News has solidified this week of “Buckingham McVie,” a new album due out June 9 via Warner Bros. The result of sessions that initially were expected to be for a full Fleetwood Mac record, “Buckingham McVie” coalesced around guitarist Lindsey Buckingham and keyboardist Christine McVie after singer Stevie Nicks opted out.
Though the new record centers around the two songwriters, the namesake Fleetwood Mac rhythm section of drummer Mick Fleetwood and bassist John McVie also reportedly contributed. Fleetwood, in Austin earlier this month for a South by Southwest interview session, mentioned that he’d arrived in town in time to catch Nicks’ concert at the Erwin Center on March 12, suggesting members are still on good terms despite Nicks’ absence from the Buckingham McVie record.
Nicks is the most universally recognized act in the Fleetwood Mac lineup, the only one who’s had platinum-selling records outside of the band. But both Buckingham and McVie have made terrific solo albums. Buckingham is endlessly inventive as a musician and producer, and McVie’s innate knack for melodic pop songwriting is even more direct than Nicks’ often more mystical approach. That sounds like a recipe for something special, in ways beyond what the full Fleetwood Mac lineup likely would have done at this stage.
A tangential thought: What other bands might come up with artistically intriguing music if a key member were removed? Here are a few possibilities — a short list that no doubt could be expanded:
• The E Street Band without Bruce Springsteen. It’s a seemingly insane notion on the surface. But there’s so much talent in the lineup that it might be fun to see them all step out for a “group” effort without the bossman. A few Steve Van Zandt songs, a couple of Tom Morello tunes, maybe give Garry Tallent a chance to let his roots-rock bona fides shine. And Patti Scialfa certainly could steal a scene or two.
• R.E.M. without Michael Stipe. Bring back original drummer Bill Berry and put bassist Mike Mills out front. He’s a fine singer in his own right, and Peter Buck’s guitar playing would still hold everything together. Yes, the absence of Stipe’s distinctive vocal stamp would be a gaping hole, but seeing how the others adjust to that is largely what’s fun about imagining such a scenario.
• The Eagles without Glenn Frey. Ironically (if sadly), we’ll get a chance to hear this one soon enough. The band will join Fleetwood Mac as headliners of the Classic West and Classic East festivals. Henley’s solo shows (including the one he played at ACL Live a couple of months ago) long have given some idea of how this might go, but it’s a different game when all the hits on which the late Frey sang lead are in the mix. How will they handle it?
Listening to Shovels & Rope’s latest album “Little Seeds,” one wonders how the duo can pull off its sound live. The rollicking folk-rock Americana of the married couple from South Carolina skews closer to the White Stripes than it does The Civil Wars. Drums, bass, keys, guitars, harmonica, a mandolin and more lined the stage before the couple’s set at Emo’s Thursday night, right next to two empty chairs. Any doubts as to whether two people could make much of a racket with just a few instruments were quickly cast aside after a few songs.
Moving effortlessly between instruments as well as their song catalog, Michael Trent and Cary Ann Hearst gleefully seemed to conjure a full-band roots rock concert out of thin air. At one point, Trent was playing the bass drum, the keyboard and the harmonica while Hearst furiously strummed a guitar and sang about how “the rich is rich and the poor is poor and the money you had ain’t good no more.”
Even without knowing the words to some of the songs, it wasn’t hard to get swept up in the sheer Do-It-Yourself joy the two felt on stage. Trent and Hearst swapped seats and instruments at least five times throughout the show. One feels like the decisions on which instrument to play were made organically — either one could have sat down at the keyboard or strapped on a guitar at a moment’s notice. The end result was a show that was a little rough around the edges but was all the better for it because of how much fun Trent and Hearst seemed to be having.
The songs, however, weren’t all fun and games. Mixed in with the raucous “I Know,” the witty “Buffalo Nickel” and the scuzzy Chuck Berry tribute “Hail, Hail” were songs that dealt with the aforementioned class woes (“Gasoline”), the over-medication of children (“Johnny, Won’t You Come Outside”) and the worries that come when a loved one is diagnosed with Alzheimer’s (“Mourning Song”).
