Marc Maron, on stage at the Charleston Music Hall (photo by Jessica Mickey)

I used to check out his alternative comedy series “Eating It,” which he cofounded with Janeane Garofalo, at the Luna Lounge in New York City around 2000 during a brief stint in Hoboken. I remember looking across the room at him after a particularly awesome show and thinking, “Jesus, that guy looks miserable.”

Now, all these years later, after listening to his ramblings and making good with guests from his past on WTF, it’s pretty apparent that he was. He clearly longed for widespread acceptance and somewhat-massive success. And now he has it. I was curious to see how this turn of events would affect his material and how he relates to the audience.

Though the Charleston Music Hall wasn’t sold out on May 15, the crowd was warm, enthusiastic, and welcoming. Ashely Barnhill was a capable opener, warming up the crowd and gauging their energy well. Her monotone delivery and forced vocal fry seemed to turn off some of the crowd, though it felt apropos when touching on the subjects of Los Angeles and hipsters. Like Maron, a large amount of her material focused on various neuroses, to which the audience responded well, leading her to make the observation, “You are such a Maron crowd.”

Maron took the stage casually, carrying a cup of coffee and making small talk with the audience, including a late guy carrying a skateboard, which Maron brought up on stage and cautiously stood on, and a large group of roommates in the front row. He was funny and charming, casually riffing off their responses and relating past experiences to their current ones.

At some point, he went into material, but who could say when? He has such a conversational and naturally funny demeanor, it felt like he was just going with the flow, talking about whatever interested him at that moment. Considering he’s been doing stand-up since 1987, it’s clearly the markings of a pro.

Similar to the work of Jim Gaffigan, who occasionally checks in with the inner dialogue of an audience member, Maron continually checked in with his “inner blogger,” who would break in and judge his material. It works as a sort of security blanket, making a joke if a bit fails, but he really didn’t need to rely on it. From the expected talk of depression and anger and sex and love to a Jew making sense of Easter to his love of cereal and ice cream, it’s clear that Maron is still the malcontent I remember seeing almost 15 years ago. But now he’s an optimistic malcontent. He’s performing in front of people who know who he is and share in his struggle. And that makes him smile.

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.

Welcome to Night Vale’ at the Music Farm (photo by Jessica Mickey)

Opening the show was musical guest rapper/singer Dessa, part of the indie hip-hop collective Doomtree out of Minneapolis. Joined by musician Aby Wolf, the two quickly warmed the docile crowd, impressing them with their skillful flow and easy-going banter.

During the second song, Dessa passed a $10 bill into the audience, saying the bar would be closed during the “Night Vale” portion of the show and she would like a shot of Fireball. “It’s a test in faith!” she proclaimed. Not only did an audience member return with a shot and her change, she was treated to two more shots through the remainder of her five-song set. By the end, she was in the crowd, now on their feet at her request, and alit by cell phone flashlights.

The “Night Vale” portion of the show was greeted by thunderous applause and squeals as much-beloved Cecil Baldwin took the stage. Podcast composer Disparition sat to the side, surrounded by the tools of his trade to accompany Baldwin as he and fellow cast mates recited from the script in their hands, as if they were part of an old-time radio show.

Characters making their way to the mic to engage with Cecil included a sentient patch of haze that goes by the name “Deb” (Meg Bashwiner), who was hawking Dasani (and may or may not have poisoned the town’s water in attempt to sell her product); Carlos (Dylan Marron), a handsome Latino scientist that is the object of Cecil’s infatuation; intern Joseph Fink, the actual co-creator of the podcast; an inept Sheriff’s Secret Police spokesperson (podcast co-creator Jeffery Cranor), who is completely incapable of calming the townsfolk regarding a murder in the area; Tamika Flynn (Symphony Sanders), the 13-year old leader of a group of child vigilantes; and the hilariously portrayed John Peters (Mark Gagliardi) — “you know, the farmer.”

Longtime fans delighted in seeing familiar voices they had heard so long in the flesh, and the actors did not disappoint, committing to their characters and emoting to the back of the room. Of course, as the voice of Night Vale, Baldwin really was the glue that held it all together, engaging with the adoring and polite crowd while sticking to the script, expertly knowing when to pause for the laugh, and appearing to have a wonderful time on stage. All that’s left to say is “All Hail the Almighty Glow Cloud.”

Visit commonplacebooks.com for more.

Photos by Jessica Mickey.

