Anthrax's triple thrash bill in Asheville tonight is worth the drive

When I was in fifth grade I started staying up until 2 a.m. every Saturday to watch MTV’s “Headbanger’s Ball.” I’m not sure what led me to this late night discovery other than “Headbanger’s Ball” aired the newest videos by bands I saw during the Top 20 Countdown (your Motley Crues and Poisons) and directed me toward other artists. It was there watching from under a blanket on the living room couch in the middle of the night that I first saw “Welcome to the Jungle.” It was there I discovered artists like Warlock, Iron Maiden, and Anthrax.

As a kid Anthrax served as a gateway for me between hair metal and heavier stuff. I bought “State of Euphoria,” which is largely panned by fans and critics today, after hearing “Antisocial” - Anthrax’s cover of the Trust song. I hadn’t heard that opening guitar line in a good twenty years until Anthrax’s show at the Fillmore in November. I forgot what genius that intro is, plus the cheerleader-like chanted chorus was like candy to my elementary school ears.

After a few years of watching “Headbanger’s Ball” I’d moved on to “120 Minutes.” I heard most of my metal from boyfriends’ car stereos after that. I never left it behind entirely. There was always Gwar, Clutch, and heavy music with metallic tendencies, but I no longer considered myself a metalhead (which I sheepishly confessed to “That Metal Show’s” Don Jamieson last week during an interview). I wasn’t reminded of how much I loved metal as a kid until the Anthrax/Testament/Death Angel bill at the Fillmore.

The same bill hits Asheville’s Orange Peel tonight - Monday, January 30. If you missed the Charlotte show (or even if you didn’t and loved it) I highly recommend making the drive.

I’d always had a soft spot for opening act Death Angel anyway. “Headbanger’s Ball” played its single “Bored” to death. While I didn’t get it at first, after weeks and weeks of seeing that video it grew on me. We saw them last January at Tremont and I couldn’t believe they didn’t draw more people, so I was happy that a couple thousand got to witness its live show. Hopefully some of those folks will come back next time Death Angel headlines here. I only remember Testament through their videos as well, but Chuck Billy is one of those iconic metal guys that has been around forever.

It wasn’t just the nostalgia of the triple thrash bill that made the concert memorable though. Anthrax’s latest album, “Worship Music,” is one of the best records of last year. The single “The Devil You Know” (video above) is one of the catchiest things I’ve heard in recent memory. The band reunited with vocalist Joey Belladonna for the record, so it sounds like classic Anthrax at its best.

Live they pulled the best from “Worship Music” (“Devil,” “Fight ‘Em Till You Can’t,” “Earth on Hell,” and “In the End”) with the classics you’d expect (“Indians,” “Got the Time,” and “Caught in a Mosh”). Bassist Frank Bello played the inexhaustible hypeman - a lanky charismatic figure who quickly became our favorite person to watch on stage. The group encored with five songs, including “I Am the Living,” “Metal Thrashing Mad,” Sepultura’s “Refuse/Resist,” and “I Am the Law.” There were a few more I’d like to have heard, but I really didn’t have any complaints.

I shared the experience via text messages with two childhood friends from home and urged my husband to see the tour if it came back. Luckily with this second leg, those who missed it get a second chance. 

Tremont hosts record collector's show Sunday

In July Charlotte's Greg Neal, a record collector and Mount Holly native, began holding collectible vinyl record shows here. After a couple of successful events in hotel convention spaces, he's teaming with Tremont Music Hall to expand the shows further. Tremont (400 W. Tremont Ave.) will host its first Carolina Vinyl and CD Show Sunday, January 29, from 10 a.m. to 4 p.m.

In addition to vinyl vendors will also sell CDs, DVDs, and other memorabilia. The bar will be open and food vendors will be on hand as well.

Vinyl has experienced a resurgence in recent years due to decreasing cds sales and the popularity of digital downloads, which are more portable than both. Many artists, including mainstream ones, are releasing albums on vinyl and including digital download codes in the packaging. You get the best of both worlds - a portable copy and a hard copy with (hopefully) superior sound quality.

While old records don't include a download code of course, buying used is usually cheaper and allows you to discover new music (or music that's new to you rather) without breaking the bank. Manifest Discs, where Neal works, and Lunchbox Records both stock a fantastic selection of used and new vinyl (the Roots' drummer Questlove raved about Charlotte's prices and selection last summer on Twitter).

