Pittsburgh music and concerts
Fans pack the lawn at X Fest. (Richard Frollini)
Pittsburgh isn’t just a sports town. It’s a music town, too, one that has produced its share of legends, from Stephen Foster to Wiz Khalifa, and has played host to the greatest stars who ever lived.
The PG has been chronicling the scene since the beginning and continues to follow the artists and bands breaking out of Pittsburgh and the relevant national acts coming in. There are more than ever, thanks to the growth of quality venues and promoters, and the range of talent is as varied as we’ve ever seen.
These pages will keep you up to date with concert listings, breaking news, current reviews and previews, as well as pages dedicated to the top Pittsburgh acts. That list will be a work in progress, so keep coming back.
The Flaming Lips, Grandaddy, The Jesus and Mary Chain...yes, this is 2017, kicking off with albums by a number of vintage bands. There’s even a new Deep Purple album coming for you classic rockers.
Lots of new releases will be announced in the next week or two, and some of the dates are likely to change, but here’s a peek into the first quarter of the year.
• • •
We haven’t gotten a concert announcement quite yet for 2018, but it wouldn’t be a shock. We already have two major shows on sale for September and October 2017.
The calendar is filling in quickly, even without a stadium show blocked in. What should excite concertgoers about 2017 is the number of artists who haven’t been here in ages.
Here’s what to look forward to.
• • •
February was a pretty slow concert month (even more so with Lauryn Hill bailing), but March picks up the pace with a handful of Rock and Roll Hall of Famers (Patti Smith, Stevie Nicks, Pretenders, Green Day), along with cult favorites (Tortoise, Sunn O)))) and Triple A staples (The Head and the Heart, Lumineers).
Even without the mysterious pink bunny serving as a hype man — who was running around, prompting the crowd to raise their arms while singing along to The Ramones’ “Blitzkrieg Bop” — Green Day’s audience would have been raring to go.
After all, Billie Joe Armstrong is an act in and of himself. When he strutted across the stage at the Peterson Events Center, a black and white American flag guitar in tow, the audience reached near hysteria. He wasted no time phasing into “Know Your Enemy” from 2008’s “21st Century Breakdown,” riding the wave of energy.
• • •
All of the ingredients for a hipster band’s success were on the table Thursday night at Stage AE.
It had a simple, floral backdrop and equally plain red and magenta lighting, an infusion of funky percussion pieces like the tambourine and the maraca, bandmates in understated clothing, seemingly as a hubris check, and an original sound somewhere between indie rock and the blues.
Yet something about the Cold War Kids’ performance felt immaterial, and the room lacked a certain energy.
• • •
Should you find yourself in the market for a group to score your animated adventure film, do put Dungen near the top of the list.
The psych/prog band from Stockholm, Sweden, took fans at the Andy Warhol Museum on an amazing journey Saturday night through a netherworld of princes, sorcerers and demons, performing “Haxan” (“The Witch”), its new live score to the world’s oldest surviving animated feature film.
• • •
By the time they played the smooth, buttery ballad “Slow it Down,” The Lumineers had already captivated their audience at the Peterson Events Center in Oakland. Halfway through the set on a snowy Tuesday night in Pittsburgh, the stands illuminated with cell phone flashlights, a mirage of summer fireflies befitting the band’s balmy tone, which is not dissimilar to the warm taste of whiskey.
And while this moment felt ironic — a band which arguably returns to the early roots of blues and folk by playing live instruments was honored with the technological equivalent of a sea of lighters — it also depicted the very simplistic, yet complex allure of the band.
• • •
And the Punk-for-Life Longevity Award goes to … wait, punk rock doesn’t need any stinkin’ awards.
But if punk rock HAD awards, this one would go to Patti Smith, who showed up at Carnegie Music Hall in Oakland Monday night as fierce -- no, more so than she was the day she first hit the scene in 1975. Smith hit the big 7-0 in December and when I say hit it, she probably punched it in the face.
• • •
Brit Floyd, one of the world’s most popular if not best tribute bands, opened the North American leg of its Immersion World Tour Friday night at the Benedum on something of a holy day for Pink Floyd fans.
“Dark Side of the Moon” was released on March 10, 1973 (and the band was here to play it at the open-dome Civic Arena that June).
None of that was mentioned from the stage — Brit Floyd doesn’t bother with chatter — but the band from Liverpool, which formed in 2011, did scatter nine of the 10 songs from the album (all but the instrumental “On the Run”) into the three-hour set.
• • •
Joe Bonamassa only spoke to the crowd once Thursday night — like he really needs to talk — saying that he remembers playing Moondog’s many moons ago.
“We played 14 sets a night for $15, good money back in those days,” he joked. Guitarists still pass through the Blawnox club every week and less than 1 percent of them ever make it to where he is, selling millions of records and playing two-night stands in the Cultural District.