That thought-provoking subject matter combined with Shovels & Rope’s DIY ethos to create a listening experience that is best experienced live. Trent and Hearst made all the tone switches and instrument changes look so effortless that one almost thinks they too could start a rollicking folk duo if only they had the right partner. (I left Emo’s with a plan to go start a garage band with my friends, my lack of musical talent be damned). But, as with all partnerships (marital or musical), this one is impossible to duplicate.
You’ve probably heard about Black Fret, the local music patron organization that has awarded grants to 20 local acts annually since 2014. Generally their events are members-only affairs. But this weekend brings an opportunity to catch a Black Fret-presented lineup featuring many of its grant recipients as part of Art City Austin.
The annual fine arts festival, which has moved this year to Palmer Events Center, begins Friday, March 31, and continues through April 2. Admission is $10 for a single day or $25 for a three-day pass that also includes access to an opening VIP party on Friday.
Art City Austin is open from 4 p.m. to 8 p.m. Friday and 10 a.m. to 6 p.m. Saturday and Sunday. Here’s the full musical lineup:
Willie Nelson will be featured in an interview segment of the CBS show “Sunday Morning” April 2, airing locally from 8 a.m. to 9:30 a.m. on KEYE-TV.
A brief video and text preview excerpt on the show’s website hints at some of the content, including former CBS News anchor Bob Schieffer’s questions about Nelson’s much-anticipated new album “God’s Problem Child” — due out April 28, the day before Nelson’s 84th birthday.
When we began this series in 2016 with “One Night in April,” the goal was to visit at least six Austin music venues in a single night once a month for a full year. Mission accomplished. For the grand finale, we went into overtime, checking out shows at eight different spots around town, from north to south to downtown and beyond.
5:15 p.m.: Lili Blessing at Waterloo Records. Celebrating her debut album “Lifeline,” Blessing continued a whirlwind of release-week activity that included morning shows on KEYE-TV and KUTX radio by performing four songs at the city’s landmark record store.
Accompanied by guitarist Lev Baker, Blessing chose three songs from her album plus a newly written tune called “You Can’t Divide Us” that addresses the current political climate. At 20, Blessing is still finding her way onstage, performing only as a singer without playing an instrument. Her four-song mini-set felt perhaps a bit too short; “Lifeline” is a spectacular first record, with highlights such as “Submarine,” “Salvador” and “Gravity” begging to be heard.
6:15 p.m.: Barbara Nesbitt at Saxon Pub. Formerly of rootsy rock band the Whiskey Sisters, Nesbitt struck out on her own a couple of years ago and has worked up a solid set of original material that leans more toward country and pop. She and her four-piece backing crew also threw in a thoroughly enjoyable bluegrass tune at the end, with fiddler Eddie Dickerson stepping up for a duet vocal.
“It’s really good,” someone in the crowd remarked about the music early in the happy-hour set, prompting a great comeback from Nesbitt: “Why are you so (expletive) surprised?” One of Nesbitt’s strengths as a performer is her repartee with the audience. She gently cajoled them to make use of the tip jar when a fan dropped in a couple of bills: “She’s showing y’all how it works.” And at the end of the first set, she deadpanned, “We’re going to take a 5-minute break that’ll probably last 11 minutes.”
7:15 p.m.: Noel McKay at Threadgill’s North. Working this one into the itinerary seemed a stretch, given the long distance from the Saxon’s South Lamar environs to the far-North Lamar location of the original Threadgill’s. But good fortune weighed in: Rush-hour traffic had abated, and the drive took less than 20 minutes.
The reward was probably the best overall musical experience of the night, at a venue that really needed to be included in this series. One of Austin’s oldest restaurants, Threadgill’s boasts a musical legacy that includes some of the first public performances of Janis Joplin in the 1960s, as well as the heyday of Jimmie Dale Gilmore & Champ Hood’s “Sittin’ & Singin’ & Supper” Wednesdays series in the ’80s and ’90s.