I prefer hard copies to digital if the music is something I want to hold on to. I'm a collector by nature - of music, action figures, DVDs, Barbies, art, trading cards...So the idea of a local record show is exciting to me. My co-workers at Record Exchange use to travel to Hillsborough every year for a show there.

Although I once hauled a carry-on bag full of vinyl back from England (where I picked up many a Siouxsie and the Banshees 12 inch single), I don't collect records much anymore. Yet there's still something exciting about buying an album you love on vinyl - larger artwork you can really appreciate, liner notes and lyrics written in large enough print you can actually read it, the warm sound, and the experience of much more active listening (you do have to pay attention enough to flip that record over).

Neal (pictured at a show above) has been selling collectible vinyl on eBay and at regional record shows for a  decade. +He left Charlotte in the `70s and worked in cd and record stores in Los Angeles before returning to town in 1993.

"In an ironic sort of way I was present at the death of vinyl and am now involved in its resurrection," he told me last summer.

Admission for Sunday's show is $2. The organizers hope to make this a regular event.

This week's hot concerts

Children of Bodom

6 p.m. Saturday, January 28, Tremont, 400 W. Tremont Ave. $17-$20. www.etix.com

The award winning Finnish metal band - a live powerhouse known for guitarist Alexi Laiho’s technical wizardry - kicks off its 15^th anniversary tour here.

 
Grown Up Avenger Stuff

8 p.m. Saturday, January 28, Amos’ Southend, 1423 S. Tryon St. $8. 704-377-6874.

The Charlotte alt-rock favorite promises new material from its forthcoming album as it heads up a solid regional bill that includes Hello Handshake, Charleston’s Heyrocco, and Lucky Five, who’ve become one of Charlotte’s best live acts.

Lelia Broussard

8 p.m. Sunday, January 29, Evening Muse, 3227 N. Davdison St. $10-$12. 704-376-3737.

The war-painted singer-songwriter (note her signature stage makeup) projects contagious energy and sweetly, feminine vocals over bouncy pop songs that won her the runner-up position in “Rolling Stone’s” 2011 cover competition.

 
Future Islands

8 p.m. Monday, January 30, Milestone, 3400 Tuckaseegee Rd. $10-$14. www.etix.com

Darkness and drama is dialed to “11” on the Baltimore (via the Carolina coast) synth trio’s latest album, “On the Water,” which swirls dreamy orchestrations and Samuel Herring’s deep, mournful, `80’s-style vocals. 

 
The Mountain Goats/Nurses

8 p.m. Tuesday, January 31, Visulite, 1615 Elizabeth Ave. $18-$20. 704-358-9200.

The Durham-based headliners write jangly, literary indie-folk and rock like a younger R.E.M., while the Portland trio Nurses casts dark, hypnotic shadows with its experimental yet accessible indie-rock.

Matt Nathanson

7 p.m. Wednesday, February 1, Neighborhood Theatre, 511 E. 36^th St. $20-$25. 704-358-9298.

The up and coming pop troubadour is stacking his resume with enviable career milestones including a recent appearance on “The Bachelor,” a duet (“Run”) with Sugarland, and his upcoming tour with Kelly Clarkson.

 
Lydia Loveless

9 p.m. Thursday, February 2, Double Door, 1218 Charlottetown Ave. $10. 704-376-3737.

The diminutive 21-year-old country-rock spitfire comes across as a feistier, twangier Neko Case on  her excellent sophomore album, “Indestructible Machine,” which revels in easily relatable heartbreak, humor, and inner struggle. With Scott Biram. 

Review: Miranda Lambert at Bojangles' Coliseum

It was an emotional night for country’s Miranda Lambert Wednesday as she resumed her 'On Fire' tour at Bojangles’ Coliseum just a week after losing father-in-law Dick Shelton (Lambert is married to fellow country singer and “The Voice” judge Blake Shelton). Wednesday’s show was originally scheduled for Thursday, January 19.

 “My tough girl image has gone to crap tonight,” she deadpanned at the end of the show. While her fans love that tough girl who sings of setting fire to and shooting cheaters and abusive beaus, they also admire the vulnerability revealed in songs like her mega hit “The House that Built Me.” Soldiering through a tear-stained performance only endeared her to fans more.

