Weekend music picks: Mavericks, Judy Collins, Indie Orchestra Night

Friday-Saturday: Mavericks at ACL Live. Exactly why the Mavericks — a Nashville-by-way-of-Florida band — are so big in Austin is kind of a mystery, but the numbers don’t lie. On their current tour, most of the venues they’re playing are around 1,000 capacity, maybe 2,000 tops — but here, they can do two nights at ACL Live, selling around 5,000 tickets total. Partly it’s just musical demographics: The Mavs’ left-of-center country and rock with Latin influences plays well in a city that has long championed acts such as Texas Tornados and Alejandro Escovedo. Or maybe we’re just wise enough to understand that Raul Malo is among the great singers of his (or any) generation. Whatever the reason, it’s always a blast when they blow through town. Liz Brasher opens. $35-$49. 8 p.m. 310 Willie Nelson Blvd. acl-live.com.

Saturday: Judy Collins at One World Theatre. A central figure of the 1960s folk revival, Collins is in the midst of a late-career resurgence, releasing four albums in the past three years including last fall’s “Everybody Knows,” a collaboration with fellow traveler Stephen Stills. She wowed audiences at South by Southwest in 2016 when she appeared with younger-generation singer-songwriter Ari Hest, performing songs from their Grammy-nominated collaborative album “Silver Skies Blue.” She’ll sing songs old and new across two separately ticketed shows on this night. $30-$103. 7 p.m. and 9:30 p.m.. 7701 Bee Caves Road. oneworldtheatre.org.

Sunday: Indie Orchestra Night at Fair Market. This third annual event organized by the collaborative choral group Panoramic Voices brings together more than 100 singers, orchestra musicians and members of the local scene for a unique evening of music presented on a grand scale. This year’s guest performers include Nakia, Calliope Musicals, Moving Panoramas, Dustin Welch, Big Bill and Star Parks. The $20 admission charge benefits the Health Alliance for Austin Musicians. 4:30 p.m. to 7 p.m. 1100 E. Fifth St. ion2018.brownpapertickets.com.

 

Sue Foley celebrates the release of her new album with performances at Antone’s on Thursday, Cactus Cafe on Friday and Waterloo Records on Sunday. Contributed/Scott Doubt

ALSO PLAYING

Friday-Saturday

  • Mike Flanigin Trio with Jimmie Vaughan & George Rains at C-Boy’s
  • Uncle Lucius at Continental Club

Friday

Saturday

Sunday

SXSW: Noah Cyrus (Miley’s sister) will be in town for the fest

Remember when Miley Cyrus showed up at the Fader Fort during SXSW? This year, another Cyrus will be in town for South by Southwest and it’s not her “Achy Breaky” dad.

Younger sister, Noah Cyrus, is releasing her debut album this year and she’ll be headlining a couple showcases. She’s currently booked to headline a March 14 showcase at Empire Garage and a March 16 show at Trinity Warehouse.

And before you roll your eyes at us, cynical hipster, check out this new single with Danish singer-songwriter MØ. It’s actually good.

 

SXSW: Stubhub reveals Action Bronson as showcase headliner, releases day party RSVPs

Ticketing company Stubhub released the full lineups for two days of parties and showcases at Banger’s Sausage House and Garden on Wednesday.

Action Bronson. Photo by Ricardo B. Brazziell

Rapper and chef Action Bronson (previously unannounced) is set to headline the official South by Southwest showcase at night on Thursday, March 15 and rockers Cold War Kids will headline their Wednesday, March 13 showcase. The night shows require official SXSW credentials.

The company has also announced lineups for their day parties which are free and open to the public. RSVP here.