Bonamassa is a savvy marketer, no doubt, and it doesn’t hurt that he looks like he stepped out of “Men in Black,” but he's also one of the greatest living guitar players, especially in his field of blues-rock where so many have passed on or slowed down.
• • •
The band known for the single “Let’s Be Still” took the stage to “Let’s Dance” and a request from violinist/singer Charity Rose Thielen to get up out of the seats.
The Head and the Heart will never be mistaken for a dance band, but did prove to be worth standing for Wednesday night at the Benedum in its first theater show in Pittsburgh.
That single from the fall of 2013, when the Seattle band first broke out, suggests that “you can get lost in the music for hours,” and for a little over 90 minutes that’s what happened. There’s nothing remarkably innovative or adventurous about The Head and the Heart — it’s just another sweet take on folk-rock (although they don’t like the term) with pleasant guitars and rich harmonies from the three singers up front.
• • •
There’s nothing nondescript about this frontman — between his frantic, yet controlled swagger on stage, his gold, snakeskin print blazer along with skin-tight leather pants and a vocal range varying from Sinatra-like baritone to a Jackson falsetto register; it’s no stretch of the imagination, then, to say that Brendon Urie is Panic! At the Disco, and Panic! At the Disco is Brendon Urie.
Tuesday night at the Peterson Events Center in Oakland, Urie and his band took the stage for roughly 90 minutes, cycling through a discography of both his band’s greatest hits since 2005 and picks from their fifth studio album, “Death of a Bachelor,” like an iPod nano on shuffle (and that’s exactly what how most people first listened to these songs).
• • •
“I could sing you a country tune/and carry the name Sweet Valerie June/But I got soul/yeah, I got soul/yeah, I got sweet soul.”Valerie June did do a country tune, some quiet, fingerpicking folk, a little dirty Southern blues. She strapped on an electric for thrashy garage rock, talked about her love life and her house plants, and probably could have stood there reading the decision from the Ninth Circuit Court.It would have had soul, too, because everything about Valerie June seems to have soul — and a beautiful, free spirit, to go with a radiant smile, wild dreadlocked hair and graceful moves.
• • •
It’s hard to imagine anyone, outside of the most uptight purists, not thoroughly won over at the end of a Twenty One Pilots show.
It’s no wonder the dynamic duo from Columbus has moved so quickly from “fairly local” to one of the few young groups able to rock arenas.
And did they ever rock PPG Paints Arena Friday night, before a sold-out crowd of excited, red-beanie-wearing teenagers (and assorted family members), some of whom camped out overnight on Fifth Avenue for the best spots on the packed floor.
• • •
As frontman Bradford Cox strummed at his honey-colored Fender Jazzmaster, a few people in the crowd molded their mouths into incredulous “O” shapes. Mr. Cox was playing his guitar with a microphone stand while on stage at Mr. Smalls Theatre in Millvale Wednesday night, and soon would break that same stand through his wily antics.
The band’s impossibly diverse range of sound — spanning from psychedelia to experimental, garage punk to indie — married to Cox’s peculiar stage presence and taste for ad-lib, solidified their status as one of the few true rock ‘n’ roll bands of the 2010s.
Deerhunter’s set was complete with all the fixings — thick, grungy Nirvana-style feedback between songs; indie vocals, reminiscent of Arctic Monkeys; instrumental, jazzy improvisations like Miles Davis; stage hysterics which tipped a hat to Jim Morrison’s ability to captivate a crowd; and a toned-down, understated aesthetic which could only be attributed to the nonchalant, genre-bending band.
• • •
Music news and interviews
There’s that old line about the Velvet Underground that they didn’t sell many records, “but everyone who bought one went out and started a band.”
Well, Green Day did sell a lot of records — 10 million alone of “Dookie” — and it only took a fraction of those kids to fill the planet with pop-punk bands.
Chris Daley, of the Pittsburgh band Mace Ballard, first heard Green Day’s 1994 breakout album when he was in middle school.
• • •
Robert Christgau is known for being something of a crank. So when his first words are that he has a cold and is going without coffee (not sure why), I figure we’re in trouble.
Two minutes later, he bristles at a question about his start in journalism, saying, “Scott, you know, this is in my book. Understand?”
This interview is wasting valuable record-reviewing time, and, in fact, he’s listening to one as talks on the phone from his home in New York. Because that’s what Robert Christgau does. Since he started covering music in the late ‘60s, the 74-year-old self-proclaimed “dean of rock critics” has reviewed more than 14,000 albums.
• • •
There was no better place to be in Pittsburgh on Sept. 6, 1957 than the Syria Mosque in Oakland.
On that night, Alan Freed's The Biggest Show Of Stars for 1957 road show rolled through town with Frankie Lymon & the Teenagers, the Drifters, Clyde McPhatter, Buddy Holly & the Crickets, Paul Anka, the Everly Brothers and the man who defined rock ‘n’ roll, Chuck Berry.
