Hatebreed This one isn’t gonna be about puppies and kittens. Expect aggro vocals, cookie monster vocals, screaming, vocal pain, shredded vocal chords and gargled razor blades. The Grammy-nominated headliners combine the heaviest of metal with something more groove-oriented, but either way, it’s mosh-pit friendly. The band’s touring in support of their fifth studio album, the self-titled release hit stores in September. With Unearth, Cannibal Corpse, Hate Eternal, Born of Osiris. Amos’ Southend (Jeff Hahne)

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OK, I love the acting chops displayed by rapper-turned-thespian Mos Def, but I am ecstatic that he recently made the choice to step away from the movie screen for a second to focus more on music.

A few months ago, the underground-hip-hop-flavored MC released his new CD, The Ectstatic, to rave reviews and now he’s taken his show on the road. Catch him at Amos’ Southend Wednesday, Aug. 12, performing cuts from his new album along with classic joints.

Of course, if you miss seeing him in the flesh, you can always watch him on the small screen in The Italian Job or something … but that’s just not as fun, now is it?! $30-$35. 8 p.m. Amos’ Southend, 1423 S. Tryon. 704377-6874. www.amossouthend.com.

To whet your appetite, here’s some footage of the man in action:

Oh and Jay Electronica is the opening act. For those who’ve never heard of him, here’s a little bit about the cat:

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Social Distortion is coming to Amos’ Southend on Oct. 21 with TAT and The Strangers. No word on when tickets go on sale.

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The Rock the Bells show at Amos’ Southend on July 23 has been canceled. Ticket sales are not to blame however, as headliner Reflection Eternal — Talib Kweli and Hi-Tek — have decided to do a tour on their own this fall. After the headliner dropped off, the wheels did too, so to speak.

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Hank III Not sure whether spending our nation’s birthday with somebody other than Hank Williams’ grandson might be contrary to the Patriot Act, but I’ll look into it. Hank III’s live shows come in two flavors, of course: the country one that links him to his grandpappy like there never was a Williams Jr., and Assjack, Hank III’s brutal hard-core alter-ego. There’s nothing too original in either, but it’s all done like Hank III’s life depends on it. Given his partying proclivities, it just might. With Lucky Tubb. Amos’ Southend

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The Redman, Methodman and Ghostface show at Amos’ Southend on Aug. 4 has been canceled. The promoter is working to reschedule the show.

In the meantime, etix will be issuing refunds in the next two days.

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So, Friday night was the opening of the new Fillmore here in Charlotte which means that both of the new venues are now open. I thought I’d share a few thoughts on both:

The Uptown Amphitheatre
I haven’t been to the new amphitheatre yet, but have heard mixed reaction. Some people said it’s awesome, some said it’s too packed when the show is sold out. However, the biggest complaint was about beer prices. To these people I ask, “Have you been to Verizon Wireless Amphitheatre? The prices are the same there.” A smaller venue doesn’t mean smaller prices. Instead of people complaining about the prices, and then continuing to pay for beer at $8 and $11, why not stop buying it? If people stopped paying for it, they’d have to lower costs to sell it. You may complain, but if you keep buying it, you have nothing to complain about…

The Fillmore
I went to see Corey Smith on Friday night and was immediately impressed by the vibe of the location and the fact there isn’t really a bad “seat” in the house. With four levels, you can see the stage from practically anywhere inside the venue. A 16-ounce beer costs $6, which is closer to the average price at any bar around town. The lighting and sound systems are fantastic and the air conditioning works beyond well. In fact, it was nearly freezing in there and the complaint I heard the most was that it was too cold.

The bathrooms are located up front at the venue, which means that security is there to keep a lane clear for an easy pathway. Not the best choice for location of bathrooms, but there’s not much choice. It just means you can’t stand on the far side of the stage. Meanwhile, on the other side, when the sun is going down, you get a really bright reflection off of the floor and into the venue. Maybe they’ll put some curtains up or close the doors until the sun goes down.