WEDNESDAY – March 14

DAYTIME

2 p.m.  lovelytheband

3 p.m.  morgxyn

4 p.m.  Lola Marsh

5 p.m.  Lawrence

6 p.m.  Joey Dosik

NIGHT TIME

9 p.m.    Caroline Rose

10 p.m.  Jukebox the Ghost

11 p.m.  Two Feet

12 a.m.  Cold War Kids

THURSDAY – March 15

DAYTIME

2 p.m.  Hembree

3 p.m.  Durand Jones & The Indications

4 p.m.  Liza Anne

5 p.m.  Field Report

6 p.m.  Mt. Joy

NIGHT TIME

9 p.m.    The Frights

10 p.m.  Cuco

11 p.m.  WAVVES

12 a.m.  Action Bronson

Blackillac, new project from Gary Clark Jr., Zeale, Phranchyze, cruises into Austin

Blackillac, a new hip-hop project featuring production and vocals from Gary Clark Jr. and bars by Zeale and Phranchyze, staged an Austin debut at Native Hostel on Tuesday night. It was only the group’s third live performance — they played two shows in Los Angeles over the NBA All-Star weekend — but there were no opening day jitters for the artists who have been friends since they attended Austin High School together years ago. Instead, the evening felt like a triumphant reunion.

Phranchyze, from left, Zeale and Gary Clark Jr. are Blackillac. Tamir Kalifa/For American-Statesman

We  had to go where the devil gets his due, and play in L.A. first, but we knew we had to get back and do it for the homies and for the fans,” Zeale told an intimate crowd at a private party hosted by Stolen Spirits. 

They played a tight, roughly 40-minute set, and the homies and fans lounging on plush couches arranged around a listening room stage area were all about it. Stylistically, the group covered a broad swath of territory, playing a mix of soulful love jams with catchy hooks, bass heavy club-bangers and “blaze one in the air” stoner rallying cries.

Zeale and Phranchyze, who have been ripping shows together since they were teenagers, had an easy chemistry and a natural interplay that was a joy to watch. Clark, who has his right hand bandaged after a “drunk kung fu fail”, did not unleash any guitar riffs, but added his soulful crooning to the set, singing soaring hooks on four of the seven songs. The three men together are a powerful team.

Nobody freestyles any more because they’re terrible. Nobody except us,” Zeale said after they worked through a solid 35 minutes of strong original material. It wasn’t an empty boast. He and Phranchyze took the set out trading blistering top-of-the-dome verses.

Blackillac, the hip-hop duo of Phranchyze and Zeale with Gary Clarke Jr. (left), who did production and beats on their most recent album, at Native Hostel on Feb. 27, 2018. Tamir Kalifa/For American-Statesman

They didn’t announce any upcoming gigs at the end of the show, but don’t be surprised if they show up on a few South by Southwest-week bills.

There’s already label interest in the group and a planned trip to New York later this year could seal the deal. Which wouldn’t be surprising. The project didn’t feel new at all. It felt like something that’s been waiting to happen for years.

Lucy in the Southby with Chicken: Check out this great four-day free bash

Jaimee Harris plays Friday, March 16, as part of this year’s Lucy’s Fried Chicken SXSW day party series on South Congress. Tamir Kalifa/American-Statesman

From South by San Jose to Yard Dog to the Continental and beyond, South Congress is always a hub of day-party activity during South by Southwest. One of the best and biggest for the past eight years has been at Lucy’s Fried Chicken. This year’s lineup delivers the goods as well: More than two dozen acts will perform across four days, including some of Austin’s top local roots-music acts plus a few out-of-town ringers.

Highlights include Seattle-area Austin expat Ian Moore on Thursday, North Carolina indie-folk sensation Hiss Golden Messenger on Friday, and a weekend-closing set from Shinyribs on Sunday. The Saturday lineup is particularly strong, with X leader John Doe’s new Folk Trio, a rare Grand Champeen reunion performance, and a set from Ben Dickey, star of the SXSW-screening Blaze Foley biopic “Blaze.”

