The Chuck Brown concert scheduled for Amos' Southend Friday, March 2, has been cancelled. According to the club Brown has been hospitalized with an undisclosed illness. The Godfather of Go-Go music, which he describes as funk mixed with African and Latin percussion, has become a fixture during CIAA and was expected to sell out Amos' again. Refunds will be given at the point of purchase.
Brown was honored recently by the National Symphony Orchestra's "Legends of Washington" Labor Day concert alongside fellow D.C. music legends Duke Ellington and John Philip Sousa. Brown received his first Grammy nomination in 2010 after a career that has spanned four decades. The 75-year-old musician was born in Gaston, North Carolina. His biggest hit is 1979's "Bustin' Loose."
With recent announcements that Madonna (whose tickets go on sale this weekend) and Iron Maiden would be coming to the Queen's City for the first time in - at least one case - ever, the rest of the concert season seems to be shaping up bringing in artists who have either never played here or haven't in quite a while. These include two of my all-time favorites.
Swedish dance pop sensation Robyn, who finally began to make mainstream waves in the US in 2011 with an appearance at Bonnaroo, "Saturday Night Live" (pictured on the NBC show in December above) and opening Katy Perry's US Tour, announced on Twitter that she'll be opening for Coldplay on some of its US tour dates including Charlotte.
After an April 2008 show at McGlohon Theatre with his wife Allison Moorer and a DJ that brought me and at least a few other audience members to tears, folk-rock singer-songwriter Steve Earle (pictured) returns to The Neighborhood Theatre May 2 with his band the Dukes (and Duchesses). The show will also feature Moorer, whose voice is truly something to behold live.
Neighborhood Theatre continues booking cutting edge electronic acts with Beats Antique May 5.
Rising, critically-acclaimed soul throwback Mayer Hawthorne, whose show last September at Amos' was cancelled, makes his first Charlotte appearance with his band the County May 12 at Neighborhood Theatre.
Chris Thomas King, the blues musician featured in the Coen Brothers' "O'Brother, Where Art Thou?" plays Evening Muse March 23.
Charlotte-based Christian rock musician John Mark McMillian plays a hometown show at McGlohon Theatre with Songs of Water March 24. David Wilcox plays McGlohon April 14.
John Wesley Harding makes a rare Charlotte appearance March 31 at the Double Door. Funk/soul/rock singer-songwriter Van Hunt (pictured below) returns to the Double Door April 5 (his fall show there was one of my favorites of last year). Leftover Salmon plays the legendary Charlotte blues spot April 18.
The Visulite previously announced Joan Osborne will appear there April 10 and teen "Gossip Girl" actress Taylor Momsen brings her band the Pretty Reckless to the Elizabeth Avenue venue with Parlor Mob April 19. Casey Weston, from NBC's "The Voice" will appear at the club April 21.
Spindrift, an indie band that creates cinematic psychedelic music fit to score old westerns, returns to Tremont Music Hall May 6. Powerman 5000 celebrates its 20th anniversary at Tremont October 3.
As for larger venues Tyrese and Chrisette Michelle play Ovens Auditorium March 24. Candlebox will play The Fillmore April 13. Seether is there April 17. Grammy winning jazz artist Esperanza Spalding returns to Knight Theatre May 10. LMFAO brings the party to Bojangles' Coliseum June 19 and boy band Big Time Rush headlines Verizon Wireless Amphitheatre August 29.
There's plenty more going on in Charlotte. These were just some of the recent concert announcements that caught my eye. Check venue websites for updates show listings.
LMFAO will headline the Sorry For Party Rocking Tour presented by RedFoo and CherryTree June 19 at Bojangles' Coliseum. The lineup includes the Party Rock Crew led by LMFAO's RedFoo and SkyBlu (who are actually the son and grandson of Motown founder Berry Gordy, Jr.), and support acts Far East Movement, the Quest Crew (from the third seasons of the MTV series "America's Best Dance Crew"), Sidney Samson, Eva Simons, and Natalia Kills. Expect on stage collaborations considering some of the artists connections to and previous work with LMFAO.
LMFAO have gone from headlining the much smaller Fillmore and opening for friends the Black Eyed Peas on that group's last trip to Charlotte. The duo, whose music was prominently featured in the Kia Soul dancing hamsters commercial, recently appeared with Madonna during the Super Bowl XLVI Bridgestone Halftime show.
Tickets for the June 19 show go on sale Friday, March 2 at 10 a.m. at the Coliseum box office, www.livenation.com and www.ticketmaster.com as well as at 1-800-745-3000. Presale opens to Citi Cardmembers Wednesday, February 29 at 10 a.m. through the the credit card company's Private Pass program. For more presale information go to www.citiprivatepass.com.
7 p.m. Friday, February 24, Tremont, 400 W.
