It’s been a full week since Boston-born alt-rock veterans the Pixies blasted through a massive set of classics and new pieces at the North Charleston Performing Arts Center, and my mind is still reeling and swaying. I caught them three and a half years ago at the PAC during their lengthy run celebrating a prolonged anniversary of the release of the Doolittle album, when the place was packed. On this evening, the room was at just over half capacity.

The Pixies at the PAC, May 2015 (photo by Jessica Mickey).

An early surprise of the night was opening act John Grant (ex-the Czars) and a backing duo comprised of guitarist Petur Hallgrimsson and pianist/organist Chris Pemberton.

Gracious and polite, the bearded lead singer/keyboardist with the rich baritone voice stunned the audience with a brief but powerful set of elegant and amusingly dark ballads and anthems.

A native of the Midwest, Grant spoke about moving around the States and eventually landing in Iceland. Grant and his bandmates played a number of tunes from his 2010 debut solo album Queen of Denmark (“Sigourney Weaver” was a fun stand-out) and 2013’s Pale Green Ghosts. Grant’s expressive delivery easily switched from sad to joyful. He and his combo’s emotive renditions of the proud and cheerfully raunchy “GMF” (the title stands for “greatest motherfucker”) and “I Hate This Town” were among several highlights that eventually earned a standing ovation by the set’s end.

John Grant and company at the PAC, May 2015 (photo by Jessica Mickey).

I remember the Pixies being impressively tight and dynamic at the PAC in 2011. This time around, with looser set of songs and a simple but elegantly lit stage set stage show, singer/guitarist Black Francis (a.k.a. Charles Thompson and Frank Black), guitarist Joey Santiago, and drummer David Lovering seemed more lively, and their show accelerated into something unexpectedly fiery.

The Pixies easily conveyed both sides of their personality — the darker, more terrifying side (via tales if evil, destruction, incest, and romantic dismay) and the weirder, happier side (via bubbly/twisted pop sensibilities and goofball lyrics).

The Pixies hit the stage with bassist Paz Lenchantin (previously of Entrance, A Perfect Circle, Zwan), who’s been filling in for original bassist Kim Deal since early 2014. Standing tall and confidently by drummer Lovering, Lenchantin flawlessly handled Deal’s basslines and sang expressively throughout the night.

After Deal’s departure three years ago, the band decided to press ahead with various replacement bassist, even as they recorded and mixed their latest studio album, Indie Cindy (their first new album in more than 20 years.

Sam old-school fans in attendance feared they’d have to sit through a ton of unfamiliar new material during the show, but the Pixies pulled numerous songs from the entire catalog, including their 1988 full-length debut Surfer Rosa, some big hits and deep cuts from 1989’s Doolittle, and a few from 1990’s more obscure Bossanova and 1991’s Trompe le Monde.

Early in the Pixies’ Monday night set, it became clear that the complex guitar interplay between Black Francis and Santiago was totally intact. Black Francis’ singing, shrieking, and whispering skills have not diminished. Lovering’s precision and attack on the drum kit was even more fluid than back in the day, and he and Lenchantin clicked quite well.

They never said a word to the audience. The closest Black Francis got to stage banter was in the opening line of Dolittle’s “Mr. Grieves,” when he sang, “Hope everything is alright,” which sparked an immediate approving roar from the crowd. Everything was indeed alright, and the enthusiasm from the audience couldn’t have been much more evident.

They touched on several giant tunes from Surfer Rosa including the anthemic “Bone Machine,” the shouty “River Euphrates,” and the well-covered “Where Is My Mind?” Cool obscurities included the eerie and sparse “Cactus,” the pounding “Break My Body,” and the fast furious “Something Against You.” With no Deal on hand, there was no rendition of “Gigantic.”

The Pixies’ Black Francis at the PAC, May 2015 (photo by Jessica Mickey).

Some of the Doolittle highlights included the hypnotic “Gouge Away,” the slow and dynamic “Hey,” the ironically cheerful “Debaser,” and “Mr. Grieves.” They played a slow and quiet version “Wave of Mutilation” in the set’s opening moments, then cranked up at full speed and full volume toward the set;s end. Fans sang along with Lovering on the bubble-gummy “Here Comes Your Man,” shouted along with the massive chorus of “Monkey Gone To Heaven,” and practically moshed in their seats to the fiercely fast “Crackity Jones.”

The spooky-but-hard-rockin’ tune “Magdalena” from Indie Cindy won over some of the old guard. Lovering banged well on the cowbell on the head-bangin’ “U-Mass” from Trompe le Monde. I’d still love to see and hear the Pixies render a version of “Velouria” from the Bossanova album… maybe next time.

It was a very pleasant surprise to hear cuts from their Come On Pilgrim EP, like the waltzy and creepy “Caribou,” and the even faster and menacing “Isla De Encanta.” The quirky “Ed is Dead” and the effectively repetitive “I’ve Been Tired” slayed the room.

The Pixies didn’t have a chance to exit the stage after their last song; the standing ovation and high-volume cheer kept them at stage-front before they launched in a three-song encore, which ended with a lengthy and noisy guitar cable/noise/solo from Santiago on the relentlessly pounding “Vamos” from Come On Pilgrim.

Three original Pixies: Black Francis, Joey Santiago, and David Lovering (provided)

Metronome Charleston has a chance to chat with Pixies drummer David Lovering, 53, the week of the North Charleston show. Friendly and articulate, Lovering shared more than a few amusing and enlightening big stories about the band’s reunion tours, Indie Cindy, and even newer original music on the horizon. Here are a few excerpts:

Metronome Charleston: Over the last 10 years, since the band’s initial reunion in 2004, it seems like the big story on the Pixies has turned from the familiar story of a group back together toward a more active tale of a band that’s actually writing, arranging, recording, and presenting new material. How does it feel?

David Lovering: I love it all, but I’ve always really loved touring and traveling. It’s a great escape and something that I love to do. I’m game for it on all levels, whatever it might be. The impetus for writing and recording new songs came during that Doolittle tour in 2011 or so. We realized that we just couldn’t continue on our laurels doing that thing. We didn’t think it was fair, so it was a kick in the pants to get the material for Indie Cindy going.

Pixies drummer David Lovering (provided).

Metronome Charleston: Was it more of a joy or a tough challenge to make Indie Cindy?