Performances still happen on Wednesdays, and this one was a gem. McKay, accompanied by pianist Dan Walton, churned out one great song after another, from co-writes with Shawn Camp and Richard Dobson to a sterling cover of the late Guy Clark’s “My Favorite Picture of You.” Mentioning that he’s taking part in next weekend’s Guy Clark tribute at the Paramount, McKay humbly suggested that compared to others on the star-studded bill, “I’m the least famous of them by a long shot.” Perhaps, but hearing McKay play on this night, it was easy to see why Clark counted McKay among his friends and peers.
8:30 p.m.: Tony Kamel at Cactus Cafe. A late add to a songwriters bill featuring former Austinite Anthony Da Costa and native Texan Emily Elbert, Kamel was an ace in the hole. As leader of local outfit Wood & Wire, Kamel has played a key role in strengthening the presence of bluegrass in Austin’s music scene.
He played just four songs in this cameo opening set, but he set a wonderful tone for the night. Going back and forth between guitar and banjo, Kamel showed his instrumental versatility while hitting the high lonesome vocal notes that are a hallmark of class-act bluegrass singers. And if he was a ringer on the bill, he also seemed just happy to be at the Cactus: “It always means a great deal to me to play this stage,” Kamel said sincerely before his final number.
9:20 p.m.: Jeff Lofton at Four Seasons. The riverfront luxury hotel doesn’t have the reputation for live music in its lobby bar that the historic Driskill has built up over decades. But the recent addition of a Wednesday residency with jazz trumpeter Jeff Lofton is a welcome addition.
We caught the second set of Lofton’s 8 p.m. to 11 p.m. performance with piano accompanist Damian Garcia. If some in the comfortably outfitted space were there mostly for conversation with background music tucked into the shadows, Lofton and Garcia also rewarded those there for a closer listen, touching upon classics such as “Comes Love” or “Somewhere Over the Rainbow” and creatively taking them to faraway levels of the jazz universe.
9:50 p.m.: Christy Hays at the Blackheart. It’s a short walk of a few blocks from the Four Seasons to Rainey Street, where the Blackheart has for years been the primary champion of quality music in a district that’s largely overrun with hipster watering holes. The bar has a larger stage outside in back, but on many nights (including this one), the music happens up-front in a dark but warm room.
Hays recently left Austin but returns regularly, and she’s kept up ties with songwriters such as Bruce Robison, who recorded her tune “Lake of Fire” on his upcoming record. It was one of several first-rate new songs Hays performed, mentioning that she hopes to record them in May on a new full-length album. Judging from this set, that’ll be a record well worth hearing.
10:15 p.m.: Suzanna Choffel at Geraldine’s. Normally we end the “One Night” series after six stops, but this addition was too easy, and too good. Just around the corner from the Blackheart, on the fourth floor of the Hotel Van Zandt, is Geraldine’s. One of the most valuable additions to the Austin music scene in the past couple of years, the bar and restaurant features local performers six nights a week plus a Sunday jazz brunch.
Choffel, a longtime Austin singer-songwriter and veteran of NBC’s “The Voice,” has a new album coming out in May. Performing solo on electric guitar, she mixed newer tunes with smart covers such as Willie Nelson’s “I Never Cared for You,” as well as older originals (including a memorable one she said she’d never recorded). For a bonus addition to the night’s itinerary, this one was well worth it. And it might have been a great closer, but…
11 p.m.: Jon Dee Graham at Continental Club. The drive home took us right by the beating heart of Austin music, where one of the club’s finest residencies, Graham’s Wednesday show with his ace three-piece rock ‘n’ roll band, was in full swing. Who were we to pass that up?