Tremont Ave. $20-$22. www.etix.com
After a 10 year anniversary tour in 2011, MIB takes a break
from recording its fifth album for a quick run through the South. With Tristen
and Harvard.
Cody Canada & the
Departed
8 p.m. Friday,
February 24, Neighborhood Theatre, 511 E. 36th St. $18/$33 VIP.
704-358-9298.
The former Cross Canadian Ragweed leader follows similar rocking
Americana territory as his old band, but explores his Okie roots on the band’s
debut “This Is Indian Land” by covering some of red dirt country’s lesser known
songs.
The Drivin’ n’ Cryin frontman, who explored his country side
on his latest collaboration with the Golden Palominos (“Good Country Mile”), is
joined by an all-star band featuring Audley Freed, Tim Nielsen, and Anton Fier,
some of whom he’s shared the stage with at Warren Haynes’ annual Xmas Jams in
Asheville.
After working on Trombone Shorty’s breakthrough records this
bluesy classic soul throwback recruited New Orleans vets George Porter (the
Meters), Anders Osborne, Ivan Neville, and producer Ben Ellman (of Galactic)
for his upcoming disc “For Higher” (which is scheduled for May).
Antiseen/Belmont
Playboys
8 p.m. Saturday,
February 25, Tremont, 400 W. Tremont Ave. $10. www.etix.com
TwoCharlotte
institutions reunite on stage for the first time in over a decade following the
vinyl record convention taking place during the day, which will still be open
during part of the concert.
Cazwell
10 p.m. Saturday,
February 25, Phoenix, 300 N. College St. $10/Free to Human Rights Campaign
attendees.
The rising New York electro hip-hop artist has clocked
millions of YouTube hits for humorous dance tracks like “Ice Cream Truck,” “I
Seen Beyonce at Burger King” and his dirty duet with Peaches. His performance
is part of the Human Rights Campaign after party.
Flogging Molly/Black
Joe Lewis & the Honeybears
7:30 p.m. Sunday,
February 26, Fillmore, 1000 NC Music Factory Blvd. $33. www.livenation.com
Irish transplant/band leader Dave King tackles hard times in
a bleak economy with heart and gusto after living in Detroit with his band mate
wife, creating some of his band’s best work on “Speed of Darkness.” Lewis leads
a crack garage soul throwback. With the Devil Makes Three.
This Austin band, who won a spot on 2012’s South By
Southwest, write catchy, dark indie-rock songs packaged inside psychedelic
sonic frames.
South 85
8 p.m. Thursday, March
1, Visulite, 1615 Elizabeth Ave. $10. 704-358-9200.
Like Miranda Lambert, this Charlotte area-based country-rock
outfit balances stellar songwriting and personality on stage with sexiness and
sass that should take them places.
This garage rock duo blends meaty guitars, pop hooks, and
dual vocals, but packs more similarities to Scottish acts like the Fratellis
and Franz Ferdinand than its L.A. peers.
North Mississippi
Allstars/Lightnin’ Malcolm
8 p.m. Thursday, Neighborhood Theatre, 511 E. 36th
St. $20/$35 VIP. 704-358-9298.
The Dickinson brothers, whose 2011 album “Keys to the
Kingdom” paid tribute to their recently deceased Memphis music legend Jim, are
back (after opening for Robert Plant last February) with guitarist Lightnin’
Malcolm who was equally influenced by the hill country blues they grew up with.
Charlotte rock trio Angwish celebrates the release of its new album "Rock n' Roll Destroyed My Life" Saturday, February 25, at The Milestone. The cd release party marks the band's final show with longtime bassist/backing vocalist Rachael Malmberg Harper and its final headlining show before founder Bryan Bielanski and his cousin/new drummer Mike Smith set off on a nomadic national six month tour.
"Rock n' Roll Destroyed My Life" was recorded live in the studio in one take to help capture the heavier aspect that comes through in the band's live shows. Over the course of its last few albums Angwish has reminded me of everything from the Pixies (thanks to the great vocal interplay) to Cake to NOFX. It never sounded like any one influence in particular, but a mesh of two decades of alternative rock. "Rock n' Roll Destroyed My Life" is its most singular record. From the start it recalls the messy, driving punk of the Sex Pistols and the sludgy, angst-ridden grunge of early Nirvana (Angwish will also appear at The Milestone's March 3 Nirvana tribute show).
Although Nirvana had a huge impact on popular music in the `90s and helped usher in the mainstreaming of punk, aside from the bands that immediately came after it, I don't hear its influence that often. Angwish has long paid subtle tribute to the grungefathers, but this new album recalls "Bleach" era Nirvana and early singles like "Sliver" (which appeared on its "Incesticide" b-sides and rarities disc).There are shades of grungy stoner rock amid the thick riffs, which are the heaviest thing I remember hearing Angwish do. But even at its heaviest there are hooks and melodies anchoring the songs.