MORE SXSW: Check out our guide to unofficial parties

Admission is free. Here’s the full docket:

Thursday, March 15
(presented in partnership with Atomic Music Group)
Noon: Beaver Nelson
1 p.m.: Patrice Pike
2 p.m.: Peterson Brothers
3 p.m.: Jesse Dayton
4 p.m: Eve & the Exiles
5 p.m.: Bukka Allen
6 p.m.: Ian Moore

Friday, March 16
Noon: Michael Fracasso
1 p.m.: Jon Dee Graham & William Harries Graham
2 p.m.: Jaimee Harris
3 p.m.: Johnny Nicholas
4 p.m.: Hiss Golden Messenger
5 p.m.: TBA
6 p.m.: Patrick Sweany

Saturday, March 17
Noon: Ice Cold Singles
1 p.m.: Rubilators
2 p.m.: John Doe Folk Trio
3 p.m.: English Teeth (Sex Pistols tribute)
4 p.m.: Grand Champeen
5 p.m.: Barfield
6 p.m.: Ben Dickey & Friends

Sunday, March 18
Noon: Walter Salas-Humara
1 p.m.: Hilary York
2 p.m.: Dustin Welch
3 p.m.: John Paul Keith
4 p.m.: Otis Gibbs
5 p.m.: Mike & the Moonpies
6 p.m.: Shinyribs

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Record label exec and SXSW fixture Craig Stewart voted into Austin Music Industry Hall of Fame

Craig Stewart holds his Austin Music Industry Hall of Fame Award as his husband King Coffey speaks on his behalf on Sunday, February 26, during the Austin Music Industry Awards at the Palm Door on Sixth. Peter Blackstock/American-Statesman

The 36th annual Austin Music Awards show is Wednesday, February 28, at ACL Live, but the party got started on Sunday evening at the Palm Door on Sixth with the fourth annual Austin Music Industry Awards.

Separated out from the main awards show in 2015, the invitation-only event featured winners in categories more on the business side of Austin music rather than performers and entertainers.

RELATED: Who’s playing at Wednesday’s Austin Music Awards

This year’s most poignant moment came at the end, when Craig Stewart was given the Music Industry Hall of Fame Award. A pioneering force in way-left-of-center rock music since the 1990s with the Trance Syndicate and Emperor Jones labels, Stewart became a mainstay at South by Southwest. Presenting the award to Stewart, SXSW co-founder Roland Swenson said that he “loves music more than anyone I’ve ever met.”

Afflicted many years ago with Pick’s disease, a neurodegenerative condition that has limited his ability to speak, Stewart took the stage with his husband King Coffey (drummer of legendary Austin punk band Butthole Surfers). Coffey spoke on behalf of Stewart, who received a standing ovation from the crowd.

Voting was by public ballot in the Austin Chronicle. Here’s the full list of this year’s winners:

  • Music Industry Hall of Fame: Craig Stewart
  • Best Live Music Venue: Mohawk
  • Best Music Venue to Play: Antone’s
  • Best New Club: Electric Church
  • Best Venue Lighting and Sound: ACL Live
  • Best Ongoing Music Residency: James McMurtry, Continental Gallery/Club
  • Best Music Booker: Trish Connolly, Cheer Up Charlie’s
  • Best Record Store: Waterloo Records
  • Best Record Label: Nine Mile Records
  • Best Recording Studio: 512 Studios
  • Best Producer: Adrian Quesada
  • Best Radio Personality: Laurie Gallardo, KUTX
  • Best Radio Program: “Hill Country Saturday,” Kevin Connor (Sun Radio)
  • Best Music Writer: Michael Corcoran
  • Best Music Photographer: Katrina Barber
  • Best Poster Artist: Billy Perkins
  • Best Album Art: Jaime Zuverza for Octopus Project’s “Memory Mirror”
  • Best Instrument Repair & Music Store: South Austin Music
  • Best Specialty Instrument Store: Tommy’s Drum Shop
  • Best Equipment Rental: Rock & Roll Rentals
  • Best Music Nonprofit: Health Alliance for Austin Musicians

RELATED: Our feature story on Austin Music Awards music director Charlie Sexton

What does the new Old Settler’s Fest site look like? We get an early look

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Sunday afternoon’s open house to show off the new grounds of the Old Settler’s Music Festival came with a “rain or shine” designation. Given this month’s weather in Central Texas, there was no surprise it turned out to be the former. Still, hundreds came out to the remote countryside location southeast of Lockhart to see what’s in store for the 31st Old Settler’s Fest in mid-April.

