This week's hot concerts

Soul Asylum                                                                                                                                                                                      6:30 p.m. Friday, June 1, Fountain Plaza, 1000 NC Music Factory Blvd. $5. www.ncmusicfactory.com     With its first new album in six years - a smart, rocking collection that finds the quartet in peak form - on the way in July, the veteran rock band headlines Friday Live! with three decades of hits, fan favorites and killer new tracks.

Corrosion of Conformity                                                                                                                                                              7 p.m. Friday, June 1, Amos’, 1423 S. Tryon St. $15-$18. www.etix.com                                                                     For 2012’s well received self-titled eighth album founders Mike Dean, Woody Weatherman, and Reed Mullin (who formed COC in Raleigh in 1982 and recorded 1985's much heralded “Animosity”) regrouped as a trio (vocalist Pepper Keenan was working with Down). With Torche and Black Cobra.

My Captain

9 p.m. Friday, June 1, Snug Harbor, 1228 Gordon St. $5. 704-333-9799.

This second act from most of the members of Charlotte's the Lights, Fluorescent hits its stride with urgent guitar lines and former Lights' bassist Robby Hartis' providing vocals and heartfelt, but biting lyrics. With Small Talk Industries, Homewrecker and Your Fuzzy Friends. 

Cusses
10:30 p.m. Friday, June 1, Evening Muse, 3227 N. Davidson St. $6-$8. 704-376-3737.
This Savannah rock trio shows incredible promise with a female vocalist whose presence and delivery are powerful but not fussy (like Pat Benatar-meets-Karen O of the Yeah Yeah Yeahs). 

Tom Principato
10 p.m. Saturday, June 2, Double Door, 1218 Charlottetown Ave. $12. 704-376-1446.
The award winning Washington-DC based guitarist, who is known for his lyrical playing and electric rhythm & blues style, celebrates his 60th birthday and the release of the remastered version of his disc, “Raising the Roof.”

Joe Pug
8 p.m. Tuesday, June 5, Evening Muse, 3227 N. Davidson St. $10-$12. 704-376-3737.
This up and coming songwriter’s attention-getting lyrics and grassroots approach has garnered him critical acclaim and placed him in the company of songwriters like Josh Ritter. His sophomore disc “The Great Despiser” boasts arrangements worthy of his literary lyrics. With the David Wax Museum.  

Blind Pilot
7 p.m. Thursday, June 7, Neighborhood Theatre, 511 E. 36^th St. $15-$17. 704-358-9298.
Like its Northwest neighbors Death Cab for Cutie (or New Mexico’s Shins), the Portland sextet makes subtle, acoustic-flavored pop that doesn’t quite reach a rocking fever pitch. but instead enlightens listeners with lyrical heft and pretty arrangements.

Paul Thorn Band
7:30 p.m. Thursday, June 7, McGlohon Theatre, 345 N. College St. $19.50-$25. 704-372-1000.
The blues-rock singer-songwriter’s new collection, “What The Hell Is Goin’ On?,” finds Thorn putting his own gritty rock stamp on some of his favorite songs. With Lera Lynn.

Ghost Wolves
10:30 p.m. Thursday, June 7, Evening Muse, 3227 N. Davidson St. $8-$10. 704-376-3737.
This duo creates bare bones, punk-inspired blues and raw, retro psychobilly like early White Stripes fronted by a mix of Lesley Gore and Wanda Jackson. With fellow Austin act Uncle Lucius. 

Doc Watson's music continues to impact Carolina artists

May has been brutal on the music industry. It began with the loss of Beastie Boy Adam Yauch and ends with the death of North Carolina’s own roots music legend Doc Watson. In between those two music giants we lost Robin Gibb, Donna Summer, and Chuck Brown - all giants in their own genres. 

Doc Watson died Tuesday. Like those aforementioned musicians, his influence extended beyond his genre and his generation. Shortly after his death was announced tweets started rolling in. Everyone from Slash to NC’s own Valient Thorr to actor David Guintoli (star of CBS’ “Grimm”) mentioned Watson and included the above YouTube clip of him playing.  It was a reminder of his reach and influence.

That influence is evident in music being made today by players that are 60 and 70 years Watson’s juniors. Watson was one of my deceased father’s favorites, but he is also a favorite among fans my age and younger. I remember Seth Avett, who met Watson when he was young, telling me in an early interview about the impact the guitar legend made on him. I’m sure numerous other young Southern musicians have similar stories. I imagine there were fledgling musicians discovering his incredible flatpicking for the first time at Merlefest’s 25^th Anniversary just last month.