Before I discuss the ever-charming Alejandro Rose-Garcia — a.k.a. Shakey Graves — I must mention that I was taken by his opening and equally charismatic act, Nikki Lane. Those that showed up to the Charleston Music Hall to admire Shakey were met with a pleasant surprise in the boot-stomping and swoon-inducing tunes of Lady Lane.

Nikki Lane and company at the Charleston Music Hall (photo by Jay Chapa)

I walked through the doors of the Music Hall just in time to hear the Greenville native say, “It’s amazing that I get paid to complain. I love writing songs, and most of them are me complaining. I mostly complain about men, but that’s just because they are an easy target. But remember, just like men can be dicks, women can be huge cunts.”

Shakey walked onto a dimly-lit stage donning a Johnny Cash-esque suit and tie with a straight-bill cap strategically placed atop his head, a symbol for the blend between younger generation of Americana/Country musicians that are bursting onto the scene and the roots that preceded them.

Shakey had been on this stage before, opening for Charleston’s Shoves and Rope in the fall of 2013. This evening, he kicked off his own headlining show with a solo set, armed with only a vintage six-string and a D.I.Y. drum kit composed of a bright red suitcase fitted with a kick drum pedal and tambourine. Stomping back and forth on his kit, Shakey delivered a solo performance that left the crowd not missing a full band sound at all. The growl of his guitar blended perfectly with the hoots and hollers from the crowd as they drank in Shakey’s fine-tuned performance.

Shakey Graves on stage at the Charleston Music Hall (photo by Jay Chapa)

Backing band members trickled on and off the stage throughout the set. At times, they provided huge-sounding electric bass and drum accompaniment, and at other times, they only provided stick clicks and backing vocals.

Shakey Graves’ set list consisted of favorites off his latest record And The War Came and even some more obscure tracks off his limited release B-sides album Nobody’s Fool, which was only set out into the internet world for a mere two days this past February.

By the end of the show, Shakey Graves had gotten a good mass of people out of their seats and piled up at the front of the stage leaning in for even an inch of closer glances. Probably due to his charismatic stage banter and musical aptitude, the mass consisted of mostly swooning ladies and one exceptionally burly/intoxicated gentleman.

Never one to disappoint, Shakey delivered a double encore with the second caused by a fan screaming, “Hard Wired!” at the top of her lungs. Shakey returned to the stage just as he had begun, alone and with a sole guitar to sing at the request of an adoring crowd.

Photos by Jay Chapa.

Shakey Graves at the Charleston Music Hall (photo by Jay Chapa)

Shakey Graves at the Charleston Music Hall (photo by Jay Chapa)

Shakey Graves at the Charleston Music Hall (photo by Jay Chapa)

Shakey Graves at the Charleston Music Hall (photo by Jay Chapa)

Shakey Graves at the Charleston Music Hall (photo by Jay Chapa)

Under the name Sittin’ in a Tree, Charleston-based singer/guitarist Mark Bryan (of Hootie and the Blowfish. Occasional Milkshake) and his wife Wendy Bryan gracefully opened the show with a cute and lively set of melodic originals, countrified renditions, and amusing stories. A polite and very attentive crowd of about 50 showed their approval with boisterous applause between each song.

Irion had been out in California over the winter working on a forthcoming solo album, so this show was a casual warm-up gig for him and and Guthrie (the daughter of folksinger Arlo Guthrie and granddaughter of folk icon Woody Guthrie) as they prepared for their spring tour in support of their latest studio album Wassaic Way.

Singing in rich harmonies and switching roles as lead vocalists, Irion and Guthrie carefully navigated through their set, from sparse, breezy ballads and slow-moving acoustic anthems to more upbeat fare. Some of the more memorable highlights included tunes related to Woody Guthrie and the Guthrie family archives. They invited their daughter on stage for a version of Woody’s “Go Waggaloo” (the titled track from their 2009 kids’ album), and premised their rendition of Woody’s “The Ballad of Tom Joad,” with the story of Irion being the grand nephew of author John Steinbeck, whose book The Grapes of Wrath actually inspired the song.

The simple and elegant dual acoustic rhythm guitar work between Irion and Guthrie propelled much of the set. Irion’s occasional solos were effectively spare and emphatic (“9 Out of 10 Time” stood out), and his Dylan-esque harmonica playing peppered much of the set (the Katrina-themed “Hurricane Window” helped wrap the set). A delicate intensity filled the room through much of their set, and the audience sat enthralled and impressed.