Her fragility wasn’t evident from the get-go. Following performances from openers Charlie Worsham, who subbed for scheduled act Jerrod Niemann, and Chris Young, who sang hit after hit with spot-on vocals and ample charisma, Lambert took the stage to Beyonce’s “Girls” as images of powerful women who’ve influenced her (Patsy, Loretta, Oprah, Dolly, Reba) flashed on screen. Wearing a floral purple party dress, a black leather vest, knee high boots, and pink tights Lambert kicked off her set with “Fastest Girl in Town” from her latest album “Four the Record.” Despite a lack of pyro, the excitement escalated with “Kerosene,” her career breakout. She followed it with “Heart Like Mine.”

She started the next song, “New Strings” (an early single, which she wrote) in the wrong key and stumbled over the lyrics at one point. That’s when the audience realized that this good time girl might not be having the best night. The song never quite fell apart though. She forged ahead wiping tears away with a towel and miming the word “Sorry” before rallying at the end twirling and clapping.

There was uncertainty as she took a seat on the catwalk (pictured above) for “More Like Her” that she’d make it through the slower ballad. She did before bringing things back up with “Baggage Claim” (which she introduced by referencing her bad week), the sexy throwback “Fine Tune” (performed on a chaise lounge), and a cover of Creedence Clearwater Revival’s “Up Around the Bend.” Her voice soared on “Dead Flowers” and her trademark winking charm was at its height during “Famous in a Small Town” and “Only Prettier.” She didn’t falter until “The House That Built Me.” She made it through the first few bars then turned the microphone stand toward the audience who carried the rest of the verse and chorus. After another chorus, she came back in on the bridge and finished the song. “Thank you” she mimed. Few eyes were dry (including my sister’s. She sang through her own tears, later telling me “I felt like I had to help her out”).  

While many artists would’ve taken a longer break following the death of a loved one, Lambert, who was already scheduled to play Baltimore today, didn’t make Charlotte fans wait long - a decision that proved difficult for her. Yet country music built its reputation on emotional songs about heartbreak, heartache, and getting through. The audience gravitates toward performers that seem like “real” people singing songs normal people can relate to and Lambert’s struggle made her even more relatable.

She capped the set with “The Way the World Goes Round,” “Gunpowder & Lead” and “White Liar.” She refrained from singing “Over You,” the new single she and Shelton wrote for his father and deceased brother. The latter died when Shelton was 14. Considering the trouble she had with “House,” she noted, singing that one would be impossible. Instead she encored with Aretha Franklin’s “Do Right Woman, Do Right Man.” Lambert doesn’t toy with showy vocal gymnastics much, but her rendition proved that she’s certainly capable. She ended the set with drink in hand flanked by Worsham and Young who joined her on Waylon Jennings’ “Honky Tonk Heroes.” Worsham’s lines were shaky, so he stuck to guitar for most of the song. But she and Young finished on an up note leaving the stage arm and arm.

“Don’t tell anyone I cried…or I’ll kick your a**,” she threatened earlier while lamenting her tough image. But her performance just reiterated her strength. Lesser women who the industry considers divas would have stomped off stage and cancelled the rest of the show.

Puppini Sisters cancel tour

The Puppini Sisters - the London vocal trio who has updated the jazzy harmonies of '30s and '40s girl groups like the Andrews Sisters for a modern audience - has cancelled its February U.S. tour due to travel issues. This includes its upcoming February 26 date at McGlohon Theatre. Refunds will be issued for all tickets. For more information contact the venue's box office at 704-372-1000 or log on to www.blumenthalarts.org. The sexy, campy trio issued an apology to fans, but said they look forward to seeing them on their next tour of the states.

This week's hot concerts

Me Talk Pretty

6:30 p.m. Friday, January 20, Tremont, 400 W. Tremont Ave. $13-$15. www.etix.com

This NYC outfit, who heads up a six band bill that includes Hawthorne Heights and Madina Lake, falls somewhere between the female-fronted theatrical metal of Lacuna Coil and Evanescence and catchy, pop-punk.