PHOTOS: Old Settler’s Music Festival’s new home

After a 16-year run in Driftwood southwest of Austin, the festival announced plans to relocate amid controversy with a potential Driftwood competitor. That was resolved last month in an out-of-court settlement, with the Driftwood fest shelving its plans for a simultaneous fest at the previous site.

Jay Milton, left, and Michael Thomas use a map as they explore a new location of the Old Settlers Music Festival during an open house event outside of Lockhart on Sunday, Feb. 25, 2018. Stephen Spillman for AMERICAN-STATESMAN

Meanwhile, Old Settler’s staff and volunteers have been working overtime to get the new digs ready. On Sunday, the public got the first look at the grounds, which board member Gary Hartman told the crowd is 2.5 times as large as the previous Salt Lick Pavilion/Camp Ben McCulloch site in Driftwood.

VIDEO: Quick summary of Sunday’s Old Settler’s open house

Most of the open house action took place near the roadside front of the property, where attendees gathered at a covered open-air bandstand area for live music from Shinyribs’ Kevin Russell, Jeff Plankenhorn, Carolyn Wonderland and American Dreamer. A squall passed through right around the 2 p.m. start-time; the rest of the afternoon was marked mostly by gray but dry skies with occasional light drizzle.

Next to an adjacent small house, tents were set up to serve homemade snacks, hot dogs and beverages. More adventurous and curious attendees walked a quarter-mile or more down the hardpack-caliche road, turned muddy from the rain, and wandered wide-open fields where signs showed the future locations of stages, campgrounds, vendor areas and the like.

American Dreamer preforms during an open house event for a new location of the Old Settlers Music Festival on Sunday, Feb. 25, 2018. Stephen Spillman for AMERICAN-STATESMAN

Between music performances, Hartman talked about the challenges ahead and encouraged fest fans to volunteer in helping to get the grounds ready in time for the April 19-22 festival. This year’s top draws include Jamestown Revival, Calexico, Ray Wylie Hubbard, Greensky Bluegrass, Railroad Earth, the California Honeydrops, Colter Wall, and the all-star acoustic women trio I’m With Her (featuring Sarah Jarosz, Sara Watkins and Aoife O’Donovan).

READ MORE: Old Settler’s Fest adds acts, releases partial day-by-day schedule

Hartman also noted that Old Settler’s plans to expand gradually in future years at its new site. The additional space certainly accommodates the possibility for growth; it would easily be feasible for the festival to add another stage if future demand supports that.

Maps at the Old Setter’s Music Fest open house on Sunday, Feb, 25, showed where stages and campgrounds will be for the mid-April festival at its new site. Peter Blackstock/American-Statesman

A down side for Austinites is that it’s a significantly farther drive. From my residence in south-central Austin, I logged 43 miles one-way, taking 51 minutes. (That compares to about 20 miles in just under 30 minutes to the previous Driftwood site.) Situated about 20 minutes southeast of Lockhart at 1616 FM 3158, the Caldwell County location is within a half-hour of communities such as Bastrop and Gonzales. But it’s essentially no closer than Driftwood was to population centers such as San Antonio, San Marcos New Braunfels.

Old Settler’s has partnered with FestDrive to provide limited shuttle service. In Austin, they’ll depart from the downtown Whole Foods at 2:30 p.m. Thursday-Friday, noon Saturday and 8:30 a.m. Sunday (returning 30 minutes after the final act each day). Round-trip shuttle tickets are $40 each day (or $20 one-way).

Parking in open grass fields on Sunday appeared to cause no stuck-in-mud issues despite the wet conditions. Those driving should prepare for possible traffic jams on the way in, as the roads leading to the fest are small and there’s only one entrance to the grounds.