At one point, they joked about the first and only time they’d played at Theatre 99 — 15 years ago in the venue’s original location near the Market. Let’s hope they make it back to this stage much sooner that next time.

Photos by Ballard Lesemann.

Over the last 10 years (since I returned to my hometown from a long stint in Athens, Ga.), I’ve noticed that Charleston audiences generally tend to go nuts for band reunions and homecoming shows, no matter the genre, venue, or occasion. I’ve seen local gigs turn into veritable family reunions at events held in tiny bars, sizable clubs, and big outdoor festivals.

The positive homecoming vibes were dense at the North Charleston Performing Arts Center on Saturday night when Shovels and Rope — the multi-instrumental duo of Cary Ann Hearst and Michael Trent — hit the big stage, kicking off their winter tour of the Southeast in support of their latest collection, Swimmin’ Time. A healthy mix of old friends, longtime supporters, and newly drawn fans from Charleston and the Carolinas (young and old) filled the room.

Shovels and Rope (photo by Molly Hayes)

Hanging in the lobby beforehand, Performing Arts Center exec Alan Coker confirmed it was a sold-out show. That’s such an amazing accomplishment when one considers the comfy dives and small music venues Shovels and Rope used to play only a couple of years ago. I remember watching Cary Ann and Michael play as a duo and with a casual rotation of musical guests in recent years at little places like the Tin Roof, Art’s Bar & Grill, the Tattooed Moose, and the deck stage behind the Pour House. But since releasing their spectacular breakthrough album O’ Be Joyful in 2012 on the supportive indie label Dualtone label, the couple have been on a continual upswing, touring almost non-stop across the U.S. North American, Europe, and elsewhere.

They’ve honed their unique craft as a soulful, harmony-heavy, independent rock/folk/blues act, and they’ve worked diligently and gracefully along the way. Their hard work and dedication was documented in 2014 on the newly released rockumentary The Ballad of Shovels & Rope. Their songwriting talent, production skills, and Southern musicality was well featured on the songs of Swimmin’ Time.

Save for a few guest appearances at special events, it had been nearly a year since Shovels and Rope had played in Charleston, and the fans in attendance at the PAC were eager to hear and see what kind of Americana/rock act they’d become. Had they morphed into pampered rock stars or slid comfortably into a formulaic style? Hardly. Cary Ann and Michael are still the genuinely upbeat, comfortable, elegantly shaggy, unpretentious musical twosome that so many fans fell in love with over the years since they first formed in the late 2000s.

First up at the PAC on Saturday night was Shovels and Rope’s special guest for their entire winter tour, young Vermont-based songwriter Caroline Rose. She and a guest guitarist/pedal steel played sauntered out at 8 p.m. to warm things up with a mostly acoustic guitar-based set of folk ballads and country-rock strummers from her new disc, I Will Not Be Afraid (Little Hi! Records). She earned a warm, appreciative reception from the crowd.

Around 9 p.m., Cary Ann and Michael strolled out to a loud wave of applause, taking positions within a tight assemblage of drums, small guitar amps, and sparsely placed microphones at center stage. Their simple set-up didn’t look much different than it did four or five years ago, but the output of rich, full sounds was substantial.

During a chat with Trent a week before the PAC show, he addressed the issue of playing big venues as a simple duo. “We’re always thinking about arrangements and how to put on the best live show possible,” he said. “You see it all the time, when small bands grow in size, adding more musicians to the stage, but that sometimes seems a little bit harder to connect with.”

Cary Ann Hearst and Michael Trent (photo by Leslie Ryan McKellar)

“We have adjusted the show a bit, but I’m proud and glad that we haven’t really skipped any steps along the way, as far as growth in each market. It’s like we’ve played the smallest place in each market, and then the second smallest place, and on from there. The medium dive and then the bigger dive, and the larger rooms. It’s been sort of a slow growth. These large, thousand-seater shows just can’t be quite as intimate when there are that many people in the room. The banter between the songs can’t even be heard. Some of it gets lost. So we simply focus on the arrangements, how to make the music, and how to be a two-piece rock band. I’m not really afraid of the fact there’s just the two of us because I know we can put out a lot of sound in a big theater.”

For a two-piece, Shovels and Rope can create quite a handsome wall of sound these days. Much of that comes from their dynamic harmonies and how they carefully handle the instrumentation behind them.