David Lovering: It took about a year to get everyone on board and to get writing. It was the first time we’d gone into a studio in a long time. I used to really hate recording. I just couldn’t stand it. Making Surfer Rosa was the first time we really went into a proper studio. With Doolittle and the following albums, we took less time to do the basic tracks. Things happened at a quicker pace, so there was more pressure in the studio, especially for me [as the drummer]. And I’m a bit of a perfectionist, so it was tough.

When we did Indie Cindy, there was some trepidation initially, but it ended up being an absolute joy. We had taken time to prepare the songs before going into the studio in Wales, so we were ready and confident. We worked with digital gear, so the pace was less hectic, and we could take our time with things. I had a fantastic experience making the album, and I’m very happy with the outcome of it.

Metronome Charleston: Describe the new chemistry of the band as it stands now, especially after touring so hard behind Indie Cindy.

David Lovering: We’ve spent almost two years touring on Indie Cindy, which has been wonderful. It’s probably the most touring we’ve ever done, and because of that, I think the band and myself are playing much better than ever before. Plus, we have Paz on bass right now. She’s a consummate bass player, and because of that, she’s making me play better. It’s working out well with the live sound of the band — and the personality of the band seems very well intact.

Metronome Charleston: It seems like the new bassist on stage has earned the trust and admiration of a lot of Pixies fans so far.

David Lovering: We’re incredibly happy with the situation Paz is a joy to be around, and most of all, the audience really likes her. It’s all been working great for us, as far as the chemistry and looking ahead … since we did Indie Cindy, we feel like we’re still a viable band that can do the thing that we love very well.

Metronome Charleston: Have you had a chance to step away from the band’s new music on Indie Cindy and them come back to it with fresh ear and an open mind?

David Lovering: We’ve been playing the new songs for more that two years, so we feel like we own them now. It’s wonderful because I can really listen and think about these songs better than I could with the early album, like when I had to prepare for a tour. We took six months off from the road before this current trip, so I did have to go back and refresh myself with them. I actually started playing a few things differently when new things came into my head, but it was all quite fun.

Metronome Charleston: Your drumming style seems a bit different from the band’s initial heyday — especially with the way you hold the sticks these days.

David Lovering: When I started playing drums, I played traditional grip. When the Pixies started, every other drummer I knew played match grip. We were doing some heavy and fast punk stuff, so just for speed and power, I switched to matched grip and played that way all the way through the Pixies’ years and the first reunions — all the way up until two years ago. Then I decided to change it up a bit.

You know, I never got complimented for my drumming — ever. I know I’m good with the Pixies and my drumming suits them well, and that’s cool and fine. But after switching over the traditional grip, I started stepping up my game a little more. It allows for some more subtle things in my playing. I’m very much more comfortable playing this way — plus it makes me look more like a jazz drummer, which helps make it look like I know what I’m doing. I’ve actually received more compliments over that last two years than ever before [laughs].

Metronome Charleston: The Pixies have obviously reconnected with old fans on these recent tours. Does it feel like the band is connecting with a new or younger audience as well?

David Lovering: It’s amazing, and I feel very fortune that we are connecting with young people now. I remember the first reunion shows back in 2004, like at the Coachella Festival with thousands of people there. Looking out at this sea of people, the majority weren’t even born when we first started out as a band, yet many sang every word to every song. That was a surreal moment for me. We played Coachella again in 2014, and it was the same thing, but it was with an even younger group of kids — 12 and 13 year-old kids, singing along.

Metronome Charleston: This month marks the final run of the Indie Cindy tour. What’s on the horizon?

David Lovering: This is the last leg of the tour supporting Indie Cindy. One extra special thing that I think we’re doing is new material. Back in the day, when we were playing Come On, Pilgrim and Surfer Rosa, those were songs that we’d rehearsed in a little band room and got to belt out around the little clubs of Boston. We’re trying to do that again with some our brand-new songs. We have a bout a dozen new tunes, and we’re picking about three or four to play at these shows, just to iron them out. That might be something a Pixies fan would be interested in.

The Pixies will be touring up and down the East Coast and visiting parts of Canada and the Midwest through late June. Check out pixiesmusic.com for more.

Photos by Jessica Mickey.

Atlanta’s Chad Shivers and the Silent Knights shared the stage with Silver Bells early in December. Top-notch guitarist Shivers and his combo performed the Beach Boys’ Christmas album and the Ventures’ Christmas album, each in their entirety.

Local holiday pop-rockers Sliver Bells performed selections from their forthcoming album It’s Christmas Everybody (their successful Kickstarter campaign was in full swing this month).

A ton of musicians and vocalists got together for the annual Jinglebang! showcase on Dec. 17. Everyone performed classics and Christmas-themed originals, including Xmas Tree Farm, Shelly Simon, Lindsay & Beattie, Greg/Ellen/Andrei, Brett’s Bell(e)s, Montauk, Maya & Tyler, Loni’s Xmas Cat Explosion, Lily Slay, Silver Bells, Lindsay Holler, and others.

Billed as “Christmas in the Drunk Tank: A Pogues Tribute,” the showcase on Dec. 21 featured Celtic tunes, Irish pub faves, and a slew of songs by the U.K. band the Pogues. Funds benefited a Toy Drive for TriCounty Family Ministries. Performers included Moonlight Ale, Laura Jane Vincent, Lauren Bevins Cahill and Matt Cahill, Johnny Puke, the Bevs, Tha Harrows, yours truly, and special guests.

Happy holidays!

(Photos by Ballard Lesemann and Jessica Mickey).

North Charleston-based filmmaker and promotor Simon Cantlon (top exec of Vive Le Rock Productions) partnered with Park Circle eatery the Barbeque Joint and organized the inaugural Rockabillaque last year with the mission showcasing various local and touring acts, classic cars, and 1950s rock ‘n’ roll culture in general. Hundreds of music fans, families, and neighborhood folks turned out for the daytime and late-night events in the heart of Park Circle.

This year’s schedule has expanded considerably with live music on three stages along East Montague, a classic car show, a vintage bike show, a tattoo contest presented by Roses & Ruins Tattoos and Fisticuffs Tattoo Balm, a pin-up contest presented by Guilty Pleasures & Optic Axis Sunglasses, a mustache/beard contest hosted by Holy City Beard & Mustache and Grave Before Shave Beard Balm, rockabilly fashion show Presented by RE-mix Shoes, a carnival sideshow circus, and several new vendors.

