This Week's Shows (4/18 - 4/24)

The big event of this week, the 800-pound gorilla in the room, is the three-day Sweetwater 420 Fest in Centennial Park this weekend.  I won't be going as the bands booked don't quite align with my personal tastes; they didn't last year either, but I couldn't pass up the opportunity to see Snoop Dog perform.  In any event, it's been impressive to watch the festival grow from a single-day event in Candler Park with mostly local bands to a large, three-day event with nationally touring acts.

But even without the Fest, this is still a better-than-average week for Atlanta music, with sets by Thao & The Get Down Stay Down, Esperanza Spalding, Mother Falcon, American Authors, and Hurray For The Riff-Raff, and revivals of bands like LA punks MDC, as well as 90s radio stalwarts Bush and Sister Hazel.  Finally, for a week that begins with a band called Must Be The Holy Ghost and features a set by Spirits and the Melchizedek Children, there will be not one, not two, but three separate Christian rock bands performing this week.

As always, please keep in mind that musicians and night-club proprietors lead complicated lives and I'm prone to errors, mistakes, typos, and fubars; it's advisable to confirm any of the information below on your own before making plans. 

MONDAY, APRIL 18

MDC, Deathwish, The Swingin' Dicks, Nag (The Drunken Unicorn)

Alternately known as Multi-Death Corporation, Millions of Dead Cops, and Millions of Damn Christians, hardcore punk legends MDC topped the Dead Kennedys in the 1980s by performing politically charged songs that were arguably more extreme than what got the Kennedys into trouble. 

Must Be The Holy Ghost, Slowriter,  Kakune (529)

We last saw Raleigh's loop-crazed Must Be The Holy Ghost at a day party during 2014's Hopscotch Fest.  For this show, he will be supported by Atlanta's Slowriter (Bryan Taylor).

Must Be The Holy Ghost at Hopscotch, September 2014

Trevor Jackson, B. Justice, GOLDe, Vedo the Singer, Skooly (Vinyl)
Indianapolis' Trevor Jackson launched his singing career in 2013 with a string of R&B singles, including Like We Grownand Superman, both of which landed on his New Thang EP later that same year. A handful of singles scattered across 2014 and early 2015 led to In My Feelings, the singer's guest-filled debut album.

TUESDAY, APRIL 19

American Authors, Ryan Star (Vinyl)
Falling somewhere between the heady introspection of Alt-J, the arena-sized folk-rock of Mumford & Sons, and the urban, heartfelt grandeur of Fun., Brooklyn's American Authors offer an emotional and propulsive mix of summery indie pop and meticulously crafted, commercial modern rock.

Audacity, The Rodney Kings, The Mumzees (529)

Audacity play scrappy Californian garage punk. 

WEDNESDAY, APRIL 20

Thao & The Get Down Stay Down (Terminal West)

Thao & the Get Down Stay Down is an indie pop band led by Thao Nguyen, whose songwriting tends toward the musically playful and lyrically heavy-hearted. Before forming The Get Down Stay Down, she collaborated on a single under the name Merrillthaocracy with tUnE-yArDs' Merrill Garbus, who produced The Get Down Stay Down's fourth album, Man Alive, which was just released last month.

Robyn Hitchcock, Eugene Mirman (Variety Playhouse)

Robyn Hitchcock is one of England's most enduring contemporary singer/songwriters and live performers. Despite having been persistently branded as eccentric or quirky for much of his career, Hitchcock has continued to develop his whimsical repertoire, deepen his surreal catalog, and expand his devoted audience beyond the boundaries of cult stature. He is among alternative rock's father figures and is the closest thing the genre has to a Bob Dylan (not coincidentally his biggest inspiration).  Comedian Eugene Mirman opens.

Robyn Hitchcock at Eddie's Attic, February 2014

Eugene Mirman opening for Andrew Bird, March 2012

Har Mar Superstar, Pls Pls (Aisle 5)

Har Mar Superstar (Sean Tillmann) is a balding, out-of-shape white man with a pencil-thin moustache who croons sex-laden R&B tunes while break dancing. His live shows, sung to the backing of a small boom box, usually culminate in Har Mar stripping down to his underwear (often of the tighty whitey variety).  So there's that.  Atlanta's Pls Pls opens.