A recent discussion with a well-traveled national musician in the Continental’s back room touched on this question: If Austin is in fact the Live Music Capital of the World, might it also stand to reason that we’re home to the Best Club in the World? Both of us concurred that the Continental is probably deserving of such a designation. And its heart is the residencies, from Wednesdays with Graham and James McMurtry (who was away on this night) to Toni Price’s quarter-century-running “Hippie Hour” on Tuesdays, to Dale Watson’s honky-tonk haven on Mondays, among several others both downstairs and in the smaller upstairs Continental Gallery space.
En route to the Continental on this night, we witnessed a building at 1011 South Congress literally being towed off its lot and down the street, part of a SoCo reshaping that also recently saw the demolition of Doc’s sports bar. Change is inevitable. But if the Continental ever goes, it’s over. It’s the best we’ve got. And it was the perfect place to end this yearlong series, with Graham and his band boisterously singing the Mexican standard “Volver.” Yes, we will return.
One Night, By the Numbers: 14.9 miles driven (from Point 1 to Point 8, not including to and from home; stops 5-6-7 all were in walking distance of each other). $1 spent on street parking (a meter near Waterloo, before 6 p.m.). Admission charges: Free at Waterloo, Saxon Pub, Threadgill’s North, Four Seasons, Blackheart and Geraldine’s (with tips accepted at most places). $12-$15 at Cactus Cafe; $8 at Continental Club.
The mighty Soul Rebels, one of New Orleans’ finest brass bands, maintains a buzzing side business laying sound beds for rap’s lyrical heavyweights like Nas, Talib Kweli and Joey Bada$$. But on Saturday, it will be all about the booty as they bring Queen of Bounce, Big Freedia, to the Mohawk.
For years, Big Freedia, and her boisterous style of NOLA hip-hop, have been a sleeper hit in Austin, appreciated for the booty-licious spectacle of her shows as much as the music itself. She travels with a team of dancers who perform astounding gluteal acrobatics. On numerous occasions, she’s taken time to teach the good (mostly white) people of Austin some of her dance team’s tricks.
At the final Fun Fun Fun Fest booked by Graham Williams, in 2015, our fearless correspondent Eric Webb attended one of two packed twerking lessons. He described the sessions as “gleeful celebrations of that most quivering of dance implements, that wellspring from which all bounce blessings flow, the human butt.”
Gary Clark Jr., Live/North America 2016 (Warner Bros.). If you like your GCJ long-form, with plenty of room for jams and solos, this one’s for you. While we’d like to hear more new material from Austin’s shooting-star guitar slinger — he’s now released a live-album rehash after each of his two Warner Bros. studio albums — “North America 2016” does document Clark in a different phase than 2014’s “Live” did. A telling comparative observation: Though “When My Train Pulls In” and “Numb” both appeared on the 2014 live disc (as well as his 2012 Warner Bros. debut “Blak and Blu”), the versions here are longer, with the former extending to nearly 10 minutes. And while there’s no new original material, covers of Jimmy Reed’s “Honest I Do” and Elmore James’ “My Baby’s Gone” further tip Clark’s hand toward his deep blues roots (fitting for a co-owner of the revived Antone’s nightclub). Seven tracks come from 2015’s “The Story of Sonny Boy Slim,” including “Shake,” which picks up a spark with soul sensation Leon Bridges and saxophonist Jeff Dazey sitting in. Playing May 2 at Erwin Center (opening for Tom Petty). Here’s the video for “The Healing”:
OUT THIS WEEK
Flyjack, “New Day.” The seven-piece funk-soul ensemble — with another eight musicians contributing in the studio — mixes original material with carefully selected covers, including the Skull Snaps’ obscure yet influential 1970s track “It’s a New Day” (which gave this record its name). The sound relies heavily on horns, with both the Hellfire Horns and Boombox Brass local ensembles adding heft to the group’s own sax and trumpet players. Release show March 31 at the Blackheart. Here’s the title track:
Toma, “Aroma.” The quartet’s debut release features eight songs of modern indie-pop that harkens back to ’80s new wave, with White Denim’s James Petralli producing and adding guitar. Here’s the track “Count Me Out”:
APRIL 7: Darden Smith, “Everything,” in-store April 6 at Waterloo Records, release show April 8 at Stateside at the Paramount.