“We wanted to add new events and features to keep things family-friendly,” Cantlon adds. “Contests, competitions, vendors, awards ceremonies … these are ways to draw a diverse crowd of music fans and car fans and different people to the day and evening events.”

A panel of local musicians and artists will judge the pin-up contest and fashion show early in the afternoon. Acclaimed Charleston-based stylist and clothing designer Sabrina Michelle will return to oversee the contests, makeovers, and presentations. “Sabrina’s style fits perfectly into the festival,” Cantlon says. “She’ll be running around, working hard during these presentations.”

The musical roster features a cool variety of bands, songwriters, and performers, including the Straight 8s, Jem Crossland and the Hypertonics, the Malamondos, Molly Sue Gonzalez and the Mean Mean Men, Blood Red River, Don Merckle and the Blacksmiths, Jordan Igoe, Mr. Bonetangles (“the old-skool puppetry of Will Schutze”), and more.

“We’re closing out more blocks in Park Circle this year, and we’ll have more out-of-town bands coming in from a lot of different places like Tennessee, Georgia, North Carolina, and Virginia,” says Cantlon. “We tried to invite a few bands who don’t get to come to the Charleston area very often. We try to diversify it and give it a mix of styles and a little bit more flavor.”

Musically, most of the featured acts share a lot in common, whether drawing from the rowdy side of early rock and rockabilly or the blues/country roots of rock and pop in general.

Simon Santlon and Sabrina Michelle at Rockabillaque 2013 (photo by Ballard Lesemann)

“I think they’re all influenced by classic roots-rock and particular eras of rockabilly, early rhythm and blues, garage, country, and rock ‘n’ roll,” says Cantlon. “Even the bands with more honky-tonk roots overlap with that. It’s all different branches of rock ‘n’ roll. We didn’t want to only have rockabilly bands; we wanted an eclectic mix of bands who could easily support each other on regular double or triple bills.”

Beer vendors will have cold lager on hand (Miller High Life and Pabst Blue Ribbon), and fest co-presenter Sailor Jerry — the rum company named for tattoo artist Norman “Sailor Jerry” Collins — will have samples and specialty drinks available, too. Other festival presenters include Guilty Pleasures and Fisticuffs Mustache Wax.

Presented by Lowcountry Harley-Davidson, Nostalgia Garage, Creek Rats Kustoms, and Lowbrow Customs, the classic car and vintage bike show with span the length of the festival — several blocks along East Montague Avenue. Contestants and participants will exhibit their finest rides — from classic race cars and custom automobiles from the U.S., U.K., and Europe to vintage motorcycles (pre-1974) and choppers. The contest categories include Best of Show, Farthest Traveled, Preservation/Custom, Top Rat, and Sexiest.

“We wanted to grow the car show, and we wanted keep it interesting by developing it more,” Cantlon says.

A portion of the proceeds from Rockabillaque will benefit local organization This Is Noteworthy (TIN), a non-profit division of the Music Initiative.

“There are only so many venues on so many blocks, but the great think about Park Circle is that it continues to grow and new venues continue to pop up,” says Cantlon. “We might be able to move things out one more block each year. When I first came to Park Circle five years ago, there were only one or two pubs with live music. Now there’s like eight or so. It keeps getting bigger.”

Rockabillaque is set to take place on Sat. Nov. 15 from 12 p.m. to 2 a.m. in Park Circle, North Charleston. Visit rockabillaque.com and the Facebook event page for more info.

Poster art and logos Cristiano Soares.

Rockabillaque 2014: Full Schedule

Park Circle (E. Montague Ave.)

12-5 p.m. — The Rockabillaque Classic Car & Vintage Bike Show

Outdoor Stage A (Barbeque Joint, 1083 E. Montague Ave.)

12 p.m. — Whiskey Diablo
1 p.m. — The Rockabillaque Fashion Show
2 p.m. — Beard and Moustache Competition
2:30 p.m. — Mr. Bonetangles
3 p.m. — Miss Rockabillaque 2014 Pin-Up Contest
4:30 p.m — Classic Car & Vintage Bike Awards Ceremony

Outdoor Stage B (Sparrow, Chateau and E. Montague Avenues)

12 p.m. — Mr. Bonetangles
12:30 p.m. — Molly Sue and the Mean Mean Men
1:30 p.m. — Don Merckle and the Blacksmiths
2:30 p.m. — Tattoo Contest
4 p.m. — Jem Crossland and the Hypertonics

Outdoor Stage C (Madra Rua/Mill Stage, E. Montague Ave.)

2 p.m. — Whiskey Diablo
3:30 p.m. — Jordan Igoe

The Sparrow (Chateau and E. Montague Avenues)

8:30 p.m. — The Malamondos
9:30 p.m. — Mr. Bonetangles
10 p.m. — Blood Red River
11 p.m. – Straight 8’s

The Mill (1026 E. Montague Ave.)

9:30 p.m. — Arleigh Hertzler / Mr. Bonetangles
10:30 p.m. — The Lonely Teardrops

Skunk Ruckus performs on the Outdoor Stage at Rockabillaque 2013 (photo by Ballard Lesemann)

The Rockabillaque fashion show, 2013 (photo by Ballard Lesemann)

The Barbeque Joint in Park Circle (photo by Ballard Lesemann)

Charleston band Orange Doors (provided)

One collective that has taken it upon themselves to set it off is Pop-Up Charleston, founded and maintained by a group of forward-thinking and enthusiastic College of Charleston students. According to Katie Jones, who just recently joined up with the group this fall, Peter Spearman, Matt Navey, and Addi Green began organizing shows in Kevsco Alley, which, at the time, was located outside Spearman and Navey’s apartment. When the two up and left the old apartment in the summer of 2014, the name and concept of Pop-Up Charleston came to fruition.

“Pop-Up Charleston was dreamed up to be a series of house shows popping up [hence the name] all over downtown Charleston,” Jones, a CofC sophomore biology major, explains. “We hope to incorporate many different locations inside and outside in order to turn Charleston into the music town it could and should be.”

