Do Savannnah

A glance at Stopover’s up-and-comers, female forces and more


A glance at Stopover’s up-and-comers, female forces and more

09 Mar 2016

All Dogs

While ostensibly a pop rock outfit, All Dogs are anything but saccharine, pulling harmonic structures and electric guitar effects from early ’90s alternative.

Their latest album, “Kicking Every Day,” kicks off with a mid-tempo masterpiece in “Black Hole,” a swirling eddy of a song that, while it doesn’t suck in all light, makes things dark enough to appeal to head-bobbers and navel-gazers alike.

That sets the formula for the album as a whole. Lead singer Maryn Jones delivers not-quite-angsty vocals in a tone that manages to be both vulnerable and jaded. Her airiness gives most of the tracks an unsettled quality, which is particularly successful when paired with All Dogs’ more amorphous arrangements.

The exception to this rule is “That Kind of Girl,” a hard rocking tune that lets Jones air it out. She channels some legitimate anger here, the simmer heard in the band’s other songs finally boiling over.

This might be why the album is so appealing. It successfully lulls you into a dreamy state only to come back and slap you a couple of songs later. It moves with ease from teenaged introspection to political outrage.

All Dogs’ live album reveals that their intensity is only amplified outside of the studio. Expect to leave this show feeling like you’ve been a part of something significant. 

All Dogs at Stopover: 9:30 p.m. Thursday at Wild Wing Cafe 

— Zach Powers

Lucy Dacus

Lucy Dacus is an earthy alto who pens songs that are a little bit pensive and a little bit playful. Her debut album, “No Burden,” serves to showcase her understated vocal style, accompanied by minimal pop rock arrangements.

Much of the album argues the thesis that individuality is a supreme virtue, and that life is a quest to achieve it. The first track’s title, “I Don’t Want to Be Funny Anymore,” sets the tone for what’s to follow.

Despite having such a clear and overarching theme, the album doesn’t get oppressive with regret or proselytizing.

“I Don’t Want to Be Funny Anymore,” for example, might not conjure up laughs, but it’s definitely fun. The guitar maintains a steady eighth note pattern throughout, and you’ll likely be tapping your toe before you know it.

The lyrics are genuinely clever. In one of the most sincere and rewarding moments, Dacus sings, “Is there room in the band? I don’t need to be the frontman. If not, then I’ll be the biggest fan.”

It’s no surprise that with her rich voice, Dacus lets the blues, particularly of the Delta variety, influence her songwriting. But she offers up a wide range of styles, all unified by her sense of searching, both in her words and in the subtle timbre of her voice. — Zach Powers

Lucy Dacus at Stopover: 11 p.m. Friday at Wild Wing Cafe



Bruiser Queen

When it comes to genre, Bruiser Queen is kind of hard to pin down. The St. Louis duo is definitely rooted in pop rock, but they seem less concerned with sticking to labels than they are with playing whatever interests them in the moment.

Vocalist/guitarist Morgan Nusbaum and drummer Jason Potter have been performing together for more than five years, but their sound retains some of the tentativeness of a new band. This isn’t a bad thing. For Bruiser Queen, it’s simply the result of constantly pushing themselves into new and less comfortable territory.

Their most recent studio album, 2014’s “Sweet Static,” showcases the full breadth of the band’s repertoire. It starts with “Tiny Heart Attack,” a lo-fi pseudo-shuffle with a couple of pop hooks thrown in for good measure.

Their song “On the Radio” is a straightforward four-chord punk rocker with a surfy organ accompaniment. This punk influence pervades all their songs, and Nusbaum is more adept than most at conveying anger without yelling at the listener.

While Nusbaum’s vocals dominate the band’s arrangements, her guitar playing shouldn’t be ignored. She has an original approach to playing pop and punk that helps fill out the duo’s sound. Even seeing them live, it might be hard to believe there are only two musicians on stage.

Bruiser Queen at Stopover: 9 p.m. Friday at The Rail

— Zach Powers


The Stargazer Lilies

Kim Field’s vocals on “We Are the Dreamers,” the 2013 release by The Stargazer Lilies, seem to come from the other end of a tunnel. With every word, she drifts farther away, and the listener is drawn that much deeper into the band’s sonic wormhole.

