The ten best concerts this weekend: Oct. 19-21
The Deftones at the Fillmore tonight is among our picks for the ten best concerts this weekend.
Ah, yes, welcome to the weekend! And what a glorious weekend it's going to be. Have you seen the forcast? What's more, the Broncos have a bye-week this week, which means there's no reason at not to get out in the sunshine during the day and then treat yourself to some shows at night. As always, we've got all of the shows listed in our concert calendar if you want to get the full view. Otherwise, we've done the heavy lifting for you and picked the best shows this weekend. Keep reading to see our picks for the weekend's ten best concerts.
Outside of having a really good trip while listening to a bootleg, Dark Star Orchestra is about the closest thing to a Grateful Dead resurrection that most people, apart from fans who lived it the first time around, will ever experience -- aside from, of course, Furthur and the various Dead offshoots. In 1997, the Dark Stars began faithfully re-creating Dead shows and have been lauded for their uncanny doppelgänger abilities ever since.
If Outkast's Andre 3000 made it safe for hardened hip-hop heads to embrace their inner (and sexually ambiguous) Prince, Canadian import Buck 65 opened the floodgates for cowboy hats and Hank Williams cassettes. Hip-hop may run through his veins and into his rhythm section, but Buck's clanky acoustics and gruff, shit-kicker flow point toward dust-bowl balladry and white-boy talkin' blues. Fortunately, Buck's quirky yet richly detailed vignettes, which convey a deep and abiding ambivalence about life's trivialities, help him transcend the novelty of its social and sonic juxtapositions.
Mayer Hawthorne (born Andrew Cohen) grew up in Ann Arbor, Michigan, but instead of following the route of outfits from his home state and delving into the proto-punk rock of the Stooges or co-opting the latter-day bluesy garage rock of the Dirtbombs, Hawthorne embraced the soulful sounds and perfect melodies produced under Berry Gordy's Motown imprint. Even a cursory listen to the guy's music leaves you wondering what decade it's from. The production, the singing and the instrumentation -- the last two performed entirely by Hawthorne -- is vintage Holland-Dozier-Holland, with the Funk Brothers sitting in. Hawthorne's reverent treatment of the material does honor to the music that inspired him.
After fronting the locally-renowned Ghost Buffalo for six years (with ex-husband and former Planes Mistaken for Stars guitarist, Matt Bellinger) Litton parted ways with Ghost Buffalo and Bellinger, and channeled her seemingly endless energies into Lil Thunder, an outfit not unlike her previous band. While enjoying playing with Lil Thunder, there was a softer, ultimately darker sound that Litton was after. She'd spent her post-Ghost years in a luge of therapeutic songwriting, and was eager to find a band that could not only pull off her brand of sonic fragility, but could go the distance as full time musicians. After finding a pair of likeminded players, and only being together a few months, PrettyMouth recorded the album, Satan in Clothes, a collection of emotionally dense, musically fragrant songs that compliment Litton's indie-twang vocals.
As the latest solo project to come out of the Americana collective Paper Bird, Esme Patterson's All Princes, I is probably the most radical departure from her band's bluegrass/Dixieland sound. Pulling from influences as varied as Van Morrison, CBGB-era punk and Motown, the record is an authentic and infectious gift to the scene. Produced by Roger Green, Patterson's solo album also boasts an impressive roster of local talent, with Nathaniel Rateliff, Ben Desoto, Mike Fitzmaurice and Princess Music's Tyler Ludwick all lending a hand on different tracks.
"Half of our songs are about getting fucked up, and the other half are about existential crises that make you question the nature of reality," declares Yawpers frontman Nate Cook. "So, those two themes run pretty prevalently through the music, or at least I would hope so." Cook, a self-described literature fanatic, says he enjoys lifting from the literary greats and kind of throwing some "highbrow uber-literate shit in the band's simple-ass country rock-and-roll songs." It's a contradiction Cook says he finds pretty amusing. And indeed, scattered throughout Capon Crusade, the band's brand-new full-length, are references to existentialist writers Albert Camus and Jean-Paul Sartre. While Cook says he says he doesn't necessarily gravitate toward them in his general philosophy, they do inspire the songs. (Keep reading Yawpers profile...)
Greensky Bluegrass takes bluegrass to a new high by weaving psychedelic rock into a roots-oriented go-for-broke approach. While retaining a good dose of backwoods authenticity on genre standards as well as its own earthy creations, Greensky marks live gigs with crowd-pleasing interpretations of the music of Pink Floyd and the Beatles, among other classic artists. The Kalamazoo-originated act turned heads at the Telluride Bluegrass Festival in 2006 and 2007, then barnstormed the country, earning more plaudits and fans. With some of the new-school attitude of Yonder Mountain String Band and the down-home sound of the hills (via Michigan), the group is carving out its own space in the jamgrass barnyard.
A man with as many names as words he can say in a five second interval -- which is to say a lot - Big Boi, Daddy Fat Sax, or whatever you want to call him, has been holding down the South with his partner in crime, Andre 3000, as OutKast for years. Though the group is now on hiatus, the two have not severed ties, with Andre contributing production and writing on "You Ain't No DJ" from Big Boi's recent critically-acclaimed and commercially successful solo debut Sir Lucious Leftfoot: The Son of Chico Dusty. He has stated that his next album, Vicious Lies & Dangerous Rumors, is slated to come out later this year. Big Boi's music is characterized by his rapid, tongue twisting, often flippant lyrical delivery, which infuses his songs with a stylish flourish and energy that is rarely, if ever, equaled.
The mathcore and metalcore titles attributed to Converge never quite fit. If musical precision is a requirement for the former, and heavy, breakneck-paced riffing qualifies as the latter, then Black Flag deserves the same designations. Converge was started in the early '90s by a group of guys who didn't really bother to make a clear distinction between extreme musical styles. But it was 2001's Jane Doe that made a case for the band's pioneering a sound that appealed to listeners with a taste for high volume, aggressive music with incendiary lyrics and no distinct genre. You can hear Converge's influence in modern death metal, grindcore, hardcore and the like, but this Marquis show is a chance to decide for yourself what the band is about.
When the Deftones came storming onto the scene in the mid-'90s, they were initially filed in with the much-maligned so-called nu-metal scene. A broad, all-encompassing term that applied to any metal act blending disparate elements into its music, nu metal proved to be an albatross for the Deftones, as it inevitably became synonymous with the sort of contemptuous crap being churned out by knuckle-dragging dipshits like Limp Bizkit. Although there certainly were other elements present in the Deftones' fusion, they were organic and reflective of the band's collective sensibilities -- Stephen Carpenter's unbridled love of metal, Chino Moreno's pronounced proclivity for groups like the Smiths, My Bloody Valentine and Depeche Mode -- rather than some contrived, calculating hybrid. Fact is, the Deftones were always a cut above their presumed contemporaries, which is precisely why they're still a going concern nearly two decades later.
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