Ghetto Hexes (provided)

“Charleston is home to a lot of great local bands and young talented students who just want exposure,” Green, a CofC junior English and art history major, adds. “There is no short supply of artists looking for a place to play just to get their name out there. People, college kids in particular, find house shows more intimate, friendly, and causal and enjoy them at a lower cost to their wallet and schedule.” She also sites “excess of talent versus lack of space” as a reason house shows are seeing a big resurgence.

Some people may understandably be a little weirded out to go into a strangers’ home to catch a local or traveling act, but the group knows the advantage of house shows come down to location and cost (and the option of BYOB helps, too). “[The shows] are free to the people attending [though a donation at the door is suggested] and typically low cost to those who host,” says Jones. “It’s less exclusive. Instead of going to a really big, really expensive concert with just a few friends, you can now bring all the friends you like and spend relatively no money.”

Pop-Up Charleston prides itself in setting up their shows for altruistic reasons over monetary, giving all the donations collected to the musicians on the bill. For them, the entertainment, getting to know the bands, and watching the attendees interact with the performers is payment alone.

The group regularly books and hosts shows around town, citing past pop-ups with Michael Flynn, Heyrocco, and Steven Fiore as memorable stand-outs. Recently, they hosted local acts Mr. Jenkins and Electric Grandma, and this Wednesday (Oct. 29), partnering up with CofC Center Stage, they’ll present a costume-encouraged show with synth group Ghetto Hexes (from Portland, Oregon), punk outfit Casio Mio (from Columbia), and local kids Orange Doors at the “Pink Palace” (6A Hanover Street). The best way to find out what they have coming up is through their Facebook page.

Casio Mio (provided)

Pop-Up Charleston is just one in a handful of groups and individuals organizing their own house shows around town. A solid resource on what’s going down is the Facebook group page the HSC (House Shows of Charleston).

If you want to host your own show, Jones can’t recommend Facebook enough for getting the word out. She also advises, “Be communicative with the artist; make yourself available to answer any questions they might have. They are probably just as nervous as you are.” Spearman, a CofC senior theater and English major, adds, “Don’t underestimate set up and clean up time.”

Above all else, Pop-Up Charleston believes that collaboration, an open mind, and mutual support are the keys to help Charleston’s growing music scene continue thriving.

Navey, a CofC senior studio art and creative writing major, believes their hearts are in the right place. “We want to communicate that it’s not about the venue or the social group that you subscribe to,” he says, “It’s about the music.”

Pop-Up Charleston and College of Charleston Center Stage present Ghetto Hexes, Casio Mio, and Orange Doors at 6-A Hanover Street at 9 p.m. on Wed. Oct. 29. Donations are encouraged and appreciated. Visit facebook.com/popupcharleston for more.

One of the emcees, El-P, uttered, “Now we can all become Lord of the Flies / When this industry sees it’s demise / Hold it up and try to destruct, you get zapped with dead eyes.” I was blown away by the lyricist equating the music industry to the self-destruction of the characters in “Lord of the Flies.” I didn’t hurt that I had just recently re-read Lord of the Flies and hated most of mainstream music.

A few years later, around 2001, I was in my then-SUV listening to Outkast’s 2000 effort Stankonia. By the sixth track, I was already knee-deep in the funk of the Georgia duo’s thang, so it was a nice left turn when the track’s first verse was pure braggadocio and trash-talk delivered by a commanding voice of the guest emcee, Killer Mike. When he wasn’t busy referencing legendary album cover artists Pen & Pixel for a violent metaphor or using Black & Decker as a sexual metaphor, he was calling himself “Murder City’s Sergeant Slaughter guaranteed to get more cut than a barber” who would never “swiss cheese for more cheddar.”

Killer Mike and El-P (provided)

Whereas El-P’s lines seemed more esoteric with room for interpretation, Killer Mike’s lyrics were more direct with interpretation being shown the door. Two very distinct styles that shared the same urgency and hunger that would later compliment each other.

Over a decade later, these two different personalities have joined forces to become Run the Jewels. Before then, they were merely blips on each other’s radar screens.

Like most rap fans not from the South, El-P heard about Killer Mike through another legendary duo, Outkast. “Everybody knew that song ‘Snappin and Trappin’; the whole world knew that song. That was the first time I had ever heard of Killer Mike,” says El-P.

El-P’s ears perked up yet again when Mike released Pl3dge in 2011. “I peeped it out and thought this guy sounds like a modern-day Ice Cube,” he says.

Mike is quick to chime in. “The first three days in the studio, it was, like, these are the beats I was born to rap over. I felt like Ice Cube over El-P’s beats.”

It began when El-P (legal name: Jaime Meline) met Killer Mike (a.k.a. Michael Render) through a mutual friend in Atlanta, Georgia. El-P was still going strong all those years as a solo artist, a producer and co-founder of the underground hip hop label Definitive Jux. Over time, the two hit it off in a big way — big enough of a way that El-P put his own project, Cancer 4 Cure, to the side to produce the entirety of Mike’s album, R.A.P. Music. The result was an album that melded the futuristic tone of classic Bomb Squad tracks with the visceral vibe of Southern hip-hop.

Released one week before El-P’s boombastic album , “R.A.P. Music” harkened to an era of Chuck D.booming voice, Ice Cube’s furrowed brow and LL Cool J’s sneer. El-P’s Cancer 4 Cure was equally pummeling but with more of a focus on the dystopian soundscapes and bleak lyricism he’d been known for. In retrospect, it seems like the albums were both primers for their 2013 collaboration.

As their album Run the Jewels hit the net as a free download, Killer Mike and El-P proved a spectacular partnership. Killer Mike’s opening line of sarcasm from the first track, “Banana Clipper” — “I move with the elegance of an African elephant” — summed the album up neatly.

From the Boogie Down Productions flashbacks of “Get It” to the satiric political pulse of “DDFH,” there’s not one moment in the 10-track album that didn’t feel like a speaker breaker filled with mind melting metaphors.

Last year, the dynamic duo took to their microphone camaraderie on the road with former Das Racist member Kool A.D. and one-time Def Jux–signee Despot in tow. It’s odd to hear of an artist, much less two artists of El-P and Killer Mike’s caliber, to have a big cross-country tour revolving around a free album.