During Saturday’s set, Trent casually shifted between keeping the beats on the the kick and snare, shaking maracas and tambourines, strumming and plucking electric and acoustic guitars, and playing a small keyboard to the side. Hearst mostly handled the acoustic guitar, but she’d jump on the drums at times as well. There was nothing fancy or showy about their instrumental work, but the handsomely raw twang and bang of the guitars and percussion sounded great from song to song.

Opening tune “Birmingham” — one of of big hits from the O’ Be Joyful album — kicked things off, followed by the the toe-tapping country-beat song “1,200 Miles” from Hearst’s initial Shovels and Rope solo album (circa 2010). The shouty stomper “Gasoline” (also from Shovels and Rope) revved things up early in the set, as did the new song “Coping Mechanism” — the soulful, swingin’ rocker they loudly rendered earlier on the week during a live appearance on The Late Show With David Letterman.

Other highlights included two O’ Be Joyful fan favorites — the tambourine-accented “Keeper” and the swampy, slyly slow-rolling “Tickin’ Bomb.” Several Swimmin’ Time tracks wowed the crowd, too, including the harmony-strong “The Devil is All Around,” the hand-clappy, quick-paced “Fish Assassin,” and the piano-driven, highly melodic pop-rock anthem “Bridge on Fire.”

It was a fiery, high-spirited, surprisingly intimate homecoming performance that suited the longtime and newly initiated Shovels and Rope fans well.

John Prine and Jason Isbell
North Charleston Performing Arts Center
Nov. 8

For generations after John Prine has left this world, his legacy will continue to play out on stages from the Ryman Auditorium to corner bars in small towns across the nation. Since his debut album in 1971 — an album that included “Angel from Montgomery,” “Paradise,” and “Illegal Smile,” just to name a few — he’s been regarded as the premier everyman songwriter, proving that a mailman at an open mic can transform himself into the lyrical poet laureate of a generation.

Fortunately for the audience at the Performing Arts Center on Saturday night, John Prine is still very much within this world. But before he took the stage, we were treated to a concise, polished performance by his apparent successor, Jason Isbell.

Anybody arriving even ten minutes late missed several of Isbell’s strongest songs. He began promptly at 7:30 p.m. with “Songs That She Sang in the Shower,” followed by “Codeine” and “Alabama Pines.” Isbell’s guitarist, local-boy-done-good Sadler Vaden, shined with his slide on “Relatively Easy,” before subtly offering  the sole accompaniment to Isbell’s poignant “Cover Me Up.”

Jason Isbell and John Prine at the North Charleston Performing Arts Center (provided)

Isbell made sure to compliment the professionalism of Prine’s tour crew, before launching into a clean, driving “Stockholm” and a slow burn take on his Drive-By Truckers classic, “Danko/Manuel” and the set-closing “Outfit.”

Prine gave the crowd about half-an-hour to brave bathroom and beer lines, before taking the stage with his band — upright bass, mandolin and guitar — for a mood-setting “Spanish Pipedream” opener, with its “blow up your TV” refrain.

Surgery for throat cancer 16 years ago has left Prine with a gravelly rasp to his vocals, but his voice is still distinct and, like all great songwriters, he’s careful to let his words shine through. Even someone not familiar with the majority of his work — my wife, for example — can understand the words, and without a drummer to keep time, erratic pacing threatened to derail a few songs throughout the night, but Prine’s band clearly knows to follow their leader as he speeds and slows his songs for emphasis (most notably, “Picture Show” opened like a freight train before rather abruptly slowing to a saunter).

Several of the night’s best moments occurred during a mid-set segment when Prine held the stage on his own, telling stories about his late songwriting buddy Steve Goodman (they co-wrote “You Never Even Call Me By My Name” for David Allen Coe). Before playing “Hello In There,” Prine described how he’d always gravitated towards older people when he found himself in a room full of strangers, because they knew things he didn’t. “I always thought that when I grew up, that’s what I wanted to be — an old person,” the 68-year-old offered, before exclaiming, “Voila,” and striking into the song.

“Christmas in Prison” provoked the night’s first standing applause, before the crowd-pleasing “Angel from Montgomery” and “Fish and Whistle.”

Prine brought Jason Isbell back out for “Storm Windows,” the title track from his seventh album, before his band rejoined the stage for the Carter Family’s “Bear Creek Blues.” To close the set, Prine offered an extended, celebratory “Lake Marie,” while the band and audience sang along with the “standin’ by peaceful waters,” chorus.