Malmberg's counterpoint was always one of my favorite parts of Angwish's songs because her quiet, understated vocals reminded me of Kim Deal. She didn't do as much of that this time because she knew she'd be leaving the band to focus on her photography business (www.chickswithcameras), but her mark is there on "Medicated Mommy." That track, which finds Bielanski talk-singing like a punk bluesman during the verses, combines a playful Weezer-like intro with Nirvanaesque dynamics, fuzzy bass, and a group chorus. The political "Super Power" is another fun standout with isolated drums and vocals alternating with an exploding guitar hook.
Saturday's concert starts at 8 p.m. and features 25 Minutes to Go, Dirt Worshipper, and Sister Fister. Tickets are $6 to $9. www.themilestoneclub.com
Although Scott Avett is best known for his music with the Avett Brothers, he's also an accomplished visual artist. Fans are familiar with his artwork from the album covers, backdrops, and collectible concert posters that he's designed. Avett (pictured above, credit Crackerfarm), who studied painting and printmaking at East Carolina University. will appear at a fundraiser for The Educational Center Friday, February 24, in South Park to discuss his visual art and spiritual journey from 7:30 to 9:30 p.m. Tickets are $100. The event is nearly sold out, but his figurative paintings will be on display to the public Saturday from 10 a.m. to 4 p.m. at 523 Governor Morrison St. in the Morrison Condominiums building at South Park (the same location as Friday's event). Admission is free and original paintings and commemorative limited edition posters will be for sale.
One hundred percent of the proceeds from Friday's event benefit The Educational Center, a Charlotte-based non-profit that creates resources and opportunities for people of all ages and faith backgrounds seeking spiritual growth and enrichment. For more on Avett's visual art go to http://artstoryspirit.squarespace.com/scottavett/ or www.scottavett.com.
A lot of us applauded Dave Grohl's Grammy acceptance speech Sunday, which singled out the Autotuning of America (and the rest of the world), but some viewers and fellow musicians weren't so happy. So the Foo Fighters' (pictured) released a letter Grohl drafted further explaining his position and his appreciation for electronic music. See below:
Oh, what a night we had last Sunday at the 54th Annual Grammy Awards. The glitz! The Glamour! SEACREST! Where do I begin?? Chillin' with Lil' Wayne...meeting Cyndi Lauper's adorable mother...the complimentary blinking Coldplay bracelet.....much too much to recap. It's really is still a bit of a blur. But, if there's one thing that I remember VERY clearly, it was accepting the Grammy for Best Rock Performance...and then saying this:
"To me this award means a lot because it shows that the human element of music is what's important. Singing into a microphone and learning to play an instrument and learning to do your craft, that's the most important thing for people to do... It's not about being perfect, it's not about sounding absolutely correct, it's not about what goes on in a computer. It's about what goes on in here [your heart] and what goes on in here [your head]."
Not the Gettysburg Address, but hey......I'm a drummer, remember?
Well, me and my big mouth. Never has a 33 second acceptance rant evoked such caps-lock postboard rage as my lil' ode to analog recording has. OK....maybe Kanye has me on this one, but....Imma let you finish....just wanted to clarify something...
I love music. I love ALL kinds of music. From Kyuss to Kraftwerk, Pinetop Perkins to Prodigy, Dead Kennedys to Deadmau5.....I love music. Electronic or acoustic, it doesn't matter to me. The simple act of creating music is a beautiful gift that ALL human beings are blessed with. And the diversity of one musician's personality to the next is what makes music so exciting and.....human.
That's exactly what I was referring to. The "human element". That thing that happens when a song speeds up slightly, or a vocal goes a little sharp. That thing that makes people sound like PEOPLE. Somewhere along the line those things became "bad" things, and with the great advances in digital recording technology over the years they became easily "fixed". The end result? I my humble opinion.....a lot of music that sounds perfect, but lacks personality. The one thing that makes music so exciting in the first place.
And, unfortunately, some of these great advances have taken the focus off of the actual craft of performance. Look, I am not Yngwie Malmsteen. I am not John Bonham. Hell...I'm not even Josh Groban, for that matter. But I try really ******* hard so that I don't have to rely on anything but my hands and my heart to play a song. I do the best that I possibly can within my limitations, and accept that it sounds like me. Because that's what I think is most important. It should be real, right? Everybody wants something real.
I don't know how to do what Skrillex does (though I ******* love it) but I do know that the reason he is so loved is because he sounds like Skrillex, and that's bad***. We have a different process and a different set of tools, but the "craft" is equally as important, I'm sure. I mean.....if it were that easy, anyone could do it, right? (See what I did there?)
So, don't give me two Crown Royals and then ask me to make a speech at your wedding, because I might just bust into the advantages of recording to 2 inch tape.
Now, I think I have to go scream at some kids to get off my lawn.
Courtney Devores has been writing about music and entertainment in Charlotte for 16 years and has been a regular contributor to The Charlotte Observer since 2003.
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