Run the Jewels on stage (provided)

Music industry experts of yore would have shaken their heads at the very idea of such a thing, but the duo’s move worked. I witnessed this firsthand last year when the tour’s stopped at the Orange Peel in Asheville, N.C. Not only was the show well packed, but the energy of the show was tangible from the moment the duo stepped into the room. Intense is probably the best adjective one could use to describe the show itself. From the moment Killer Mike stepped on stage ripping through “Big Beast,” a track from R.A.P., and other songs from his discography to the second El-P took over the spotlight to do his own thing, it became apparent that, in addition to a Run the Jewels show, we were being given a Killer Mike show and an El-P show. The phrase “more bang for your buck” comes to mind.

While their solo sets were very good, it was more enthralling watching the two emcees sharply trade verses back-n-forth like a couple that could complete each other’s sentences. The nonstop barrage of bass lines and lyrics were enough to give the even most dour hip-hop curmudgeon a reason to grin.

Since that show in Asheville, Killer Mike made headlines when he wrote an op-ed for Billboard regarding the death of 17 year old Michael Brown and the resulting fallout of the violent situation in Ferguson, Missouri. When asked what it was like to discuss such a controversial issue on international stages like FOX and CNN, Mike was pragmatic. “Going on CNN and FOX was about offering a new perspective and that’s a non-polarizing perspective. Too many people have been pulled into ‘I have to choose a side’ …I don’t care about sides,” he says.

Recently, Run the Jewels recorded a new album titled RTJ2 (to be released October 27). While the new tracks released so far have a decidedly darker tone, there is no mistaking that Run the Jewels is back.

A new release would be enough reason for the El-P and Mike to make news, but it is an idea that was jokingly bandied about as an offer to remake RTJ2 with only cat noises if a fan was foolhardy enough to purchase the 40,000 deluxe edition (known as the “Meow the Jewels Album Package”) that has them in the sights of pop culture. As one of many offers from the free download copy of RTJ2 package to the 10 million dollar “Run the Jewels Retirement Plan Package,” “Meow the Jewels” is the one package that inspired a successfully-funded Kickstarter campaign. As a result, producers like the legendary Prince Paul, Portishead’s Geoff Barrows, Dan the Automator, the Alchemist, and Skywlkr have signed up to lend their talents to the project with all the money going to charity.

With the project officially a go, Mike, a dog person, gave his mew cents: “The second cat I’ve been around for any extended time was El-P’s cat, Mini-Beast, who was definitely a character I loved being around … you guys are kinda making me a cat person. I’ve always liked watching them. I hunt and fish so … I like to watch a cat fuck with a mouse, personally. I never considered a cat might be a cool thing to have until spending time around Mini-Beast. Cats are a part of my life now.”

This Saturday, Run the Jewels will share the stage with Baby, Baby and the Outfit TX at the Music Farm as part of the Red Bull Sound Select Tour. Tickets are free after you RSVP online, and they’ll be $10 at the door. Visit runthejewels.net and musicfarm.com for more.

Born in Mississippi and based in Nashville, the Weeks formed several years ago when singer Cyle Barnes, drummer Cain Barnes, guitarist/singer Chaz Lindsay, and bassist Damien Bone started putting songs together and gigging around the college town of Oxford, Miss.

Keyboardist/multi-instrumentalist Alex Collier was splitting his time in Charleston as a Southeastern music manager and church pipe organist when he hooked up with the Weeks two years ago. He’d become acquainted with the group through some of their touring colleagues, and they quickly hit it off.

Collier played his first Weeks show armed with little more than a mini keyboard and a laptop rig. “I was set up on the set of the stage during the first run I did with them, opening for Local H up the East Coast,” he says. “After that, we did a tour with the Meat Puppets, which is pretty epic for someone like me who’s never really been in a band before — or even had a desire to be in a band, other than in a business capacity. It evolved from there.”

The Weeks (photo by Joshua Black Wilkins)

Collier relocated to Nashville in 2013, just in time for the band’s studio sessions for their critically praised 2013 album Dear Bo Jackson, adding keys and horns and additional arrangements to the set.

The Weeks spent much of the last 12 months touring the U.S. and Europe behind the 2013 release of Dear Bo Jackson, a finely tuned collection of dynamic rock/pop originals. They spent time on the road with Kings of Leon in Europe and performed at a variety of music clubs, special events, and major festivals (Bonnaroo, Firefly, Forecastle, Wakurusa, Mountain Jam, Shaky Knees) in the States.

“There’s just so much going on. We’re road-doggin’ it for sure,” Collier says of the band’s recent activities. “You’d think that when you do a festival circuit, you might have some extra time off but it’s busy and it can really it out of you. We’ve been back in Nashville a lot recently, working on a new album.”

In August and September, the Weeks guys found enough home time in the Music City to track a set of new songs for the follow-up to Dear Bo Jackson. The band enlisted veteran studio producer Paul Ebersold (Sister Hazel, 3 Doors Down, Drivin’ N’ Cryin’, Leslie, Heyrocco) to oversee sessions for a forthcoming full-length, due early spring.

“Paul’s a brilliant old Memphis guy and a great musician,” Colliers says of the acclaimed producer. “He’s challenged each us of individually to become musicians. It’s sort of scary to get into a room with a guy with such character and such knowledge, but it’s been great. We’re really proud of the way we’ve gone from the early recordings to Dear Bo Jackson to the new stuff that will be coming out.”

The Weeks’ latest full-length, ‘Dear Bo Jackson’

In the meantime, the Weeks issued a four-song EP in the late summer titled Buttons, holding fans over until the new disc arrives. Issued digitally and on white 10-inch vinyl, the mini-album features two reworkings of previously released songs and two new tracks.

The Buttons EP displays elements of both the band’s early stylings and current approach to dynamic pop/rock. “I’d say think Thin Lizzy maybe paired with the Rolling Stones — or even the Band,” Collier says of the new tunes on Buttons and the recent sessions. “It’s like the idea behind the sound of Dear Bo Jackson; we’re a rock band with some tunes that have a soul/melodic thing happening, or even branching out a bit with jazz or TV/cinematic stuff.”

On Buttons, the Weeks flirt with classic rock riffs and power-pop melodies while leaning into more contemporary indie/alternative sounds. There are a few fist-pumping moments as well where Barnes sounds brooding and heroic, and he occasionally drifts into richly romantic territory.