“Ethereal” is the word of choice to describe their music. The tones are ambient, the beat loping. Even the acoustic guitar sounds more cosmic than folky. Melodies swirl around an unidentifiable core.

On songs like “Undone,” even the pitch drifts in an out of the tonal center. The guitar solos to a rhythm that seems pulled from a different song, deliberately unmusical.

“How We Lost” is a song that floats disjointed and weightless, again conjuring trippy images of the cosmos. If a swirling galaxy can be described in sound, this is it.

For some bands, experimentation can make their music unlistenable, but The Stargazer Lilies retain enough of their pop sensibilities to ground the music in something familiar. Each song sounds like an old favorite performed in outer space.

Though the band members hail from Pennsylvania and California, they have a local connection through their label, Savannah’s Graveface Records. Wherever they’re from, it’s safe to say their influences are as broad as the universe itself.

The Stargazer Lilies at Stopover: 6 p.m. Saturday at Congress Street Social Club

— Zach Powers



As bands come from all around the country to play at Stopover, Yuck will make quite the trip across the pond from London.

The group began as a five-piece brought about by the efforts between Daniel Blumberg and Max Bloom. Yuck went on to release their self-titled record on Fat Possum Records in 2011, paving the road for the quartet to begin their climb to success. Yuck has since whittled themselves down to a quartet following frontman Bloom’s eventual departure. That lineup has released two additional records, with 2016’s “Stranger Things” being their most recent release.

Yuck’s fuzzy, melodic sound has been likened to influential bands that saw their heyday in the ’90s, like Dinosaur Jr. and My Bloody Valentine, topped off with garage-style vocals mixed into their scratchy tunes. Stranger Things is definitely a departure from the group’s well-known self-titled effort: for any Yuck fans, there is no “Get Away” or “Southern Skies” on this record, but the hard work the quartet has put into the record is evident. The indie rockers are playing in Savannah for the first time during Stopover, so give them a warm Savannah welcome. They will have come a long way to perform for us.

Yuck at Stopover: Midnight Friday at Wild Wing Cafe.

— Bradley Mullis


Prince Rama

“What kind of music would you listen to when you’re jumping off a cliff in a squirrel suit?” said Taraka Larson.

After perceiving a great void in the world of extreme sports for music that could match the intensity of death-defying feats like bungee jumping face-first into a canyon or toying with death on skis, the sisters of Prince Rama have created a genre that provides the score. Taraka Larson, Nimai Larson and Ryan Sciaino set out to create a new extreme sports genre with their latest album, “Xtreme Now.”

Writing began in 2012 while the Larson sisters were living on a remote island off the coast of Estonia as part of an experimental film. There, Taraka had a couple of near-death experiences that changed the way she thought about the future, and time in general. She also began envisioning extreme sports, something she had never pondered before.

“For whatever reason, I kept getting these visions of art merging with extreme sports and the future to form this more speed-oriented aesthetic,” she said.

For countless hours, she watched amazing extreme sport videos and found that the music in them was terrible. “There’s no good music for extreme sports right now. It’s just kind of an afterthought, like dubstep just thrown in there.”

So they took on the challenge of making something both intense and motivational enough to get audiences pumped while watching activities that make their lives flash before their eyes.

When the Brooklyn-based group comes to Stopover, audience members can expect to get their own adrenaline pumping with the fearless dance club feeling this genre provides. The new songs take on a more powerful, all-encompassing feeling than any other Prince Rama record — dancing just at the edge of death’s gilded smile.

Taraka advises to take the plunge, in a sense. “Don’t come with any expectations at all and be surprised.”

Prince Rama at Stopover: 11:30 p.m. Friday at Club One

— Emily Smith


Twin Limb

Twin Limb began when members Maryliz Bender and Lacey Guthrie met at a pool party.

“Both of us were playing solo music at the time. We stalked each other’s Soundcloud accounts and fell in love with each other’s music,” Bender said.

As Guthrie played her originally written solo piece “Don’t Even Think,” with the accordion, Bender started thinking of ways to add to the sound.