RELATED: As Old Settler’s hits 30, younger artists remain key to its future

Fader apologizes for claim that the Fort brought hip-hop to SXSW

UPDATE: The Fader has responded to this story with the following comment:

“For over fifteen years, Austin has been our home base for FADER FORT, and we’ve been very grateful to be embraced by Austin locals from those who work in the music industry, to the fans, and beyond. We recognize Austin’s incredible music scene and SXSW as one of today’s premiere destinations for music discovery and feel honored to play a part in helping to amplify not only the rap and hip-hop acts during SXSW, but all kinds of emerging artists across diverse backgrounds. The true spirit of discovery at SXSW is one of the greatest inspirations for FADER FORT, and we never intended to take credit away from the festival or any of the great people involved that have helped support hip-hop. We apologize if we overreached and want to acknowledge and express our appreciation for all the passionate people that have built such an incredible history with Austin’s music scene.”

___

2.23.18: We wrote earlier this month about a new book, “Fader Fort: Setting the Stage,” chronicling 15 years of the event’s history at South by Southwest, set to be released March 1 by the Fader, a music magazine/lifestyle brand that has grown into a global multimedia company. We had a chance to look at a copy of the book on Friday. It’s a 252-page, over-sized art book, loaded with beautiful photography. It’s heavy, probably clocking in at 5 pounds or more.

Bun B and Mddl Fngz at Aussies during SXSW 2004. Courtesy of Matt Sonzala

We haven’t had a chance to dig deeply into the text, but just six pages in, during the introduction, comes this jarring and patently false assertion about the Fort’s fourth year in Austin:

“Year after that, bigger still: The Fader brought hip-hop to SXSW. It was an indie rock festival back then and nobody was booking rap acts — until the Fader came through with a Texas extravaganza featuring Bun B., Slim Thug, Chingo Bling and Paul Wall.”

FROM THE ARCHIVES: 10 years of Hip-hop at SXSW

The show the book references is in 2005.

Local promoter/blogger Matt Sonzala started doing hip-hop shows under Andre Walker at SXSW in 1994, but he wasn’t the first person to book the genre at the fest. Scattered early ’90s bookings included Kool Keith and Del Tha Funkee Homosapien. In 1995, Sonzala put together a bill at Catfish Station on Sixth Street that featured Houston rapper E.S.G. who was gaining heat at the time, alongside a Dallas group called Heads-N-Dreads. The Heads brought with them a young singer with braces on her teeth named Erykah Free. When she sang the song “On and On,” “the whole place, their jaws just dropped,” Sonzala says. A year later she returned to the fest, caught the attention of a Universal Records scout, and transformed into Erykah Badu.

Paul Wall plays Aussies during SXSW 2004. Courtesy of Matt Sonzala.

Sonzala stepped away from the fest in 1997, and Austin rapper Tee Double and local production crew Hip Hop Mecca each took turns booking  SXSW hip-hop for several years. Offerings were limited, but “backpack” rappers such as Rhymesayers, Living Legends, Visionaries, Def Jux, Hieroglyphics and Project Blowed were all coming through Austin for SXSW regularly in the years around the turn of the millennium.

This writer has a very distinct memory of trying (and failing) to talk her way into a Hip Hop Mecca-produced Alkaholiks/Beatnuts show with a capacity crowd at the Backroom during SXSW 2001.

In 2004, the year before the Fader claims to have brought us hip-hop, Sonzala began to handle hip-hop bookings for SXSW formally. That year, as Houston rap was blowing up, he booked an official SXSW showcase with Bun B., Chamillionaire, Paul Wall, Dizzy Rascal and more at Aussie’s Grill and Beach Bar. In 2005, the Fader tapped Sonzala to help book their first hip-hop bash.

Lil Troy and Chamillionaire backstage at Aussie’s in 2004. Courtesy of Matt Sonzala.

“I don’t care about SXSW or the Fader at this point,” Sonzala, who left SXSW in 2012, said on Friday. “My only problem with it is the line that says that nobody was doing it. That word ‘nobody’ makes me mad. Those were personal friends of mine making it happen.”

It is absolutely true that the Fader Fort amplified and legitimized the presence of hip-hop at the festival. When Kanye West played the Fort with Common, Erykah Badu and fledgling R&B singer Janelle Monae in 2009, it was a game changer. After that rap celebrities were eager to get in the mix at SXSW, and the Fort was almost always one of their stops.

Oh hey, look, its Pharrell hanging out at SXSW in 2004. Courtesy of Matt Sonzala.

