as well as the wine that fills the room. And this weekend, the shop-bar will turn things up a notch by pairing its two loves in the best possible way: with an evening of live DJs — Auntie Ayi, Sista Misses, and Charleston Shop Curator — spinning vinyl that’ll make you boogie and bounce, smile and sway. What’s more, the ladies are also collecting clothes, PJs, and toiletries for Lowcountry Orphan Relief, so don’t forget to bring along your own donations. —Kelly Rae Smith SATURDAY


TRIBUTE | The Last Waltz Ensemble presents The Dirty Waltz
Featuring E.T. & Kevin of the Dirty Dozen Brass Band, performing the music of Bob Dylan and The Band
w/ Songs From The Road Band
Sat. Nov. 24
9 p.m.
Pour House

There was a time in rock ‘n’ roll when mythical, mysterious giants walked the Earth, conjuring incredible songs with minimal fuss and little need to explain their inspiration. Bob Dylan and the Band are both such legends, and there are so many questions about them still. How the hell did the Band, four Canadians, and a token American (drummer/vocalist Levon Helm) come up with those rustic roots-rock songs that sounded centuries old? How the hell has that flood of poetry poured forth from Bob Dylan’s head and onto vinyl for so long? And how the hell did they do such amazing work together on the rare occasions when they actually did play with each other? We may never have any answers to those questions, but we still have the music, stuff like Music From Big Pink and The Basement Tapes and Before the Flood. That’s the music that The Last Waltz Ensemble will be paying tribute to at the Pour House on Saturday, with a little help from some of the best horns in the business, courtesy of Efrem Towns (trumpet) and Kevin Harris (tenor sax) from the Dirty Dozen Brass Band. —Vincent Harris SATURDAY


SOUL | Live in the Lounge w/ Shaniqua McCants
Tues. Nov. 27
9 p.m.
Voodoo Tiki Bar & Lounge

It seems like Shaniqua McCants appeared overnight. Since permanently relocating to Charleston from Florence in the past several months, McCants commanded the Lowcountry’s attention with a powerful opening set for Benny Starr’s milestone live recording of A Water Album. She hasn’t shown signs of letting up on the throttle anytime soon, gigging frequently and usually with a full backing band. “When I perform, I don’t really like to sing with tracks, instrumentals,” she says. “I usually just pick some of my favorite musicians and they kind of bring a deeply moving and often deeply funky, harmonically complex compositions.” McCants describes her style as minimalist R&B, chillwave, and cloud rap. Recently, McCants has become Terraphonics’ full-time vocalist, but will not perform with them for Live in the Lounge. —Heath Ellison TUESDAY


TRIBUTE | String Up Tom Waits (An Acoustic Tribute)
w/ Members of Staggers & Jags, Red Cedar Review, Quiet Company, Robo Trio & special guests
Wed. Nov. 28
9:30 p.m.
$10/adv., $12/door
Pour House

As indicated by its name, this tribute show will indeed be an all-acoustic tribute to the great weirdo barroom bard Tom Waits, though there will be drums present behind the guitars, fiddles, upright basses, mandolins, and banjos. And there are several reasons for this approach. One is that the musicians involved, from Staggers & Jags and Red Cedar Review to Quiet Company, all excel at folk-and-bluegrass-based acoustic music. Two, the organizers of the show, Staggers & Jags’ George Stevens and James Anderson, are lifelong Tom Waits fans. And third, how are you gonna out-Tom Waits Tom Waits? “If you try to recreate Tom in the way that he does it, you’re setting yourself up for failure because no one else can do it like he does it,” Stevens says. “That’s what drove us to get these great players together to showcase his music in the way we’re best equipped to do.” Those musicians will cover just about every phase of Waits’ career, from his 1970s hobo jazz to his theatrical avant-garde stuff from the 1980s and beyond. “Everyone brought different songs forward from Tom’s catalog,” Stevens says. “That fractured jazz, the theatrical stuff from the ’80s, we spread pretty far across Tom’s career. But the songs come together in a way that makes for a really cohesive show.” —Vincent Harris WEDNESDAY