APRIL 7: Sweet Spirit, “St. Mojo” (Nine Mile), release shows March 31 and April 1 at Barracuda.
APRIL 7: Octopus Project, “Memory Mirror” (Robot High School).
APRIL 7: Cotton Mather, “Wild Kingdom.”
APRIL 7: Greg Vanderpool, “Pilot,” release show April 7 at Continental Gallery.
APRIL 7: Julia Lucille, “Chthonic” (Keeled Scales), release show April 7 at Mohawk indoor.
APRIL 7: Walker Lukens, “Ain’t Got a Reason” EP (Modern Outsider).
APRIL 14: Digital Wild, “Tall As Trees” EP.
APRIL 15: Bluebonnets, “Tonewrecker,” release show April 15 at the Townsend.
APRIL 19: Ulrich Ellison & Tribe, “America.”
APRIL 21: Emily Bell & the Talkbacks, “Kali” EP.
APRIL 28: Willie Nelson, “God’s Problem Child” (Legacy).
APRIL 28: Bruce Robison & the Back Porch Band, self-titled.
APRIL 28: Beth // James, “All in Life” EP.
MAY 12: Suzanna Choffel, “Hello Goodbye,” release show May 12 at 3Ten.
MAY 19: Jimmie Vaughan Trio featuring Mike Flanigin, “Live at C-Boy’s” (Proper).
MAY 19: Wild Now, “Afterglow” EP.
MAY 19: Girling, “Side 1” EP, release show May 19 at Sidewinder.
MAY: Wendy Colonna, “No Moment But Now.”
MAY: Kay Odyssey, “What’s a Woman to Do” (Little Bit).
After making two huge Austin appearances last year, country music sensation, Chris Stapleton will return to our city for a show at the Austin360 Amphitheater on October 26. Tickets run from $30.75 to $70.75 and go on sale Friday, April 7 at 10 a.m. at all Ticketmaster locations, ticketmaster.com and austin360amphitheater.com.
Brent Cobb, cousin to producer Dave Cobb and an emerging country artist in his own right, will join Stapleton for the show.
Stapleton proved why he is the hot ticket item in country music at the moment in his opening set for Hank Williams Jr. at the amphitheater last summer. For the early part of his set, the crowd listened in hushed reverence, before enthusiastically singing along to hits like “Traveller,” “Fire Away” and closer “Tennessee Whiskey.” A good portion of the crowd left before Williams’ headline set.
Later in the year, he returned to play a sundown set during weekend one of the Austin City Limits Festival.
“Stapleton sounded loud and proud, his spectacular voice carrying most of the weight on songs that blended down-and-dirty blues with Southern-fried rock ‘n’ roll and deep-rooted country twang,” Peter Blackstock wrote about the set, which drew a massive crowd.
Three-day weekend passes, which include access to the concert, go on sale to the public on Friday, March 31 at 10 a.m. CT at CircuitofTheAmericas.com. Three-day tickets will be available for purchase starting at $159 if purchased prior to July 4.
There will be no single-day general admission tickets sold for the day of the concert.
Last year, the F1 Grand Prix entertainment included a second concert featuring Usher and the Roots on Sunday night following the race. COTA reps have confirmed there will be a second concert again this year with a lineup announcement coming later this spring.
The last time JT played Austin, he headlined a surprise MySpace showcase at the Coppertank. Accompanied by a hefty backing band, he strapped on a guitar and commanded the stage as a “musician and showman rather than a pop music pretty boy.”
A deluxe backing band of at least 15 members helped pop star Justin Timberlake turn a large chunk of his catalog into a rock and funk revue on closing night of SXSW.