The Fader can take a lot of credit for how big the genre’s presence is at the festival today, but to say nobody was doing it before they showed up is not true.

The roots of hip-hop at SXSW were planted by the local community over a decade before the Fader showed up.

According to a list of parties released by the City of Austin earlier this month, the Fader Fort, which scaled down to a smaller location after Pine Street Station closed last year, will be 1501 E. Seventh St., in the space once occupied by LaV restaurant. We’ve had no word yet on when we can expect an announcement about lineup.

 

 

Four Texas songwriters get their due with a hall of fame bash at the Paramount

Concertgoers gather under the marquee of the Paramount after the Texas Heritage Songwriters’ Association Hall of Fame show on Saturday, February 24, 2018. Peter Blackstock/American-Statesman

It was the early 1970s and Rodney Crowell had just moved from Houston to Nashville, where he quickly hooked up with fellow native Texan Guy Clark and was hoping to become a songwriter. Clark gave him some sage advice: “The first thing you gotta do,” he said, “is you gotta go to school on Mickey Newbury.”

Crowell told that story Saturday night at the Texas Heritage Songwriters’ Association’s annual Hall of Fame show at the Paramount Theatre. An unbilled surprise guest, Crowell — who played a big part in last year’s TxHSA tribute to Clark — then delivered a sterling rendition of Newbury’s “She Even Woke Me Up to Say Goodbye,” one of countless memorable songs Newbury left behind when he died in 2002.

Crowell followed Larry Gatlin, whose version of Newbury’s classic “San Francisco Mabel Joy” was probably the night’s most touching moment. Reaching high for the soaring notes Newbury hit on his early-1970s recording of the song, Gatlin filled the room with emotion, explaining later that he wasn’t trying to sing like Mickey; he just did, naturally.

Chris Newbury, a Florida musician who is Newbury’s son, had the unenviable task of following Gatlin and Crowell, but he acquitted himself well with “An American Trilogy,” a melding of three 19th-century traditional songs that was Newbury’s lone top-40 pop hit (and later a staple of Elvis Presley’s concert repertoire). On behalf of his father, Chris accepted the Hall of Fame Award, one of four given out during this well-paced two-and-a-half-hour show.

Nashville songwriter Liz Rose, born and raised in the Dallas area, was honored first. Lori McKenna and Hillary Lindsey sang “Girl Crush,” the song they co-wrote with Rose that became a smash for Little Big Town. Jack Ingram, accompanied by Jon Randall, got some giggles from the crowd for his good-natured turn on “You Belong With Me,” a Taylor Swift smash-hit that Rose co-wrote.

In a joyful and tearful acceptance speech, Rose explained that she tells people who ask where she’s from: “I live in Nashville, but I’m FROM Texas.” Rose’s induction was a welcome addition to the TxHSA’s Hall, which historically has been too much of a boys’ club. Of three dozen past recipients, only two (Cindy Walker and K.T. Oslin) had been women.

A third section honoring Buddy Holly was musically entertaining — with Maren Morris singing “It’s So Easy,” Radney Foster rocking “Rave On” and Joe Ely doing “Well… All Right” — if historically overdue. Holly certainly belongs in the TxHSA’s Hall, but given that he was among the 10 charter inductees into the Rock and Roll Hall of Fame 32 years ago, it seemed a little late in coming.

Ray Wylie Hubbard was a solid choice to conclude the evening. His Texas songwriting chops are beyond reproach, and his offbeat humor provided some of the night’s most enjoyable light-hearted diversions (including a hilarious aside involving emcee Ronnie Dunn, who did a fine job keeping things rolling throughout). Eric Church, a guest on Hubbard’s 2017 album “Tell the Devil I’m Getting There As Fast As I Can,” joined in for three songs, and Hayes Carll teamed with Hubbard on their co-write “Drunken Poet’s Dream.”