Pls Pls at Criminal Records, L5Fest, 2013

True Widow, Slimy Member, Spirits and the Melchizedek Children (The Earl)

Heavy and melodic, True Widow has a heavy and melodic sound that takes its cues in equal parts from the worlds of drone, post-rock, and shoegaze, blending rumbling guitars, sprawling songs, and drifting, reverb-soaked vocals.  Atlanta's Spirits and the Melchizedek Children open.

Spirits and the Melchizedek Chilren at 529, January 2014

TacocaT, Boyfriends, Wet Nurse (529)

Seattle Weekly noted of the palindromic TacocaT, "If Pabst Blue Ribbon were a band, it would be TacocaT. TacocaT is discordant and goofy—like an R-rated Presidents [of the United States of America], but with Hillary(s) in the Oval Office.  They're an OK band to thrash around drunk to . . . so we'd recommend waiting for their next sweaty club gig to get the quintessential TacocaT experience." 529 should provide just the setting for the female-fronted Seattle quartet.

TacocaT at Bumbershoot, 2012

THURSDAY, APRIL 21

The Disco Biscuits (Terminal West)

First of a two-night stand by trance-fusion band The Disco Biscuits before their next-day set at the Sweetwater 420 Fest.  Sold out.

Amanda Cook (Center Stage)

Amanda Cook is a Canadian artist and worship leader known for her passionate, faith-based singer/songwriter pop music. Expect a lot of Christians in the audience. 

Roadkill Ghost Choir, Tedo Stone, Oak House (The Earl)

In case you missed them last week at The Earl, Roadkill Ghost Choir return to The Earl, this time backed by Atlanta's Tedo Stone and Athens' Oak House.

Roadkill Ghost Choir at The Earl, August 2013

Oak House at The Earl, January 2016

Thoth Nemesis, Black Mass, Spore Lord, Homicidal (529)

Metal.

FRIDAY, APRIL 22

Sweetwater 420 Fest (Centennial Olympic Park)

Kid Rock headlines the Day One lineup that includes The Disco Biscuits, Cypress Hill, Lucero, Pepper, Zoogma, Paper Diamond, Illenium, and Ployd.

Cypress Hill at the Sixth Annual Atlanta Pot Festival, April 1, 1995

Esperanza Spalding (Center Stage)

Esperanza Spalding is a fine jazz bassist, but has also distinguished herself playing blues, funk, hip-hop, pop fusion, and Brazilian and Afro-Cuban styles as well. The Portland musician's recent Emily's D+Evolution is an ambitious, prog-rock infused concept album revolving around a central character named Emily, Spalding's middle name.

The SteelDrivers (Terminal West)

Sold out show by the soulful Nashville bluegrass band.

The Disco Biscuits (Terminal West)

Late-night second show of the two-night stand by trance-fusion band The Disco Biscuits, following their set at the Sweetwater 420 Fest.  Sold out.

Sister Hazel, The Georgia Flood, Christian Lopez (Variety Playhouse)

Sister Hazel is an alternative rock band from Florida, whose style blends elements of folk rock, pop, classic rock 'n' roll and southern rock. Their music is characterized by highly melodic tunes and prominent harmonies. Their song All For You was a 90s radio staple.

Rend Collective (The Tabernacle)

The Rend Collective are a modern praise and worship band out of Northern Ireland that grew out of a group of Christian friends looking for a way to bring spirituality more in line with the complexities and confusions of life in the 21st century.  A nice second helping for fans of Amanda Cook (See Thursday night)

Mother Falcon, Takenobu (The Earl)

An ambitious symphonic rock/orchestral pop collective based out of Austin and spearheaded by bandleader and founder Nick Gregg, Mother Falcon was formed in 2008. Taking a cue from other classical-minded pop artists like Sufjan Stevens, Beirut, and the Polyphonic Spree, the group eventually added members and by the time they began performing, numbered anywhere from 11 to 20 musicians on any given night. Mother Falcon quickly became a must-see event around town, playing numerous high-profile festivals and releasing a string of well-received EPs and LPs. Atlanta's Takenobu opens.