When I was in my early twenties I had a mandolin playing boyfriend - a former drummer whose course and eventually career was altered in part by his experience at Merlefest. The musicians - many of them famous - that he met and saw perform at Watson’s annual tribute to his son Merle as a 13 or 14-year-old kid helped change his path. He dove into the acoustic music scene in Charlotte - jamming with much older musicians at Tyber Creek Pub in Southend on Sunday nights and soaking in live music at rural festivals. At 17 he saved practically every dime he had for a $4,000 custom made mandolin. Today he makes custom acoustic instruments on a farm in Siler City. If it weren’t for the rich history of music he absorbed here in North Carolina he might have gone in another direction. Having played that first acoustic guitar he built, I can say with confidence that that would've been a real shame.

For musicians like him, the Avetts, Jonathan Wilson, the New Familiars and countless others, the music of pioneering Carolinians like Watson and Earl Scruggs (who died in March) continues to inform, impact and influence. I doubt that will change now that they’re gone.

Wilson, a Forest City native who now lives in L.A., summed it up well during an interview earlier this month: “The tunes and the musicians that have come from that state have been extremely strong. Those are the thoughts that have been swimming in my head since I was a kid. Of course Doc and Earl Scruggs…there’s a potency and sense of skill and dedication that those dudes had. That gives you a confidence and a sense of pride.”

                                                                

New App helps fans, bands preview local live music

A month or so ago I downloaded a new App to my iPhone called DeliRadio. I think its a good idea for both fans in search of live music and bands looking for a quick and easy way to promote shows.

Here's how it works: Say you're out with friends on a Friday night looking for something to do. You can type in your city, choose events within five, 15, 50 or 100 miles of your location, and hit "crunch" to hear a sampling of live music options. If you're planning ahead the calendar includes concerts that are months away. You can choose what's going on tonight or 30 days from now.

Keep in mind the selection is dependent on those acts that are registered with the site. So it's not comprehensive, but there's a lot of variety. This week, for instance, you can hear Polyphonic Spree (at McGlohon today) and Nadastrom (a DJ duo at Dharma Lounge Friday) or look ahead to the coming month with Screaming Females at The Haunted Mill, Bad Veins at Snug Harbor, Antigone Rising at the Muse, Zach Deputy at Visulite, the Farewell Drifters at the US National Whitewater Center, or Tech N9ne at Tremont.

Another thing I like is it gives listeners a chance to check out opening acts. I know many people roll in right before the headliner. I'm guilty too sometimes (less to pay the sitter). But that can mean missing a really awesome band. After checking it out on DeliRadio I realized Chappo's "Come Home" is ever so familiar from an iPod commercial. I dug their other tracks and now will make sure I'm at Neighborhood Theatre early enough for their opening set with Of Montreal on Tuesday, June 12.

The other big reason I could see to use DeliRadio is while traveling. It also offers festival specific playlists, so you could check out who you want to catch at Bonnaroo during the drive there.

It especially seems like a great tool for independent and local bands or small venues that might not have a big marketing budget. It seems to level the playing field not pushing one act or one venue over another. Users can search by local bands and local venues as well. There are only a handful of Charlotte bands registered though - Carson, Old Milwaukee, Wretched, Paleface, and a handful of others. We could definitely use more representation.

Registration looks pretty simple. Artists can upload multiple songs and photos and sell music or offer free downloads through the App. Fans can shop for tickets to shows as well.

For more information check out www.deliradio.com or find it at the iTunes store.

This week's hot concerts

Snug 600

7 p.m. Friday, Saturday and Sunday , May 25, 26 and 27. Snug Harbor, 1228 Gordon St. $6. 704-333-9799.

The annual Plaza-Midwood alternative to Speed Street features Temperance League, Pullman Strike, Hungry Girl, Steer, and Brandaddy Longlegs Friday; One Another, Baby Shaker, Chalkies, Jeremiah & the Howling Owls, Hey Baby and Junkhat Saturday, and AM/FMs, Overmountain Men, Wiggle Wagons, Scowl Brow and Poontanglers Sunday.

Ancient Cities

8 p.m. Saturday, May 26, Visulite, 1615 Elizabeth Ave. $7-$10. 704-358-9200.

With a pedigree that includes Secondhand Stories’ Stephen Warwick and members of Small Talk Industries and the Noises 10 this promising new project should deliver the musical goods with Hello Handshake and Luz opening up the show.

The Dandy Warhols

9 p.m. Saturday, May 26, Fillmore, 1000 NC Music Factory Blvd. $27. www.livenation.com

For nearly two decades this Portland outfit has been straddling lo-fi alt-rock,  psychedelic grooves, and goth mysticism in its own quirky, signature way. Opening night in San Francisco revealed ample material from its new album “The Machine” as well as a career overview full of fan favorites.

The Coathangers

8 p.m. Sunday, May 27, The Haunted Mill, 6325 W. Wilkinson Blvd. Belmont. $7. http://thecoathangers.tumblr.com/

The ladies of the Atlanta indie rock act hang with the grittiest of punk and garage rockers on stage, but have also matured into a stellar modern day girl group (hear the track “Go Away” for example). The BYOB concert series is also a potluck dinner, so bring food to share. Admission to The Mill’s haunted attraction and mini-golf is an additional $3. 