READ MORE: Our 2017 interview with Ray Wylie Hubbard

The finale was obvious: “Up Against the Wall, Redneck Mother,” sung by the entire cast of performers backed by the stellar musicians who’d provided sterling support all night (including fiddler Warren Hood, guitarist Jeff Plankenhorn, bassist Bruce Hughes and drummer John Chipman). True to his character, Hubbard played it loose with the lyrics: “M is actually for the Mileage I’ve gotten outta this song.” Indeed.

 

This week’s music picks: Austin Music Awards, Ben Sollee, Cupcakke, more

Tuesday: Ben Sollee & Kentucky Native, Mipso at Antone’s. One of America’s most fascinating musicians of the 21st century, Sollee has trekked cross-country with his cello on solo bicycle tours. He’s also made records with banjo greats Bela Fleck and Abigail Washburn, as well as an activist record with fellow Kentuckian Jim James of My Morning Jacket. Last year’s album with Kentucky Native explores his home state’s bluegrass roots, while pushing the genre forward into new directions. Opening act Mipso, from North Carolina, has released a couple of folk/bluegrass/Americana records produced by Andrew Marlin of Mandolin Orange. $16-$18. 7 p.m. 305 E. Sixth St. antonesnightclub.com. — P.B.

Wednesday: Austin Music Awards at ACL Live. Moving the annual awards show out of South by Southwest’s time-window was probably long overdue, as the event had tended to get lost amid the mid-March maelstrom in recent years. Its first year unattached to SXSW since 1986 (before SXSW existed!) will feature marquee visiting guests Lucinda Williams, John Hiatt, Alejandro Escovedo and John Fullbright; local favorites including the Black Angels, Third Root, Riders Against the Storm and David Ramirez; and a first-class house band led by Charlie Sexton. A “very special surprise guest” also is promised. Proceeds benefit the SIMS Foundation. $35-$150. 7:55 p.m. 310 Willie Nelson Blvd. ama2018.com. — P.B.

Wednesday: Cupcakke at Come and Take It Live. Her unflinchingly explicit sex rhymes made the 20-year-old rapper from Chicago an internet breakout and a gay club sensation. On her new album “Ephorize,” she goes deeper, tackling tough topics such as LGBT issues and her own struggle with her self-esteem. Still, lose your prudishness before you step in the building: Raunchy revelry is her calling card and this show will be rich with filthy, often hilarious, debauchery. $20-$45. 7 p.m. 2015 E. Riverside Drive. comeandtakeitproductions.com. — D.S.S.

Thursday: Cuco at Mohawk outdoor. With glasses, an unkempt mop of curls and quiet, self-deprecating charm, the 19-year-old Chicano crooner from L.A. seems like an unlikely heartthrob, but the artist also known as Omar Banos has won legions of fans with his dreamy swirls of heart-on-sleeve pop. Vaguely psychedelic and drenched in sincerity, he makes solid electropop for the uncynical lover in all of us. $17 (advance). 7 p.m. doors. 912 Red River St. mohawkaustin.com. — D.S.S.

Thursday: Sue Foley record release show at Antone’s. A native of eastern Canada who moved to Austin in her 20s and released several albums on Antone’s Records in the 1990s, Foley moved away for many years but recently has been back in town on a regular basis. “The Ice Queen” is her first new record in six years, and it’s full of Austin talent: B3 organ ace Mike Flanigin produced a cast that includes Charlie Sexton, Jimmie Vaughan, George Rains, J.J. Johnson and Chris Layton, with ZZ Top’s Billy Gibbons also turning up on the track “Fool’s Gold.” It’s a magnificant collection of deep blues that spotlights Foley’s spirited singing and guitar playing. Vaughan will join her at Austin’s home of the blues for this kickoff of release events (she’ll play an acoustic show at Cactus Cafe on March 2 and an in-store at Waterloo Records on March 4). $20. 8 p.m. 305 E. Fifth St. antonesnightclub.com. — P.B.

John Doe plays with his Folk Trio at 3Ten on Tuesday. Deborah Cannon/AMERICAN-STATESMAN 2008

ALSO PLAYING

Monday-Tuesday

  • Dexter Gordon Birthday Celebration at Parker Jazz Club

Monday

Tuesday

Wednesday

Thursday