 
Mat Kearney

8 p.m. Friday, January 20, Amos’, 1423 S. Tryon St. $20-$23. www.etix.com

Straddling both adult pop and Christian radio, this GMA Dove award winning Nashville-based/Oregon-raised singer-songwriter treads in “Grey’s Anatomy” scoring territory (think “Grey’s” fave Greg Laswell singing for Coldplay) with catchy beats and symphonic pop-rock arrangements.

Travis Tritt

8 p.m. Friday, January 20, Knight Theater, 430 S. Tryon St. $34.50-$49.50. 704-372-1000.

The veteran artist behind modern country staples like “Country Club,” “Help Me Hold On,” and “Here’s a Quarter (Call Someone Who Cares,” hasn’t released a new album since 2007, but fans can hear his older material in a new setting on this solo acoustic tour.

Annuals

10 p.m. Friday, January 20, Snug Harbor, 1228 Gordon St. $8. 704-333-9799.

Once poised for fame as indie rock’s next it band, the Raleigh sextet’s buzz may have subsided but that doesn’t mean it hasn’t continued to make orchestral, psychedelic indie-pop and rock. With Lonnie Walker and Hectorina.

Cement Stars/Super Ape

8 p.m. Saturday, January 21, Visulite, 1615 Elizabeth Ave. $7. 704-358-9200.

Charlotte-based Electric Mountain Records pairs its flagship experimental electro-funk band Super Ape with newer signing, Cement Stars, a dreamy electro indie-pop outfit that lovingly captures the musical intersection of angst and longing.

 
Hail!Hornet/ASG

7 p.m., Saturday, January 21, Tremont, 400 W. Tremont Ave. $12-$15. www.etix.com

Following a screening of “Slow Southern Steel,” a documentary on the history of metal in the South, coastal metal outfits ASG (who veer toward psychedelic stoner metal) and Hail!Hornet (members of Sourvein, Buzzoven, and Alabama Thunderpussy) will perform.

David Mead

8 p.m. Tuesday, January 24, Evening Muse, 3227 N. Davidson St. $8-$10. 704-376-3737.

A songwriter’s songwriter known for his sweet, soaring vocals and clever humor, Mead counts Taylor Swift and John Mayer among his fans. In fact fans donated over $20,000 to fund his latest album, “Dudes.”

Old 97’s                                                                                                                                                                                                               

8 p.m. Thursday, January 26, Visulite, 1615 Elizabeth Ave. $22-$25. 704-358-9200.

Fans of the alt-country combo will get a double dose of frontman Rhett Miller, who will open the show with an acoustic set (since Those Darlins dropped off the tour). Miller is likely to do a few covers from his recent live album and possibly preview material from his upcoming album. 

Charlotte rock quartet signs with label

Charlotte-based rock band Sugar Glyder announced Wednesday that it recently signed with ORG Music, a DC-based record label that is tied to Warner Bros. and is distributed by WEA (Warner Elektra Atlantic) and ADA (Alternative Distribution Alliance). Sugar Glyder joins punk legend Mike Watt (Minutemen, Firehose, and the revived version of the Stooges), DC metal act Darkest Hour, and the Chuck Dukowski (of Black Flag) Sextet on the label's roster.

Sugar Glyder will begin recording their ORG debut - the followup to 2011's "Lovers at Light Speed" EP - in March. The album is tentatively scheduled for summer release.

Sugar Glyder has been touring and drawing a few hundred fans to its shows locally for the last few years. Its opened for Silversun Pickups, Neon Trees, and Matt & Kim and played 2011's South By Southwest Festival. I've watched the band, which exhibited great promise early on, develop over the years. I always thought its members had a great work ethic and high level of passion and commitment to the band as well some really great, polished songs. Those songs, which I've often described as grand, arena-ready anthems, seem to get catchier, bigger, and grander with each release so I'm curious to hear what's next.

To get a sense of the group's personality watch the candid video announcement below. Sugar Glyder consists of vocalist Daniel Howie, guitarist Chris Rigo, bassist Emily Aoyagi, and drummer Bobby Mathews.

ORG is probably best known for its vinyl reissues series. The label is responsible for the recent Nirvana and Sonic Youth LP reissues as well as reissues of seminal albums by Jimmy Eat World, Helmet, Tom Petty, Beck, and the Replacements.