“It all trickles in, melodically and sonically,” Collier says. “It happens easily in this band because we all react well to what’s happening in the moment, on stage or in the studio.”

Later this month, the band will gear up for another trek across the U.K. before heading back out to the West Coast in November.

At Redux, the Weeks will share the stage with local singer/songwriter Jack Burg’s ever-evolving Punks & Snakes. Burg released a debut Punks & Snakes album earlier this year — a self-produced 10-song album titled No Swagger. He’ll be joined by bassist Bill Carson, guitarist Andy Dixon, drummer Brett Nash, and special guests.

Upcoming events in the Redux Fall Music Series include Curtin (featuring songsmith Austin Nelson) on Wed. Oct. 29, local pop/rock acts SUSTO and Johnny Delaware on Fri. Nov. 7, and a Matt Monday (a.k.a. Righchus) album release show with support from DJ JeffET on Fri. Dec. 5.

“I was talking with [Revival’s] Charles Carmody recently about how Charleston has evolved over the last couple of years in the sense that the city has really great venues and media that will write about bands and songwriters,” Collier says. “There’s a greater awareness. For touring bands, it’s super-easy to skip over Charleston, like if you’re coming up from Florida or heading through Atlanta/ Charleston’s sort of stuck in a little corner. I think it’s becoming a great little pockets for bands to hang out — even for a full week or so. Imagine coming from a little town like Oxford, Mississippi; there’s a lot of cool stuff for a visiting band to enjoy in Charleston.”

Revival Entertainment Co. presents the “Redux Fall Music Series” at Redux Contemporary Art Center on Fri. Oct. 17, featuring the Weeks and Punks & Snakes.

Show time is 9 p.m. Tickets are available for $15. Visit theweeksmusic.tumblr.com, facebook.com/revivalentco, and revivalentertainmentco.com for more.

Top photo by Emily Ball.

Local cats can catch the rock action this week when Metronome Charleston presents the quartet in concert at the Royal American.

The Woggles started out as an Athens, Georgia-based act, but these days, they’re scattered all over the country. “The Woggles really belong to world,” says Jones, a.k.a. “The Professor.” “There are barflies all over the world that need to be entertained.”

The band’s story began nearly 27 years ago when a team of like-minded college kids — all of whom worked as DJs at the college radio station 90.5 FM WUOG — started gigging around Athens at keg parties and small clubs as “The WUOGgles” (in reference to the station’s call letters).

The Woggles (R to L): Patrick “Buzz” Hagstrom, Jeff Walls, Dan “Electro” Hall, and Manfred Jones (provided)

Jones’ vast and enthusiastic knowledge of vintage rock, ’60s guitar pop, mod, psychedelia, soul, surf, rockabilly, and garage styles guided the sound and personality of the early versions of the band, which featured drummer Kurt Wood, organist Donna Bowman, guitarists Jeff Matthews and Eric Agnew, and various guests.

After releasing various EPs, singles, and mini-albums on the hip Zontar, Estrus, and Lance Rock labels, the Woggles issued their first bona fide full-length, Teen Dance Party, on Estrus in 1993. There was a consistent Southern vibration throughout most of the recordings.

“Unlike someone like Stephen Colbert, who seems to have expurgated his Southern accent, we realized that our Southern perspective and roots are things to carry forward,” Jones says. “They helped keep us unique. Now, when we’re lumped in with other contemporary garage-rock bands, I think we certainly have a heavier R&B and Southern influence than some of them.”

The rhythm section of Hall and Hagstrom (a native of south England) has been in the band since 1995.

Walls, a veteran of Atlanta pop-rock band Guadalcanal Diary and Athens’ raucous rockabilly/retro outfit Hillbilly Frankenstein, regularly worked with the Woggles as a studio producer and fill-in guitarist before officially joining in 2003, replacing the late guitarist George “Mighty” Montague.

Walls well understood the rock ‘n’ roll lingo and stylings the Woggles expressed.

“When I first started producing records for the Woggles, it was like the Holy Grail to achieve that studio sound that the Sonics got or whatever,” Walls says. “For a long time, you were kind of chasing technology and using million-dollar boards to try to make something that sounded like it was blasting through a transistor radio. Now, we hook up with a good sonic team and try to make good-sounding rock records that are comparable sonically with something like the Who’s ‘My Generation’ or a Shel Talmy production, you know?”

The group signed with longtime E Street Band guitarist, actor, and syndicated radio show host Little Steven Van Zandt’s Wicked Cool Records in 2006. Their latest slab, a rowdy 12-song collection titled The Big Beat, is the group’s third album on the label. It fits nicely alongside much of the garage-styled rock that Little Steven champions on his weekly radio show “Underground Garage.”

“The wellspring for everybody in this band is that we have a shared frame of reference for things, from blues and R&B to early rock ‘n’ roll and rockabilly sounds to instrumental surf-rock and garage stuff,” Jones says. “We don’t tag with the term ‘garage rock.’ It’s fine, but to me it just means rock ‘n’ roll that timeless.”

Musically, The Big Beat lives up to its title, with meaty hooks, clangy drums, and Jones’ shouty delivery. The 12 tracks came together in an unusually start-and-stop way, though.

“There was an interesting process that went into the making of this record — one that I’d never tried before,” Walls says. “We didn’t think it was such a hot idea doing it, but in hindsight, I feel like it was actually a pretty good idea. Little Steven wanted us to cut four songs in three little batches, three times in a row. It’s kind of like how they did it back in the old days.”

Jones was quite happy with the final version of the album as well. “Doing a little bit at a time allowed us a chance to focus on individual songs,” he says. “Everything’s covered by the space and time, but not so much as to be disjointed. If it had, it wouldn’t have mattered, really; in a sense, it would have been just as well.”

“You try to hone in specifically on a sound and a song, trying to get a specific vision for a song nailed down, which will be a tempest from which future generations will recall your antics,” he adds.

While Woggles still claim Athens as one of their deepest roots, the band members rarely perform in town. Jones currently resides in Los Angeles, Hall lives in Tuscaloosa, Hagstrom is based in Atlanta, and Walls is stationed in Athens.

The band has only played in Athens three times in the last 11 years, including a gig at the Green Room in April with Nate and the Nightmares and VG Minus (featuring original Woggles drummer and 90.5 WUOG colleague Kurt Wood).