Before a reported crowd of 800 fans, Timberlake and his band The Tennessee Kids rocked their way through hits like “Like I Love You, ” “Cry Me A River” and “What Goes Around/Comes Around, ” the latter of which was drastically stripped down with Timberlake on acoustic guitar and accompanied by his four backup singers.
Following a DJ set by Roots drummer Questlove, Timberlake took the stage dressed in a black suit coat, fedora and tuxedo T-shirt (given his newest single, a suit and tie would’ve likely been too on the nose) for a relaxed, celebratory performance that seemed to be constructed to showcase the former ‘N Sync star as a musician and showman rather than a pop music pretty boy.
Strapping on a guitar for set opener “Like I Love You, ” Timberlake bopped and jammed with his backing band and kept his dancing fairly subdued and (seemingly) spontaneous, spending most of the hour-long set in close proximity to the center stage microphone stand. He still let his charisma and sex appeal loose throughout but did so with brief hip shuffles and swivels instead of more elaborate set piece dance moves.
NOTE: This blog has been updated to clarify ticket information and add details.
Friday-Saturday:Urban Music Fest at Auditorium Shores.Now in its 12th year, UMF has not abandoned its roots, programming soul legacy acts of the ‘60s and ‘70s. “The Beat Goes On” this year with Saturday night act the Whispers. But these days, the fest is just as focused on luring in grown and sexy 30- and 40-somethings ready to move and groove to ‘90s hip-hop and R&B. Original gangsta of New Jack Swing, Keith Sweat, headlines on Saturday, and Friday night’s lineup features R&B innovators Tony! Toni! Tone! with two of three original members (sadly, not Raphael Saadiq) and feminist hip-hop pioneer, MC Lyte. Former Destiny’s Child member Letoya Luckett and local hip-hop artist Troy Noka round out the bill on Friday, and jazz artists Kyle Turner and Althea Rene play Saturday. Two-day pass is $73.99 + fees; Friday $36.99 + fees; Saturday $40.00 + fees. Gates at 3 p.m. Friday, noon Saturday. 900 W. Riverside Drive. urbanmusicfest.com. — D.S.S.
Friday-Sunday: Honk!TX Community Street Band Festival. The little D-I-Y festival that could struts back into Austin for three days of low-brow musical merrymaking and mayhem. The party kicks off Friday with a “Night on South Congress” featuring performances at Jo’s Coffee and other nearby locations. On Saturday the event moves over to the North Campus area with a day party in the Hemphill Parks area by Spiderhouse Cafe and Wheatsville Co-op. Then on Sunday, the costumed crusaders march through East Austin before landing at the hillside amphitheater at Pan Am Park. All events are family-friendly and free. See honktx.org for schedule and details. — D.S.S.
Friday-Saturday: Sweet Spirit album release at Barracuda. The latest from Sabrina Ellis and Andrew Cashen’s pop powerhouse,“St. Mojo,” covers a lot of musical ground. Lead track “Power” is a hard-driving rock ‘n’ roll call to arms. Followup single “The Mighty” turns a wistful, power ballad interpretation of a Beatitude into an underdog anthem. Ellis channels Dolly Parton on a sweet little country ditty, “Far From Home,” and the album also includes a pop ode to Pamela Anderson. The album’s title conjures a mythical island in the band’s imagination. “Mojo is like the ‘Austin Powers,’ sex power and sex drive. Adding the saint to it makes it kind of this oxymoron,” Ellis says. So behave, or don’t. But sweat it out on the dance floor either way. (with Har Mar Superstar and Tinnarose on Friday, Absolutely Not and Fools on Saturday) Friday is technically sold out. Saturday tickets are $15. 9 p.m. doors. 611 E. Seventh St. barracudaaustin.com
Saturday: The Last Waltz 40 Tour at Bass Concert Hall. Subtitled “A Celebration of the 40th Anniversary of the Last Waltz,” this revue-styled show revisits the Band’s classic 1976 final performance, which Martin Scorsese turned into one of the great concert films of all time. A late and fortuitous add to the Austin show is the group’s keyboardist, Garth Hudson. He joins a cast that includes Rock and Roll Hall of Famer Dr. John, former Allman Brothers guitarist Warren Haynes, golden-voiced country singer Jamey Johnson, producer/musician Don Was and Neville Brothers percussionist Cyril Neville. $59-$225. 8:30 p.m. 2350 Robert Dedman Drive. texasperformingarts.org. — P.B.