“I remember thinking that I can hear guitar on this, but I feel like it needs a beautiful, simple beat,” she said.

So after piecing together an acoustic drum set and saving up some money, the two went to record at La La Land Records with Kevin Ratterman. He added his crazy ideas and got them comfortable with using instruments like the pump organ.

“We scheduled some shows and realized there was no way we could keep playing music without him. It’s been nonstop ever since,” Bender said.

Now promoting their debut EP “Anything is Possible and Nothing Makes Sense,” the Kentucky-based trio is geared up for a six-week tour with stops such as Okeechobee Music and Arts Festival before Stopover.

Although “dream pop” has become the most common descriptor of their sound, the accordion mixed with soothing harmonies makes the genre hard to pinpoint, even for the band.

“We were joking around that it was surrealist rock ‘n’ roll music, but even that’s not really a description,” Guthrie said.

Even if they were to nail a perfect description, there’s a good chance the sound will change again anyway, since they allow it to constantly evolve naturally.

Thanks to a lot of machinery that Ratterman uses, the group is able to reproduce a sound that is pretty close to the complex recording. Audiences will hear these familiar beats but will also get a taste of some material from an album that has not yet been released.

“It does make the show special because that’s the only place you can access these songs,” the band says.

Twin Limb at Stopover: 9 p.m. Saturday at Trinity United Methodist Church

— Emily Smith



Haybaby is a trio that was formed in 2011 that has created a new form of sludge pop.

Now touring in support of their upcoming, five-song EP “Blood Harvest,” which will be a tape release in the spring, the Brooklyn-based band will be providing a taste of their heavier sound at Stopover.

Grunge indie doesn’t really seem to fit as much anymore. After their first full-length album, “Sleepykids,” their sound has gotten darker over the course of four years.

“That was always there in what we were doing, it’s just coming out more,” the band says.

The three-piece band includes Sam Yield on bass, Jeremy Duvall on drums and Leslie Hong with the guitar and vocals.

Don’t be fooled by the sometimes screamy slop-rock style; this weird and magnetic trio carries strong lyrics that will make you have some feelings.

Writing their own songs, Hong says she mostly writes about “fictitious people, people I’ve seen and their experiences, and boys.”

At Stopover, Haybaby will play whatever they feel the crowd is in the mood for.

“We have a metal set which isn’t always appropriate,” Hong says. “If it seems like they want to dance, we’ll play our dance songs. We’re not going to force you to get really sad with us.”

Haybaby at Stopover: 8 p.m. Saturday at The Rail

— Emily Smith


Shilpa Ray

“I walked into an open mic at the Sidewalk Cafe in New York City 13 years ago and got my first gig,” Shilpa Ray said. “I didn’t have enough songs to fill 30 minutes and had a week to figure out a way to fill the time. From then on, I never stopped writing.”

With a sultry voice that could make the indie charts combined with a punk rock element, this act is quite hard to put into a box.

Now promoting “Last Year’s Savage” Shilpa describes this sound as “sexy and out of touch.”

Although this is her first time performing at Stopover, she is not foreign to life on the road.

“I’m a road dog. Actually I’m more like a feral cat. I don’t like being in one place for long periods of time,” she says.

Changing the lineup of her band often since she first formed it in 2005, the current roster includes Jon DeLorme on pedal steel and bass, Jamie Timm on guitar and bass, as well as Robert Collum on the drums, with everyone pitching in on vocals.

Although Ray has remained the frontrunner since she began her musical journey in 2003, her sound has not necessarily remained the same.

“I’ve always been open to experimentation, so I’m not really locked into sounding a particular way,” she says. At Stopover, she will have some new stuff up her sleeve from a record she’s currently writing. “I get bored playing old stuff but I’ll play some of that too.”

The only thing to fully expect at this show is “frightening weirdness,” she says.

Shilpa Ray at Stopover: 11:30 p.m. Thursday at Wild Wing Cafe

— Emily Smith


Your Friend

When first listening to Your Friend’s soothing melodies, it may seem like just another indie group — but then things get loud.

“The record is already so dense, but it’s even more dense live. People describe it so far as just a giant wall of sound and you don’t know where everything's coming from,” says vocalist Taryn Miller.