One of the biggest complaints going on around town is that the new venues, especially, the Fillmore will ruin business for local clubs such as Amos’ Southend and the Neighborhood Theatre. Shows that previously sold out those smaller venues have now gone up to The Fillmore — The Black Crowes and Corey Smith, to name two. However, I’m not so sure that this will be the end of those clubs. Bands become more popular — acts that previously played at The Double Door or Evening Muse have moved up to Amos’ or the Neighborhood and those places survived. So, why would bands leaving Amos’ or Neighborhood and going up to Verizon, The Fillmore or Uptown be the end of them?

I would like to think that our music scene will grow and thrive with new venues and attract more bands to the city instead of bands skipping it for Atlanta or Raleigh. I understand complaints about the service fees, etc., but I would like to think that there are enough bands and people in this town to help support all of the music venues. I think it’s more likely, in some ways, that if the new venues didn’t exist, we wouldn’t be getting some of the acts to perform in Charlotte. Chickenfoot and Heart wouldn’t have schedule their shows at the Uptown Amphitheatre… It’s likely that The B-52s and Motorhead would have skipped us, as well.

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TV on the Radio w/ Dirty Projectors
Amos’ Southend
June 11, 2009

The Deal: TV on the Radio played Amos’ Southend with openers Dirty Projectors.

The Good: Any sincere music lover will admit to one truth – never say never. In order for musical tastes to evolve, as they always do, one must be willing to maintain an open mind, to give sounds that once aggravated the ear drums a chance to insert themselves in the psyche. Anyone who’s ever hated the first listen of a particular album only to love it a few weeks later knows what I’m talking about. The same holds true for bands in general. Such is the case with my relationship with TV on the Radio. In 2006, I saw them live after hearing bits and pieces from their earlier albums. The live show, as is often the case, was the deciding factor for this listener. They bored me immensely; I merely waited for my beloved cape-wearing Goths, Bauhaus and their kin, the headlining Nine Inch Nails to take the stage.

In 2008, TV on the Radio released Dear Science which I listened to with my usual cynicism. To my surprise, I enjoyed it much more than I had their previous work. I went to the show with limited knowledge of the band but excited by the possibility of giving our relationship another shot. Amos’ was packed, hot and moist when they finally went on stage. Sitting on a shelf meant for drinks, I had a great view of the stage and the heaving collective that was the crowd. They played a good deal off their latest album, but what surprised me the most was my reaction to the older material.

My favorite songs of the night were, by far, “Satellite” and “Staring at the Sun” both off their 2003 album, Young Liars. They had energy, owed in part to the brilliant drumming of Jaleel Bunton and dynamism of singer, Tunde Adebimpe. I’m no dancer but these two had me bouncing on that 12 inch shelf like an idiot. The crowd’s reaction equaled my own.

The Bad: There are still songs that lose me. “Stork and Owl” and parts of “Dirty Whirl” grate on my nerves at times, but I yield to the evolution of a unique and highly entertaining band.

While I enjoyed TV on the Radio for the most part, I cannot say the same for the openers, Dirty Projectors. The critics, including the notorious haters at Pitchfork, seem to love their latest album Bitte Orca, but I am not a fan of experimentation for the sake of experimentation. Dave Longstreth is said to be “one of indie rock’s most divisive voices,” and you will receive no argument from me there. I simply cannot understand why he would sing, or why it sounded like everyone was playing different songs. One audience member claimed this was her “favorite band ever” while I just wished for something to throw to make the cacophony cease. I can see why Bjork is both a fan and collaborator with these folks. She is quoted as saying, “There is so much character and individuality in their music.” I don’t disagree, but that doesn’t mean what they’re doing sounds good.

The Verdict: Something happened to both me and the band over the last few years to change my opinion of them. Once again, the live show was the deciding factor. This time their dynamic performance won me over; so, while TV on the Radio may not be one of my favorites, I have grown to like them immensely. I cannot say the same for Dirty Projectors.

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New York Dolls Dawning the age of glam punk with their quintessential debut 35 years ago, the New York Dolls can still rock the socks off most alterna rockers bouncing around on stages today. Vocalist David Johansen and guitarist Sylvain Sylvain are the only remaining original members and their new recording Cause I Sez So is a blistering statement on the Dolls’ staying power. Their influence on countless bands that have birthed since their debut is untouchable. Gig of the week. With Black Joe Lewis. Amos’ Southend

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According to pollstar.com, The Cult will perform at Amos’ Southend on Sept. 7.

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