a cool show Wednesday night, check it out:
http://www.facebook.com/event.php?eid=171072642713&ref=ts

SUNDAY, NOv. 30 The Have and Have Nots/Matthew Paul Butler & the Beards of Power/The Holly Days A trio of next-generation Charlotte acts offering solid proof of a burgeoning local scene – The Have and Have Nots feature Ben Henry playing guitar shards and razor wire and singing like end-times are imminent, while Jess Donahue does the Large Hadron particle collider-thing on the kit. Mr. Butler is a recent arrival to Charlotte, and if his Harlot EP is any indication, his Richie Havens-strumming-Songs:Ohia-narratives suggest we're the richer for it. The Holly Days are so new they're practically still in the wrapper, but there's no masking their soul inclinations via the MySpace stuff, like your iPod is playing Style Council and Nixon-era Lambchop simultaneously. Snug Harbor (John Schacht)

vanity of vanities, our first ep will be released at Snug Harbor of November 30th. Our 8 track EP recorded by Bo White and released under the Kinnikinnik records will be available for the 1st time at this show. Also appearing at this show will be Matthew Paul Butler and the Beards of Power, and the Holly Days,hope to see you there,the have and the have nots

LIVE REVIEW at SNUG HARBOR: THE HAVE AND THE HAVE-NOTS; THE LIGHTS, FLUORESCENT Snug Harbor on Pecan near Central Avenue in Charlotte recognizes the value of local (and regional) emerging energy and has been presenting many of the artists who've been busily honing their craft in and around the area. A relative newcomer in the club scene, Snug Harbor has featured a range o fartists including Americana/Folk stylists Attila's Honey and The Orsons, both of which make great original music and can trace their origins directly to area open mic nights. Recently on October 10th, two die-hard open mic regulars played Snug Harbor with their respective bands. Ben Henry's two-piece, The Have and the Have-Nots, and Erika Blatnik's The Lights, Fluorescent are both very different in sound from their acoustic open mic performances, yet the stamp of the songwriting fellowship steeped therein is unmistakable. Many of the songs penned by Ben Henry and Erica Blatnik concern themselves with similar themes. Murder, both figurative and literal, assumes a major metaphorical role in the inspiration for both artists. Henry's "Demons and Glue" and Blatnik's "Trigger" are strong rockers which appear as direct and immediate statements at first glance, but both songs employ unexpected narrative twists. Henry tells the tale in reverse as the soul of the victim flies by in the first verse and before the actual event, we discover the murderer's planted letter. There is no justification in this letter, but one assumes it has motivated the act. Blatnik also cleverly devises an outside storytelling device in the person of a close friend who can't believe the tragic consequences resulting from one movement of the "Trigger." These stories serve as metaphors for the daily tragedies often set off by careless living. The ensuing erosion of spirit, often inevitable in such a scenario reappears in other subject matter for both bands. Concern with dis-ingenuity presents topics upon which both artists have reflected. Henry's existential meander into the paralysis of drugged escapism in the delightful "Death Pills" has as its quasi-nursery rhyme refrain "death pills, cheap thrills...that's where the spiders come from, that's where the spiders go." Blatnik's "Hypocrite" examines the manipulative machinations of those who would use religion for power over children who are the "weakest ones" and most vulnerable. The two songwriters have found or been found by excellent musicians who focus their skills on supporting the songs. The Have and the Have-Nots is a two-piece with Henry on guitar and Jess Donahue playing a strong drum-kit in her first band experience. Henry has found that the textures of his Les Paul running simultaneously through Fender Bassman and Marshall-DSL mesh well aurally with the strippeddown two-piece set-up a la The White Stripes and their predecessor, Chapel Hill's legendary Flat Duo Jets . Henry's quirky finger-picking style, reminiscent of Captain Beefheart's best records effects a dissonant harmony into which Donahue's kit is woven seamlessly and energetically. Along with his crafty vocal which serves as another instrument as much as storyteller, the overall experience is loud, clear and playful. Henry believes that guitarists are more interesting when part of the whole instead of shredding leads that override the songs. And, he writes cool songs with only the goal of having fun in the description of the experience of a moment, though sometimes in his songs, that moment is often dark. The Lights, Fluorescent found Erica Blatnik and is very happy about it. The band presents a tight wall of sound, combining a variety of elements and possibilities. Blatnik plays keys and acoustic guitar, blending well with the rhythm guitar of Craig Friday and the tasteful leads of Andre Francois. The rhythm section flows powerfully with the energy of the songs. You feel the commitment of Zach Irvin's drums as one with the pop-flavored bass-lines laid down by Robby Hartis. An excellent player, Hartis also writes and provides vocal harmonies which evidence the respect for and commitment to songcraft shared throughout the band. Blatnik, herself, has a unique voice that is strong enough to cut through that wall, ride atop it, or find a space within as the song dictates. There is a commonality in these two examples of the new music scene in Charlotte. Stylistically, it is their focus on supporting the vision of each song that sets them apart from many bands. No one piece attempts to set itself apart from the songs themselves and they communicate well with each other musically. There is a real friendship that has developed between these two songwriters and their collaborators. Rumor has it that Henry and Donahue first started playing together/ just having fun at Blatnik's house. That seed, then nurtured, qualifies as 'community' and the rest of the local scene seems very happy that they have chosen to work on sharing. BROTHER WAYWARD AMP ELEVEN NOVEMBER 2008 VOLUME 4