Since the release of her self-recorded EP, “Jekyll/Hyde,” in 2014, Miller brings us her debut album “Gumption” in a new state of mind.

“I had to change a lot of things, my relationships, the way I perceive things,” she said. Where “Jekyll/Hyde” had more of a “dear diary” feel, focusing on what Miller was going through, “Gumption” is more mindful of her audience.

“It’s kind of about this idea that I’m not that special, no one is that special. But we all feel the same things. It’s like this common ground, that connection on a human level.”

Miller admits she had been overly aware of what people thought of the EP, and decided to try something new.

“What is something that I would do without anybody hearing it?” she says.

Now a five-piece band, Your Friend is definitely full-sounding but still genuine. At Stopover, the audience will see that her music has a lot of energy behind it but is not as cathartic and slow as before. The overall product is suspenseful, with moments where it can break at any time. Miller explains that some of the songs are really brooding, but others are more dynamic.

Her wide variety of influences ranging from high school show choir to literature come through in her poetic lyrics to create a full experience.

“I think this is a record you have to hear all the way through and it’s not something you can necessarily pick songs from. It’s a full body thing that requires patience.”

As someone who admittedly continues to learn, read and explore, this is an artist who is never done, and is really just now getting started.

Your Friend at Stopover: 5 p.m. Saturday at Wild Wing Cafe

— Emily Smith


Sweet Crude

New Orleans brings Stopover the Cajun French-interjecting seven-piece rock cohort Sweet Crude.

The young Louisiana natives are part of a growing movement to keep the Cajun French language relevant and practiced in the arts. However, the band summons the dialect as much for its sound as its historical relevance.

While you might expect such an act to revel in two steps, the band creates a delightful indie rock sound using layered percussion to match the percussive sound of the dialect. The guitarless septet features trumpet and keyboard as most members take turns keeping the beat on a variety of instruments.

Alexis Marceaux and Sam Craft front the band, singing and trading off on keyboards and violin. The couple is a staple of the New Orleans music scene, also performing as the duo Alexis and the Samurai. They both have Cajun French in their blood but learned the language proper as adults in an effort preserve the tradition of the area.

Sweet Crude, which takes its name from a type of oil that surrounds their home in the Gulf, has grown a following in NOLA, performing at the city’s celebrated jazz festival and French Quarter festival. They appear ready to greatly expand the fanbase with a polished and one-of-a-kind indie rock sound.

The Council for the Development of French in Louisiana has embraced the band for its commitment to the local culture. The effort seeks to immerse the general culture in French from time to time in order to keep the language and its unique dialect from obscurity. They praise the band for bringing Cajun French to new audiences and genres, honoring the tradition while making it new.

Sweet Crude at Stopover: 6 p.m. Friday at Trinity United Methodist Church

— Cory Chambers


Mystery Skulls

The one-man band has seen a transformation in the 21st century.

The attachments and devices that hold instruments to bodies have been replaced with laptops, turntables and keyboards. This new tradition brings Mystery Skulls to Savannah Stopover.

The indie pop DJ and singer started the project in Dallas and has since moved to Los Angeles. Luis Dubuc creates dreamy grooves while singing over his own products. The move to the entertainment mecca has been a good one for Dubuc.

Mystery Skulls is signed with Warner Brothers Records. The potential is limitless for Dubuc as his release for the production powerhouse boasts collaborations with Brandy and Nile Rodgers. With influences like Daft Punk, Otis Redding and Prince, it is not perplexing why Mystery Skulls causes dance parties wherever he performs.

He is the equivalent of a well-read professor quoting influences obscure and common. The times when the one-man band was relegated to the listening room or street corner are no more.

The DJ and vocalist has taken over rooms small and large in Los Angeles, and continues to tour more widely. His funk-fueled track “Ghost” has a video gone viral on YouTube, with an infectious disco beat that will keep you hooked.

The avid music fan enjoys a non-technical relationship with music, searching for emotion and feeling to guide his songs as opposed to theory and rules. The result is a linear, danceable celebration. Mystery Skulls’ sound oozes in and out of concrete genres, creating a unique experience for electronic music fans.

