Wednesday, June 26, 2013

Live Music: Cyndi Lauper, The Lean Few, Pawtooth, James Hall and the Futura Bold

Great music in town this week

Posted by Sam Spence on Wed, Jun 26, 2013 at 4:00 AM

GARAGE | The Lean Few
w/Concord America
Wed. June 26
10 p.m.
Tin Roof

The Chucktown garage punks known as the Lean Few are performing their last show at the Tin Roof this week. Originally, the group began as a one-man band, featuring Rob Kampart, but it soon evolved into a quartet. Kampart and company released the Creepy Simple Cool EP in 2012, and it’s exactly what the title implies — simple, cool, and laden with catchy choruses. The Lean Few is breaking up because Justin and Phillip Allen, the band’s guitarist and bassist, are moving to Atlanta. However, Kampart and drummer Neil Thomas will continue on as a two-piece act called the Frizz. —Tom Pernecker WEDNESDAY

RETRO ’80s GARAGE | Pawtooth
w/ Niche
Sat. June 29
8 p.m.
The Sparrow

Pawtooth often gets pegged as an ’80s-inspired act, and in a way, that’s pretty doggone true. But this Asheville, N.C. band is so much more. Case in point: Their latest song “Ringbeat” sounds like Siouxsie Sioux kidnapped the Go-Gos and tossed them in the Stooges’ Funhouse while Dick Dale dials in a lick from outer space. And their other recent tracks, “Paper Cut” and “The Hours,” are just as eclectic and even more badass. “We have never said, OK, we’re going to write a post-’80s-style song with lots of edge and modern feel. This doesn’t happen. We just make it up,” says Penelope Zing, lead singer for Pawtooth. Zing and company are currently working on an LP — the follow up to 2012’s Your Bullets Be Damned EP, which had a punkabilly-meets-the-’80s vibe at times. Zing says the disc won’t differ that much from “Ringbeat” and “Paper Cut,” which means there’ll be more melody, more keys, and more grooves. “I like not sticking to a niche,” Zing says. “It gives a lot of room for creativity.” —Chris Haire SATURDAY

METAL FUNK | James Hall & the Futura Bold
Sun. June 30
10 p.m.
Tin Roof

James Hall came of age in the 1980s helming Atlanta’s goth-glam rockers Mary My Hope. Though they enjoyed some college radio success, MMH couldn’t dent commercial radio and broke up one year after their 1989 debut. Hall went solo, releasing a couple albums, including one for Geffen in 1996 called Pleasure Club. Hall’s drawling baritone possesses a very ’90s speak-sing swagger that suggests David Bowie auditioning for Jane’s Addiction. His sweaty, brooding presence and strutting self-possession is well-suited to the chunky, blunt-edged metal-funk of his latest project, James Hall & the Futura Bold. The band’s debut, The Futura Bold, features plenty of moody, dramatic slow-burn numbers and a few outright rockers, taking full advantage of Hall’s hypnotic delivery and the band’s talent for juicy rotisserie riffs. —Chris Parker SUNDAY

POP | Cyndi Lauper
w/ Hunter Valentine
Wed. July 3
7:30 p.m.
North Charleston Performing Arts Center

Fairly or unfairly, Cyndi Lauper is forever tied to the ’80s. Her 1983 debut, She’s So Unusual, was one of the first great pop records of the MTV era, a slick amalgam of Prince-ish funk, new wave, and bubbly punk. And her image — all crazy-colored hair, thrift-store goofball clothes, and New York attitude — launched a thousand carbon copies on film and TV. But Lauper and her debut weren’t part of a trend. In 1983, they were the trend, and three decades later, “Girls Just Want to Have Fun” and “Time After Time” are still perennial radio favorites. But behind the bubblegum was a subversive streak — “Girls” was a sneaky anthem of self-empowerment and “She Bop” an overt ode to, uh, self-pleasure. And Lauper’s unusual façade masked an underrated singer with a knack for understated pop ballads. In the 30 years since her debut, Lauper has tackled everything from torch songs to calypso to earthy blues. Her most recent project, the score to the Broadway show Kinky Boots, landed Lauper a Tony Award. —Patrick Wall NEXT WEDNESDAY

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