Takenobu at 529, July 2013

Funk You, The Get Right Band (Aisle 5)

Funk.

SATURDAY, APRIL 23

Sweetwater 420 Fest (Centennial Olympic Park)

Bastille headlines the Day Two lineup that includes The Roots, Rebelution, Dawes, Maceo Parker, The North Mississippi All-Stars, AWOLNation, The Word, Tokyo Police Club, Chrome Pony, and Minnesota (the band, not the state).

Tokyo Police Club at Shaky Knees, May 10, 2014

Dawes at Shaky Knees, May 10, 2014

Leftover Salmon, Ripe (Variety Playhouse)

Official Sweetwater 420 Fest late-night show featuring Leftover Salmon, who will be playing the festival the next day.

Questlove (The Loft) 

Another Official Sweetwater 420 Fest late-night show.

Hurray For The Riff Raff, Promised Land Sound (Terminal West)

New Orleans-based indie folk outfit Hurray for the Riff Raff were formed by singer/songwriter/banjo player Alynda Lee, a Bronx-raised Puerto Rican troubadour who left home at 17 to ride the rails and eventually landed in the Big Easy. After honing her skills on the washboard with a gang of train-yard musicians called the Dead Man's Street Orchestra, she picked up the banjo that a close friend had given her and began writing her own songs. Hurray for the Riff Raff's signature blend of folk-blues and Southern gothic Americana is often rounded out by a rotating cast of accordion, guitar, organ, and musical saw players.

The Explorer's Club, Robert Schneider, Casper & the Cookies (The Earl)

The Explorers Club is a pop rock band from South Carolina whose surf rock sound has drawn comparisons to the Beach Boys.  Supporting the band will be Elephant 6 collective member Robert Schneider of Apples In Stereo.

Underøath, Caspian (The Tabernacle)

Amanda Cook fans (see Thursday night) and Rend Collective fans (see Friday night) who want their Christian rock with a harder edge should enjoy Florida's Underøath, who have evolved from a run-of-the-mill Christian metalcore band into a fluid, dynamic, and energized rock group that adeptly blends emotive melody, charged punk rock rhythms, and a chunky, engaging bottom end.

Demonic Christ, Abysmal Lord, Ritual Decay, Hegemony (529)

Probably the other end of the spiritual spectrum from the Underøath show.

SUNDAY, APRIL 24

Sweetwater 420 Fest (Centennial Olympic Park)

Ben Harper & The Innocent Criminals headline the Day Three lineup that includes Leftover Salmon, Ludacris, Michael Franti & Spearhead, Atmosphere, Manchester Orchestra, Robert DeLong, The Bright Light Social Hour, Emancipator, and Waking Astronomer.

Manchester Orchestra on a far-distant stage at Music Midtown, 2011

Margo Price (Eddie's Attic)

Country traditionalist Margo Price's recent success has set all kinds of records for album sales in a decade when sales have been low, a tribute to the success she's earned as well as the connection she's established with her new fans. Price has the sound of a timeless country singer and has captivated the music industry with her true tales of loss, struggle and redemption. Her song Hurtin' (on the Bottle) has all the heartache of a classic song

Bush, The Dose (The Tabernacle)

Bush formed in London in 1992 and found immediate success with the release of their debut album Sixteen Stone in 1994, which has been certified 6× multi-platinum and launched a string of successful singles (Glycerine, Machine Head, Everything Zen, etc.) At this point, the band probably qualify as rock royalty, and lead singer Gavin Rossdale, aka the former Mr. Gwen Stefani, remains a potent sex symbol.

Bush at Music Midtown, 1995

Shabazz Palaces, The Helio Sequence at Terminal West, Atlanta - Jan. 19, 2013

Last night's performances at Terminal West had a strong yin-yang quality to them: fire and ice, or the sun and the moon.  The meeting of the three disparate bands brought to mind the 13th Hexagram of the I Ching, Thung Zăn, or "Union of Men," with its imagery of the starry but dark heavens above and bright fires or the Sun below.