Mystery Skulls at Stopover: Midnight Saturday at Club One

— Cory Chambers


White Reaper

White Reaper is a Kentucky quartet with a sound that is as classic as it is current.

The Louisville rock band released a full-length album just last year that has drawn praise from huge media outlets like NPR and Pitchfork. Their second release on the Polyvinyl label, “Does it Again,” delivers a constant flow of intensity.

Tony Espsito’s electric guitar and Ryan Hater’s keyboard swim together playfully while the twin sibling rhythm section of Nick and Sam Wilkerson lays down mammoth grooves.

The arena-inspired keyboard brings a fun and danceable element to the band’s classic rock ‘n’ roll sound. They’ve been compared to Savannah favorite King Tuff and promise to be a crowd favorite at this year’s festival.

With a sound ideal for The Jinx, White Reaper has been called everything from pop punk to classic rock to garage punk. The consensus is that the band offers a good time wherever they bring their sound.

Their recordings are not the only thing earning them notoriety among media elites. The band is earning new fans constantly with an extensive touring schedule and an adrenaline-laced show. White Reaper toured with ultra high-energy outfit Diarrhea Planet and drew praise for matching the headliner in passion and relentlessness.

The quartet is impressive for pairing its rock ‘n’ roll intensity with hooks that shine with clarity. The boys sound extremely professional while creating their jovial party music. White Reaper offers an opportunity to sweat out the day’s drinks with a non-stop, high-speed rock show.

White Reaper at Stopover: Midnight Thursday at The Jinx

— Cory Chambers


Terror Pigeon!

Neil Fridd’s joy-fueled dance party known as Terror Pigeon! comes to Stopover from Nashville.

If you were to ask Fridd about his project, he might tell you he does not wish to claim ownership over the songs he writes and sings. The Terror Pigeon! live show champions the community over the ego as band members dress in costumes that will make you smile while encouraging the crowd to participate in satisfying sing-alongs.

Terror Pigeon! started in 2007 as an outlet for Fridd to release tension over romantic mishaps. It has grown into an overdose of joy and positivity expressed as a full band. The electronic pop group released their first EP in 2008 on David Byrne’s Luaka Bop label. They are currently on an extensive tour with their second album “Live It Up Before You Die it Up.”

The band has a rotating and morphing lineup but guarantees to provide a show worthy of their whimsical and telling name, shortened from the original Terror Pigeon Dance Revolt. It is hard to sit on the sidelines when Fridd’s beats and assuring lyrics begin to permeate the room.

Terror Pigeon! creates a utopia of willing participants, shouting and dancing along with Fridd and company’s good time. Fridd’s vocals are on the low end and may remind some listeners of California band Cake. Constantly comforting audiences with affirmations like “Don’t worry, man, it be all right,” Terror Pigeon! seeks to make people feel unencumbered. Plan to dance like you do when no one is around at their Stopover showcase.

Terror Pigeon! at Stopover: Midnight Thursday at Club One

— Cory Chambers


Rainbow Kitten Surprise

Rainbow Kitten Surprise hails from Boone, N.C., and brings a sound to Stopover that is as delightful as their name implies.

The band began with vocalists Darrick Keller and Sam Melo creating songs with acoustic guitars. They have grown into a full rock ensemble adding electric guitar, bass and drums to the sound.

What can sometimes muddy and distort adds a clarity and beauty to Rainbow Kitten Surprise tunes. The band evokes bands like Modest Mouse and Kings of Leon with perfectly placed guitar lines under a groovy rhythm section. Their lyrics are equally deliberate and layered, earning RKS a local following and growing national attention.

The band’s first two recordings were released together in 2013. The title track “Seven” caught fire after going viral on the IGN Podcast and planting itself firmly in the heads of listeners for weeks. The song “Devil Like Me” and its music video were featured on VH1’s “Make a Band Famous” contest. Out of thousands of entries, RKS was one of the final 24 that were showcased.

Their new recording delivers more of the band’s recognizable and addictive sound. Keller and Melo deliver stellar vocals while the band creates an intoxicating backdrop. The live performance promises to bring smiles and good vibes to an eager Stopover audience. They have distinguished themselves as a rising powerhouse through thoughtful and catchy songs that have naturally gone viral.