To huge applause, Prine returned to the stage, bringing the entirety of his and Isbell’s bands back out and announcing, “Let’s take you to Muhlenberg County.”

With the familiar refrains of “Paradise,” a now-standing full-house soaked it all in, before beaming on our way out the door and into the night, reminded that a few chords and the truth can make you feel remarkably alive.

Jason Isbell and John Prine at the North Charleston Performing Arts Center (provided)

Imagine Great-Grandma’s living room but with an old-timey radio broadcast springing up among the doilies, vintage lamps and side tables. That’s the kind of time-warp Sarah Jarosz and duo the Milk Carton Kids (Kenneth Pattengale, Joey Ryan) let loose in Charleston Music Hall on Sunday night, Oct. 26. The trio delivered folkie classics, bluegrass and original tunes on a stage set that might have been pulled together from the Dust Bowl era props department of the movie O Brother, Where Art Thou? An old fashioned cabinet radio took up a corner of the stage, its amber dial softly luminescent. As the 90-minute-plus performance hummed along, it too, seemed to be infused with that same warm glow.

Sarah Jarosz and the Milk Carton Kids (photo by Jon Santiago)

About 20 minutes into the show, Ryan asked the crowd, “Can you tell we like singing together?” These two Grammy-nominated acts dreamed up this “In Collaboration” tour because they do love singing together. And it shows. Their voices blend seamlessly, like a deep moment of joy expressing itself.

Critics already love these performers on their own merits. The Milk Carton Kids have re-imagined the golden age of acoustic music with gorgeous vocal harmonies, solid musicianship, and accomplished songwriting. Add in Jarosz’ straight-from-the-heart voice, and her multi-instrumental chops. Together, along with stellar support from Samson Grisman (bass), Alex Hargreaves (violin), and Nathaniel Smith (cello), this trio soared through a setlist that included covers of Bob Dylan, the Everly Brothers, Woody Guthrie, and even Tom Waits.

While some new, three-part harmony versions of their own tunes (notably Milk Carton Kids’ “Michigan”) added dimension to those songs, some jukebox favorites earned new admiration, too. The trio’s cover of Skeeter Davis’ “The End of the World” made that classic heartbreaker heart-breaking all over again. Guthrie’s ode to Dust Bowl era California, “Do Re Mi,” got a rousing workout that invigorated that song with new meaning for the present day.

Overall, one element stood out. With only three onstage mics covering all the performers, the sound of this concert was both unimaginably rich and intimate at the same time, easily ranking among the best (truly) unplugged shows we’ve ever attended. That’s one of the things that makes us hope a live recording of this tour is in the works. We’d also love to hear them all sing the show-closing encore again, Tom Waits’ “Jayne’s Blue Wish.” Amazing.

Sarah Jarosz at the Charleston Music Hall (photo by Jon Santiago)

Sarah Jarosz and the Milk Carton Kids (photo by Jon Santiago)

Ringo Starr’s a cheerful chap and a laid-back bandleader. A pretty full house greeted the former Beatles drummer (a.k.a. Richard Starkey) and the current lineup of his All Starr Band at the North Charleston Performing Arts Center on Wednesday night, singing along and applauding from tune to tune.

The current lineup of the All Starr Band features guitarist/singer Steve Lukather of Toto, keyboardist/singer Gregg Rolie of Journey and Santana, bassist/singer Richard Page of Mr. Mister, guitarist/singer/percussionist Todd Rundgren of Utopia, keyboardist/percussionist/sax player Warren Ham of Frankie Valli and the Four Seasons, and drummer Gregg Bissonette of the Maynard Ferguson Band, the David Lee Roth Band, and various fusion/rock projects.

With solid, well polished backing from his band, a very nimble Starr kicked off the show as lead singer, bouncing at the stage-front through versions of Carl Perkins’ “Matchbox,” his classic solo hit “It Don’t Come Easy,” and recent solo song titled “Wings.” From there, he spent the rest of the set hopping behind his red-sparkle Ludwig drum kit to keep time alongside Bissonette and jogging back to the main mic as lead vocalist.

Ringo Starr (provided)

As any rock fan knows, Starr, 74, tastefully drummed (and sang a bit) with the Beatles alongside John Lennon, Paul McCartney, and George Harrison between 1962 to 1970. Since the band’s breakup, Starr has collaborated with various musicians and written and recorded an armful of solo albums over the last 45 years.