“Kurt’s an original Woggle, so that made it a fun family affair,” says Walls. “And I’d been playing keys and guitar with Nate from Nate and the Nightmares in a band called the Free Associates. There are like five guys in three bands, and they’ve been keeping me really busy.”

The Woggles regular stay busy with short tours and long cross-country treks, from the West Coast to the Southeast (check a recent clip of theband at this year’s South by Southwest music featical in Texas below).

A lot of typical Woggles antics pop up on The Big Beat, like Jones’ maniacal harmonica and maracas work, Hall’s Keith Moon-esque tom fills, and Walls’ trebly guitar riffery. Some old-school fans might be surprised by the dense production style of the album, with additional horns and organ (“Take it to the People,” “Do the Git Down”) and wall-of-harmonies (“What Kind of Girl”).

“We’re really just a three-piece band with a lead singer, but we’ve developed a more complex and layered sound in the studio,” Walls says.

“It’s about being song-driven and inspired,” Jones adds. “It’s rock ‘n’ roll for the ages. I never put on a Chuck Berry song and go, ‘Oh, that sounds like ’50s rock ‘n’ roll.’ I think, ‘What great songwriting, what clever lyrics, and what a great groove.’ I don’t think of it existing within that time period. For us on stage, it’s often about getting how close you get to meeting that inspiration within the songs that you’re crafting. Sometimes, it’s necessary to be simple, and other times you ask for something to evolve a bit more.”

Presented by Metronome Charleston, the Woggles share the stage with local garage/rock duo the Frizz and Nashville act Matt Butcher and the Schoolyard Band at the Royal American at 9 p.m. on Sat. Sept. 26. Admission is $8. Visit thewoggles.com and theroyalamerican.com for more.

Charles Carmody (photo by Ballard Lesemann)

“I’ve doing so much other stuff in addition to the Music Hall with the Food+Wine Festival, the DIG South Music Series, the Piccolo Spoleto finale, and some events at Redux,” Carmody says. “The point of organizing it is to purposefully have a schedule in one place. We want to do more stuff at unconventional venues and have some fun with that.”

“Revival can be the essential ground for that and for some of the band management I’m getting into. I think it will be come an entity for creation in general,” he adds.

According to a recent press release from Revival, the organization started taking shape nearly four years ago when Carmody and friends began hosting a weekly “open stage” on Spring Street called “Bean Night.” The backyard parties eventually and moved over to Kudu Coffee & Craft Beer on Vanderhorst Street.

Carmody and partner Mark Yoder initially named their venture Revival Entertainment Co. in 2012.

“Mark and I worked together on a show at the Music Hall in 2012 , and we lost a lot of money on that — all of our start-up money for what could have been Revival back then,” Carmody says. “We learned some lessons. We both know the industry much better now. Mark’s a music fan, and he’s very interested in helping to put on shows like the upcoming events at Redux.”

Bennett Jones, the other partner in Revival, has been a part of the Charleston Music Hall production team since 2013. Jones assisted with the Dig South Music Series and the Piccolo Spoleto Finale earlier this year.

“Bennett’s doing our web and design stuff and helping with everything else,” Carmody says. “He’s done these great posters. Bennett’s also very passionate about hip-hop, and there’s really no hip-hop downtown right now at all.”

Why the name “Revival?”

“Well, I came up with it a two years ago when I was trying to revive the Charleston Music Hall,” Carmody says. “Also, I like the imagery and the whole idea of the old tent revivals with the snake handlers and everyone going crazy, you know? That evokes some nice imagery in a kind of scary way. I really just want to keep reviving what’s happening in town, and keep supporting it.”

Revival Entertainment Co. will kick off its inaugural season with a show featuring the Weeks and Punks & Snakes on Fri. Oct. 17 at Redux Contemporary Art Center.

“The big thing is what we’re calling the Redux Fall Music Series,” Carmody says. “[Redux director] Stacy Huggins has opened up the doors for us there, and we’ll be trying to bring some different stuff to town.”

Upcoming events in the Redux Fall Music Series include Curtin (featuring songsmith Austin Nelson) on Wed. Oct. 29, local pop/rock acts SUSTO and Johnny Delaware on Fri. Nov. 7, and a Matt Monday (a.k.a. Righchus) album release show with support from DJ JeffET on Fri. Dec. 5.

Visit revivalentertainmentco.com and facebook.com/revivalentco for more.

My longtime newspaper colleague Joshua Curry (currently based in northern California as a freelance photographer and web developer) had provided us with technical support and advice on how to post and manage the features, images, and listings.

During our first week online, we covered a rowdy Supersuckers show at the Pour House, documented local funk band SuperDeluxe at the Brick House Kitchen, interviewed Summerville-bred guitarist Sadler Vaden during a Drivin’ N’ Cryin’s studio session at Ocean Industries, and touched on the Circular Church Sound Series presented by Awendaw Green. We were up and rolling — and learning how to do what we needed to do along the way.

Since those early days in the fall of 2012, Metronome Charleston has aimed for the same goal: to provide an independent online resource providing coverage of Charleston’s vibrant music scene. We’ve covered and critiqued a pretty wild mix of bands (local and visiting) at a variety of venues with full-length features, interviews, “Ticker” news posts, gig listings, and photo galleries. We’ve even posted some amusingly shaky and distorted video clips from time to time.

Over the last two years, much of our focus has been on music coming out of and coming to the Charleston area, but we’ve enjoyed covering comedy in the local scene, too — especially at venues like Theatre 99, the Charleston Music Hall, the North Charleston Performing Arts Center, the Tin Roof, and the Jail Break events at the Old City Jail.

And we’re still learning as we go — about managing the site, connecting with venues and musicians, keeping an ear out for new releases, and balancing our schedules.

My own work and band schedule went crazy earlier this year shortly after my old bandmates from the Rock*A*Teens, an Atlanta-based quintet with whom I played drums from 1998 to 2002, invited me to reunite with them for a series of shows shows tied into the N.C. indie label Merge Records’ 25th anniversary. After a few months of rehearsals and sessions in Atlanta, we played our first shows in 12 years right here in Charleston in May at the Royal American and the Tin Roof. They were fun, sloppy, essential warm-up gigs for shows at the EARL in East Atlanta in June, at the 40 Watt Club in Athens, at the Merge festival in Carrboro in July, and a week-long tour up north in August.