The Polyphonic Spree

7:30 p.m., Monday, May 28, McGlohon Theatre, 345 N. College St. $19.50-$27.50. 704-372-1000.

Though the uniformed orchestral pop ensemble appears as a cult (or sometimes a paramilitary group), Tim DeLaughter’s post-Tripping Daisy outfit (which is the closest thing the alt-rock world has to a colorful choir) examines life and death with zeal and dynamics on its digital and vinyl single series.

Church of Misery/Gates of Slumber

7:30 p.m. Tuesday, May 29, Tremont, 400 W. Tremont Ave. $13-$15. www.etix.com

A preoccupation with death (serial murder in particular), Sabbath-ian riffs, and `70s metal color this Japanese import’s doom rock. Indiana trio Gates of Slumber (along with Hail! Hornet) open the show with its own brand of hypnotic and spooky blues-anchored metal.

Jerry Joseph & the Jackmormons

8 p.m. Wednesday, May 30, Visulite, 1615 Elizabeth Ave. $10. 704-358-9200.

This veteran singer-songwriter writes raw rocking rootsy songs and manages to channel artists as disparate as Elvis Costello and John Hiatt (with a touch of Springsteen) on songs that are musically gritty and lyrically witty with substance. 

2013 Wolves

9 p.m. Wednesday, May 30, Snug Harbor, 1228 Gordon St. Free. 704-333-9799.

The Charlotte duo, who has evolved into a genre defying, atmosphere-crunching, well-oiled manic machine of gospel, punk, blues, and metal, ends its month long residency at the Plaza-Midwood haunt. Next month? The Aqualads. 

Beastie Boys speak out about Adam Yauch's death

May has been a dark month for music with the loss of Donna Summer, Robin Gibb, Chuck Brown, and the Beastie Boys' Adam Yauch (pictured above). The passing of the Beastie's MCA has been the hardest for me. He was the youngest of those recently departed and the Beasties had a huge impact on my generation. I'll never forget checking Twitter that Friday afternoon while navigating my massive double stroller through Belk in South Park - the lump in my throat, the emptiness in my chest. I immediately texted one of my best friends in West Virginia who is a huge fan.

I felt so fortunate to have interviewed Yauch when the Beasties brought its Get Out and Vote campaign to Charlotte during the 2008 election. And what a rare treat to see them in a club - their first Charlotte show since Lollapalooza 1994.

Yesterday "Rolling Stone" published the first interviews with Yauch's band mates Adam Horowitz and Mike Diamond. You can read both online here and here.

Since its induction into the Rock n' Roll Hall of Fame in April and Yauch's death weeks later, a lot has been written about the band's evolution and the misogyny and violence that colored its early work.

He was the first to speak out against those sentiments later in the band's career, but I never took the sexism of "Girls" or the guns in "Paul Revere" seriously even as a kid. While off color and mildly offensive at times, their rhymes didn't seem mean-spirited. The trio became probably the most feminist of any male artists in hip-hop and possibly even in rock for that matter. Kate Schellenbach (now a producer on Ellen Degeneres' talk show) was their original drummer. The Beasties later put Schellenbach's groundbreaking all-girl band Luscious Jackson on their Grand Royal label. And Adam Horowitz ended up marrying Kathleen Hanna of the riot grrrl band Bikini Kill and the socially conscious dance trio Le Tigre. She's like the Gloria Steinem of my generation.

I've made a point of playing more Beastie Boys for my two young sons since Yauch's death. If they grow up to be as open-minded and evolved as Yauch and his band mates became, that's all the better.

Review: Jane's Addiction at Ovens Auditorium

The Christmas my parents got divorced my dad bought me Jane’s Addiction’s “Nothing’s Shocking” (much to the amusement of the kid that sold it to my 300 pound bib overall-sporting father). I remember laying in the dark on the living room carpet listening to “Up the Beach” and “Ocean Size” and “Ted…Just Admit It.” It was weird and fascinating. In a way, it changed my path. I bet many of the concertgoers at Wednesday’s Jane’s Addiction show at Ovens Auditorium have similar stories.  

And while I’ll never recapture the magic and romanticism of seeing Jane’s live for the first time during the “Ritual de lo Habitual” tour, I never expected them to be so good 21 years (to the month) later. Aided by stylized production, which included Perry Farrell’s wife Etty Lau as one of two scantily clad S&M dancers, Jane’s put on an incredible show that was far beyond the performance it gave a few years ago opening for Nine Inch Nails at Verizon Wireless Amphitheatre (although that one did boast original bassist Eric Avery, which was a treat).