Their Stopover show at Trinity should give an insight to the band’s appeal. RKS creates a brand of rock music that is best digested attentively and reverently.

Rainbow Kitten Surprise at Stopover: 7 p.m. Friday at Trinity United Methodist Church

— Cory Chambers



It began as a solo project more than two years ago as self-taught songwriter and multi-instrumentalist Kristine Leschper began to explore and pursue creative outlets beyond her visual artistry.

Over the course of 2014, she played solo shows that earned her local acclaim in Athens, including from Flagpole, which praised her “visceral, deeply personal” songs.

In an effort to expand her musical reach, she soon teamed up with Matthew Anderegg, Drew Kirby and Patrick Morales to complete the latest iteration and musical evolution of the band Mothers.

Their sound alludes to indie rock, with both folk and punk undertones, all with Leschper at the helm. She delivers lyrics with a placid stream of consciousness and the band fills in the gaps.

Their debut album, “When You Walk a Long Distance You Are Tired,” released just last month, features “Too Small For Eyes,” a bare-bones single with Leschper and her mandolin, featuring piano and mellow stringed accompaniment. The rest of the album maintains that grace, adding layers of sound and grappling musical elevation that spiritedly explores the human condition.

This enlightenment spills over into their live performance with a dynamic stage presence.

Mothers at Stopover: 10:30 p.m. Thursday at Wild Wing Cafe

— Molly Hayden


Mass Gothic

Last month marked the release of “Mass Gothic,” the self-titled Sub Pop debut from Massachusetts-bred, New York-based singer/songwriter Noel Heroux.

It blends pop, rock and punk, creating a genre identity crisis while catchy electronic textures dance in the background.

Written and recorded at home over four months during the winter of 2014-15, although not as polished as his former work, it’s a solid reminder of Heroux’s unabridged talent and creativity.

Best known as the force behind much-loved New York rock outfit Hooray For Earth, Heroux called it quits after nearly 10 years with the band, citing his depletion of creative juices. From there, his solo project Mass Gothic emerged and so did the rebirth of Heroux as a musician.

Heroux grew up outside of Boston and began playing piano at a very early age. Writing and recording music began in his early teens.

His latest endeavor leaves Heroux on the road with a handful of talented musicians, with a tour spanning international borders. But before heading to the U.K., they’ll make a ceremonial stop at Savannah Stopover to leave the local audience humming their memorable tunes.

Mass Gothic at Stopover: 11 p.m. Saturday at The Jinx

— Molly Hayden



Whiskey is the preferred drink of choice while listening to the tone of the band SUSTO. No other libation will do. An austere whiskey is simple and straightforward, all the while leaving you obliquely transparent, and perhaps a bit moody.

SUSTO manages to do the same with its Southern gothic country sound that mixes vulnerable lyrics with fluctuating tempo.

The band is the brainchild of Justine Osborne and was born out of multiple oscillating collaborations in both Charleston and Havana — with Johnny Delaware, Wolfgang Zimmerman, Nicholas Scott Woodley and Camilo Miranda, to name a few.

After an extensive North American solo tour to promote SUSTO’s self-titled debut album, Osborne returned to Charleston in 2014 to solidify a permanent lineup for the band. Today, Corey Campbell (guitar, keys and vocals), Jonny Delaware (also guitar, keys and vocals), Jordan Hicks (bass), Marshall Hudson (drums/percussion) and Osborne (vocals, guitar and keys) maintain the force behind SUSTO.

The band is currently working on a second album (with the working title “& I’m Fine Today”) and continuing to tour nationwide.

Susto at Stopover: 9 p.m. Saturday at Ships of the Sea

— Molly Hayden


Faux Ferocious

Reid Cummings, Terry Kane, Dylan Palmer and Jonathan Phillips make up the Nashville-based rock ‘n’ roll (with a bit of punk and a side of alt-pop) quartet. Phillips and Kane share the coveted frontman spot while Palmer and Cummings hold the rhythm section on bass and drums, respectively.