The opening band, Atlanta's DeadCAT (not to be confused with Seattle's palindromic TacocaT), started things off by balancing the two forces, combining the dark and the bright.  The band features a rock solid rhythm section and vocals with the reverb so heavy that not only were the lyrics undecipherable, so was most of the stage banter.  The result was a strange and distorted (but in a good way) set of garage psych-rock.  The bass and drums moved the feet, the vocals opened the mind.

This was actually my third time seeing the next act, Seattle's Shabazz Palaces, but oddly my first time seeing them at night.  I previously saw them in a daytime performance at Bumbershoot 2011, and then again opening just before sunset for My Morning Jacket at McMenamin's Edgefield in lovely Troutdale, Oregon during MFNW 2012.  I've seen the band's Ishmael Butler perform with Thee Satisfaction at Bumbershoot 2012 (coincidentally on the same day is saw TacocaT), and going way back in the time machine, I saw Butler perform as Butterfly with the Digable Planets at Pittsburgh's Rosebud back around 1993 (sorry, no link to that pre-internet performance). Admittedly  the last two were evening performances, but then again, they weren't Sahabazz Palaces performances either.

Anyhow, last night, Shabazzz Palaces played on a nearly dark stage, with just a couple spotlights roving the perimeter of the stage and the audience, as was fitting for their artistic and avant garde take on hip hop.  A duo, the band transcends the usual hip-hop convention of one MC and one DJ, with both Butler and multi-instrumentalist Tendai 'Baba' Maraire handling vocals, electronics, and percussion, although Butler dominates the vocals and Maraire the percussion.  This is a dark, spooky form of hip hop, perfect for late night listening, the spacey, upper trigram of the Thung Zăn hexagram.

For the record, their nearly 45 minute set was the best that I've heard yet from this innovative band.

The bright, lower part of the hexagram was provided by the indie pop of Shabazz Palaces' Sub Pop label - and tour mates, Portland's The Helio Sequence.

The Helio Sequence are touring for the first time in four years behind their first album, Negotiations, in as long a time.  The band consists solely of guitarist/singer Brandon Summers and drummer Benjamin Weikel, who, it's been noted, may quite possibly be the happiest looking drummer on the face of the planet.  Taking the stage with only two guitars, a drum kit, and Weikel's laptop, it's hard to believe the amount of music they're capable of generating.  I have no quarrel with, and in fact rather enjoy, the Black Keys stripped-down rock using the same instrumentation, but The Helio Sequence produces a spacious wall of sound that someone just listening to a recording might mistake for a much fuller band.  I kept watching to see how the magic was done, but couldn't figure out how Summers got so many simultaneous lines out of his guitar.

As befitting their sunnier sound, the Terminal West stage was more fully illuminated for the Helio Sequence set, which provided a luminous counterpoint to the dark Shabazz Palaces set, the yin to the yang, the lower trigram that completed Thung Zăn.

For their encore, The Helio Sequence provided two folk-pop sounding songs, featuring Summers on harmonica.

  

I couldn't help but notice a large turnover in the audience after Shabazz Palaces' set.  At least three-quarters of the people standing around me for Shabazz Palaces left after their set, and the people surrounding me during The Helio Sequence had either been further back in the audience (I had managed to find a spot in the second row from the stage) or had just arrived.  I don't know if it's the difference between hip hop and rock, between the avant garde and the mainstream, or a racial distinction (this is, after all, still Georgia), but it's  nevertheless unfortunate that there are those who's personal feng shui is still not balanced between the light and the dark.

In his commentary on Thung Zăn ("Union of Men"), Deng Ming-Dao notes that in our present era, we isolate ourselves from one another and allow our society to stratify into different classes.  It is hard to remember that a true community, a true Union of Men, should be as easy as growing plants or sailing down a river.  As easy as enjoying music together.  In fact, a community that is hard to assemble or that must be maintained by coercion is not a true community.