Wednesday’s show was more like one of Farrell’s twisted (his word) fantasies come to life. Whereas in 2009 Farrell seemed to show his age more, he, ever buff guitarist Dave Navarro, drummer Stephen Perkins and bassist Chris Chaney all appeared fresh from the gym. Farrell in particular reveled in the spotlight grinning that wide Cheshire cat smile and repeatedly calling us “South Carolina” (which did garner some boos) until the very end of the show.

Britain’s the Duke Spirit opened the show with its sultry, bluesy modern rock. Singer Leila Moss is a show unto herself. In skintight leggings, a lacy poncho-style blouse, and braids framing her petite face she looked like a cross between a “Game of Thrones” character and CBGBs era Deborah Harry. Like Harry she’s got a sexy, capable and unique voice that purrs over the gnarling guitars as she shakes her tambourine, or at one point, played a killer harmonica solo. The Duke Spirit has opened for Black Rebel Motorcycle Club, Ted Leo, and Incubus in Charlotte. I long to see it receive a greater reception stateside.

The audience stepped into Jane’s Addiction’s crazy, colorful world as the band took the stage with “Underground,” which opens its newest album “The Great Escape Artist.” The dancers swung above the band with parachute-like skirts that draped almost to the stage while a man dressed as an evil bird “flew” and pawed suspended on one side of the stage. The crowd erupted as Jane’s kicked into “Mountain Song” with Navarro turning in one of many spot-on guitar solos.  The dancers left the stage giving way to retro footage that busily played on backdrops centered around the nude twin statues that serve as the tour mascots on t-shirts and posters.

“Just Because,” “Been Caught Stealing,” and “Ain’t No Right” followed. Then the two Asian girls returned wearing bondage gear and negligees and nestled on a rocking wooden seat that reminded me of a porch glider for a sort of disturbing showstopper - “Ted…Just Admit It.” They “unwrapped” each other using their binding as a prop while vintage pinup and bondage footage rolled on the screens to illustrate the lyrics (“sex is violent”). Although some of the footage featured women on women violence, it annoyed me that all the violence was perpetuated against women.

Written 25 years ago lyrics like “the news is just another show” are even more relevant today. 

As if to disprove the “nothing’s shocking” refrain of “Ted,” the hauntingly catchy “Twisted Tales” was accompanied by a babydoll bashing performance art piece and clips from a 1988 documentary about doll abusing teen punks or, as the film is titled, “Sadobabies: Runaways in San Francisco.”  

One fan climbed on stage during the stage front acoustic jam of “Classic Girl” and “Jane Says” (with Perkins playing steel drums on the latter). Farrell invited the fan to stay, but Navarro, who was incredibly patient, eventually had her escorted off the stage after she insisted on whispering in his ear while he was trying to play.

It was refreshing to see Navarro, so adept on guitar, focus on drumming alongside Perkins and Chaney during a tribal rendition of “Chip Away.”

The set really hit its stride with the instrumental “Up the Beach” leading into the atmospheric, reverb drenched “Irresistible Force” and “Ocean Size," which closed the set. The cast regrouped for an encore of the marathon “Three Days” and the powerfully spastic “Stop!” As the music dropped out at the latter’s climax the entire crowd seemed to join in with Farrell. The band appeared truly thankful and humble sticking around to shake hands and sign a few autographs after those last lingering notes disappeared. Farrell even handed a set list to one adoring fan - something you rarely see the actual artist do. 

Local acts fill out Speed Street schedule

In addition to the already announced headliners and NASCAR drivers scheduled for this year's Food Lion Speed Street festival, the annual free three-day fest features a number of local and regional acts playing originals and covers. The annual 600 Speed Week festival takes place uptown Thursday, Friday and Saturday May 24-26.

Live music kicks off Thursday with U-Neek Flavor, Sol Fusion, Darrell Harwood, and Benton Blount. Thursday's previously announced headliners include Evelyn "Champagne" King, Midnight Star, and Easton Corbin.

Friday's lineup includes the Hoss Howard Band opening for Justin Moore and Sugar Glyder and 21st Century Goliath opening up for Halestorm. If you like catchy, big atmospheric pop-rock or AC/DC style rock I'd recommend both latter locals. I haven't seen Culowhee's Hoss Howard live, but the music on his website indicates his warm vocals and Southern sound make him a perfect pick to warm up a country loving crowd.

Saturday music begins at noon on the Coca-Cola Stage with Fusebox Poet (above, who make rock that could easily find its way on 106.5 The End) followed by Stella Rising, The Catch Fire, and Chris Weaver Band. Night Ranger and Loverboy close out the Coca-Cola Stage.

Sun Dried Vibes, Vess, Beyond the Fade, Stony Creek Boys, and Gal Friday perform on the Miller Lite Stage. Casey James and Clay Walker headline that stage as well.

For the entire schedule go to http://www.600festival.com/event_schedule.aspx.