The band formed a few years ago simply because it was time to form band. From there, the foursome split their time between touring and recording, managing to hold the attention of audiences both onstage and in the studio with musical simplicity, punchy lyrics and sharp hooks. They have a “whatever-it-takes” approach to production, which walks a fine line between alluring and loud, and recently included laminating their inaugural physical release on cassette tapes.

The self-titled cassette is the first on a label and chronicles the disheveled anarchy they have been perfecting in that time.

Limited to 350 colored cassettes, Faux Ferocious will be released on Sept. 4 as part of the second annual Infinity Cat Cassette Series. For now, though, they’ll continue touring and recording, tipping a hat to the faux ferociousness that carries their name.

Faux Ferocious at Stopover: 10 p.m. Thursday at The Jinx

— Molly Hayden


T. Hardy Morris

Thomas Hardy Morris first began playing music in an old trailer behind a friend’s house that they stocked with pawn shop guitars and amps. It’s the rite of passage that produced the grit and twang of his band, Hardy and the Hardknocks.

Their sound is messy and hard to pinpoint. It has that lo-fi, alt-rock, head-banging country feel with a side of PBR-sipping Americana mellowness that makes your feet tap to the steady beat.

Hailing from Augusta, Hardy and the Hardknocks is the second iteration of Morris’ solo projects, sidestepping his better-known gig as guitarist and singer with the psych-influenced, defiantly Southern hard rock band Dead Confederates. And with it, he reveals a different side of his musical talents.

The band recently released “Drownin’ on a Mountaintop,” which is laden with the simplicity of traditional lyrics with the writing and recording of the album surrounding the birth of his first child, bringing a more mature and grounded perspective. And with the lyrics accompanied by pedal steel, it can’t help but pay homage to the sound of the dirty South.

T. Hardy Morris at Stopover: 11:30 p.m. Thursday at Congress Street Social Club

— Molly Hayden


Mr Little Jeans

Monica Birkenes, aka Mr Little Jeans, first made waves with her breakout, electro-pop cover of Arcade Fire’s “The Suburbs” in 2011, which has racked up millions of views on YouTube and SoundCloud. Originally from Norway, Mr Little Jeans dropped her highly anticipated debut album “Pocketknife” in March 2014. The album features the singles “Oh Sailor” and “Good Mistake.”

The singer/songwriter describes the songs on the albums as “deeply personal and ripe for interpretation. They’re about ambition and dreams and living with no daylight.”

According to LA Weekly Music, “Mr Little Jeans’ vocals contain a childlike, almost mystical sweetness that’s absent in most of the icy productions of Northern European electro-pop. Early Mariah Carey, more than any of her other influences (including Charli XCS and Lykke Li), spurred her interest in pop music (with St. Vincent being another salient influence).

“... Mr Little Jeans looks like she belongs to an enchanted world described in works of fantasy. It’s a magical quality that’s also found in her voice, a lithe falsetto that soars across starry skies of forgotten woodlands and rolling hills.”

Mr Little Jeans at Stopover: 12:30 a.m. Friday at Club One

— Kim Wade


Dosti Music Project

Each spring, the Dosti Music Project invites 10 world-class musicians from India, Pakistan and the U.S. to spend a month musically reinventing their world.

Now in its second year, Dosti (meaning “friendship” in Urdu and Hindi) will begin with a residency at the Atlantic Center for the Arts in Florida, followed by a tour to big cities and small towns across the Southeast. These adventurous musicians will collaboratively create original material, melding influences from traditional Sufi Qawwali to Appalachian fiddle tunes to glitchy electronica.

All throughout the program, Dosti fellows will engage with diverse communities through live performances, improv sessions with local musicians, educational workshops and on-the-street recording studios. This month-long process — facilitated by New-York based music collective Found Sound Nation — culminates in the creation of an album of genre-defying new music, a series of music videos and short documentary films that tell the story of the artists’ personal journeys and collective struggle.

After Dosti, the crew will return home to continue developing socially engaged music initiatives in their communities, linking up with Found Sound Nation’s global network of musical change-makers, including the alumni of Dosti’s sister project, OneBeat.

Dosti Music Project at Stopover: 3 p.m. Saturday at Trinity United Methodist Church

— Do Savannah