Soundchecks: The Freak Show, Lucile, Katie Rose, Alison Krauss, Angela Easterling and Brandon Turner

Live music to catch this week

w/ 9Neintu, Happy Sandman, Scene Jesus, DBLCRWN, Hippy Cocaine, Catholics, Drévonn, DJ DollaMenu
Fri. Oct. 18
9 p.m.
$10/adv, $15/dos (21 & up only)
Purple Buffalo

The Freak Show was designed by event organizer Kit Monroe of the Burnlessflame Productions as a feast for the senses. More specifically, an adults-only feast for the senses. It’s a combo of live music, performance art, kink, and giveaways galore, with erotic performers and vendors serving an array of sex-and-fetish positive delights. Working with her close friend and performer Lex Biscuit, Monroe has planned out the Freak Show as a judgement-free pleasure zone that our fair city may not have seen before. And it’s a long way from where Monroe’s event-planning work started. “I’d planned events like weddings around town for around nine years, and then I started doing other events, but this was the first time anything like this came to me,” she says. “The weddings became so redundant for me, so I decided to wait for a time when I was inspired, and that’s what happened with this show. All of these thoughts just flew into my head: We should have dancers; we should have music; we should have all of your senses hit at the same time, like you’re entering into a different world. It’s a whole different atmosphere.” Luckily, she had plenty of contacts to make sure she could fill an event like the Freak Show with different experiences. “I happen to be very blessed to know some amazing, talented people,” she says. “I’ve worked with every one of the musical artists, and everyone who’s involved in this project is family. It’s something most people in Charleston haven’t seen before because most people in the lifestyle have to do things in the privacy of their own homes.” —Vincent Harris FRIDAY

w/ King Serpent, Anergy
Mon. Oct. 21
9 p.m.
The Royal American

Lucile, a four-piece band that describes themselves as “Southern-ish, hardcore-ish,” is bringing chaos, screams, and a mosh pit or two to the Royal American this week. The intense band is on the come up, having just played their first show at Big Gun back in August. Since then, they’ve been steadily gaining recognition and booking gigs. Hardcore, the genre that often goes unacknowledged, but thrives energetically, is gaining popularity in Charleston’s music world. With bands like Circle Back and Fire & Flood by their side, Lucile is bringing a following to the hardcore scene, one scream at a time. Scrolling through Lucile’s Facebook is like taking a glimpse into a nicer, more supportive world — they are constantly shouting out other local artists, giving praise to what one might see as competition. “It’s super important to support local music and maintain those relationships with other local bands,” says bassist Joanna Ratcliffe. For a band that is still finding their footing, they’ve got the right idea. Hardcore may be lawless, but the community is filled with support for one another, and the band wants to give that same love back. Drawing influence from groups like Maylene, the Sons of Disaster, and Every Time I Die, fans should expect “some really groovy riffs and heavy breakdowns” at their upcoming show. —Abrie Richison MONDAY

Thurs. Oct. 17
8 p.m.
$5, $8/under 21
Tin Roof

Katie Rose first performed when she was 13 years old, and wrote her first album, Everything Yesterday, when she was only 17. Her chillingly ethereal music incorporates elements of love, rhythm, relatability, and honesty. Between her angelic voice and clamant use of instruments throughout her delicately placed tone on any given song, Rose’s sound is distinguished from singer-songwriters in the Charleston area. Her new single that came out this past summer, “Beginnings,” offers insight into the development of Rose’s career since her debut album in 2016, and she has come a long way. Her song building structure has a foundation made of obsidian, and her voice is more crisp and clear than ever before. According to Magnet Magazine, the production “brings out the best in Rose’s curious, beautiful voice.” They complement each other so well, that it is hard to decipher one from the other. Katie Rose has toured with Howie Day, Jump, Little Children, Carbon Leaf, and JLC. For the time being, the artist plans to spend 2019 “writing and recording, touring, and sharing the musical love.” —Matthew Keady THURSDAY

AMERICANA | Alison Krauss
Tues. Oct. 22
7:30 p.m.
North Charleston Performing Arts Center

As a fiddler, Alison Krauss can effortlessly summon that high lonesome sound, whenever she gets invited to rosin up her bow. In fact, her master musicianship alone would have been enough to make her the darling of the acoustic music world. Yet, it was her plaintive, semi-sultry vocal renderings that helped propel her far beyond the bluegrass festival circuit where she had first gained notoriety as a young adult in the 1980s. In the years since her big commercial breakout, which came in 1995 with the surprise hit single, “When You Say Nothing at All,” Krauss’ higher-profile musical meanderings have included touring with her hero Tony Rice, contributing to the soundtrack for the Cohen Brothers’ film O Brother, Where Art Thou?, and collaborating on an Americana-flavored LP with quintessential rock god Robert Plant. All of these endeavors, along with Krauss’ staggering 27 Grammy wins, have further cemented her reputation in the mainstream, and have afforded her the luxury of working outside the safety net provided by her steadfast allies in the band Union Station. Her latest solo release, 2017’s Windy City, is another great example of Krauss’ range. An ode to a bygone era in country music, the album is replete with songs of loss and heartbreak that are delivered, as always, in a way that suggests an underlying strength and resilience. —Kevin Wilson TUESDAY

ALT-COUNTRY | Angela Easterling & Brandon Turner
Fri. Oct. 18
6 p.m.
Palmetto Brewing

Angela Easterling is one of those great singer-songwriters who can create a full story in just a few lines. And if you need an example, just check out the title track of her 2015 album, Common Law Wife, in which she lays out her real-life situation succinctly enough: “I was raised in church each Sunday, got a fine college degree/ You’d think I’d learned my lesson about those birds and those bees/ Well, imagine my surprise then, when the stork came to my door/ I thought he was at the wrong house with that old cart-pushing horse.” Verses like that show how adept at her craft Easterling is, and she’s created music that’s just as well-written as her lyrics. Over four albums and various singles, Easterling has been able to mix that bittersweet incisiveness as a lyricist with both bouncy rock ‘n’ roll grooves, easy-rolling alt-country, and Appalachian-tinged folk ballads. Her newest single, “Halfway Down,” feels like the beginning of a new chapter for Easterling; it finds her settling into an acoustic-electric folk-rock groove, with more polished production than she’s had before. The single brings to mind artists like Lucinda Williams or Kim Richey in its quiet, unassuming strength, but Easterling’s voice is a lot closer to the cool yearning of Rosanne Cash than Williams’ salt-and-vinegar yowl or Richey’s more plainspoken delivery. It will be interesting to see if Easterling continues down this path on her next full-length album, but regardless of the musical approach, she’s still a songwriter at heart; she makes creating melodic, heart-breaking songs sound deceptively easy. —Vincent Harris FRIDAY

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