The long-running All Starr Band project first came together in 1989 with an ever-changing rotation of well-established rock and pop musicians and vocalists. The project took shape as an inclusive classic rock showcase, in which every featured player got a chance to shine during each show. Wednesday’s performance certainly highlighted the hits of Toto, Santana, Mr. Mister, and Todd Rundgren as much as any Ringo-related Beatles song or solo standard.

At times, the configuration and performances on stage seemed strange. The band was extremely professional and proficient — resembling the top-notch versatility of Paul Shaffer’s killer band on Late Show with David Letterman. But it felt weird to see Starr tapping along with his Beatles-era swing beats to such bombastic classic rock faves as Santana’s “Evil Ways” and “Oye Como Va,” Toto’s “Rosanna” and “Africa,” or Mr. Mister’s “Kyrie.” I’m not sure some fans in attendance expected such an odd variety.

There were several goofball moments, too. Dressed in green, Rundgren hammed it up during a rendition of “Bang the Drum All Day.” Page’s voice shined on his new acoustic guitar-based composition titled “You Are Mine,” which sounded nice and pretty but perhaps felt out of place. Lukather’s extravagant solos were impressive, if occasionally over-the-top (although the fist-pumper “Hold the Line” kicked ass with sax guy Ham hitting the high notes well).

Rolie’s Hammond B3 organ solos on the Santana tunes were beautiful and soulful, and Bissonette stretched out a bit from his stripped-down time-keeping to a fiery drum solo during “Black Magic Woman.”

For an old Beatles/classic Ringo fan like me, the top moments came when the All Starrs delivered the great hits from Starr’s early career — from his strummy pop love song “Photograph,” the fast-tempo “I Want to be Your Man,” the anthemic singalong “Yellow Submarine,” and the raucous set closer “With a Little Help From My Friends” and a quick reworking of the Lennon/Ono anthem “Give Peace a Chance.”

Despite the variety show vibe, I most enjoyed Ringo Starr genuinely enjoying himself as member of the band. He seemed so casual, dry, confident, and unworried, occasionally grinning at his bandmates while quietly handling a light shuffle beat or cymbal tap. Every member was gracious and polite to each other and the crowd throughout the two-hour set.

Starr and his bandmates will continue to tour across North America through the fall. Hopefully, they’ll make it back to the Carolinas with a few extra Ringo-styled rock tunes in the repertoire.

Concert photos by Jessica Mickey.

Night One: Friday, Oct. 3

Widespread Panic kicked off their fall tour in Charleston on Friday night, performing without founding drummer Todd Nance for only the second time since the band’s formation in 1985 (Nance missed a show in April 2000 in Delaware due to illness). Any concerns that the band would sputter without their established backbone proved unwarranted, as drummer Duane Trucks aptly stepped in and held down the fort with solid, controlled style.

Trucks is no stranger to the family; he’s the son-in-law of guitarist Jimmy Herring and a bandmate of bassist Dave Schools in a roots-rock side project called Hard Working Americans.

North Charleston Coliseum staff members seemed friendlier and more engaged with patrons than at shows past, with employees sporting “We (heart) Panic Fans” buttons. A projection of that same motto was cast onto the venue’s exterior walls. Marketing manager Alan Coker reiterated during the show that he considers Widespread Panic the Coliseum’s “house band.” Perhaps it’s all an effort to keep Panic from straying (last year, they jumped ship and played two nights on Daniel Island), but it seemed appreciated by fans and the band, who clearly gave their all on the tour’s opening night.

The show started with a party, rolling out “Disco” as a giant LCD disco ball appeared behind the band. “Diner” offered Trucks his first chance to demonstrate he’d learned a more complicated song’s changes, with Schools clearly making eyes to ensure the transitions went over smoothly. Throughout the first set, songs like “Climb to Safety” and J.J. Cale’s “Ride Me High” seemed especially sharp — perhaps with a substitute drummer, the band was forced to practice more than usual in the weeks prior to the tour.

During the second set — which kicked off with an explosive ZZ Top doublestack of “Waitin’ on the Bus” into “Jesus Just Left Chicago” (prediction: Billy Gibbons at Lockn’ Festival 2015) — the pressure on Trucks seemed to subside. It was easy to forget he was even up there, as the band gelled into a natural flow that included a poignant “Space Wrangler” and explosive “Sleeping Man,” before easing into the familiar riffs of “Driving Song,” where a distinct, almost exaggerated attention to detail appeared again as the band showed their new member the way.