Saturday: Ruthie Foster album release at the Paramount. Foster isn’t quite a blues artist, but she’s been nominated for a blues Grammy three times. She’s not really a country artist, but Chris Stapleton wrote the first song on her new album, “Joy Comes Back.” She’s not exactly a rock artist, but yes, that is Derek Trucks of the Tedeschi Trucks Band playing slide on the title track. And nobody would call her music heavy metal, but there’s Black Sabbath’s “War Pigs,” jumping out from the middle of the record in a completely reimagined style. By now it’s clear that Foster pushes the broad umbrella of Americana to its limits in every direction. That’s pretty much been the case since her 1997 debut album, but it’s especially apparent here, as Foster’s soulful, gospel-informed voice ties together material that reflects the breadth of her talent and perspective. Carolyn Wonderland, David Grissom, Warren Hood and others are special guests on this night. $20-$44.50. 8 p.m. 713 Congress Ave. austintheatre.org. — P.B.
Saturday: Soul Rebels Sound System with Big Freedia at the Mohawk. How much NOLA can you handle? The mighty Soul Rebels, one of New Orleans’ finest brass bands, maintains a buzzing side business laying sound beds for rap’s lyrical heavyweights like Nas, Talib Kweli and Joey Bada$$. But for this gig, it’s all about the booty as they bring Queen of Bounce Big Freedia. Expect to see big bad brass and “Azz Everywhere.” $20. 7 p.m. doors. 912 Red River St. mohawkaustin.com. — D.S.S.
Lotus at Emo’s (with CloudChord on Friday, Thibault on Saturday)
Mike Flanigin Trio with Jimmie Vaughan & George Rains at C-Boy’s
Katchafire, Inna Vision at Flamingo Cantina
St. Paul & the Broken Bones, Israel Nash at Stubb’s outdoor
Rickie Lee Jones at One World Theatre
Big Sam’s Funky Nation, A-Town Getdown, Tomar and the FCs at Mohawk outside
Erika Wennerstrom, Jess Williamson at Cactus Cafe
Eric Prydz at Kingdom
Mike & the Moonpies, Tahoma, Kathryn Legendre at Antone’s
Hector Ward & the Big Time, South Austin Moonlighters, Denny Freeman at Saxon Pub
Dale Watson, Rosie Flores at White Horse
Don Harvey & A Is Red, Stefano Intelisano & Nagavalli Medicharla at Townsend
LeRoi Brothers at ABGB
Mingo Fishtrap, Moorea Masa at 3Ten at ACL Live
Victor Wooten Trio with Dennis Chambers & Bob Franceschini, Henry + the Invisibles at Empire
Walter “Wolfman” Washington & the Roadmasters, Nightowls, Omar & the Howlers at Antone’s
Electric Lady Planned Parenthood benefit with Kady Rain, Megafauna and more at Swan Dive
Raelyn Nelson Band, Jane Ellen Bryant, Nathan Edge at Townsend
Micky & the Motorcars at Saxon Pub
Nakia, Rochelle & the Sidewinders at Threadgill’s South
Sounds Del Mar, David Beck at ABGB
Van Wilks at One-2-One Bar
Panic! At the Disco at Erwin Center
Ghetto Twiinz at Given Recreation Center
Knife in the Water at End of an Ear
Guilty Simpson, Nick Cruz of MDK, more at North Door
Avoid at Grizzly Hall
Soul of a Musician series with Ray Prim at Iron Cactus North