Sexbruise at the Pour House (provided)

The Rock*A*Teens’ activities pulled me away from town and away from my usual weekly routine with Metronome Charleston, creating a sort of summer vacation mode that ran through the end of August. As far as the blog goes, summer vacation is over, and the local scene’s busy fall season for album releases, concerts, and special events is kickin’. I look forward to watching and listening to as much of it as I can.

On Sat. Sept. 13, Metronome Charleston will celebrate its second year with a four-band show on at he Tin Roof, one of Charleston’s top independent music venues. It’ll be an anniversary party showcasing some of best, independently produced, original music the Lowcountry music scene has to offer.

Last year, we booked singer/songwriter Jordan Igoe (of Double Trash), Doug “Street D” Walters (of Torture Town), late Columbia-based power trio the Unawares, Charleston-based indie-rock combo Elim Bolt (of local label Hearts & Plugs), and garage/rock combo Boring Portals for the first anniversary event. This time around, Lindsay Holler’s Western Polaroids, Scott Dence, the Danielle Howle Band, Sexbruise, and spary event. This time around, ecial guests will hit the stage.

Lindsay Holler (photo by Ballard Lesemann)

The anniversary party will kick off at 6:30 p.m. with a free Rock ‘n’ Roll Team Trivia game (hosted by your truly). Prizes will include passes to upcoming concerts at the Charleston Music Hall (Shannon Whitworth with the Chatham County Line, Nick Carter with Jordan Knight, and more) and the North Charleston Performing Arts Center (Widespread Panic, Lt. Dan Band, North Charleston POPs) as well as Tin Roof “bar cash.”

Here’s the official schedule for Sat. Sept. 13:

Rock ‘n’ Roll Trivia — 6:30 p.m.

Lindsay Holler’s Western Polaroids — 9:30 p.m.

Scott Dence — 10:15 p.m. 

Danielle Howle Band — 11 p.m.

Sexbruise — 11:45 p.m.

This year, Holler will return with the latest version of her twangy and eclectic Western Polaroids, featuring drummer Stuart White, guitarist Conor Donohue, and special guests.

One-man band Scott Dence (photo by Ballard Lesemann)

Singer/guitarist/drummer Scott Dence (of Dumb Doctors, Boring Portals) will perform his raucous one-man band set.

Veteran Carolina songstress Danielle Howle (the artist-in-residence at Awendaw Green) will perform with the backing of drummer Josh Dean (of Finnegan Bell), bassist Sean Kelly (of A Fragile Tomorrow), and guitarist Zach Bodtorf (of Firework Show).

Singer/guitarist Julie Slonecki’s electro-funk project Sexbruise will close the night. She formed the group with drummer Stratton Moore and two former members of soul-rock band Old You, drummer John Pope and guitarist Caleb Bodtorf (Zach’s brother).

Admission for the Metronome Charleston Anniversary Show on Sat. Sept. 13 at the Tin Roof will be $5 at the door.

Proceeds will benefit the bands, Metronome‘s website expenses, and Camp Happy Days, a great organization providing programs and support for families with children who are battling cancer.

Cheers!

Danielle Howle and Zach Bodtorf at the Tin Roof (Jessica Mickey)

The Ramones were a key band in the early days of punk in New York, playing at CBGB’s and other ratty clubs in Manhattan’s Lower East Side. As delivered on their 1976 self-titled debut album, the band’s primitive style, primal energy, and penchant for simple pop hooks made for a potent combination that kick-started punk rock in the U.S. and U.K.

Johnny, Tommy, Joey, and Dee Dee (provided)

“The music of the Ramones really influenced everyone — even if it was based on the idea that a normal person could just pick up a guitar and write a song,” Puke says. “And their influence is going last forever, like the Beatles or the Who. They’ll always be a touchstone. Any indie rock that’ll be created over the next 20 years will have some Ramones in it. That’s all there is to it.”

Currently performing as the frontman for the loud and outrageous punk band Space Fags (pictured above on stage at the Tin Roof), Puke has enjoyed a lengthy career in punk rock, both as a musician/singer and as a promoter. He spent the mid and late ’90s as the lead singer in the energetic pop-punk band Cletus, and he booked a wild variety of gig for the late King Street venue Cumberland’s throughout the 2000s. Over the last 10 years, his raucous, punk-themed birthday parties were a traditional summertime phenomenon at Cumberland’s and the Tin Ro

During his time in Charleston and various stints in New York, Puke never got to see the Ramones play live in concert. He fondly remembers seeing them on the small screen for the first time, though. “The first time I’d ever hard the Ramones was on the Tomorrow with Tom Snyder [in 1981]. They were playing ‘We Want the Airwaves.’ I’d never heard or seen anything like that. Snyder, who was sitting there smoking, said after their set, ‘What I just heard was not music!’ It was great.”

Puke also remembers the first Ramones tune he ever learned. “I’m a lousy player, but I do remember the first Ramones tune I ever learned on guitar: it was ‘Beat on the Brat.’ And that’s one of the songs the Space Fags are doing at the Tin Roof. ‘I Wanna Be Sedated’ was super easy to play. I used to be able to play that one with only two fingers.”

This Sunday, Sept. 7, an impressive mix of musicians and bands from the Charleston music scene will congregate at the Roof for a full night of Ramones faves and deep cuts.

The roster will feature the V-Tones, Dustin Fanning, the Heyward Faction, Chris Patterson , Underworld Connections, the Farm Upstate, Arleigh Hertzler, Teenage Eagle, Jenna Ave Lallemant, Punks & Snakes, Glowgoyle, Lindsay Holler, Strÿkeförce, First World Problem, the Space Fags, Bully Pulpit, Dumb Doctors, and several other special guests.

“I was really pleased with the response from musicians and the types of bands we ended up with,” Puke says. “I would have loved to have had a bluegrass band and an actual metal band on the bill, too. I love the whole diversity of it. It’s not just bands that could be considered ‘punk.’ That’s really a tribute to the Ramones, how everyone wants to honor their music.”

The Ramones Tribute is set for 7 p.m. on Sun. Sept. 7 at the Tin Roof in West Ashley. Admission is $7. Visit reverbnation.com/venue/tinroofwashley or the club’s Facebook page for more.

Top photo by Ballard Lesemann.