Trucks’ real initiation came during “Papa’s Home.” As the song dropped into its breakdown, the 25-year-old aced his hold steady moment, aptly doing his job and avoiding the temptation to embellish, while also keeping up as the lights went into a spiral and pushed the band around and around (a very noticeable moment where the lighting director literally dictated the course of the song).

When it came time to drop the hammer on the bass drum during his drum solo with percussionist Sunny Ortiz, however, Trucks rocked just hard enough, before Schools rejoined the stage and bailed him out with a masterfully dirty solo that teased “Ain’t No Party Like a P-Funk Party.”

After finishing up “Driving Song,” followed by “Greta,” the band reignited the party with the first of two Talking Heads covers, “Life During Wartime,” which preceded the set closing “Love Tractor.” After a long pause before the encore, they returned with a soulful “Heaven” (the second Talking Heads song), before feeding the beast once more with a big “Red Hot Mama” that rebuilt the room’s collective energy and set the tone for an exciting Saturday night to follow.

Widespread Panis (L to R): Dave Schools, John “JoJo” Hermann, Jimmy Herring, John “JB” Bell, Todd Nance, and Domingo “Sunny” Ortiz (provided)

Night Two: Saturday, Oct. 4

First of all: Todd Nance, the Panic community hopes you come back soon. The band is not the same without you.

But they’re doing their best, and on Saturday night, Widespread demonstrated to Charleston that they’re more than just the house band at the Coliseum. Widespread Panic in 2014 does not sell out the venue like the latest country act (or Bruce Springsteen, Prince, or even Phish) might, but they bring an energy to the room unlike anyone else.

It’s great to hear how comfortable Jimmy Herring is with the band. After eight years, he may as well be an original member (if you’re reading this, you are probably a fan, and let’s all pour one out to Mikey). On Friday afternoon, Duane Trucks posted a thank you to Col. Bruce Hampton for making his connection with Widespread Panic, but without Jimmy’s endorsement, Trucks wouldn’t be sitting center stage for this fall tour.

Family. That’s the glue behind Widespread Panic, and Saturday was no exception. From the opening chord of “Porch Song,” everyone in the room was determined to have a good time, even through the jangly intro of “Ribs and Whiskey” that led to pure heat from Herring. A brief “Working” gave way to a four-star “Weight of the World,” before “Up All Night.”

It’s funny how new songs become old songs. “Up All Night” played out like an old favorite, with keyboardist JoJo Hermann taking lead before Herring tore the song to raucous shreds. A classic “You Got Yours” followed, with yellow spotlights bringing even the upper reaches of the Coliseum into the fold.

After a subdued but soulful “C. Brown,” the highlight of the entire weekend, “Pigeons,” closed the first set. It rocked and it rolled, and Duane Trucks demonstrated that he’s as apt a fill-in drummer as his father-in-law has been on guitar for the world’s best bands over the last two decades. “Pigeons” in North Charleston on October 4, 2014, was a keeper.

The second set kicked off at 10:20 p.m. with Taj Mahal’s “She Caught the Katy.” The old-school set list of Friday night was thrown out the window, with “Bust It Big” proving to be the set highlight. Herring threw down a heavy riff worthy of Guitar Hero mimicry. “Give” kept the energy high — (“How dare you show up on time!”), before an overall forgettable drums. Fortunately, the band chose “I Walk On Guilded Splinters” to reenter the second set’s closing stanza, delivering a swampy take on Dr. John’s staple gris-gris groover.

A relatively subdued version of Howlin’ Wolf’s “Smokestack Lighting” proceeded “Chilly Water” to close the night, wrapping up a 93-minute set (according to PanicStream.com).

Having peaked the crowd’s energy multiple times over a big two nights, Panic encored a wistful “Wish You Were Here” before bringing the crowd right back to the race track with a driving, full force “Action Man.”

Even without Todd Nance driving the boat — and kicking off a tour after a month at home — Widespread Panic’s big weekend in Charleston sounded like a well-oiled machine, primed for the laps ahead.

Widespread Panic performed two shows at the North Charleston Coliseum before leaving for a month-long fall tour across the U.S. Visit widespread panic.com for more.

Photos by Michael Crossman.

[Thanks to Stratton Lawrence for the reviews!]