It was one of four stops Berry made at the Mosque in 1957, the first year he ever came to Pittsburgh.
• • •
Strand of Oaks made one Pittsburgh stop on the cycle for the last album, “HEAL,” and it was a beauty, playing the Thrival Festival alongside the wooded area around the abandoned Carrie Furnace in Hazelwood.
“We explored that giant building,” says frontman Timothy Showalter. “I don’t think we were allowed to, but we did. It was kind of borderline terrifying and awesome at the same time. It was unbelievable.”
• • •
Patti Smith’s “Horses” is the rare album able to accommodate an opening line of “Jesus died for somebody’s sins, but not mine” and come around to her singing “Do the Watusi!,” albeit not in a very festive way.
“Horses” hit the punk world like a stampede when it arrived in December 1975, and it kicked in for a lot of people with her bewitching and androgynous performance on “Saturday Night Live” on April 17, 1976 doing “Gloria.” (Pittsburghers did not witness that at the regularly scheduled time or maybe at all, due to “Chiller Theater” still being on the air here).
• • •
When JJ Grey suggested four years ago that he wanted to do an acoustic tour, his manager quickly upped the ante.
“He said, ‘Why not put together a singer-songwriter-thing-in-the-round, and he just started naming off people.’ I was like count me in, let’s do it!” Mr. Grey says.
And so began the Southern Soul Assembly, starting in March 2014, which puts the singer-guitarist from Jacksonville, Fla., on stage with Marc Broussard, Anders Osborne and Luther Dickinson to celebrate their Southern culture with songs and stories.
• • •
With more people living and visiting Downtown and the restaurant scene booming, the Pittsburgh Downtown Partnership would like to see more of a soundtrack.
Currently, there are only a handful of Downtown bars and restaurants presenting live music, including NOLA on the Square, The Fairmont, the Backstage Bar, Olive or Twist and the newly opened Eddie V’s, and much of that is small combo stuff.
There needs to be more music and more variety, according to Jeremy Waldrup, president and CEO of the PDP.
• • •
Jackie Evancho has been active in the political arena this year, first doing what she saw as her patriotic duty by performing at the inauguration and then taking to the media to request a meeting with the president over transgender rights.
But what keeps the teen star from Pine busy day-to-day is getting her homework done and advancing her recording career, which takes a bold step later this month.
Her latest album, “Two Hearts,” due on March 31, will be her first with writing credits.
• • •
In March 2016, The Head and the Heart delivered the sobering news that co-frontman Josiah Johnson would take a break from the band while he was “battling addiction and focusing on his recovery.”
“The thinking was kind of like if we don’t do this, he’s going to die,” drummer Tyler Williams said last week in a phone interview. “We approached it from being his friend and his family.”
The timing is never great for that, but it was especially tricky with the Seattle band about to make the jump from Sub Pop to Warner Bros. for its third album, “Signs of Light.”
• • •
One of the memorable moments at the Latin Quarter was the night Public Enemy tried to take Manhattan.
That day in March 1987, says Paradise Gray, who managed the talent at the Times Square club, the hip-hop crew members came in with their bags packed with fake Uzis they used in the show.
“My first memory of Public Enemy,” he said, “was having to run downstairs and save their lives because my security force had pistols on them, because they search everybody, and when they were going through the bags, they found these plastic Uzis, and the guns came out quick. I was like, ‘No, no, chill, those are stage props.’ ”
• • •
Jimmer Podrasky’s comeback is about to enter phase two.
The frontman for alt-country pioneers The Rave-Ups, formed while the Natrona Heights native was attending Carnegie Mellon University in 1980, was all but absent from the music scene for almost 20 years before picking up right where he left off with a solo debut, “The Would-Be Plans,” in September 2013.
The album recaptured much of what people loved about the Rave-Ups — the clever songwriting, twangy vocals and roots rock energy — while offering the mature perspective of an artist who had been there and back.
• • •
TeamMate came into the world in a most unusual way — with a romantic split between the two members — and now celebrates its fifth anniversary with a full-length debut.
Stop me if you’ve heard this one before, but Scott Simons, from Morgantown, and Dani Buncher, from Squirrel Hill, met in the late ’90s while at West Virginia University. Both were musicians, with him going on to play in power-pop band The Argument, and her playing drums for the Pittsburgh band Big Hurry, among others.
They dated for 10 years, some of it long distance, and finally got a place together in Pittsburgh. When she dropped the bombshell that she was gay, he moved to LA to process that and she went to New York (where she had previously worked for Arista Records). Having written a song about the experience, he invited her to add the drums.
• • •
There has never been a voice quite like Valerie June’s, and it seemed to come out of nowhere in 2013.
But there was a reason it was so full of wonder and yet so seasoned.
She had a few years, clubs, coffeehouses and studios behind her before meeting Black Keys frontman Dan Auerbach and working together on her breakout album, “Pushin’ Against a Stone.”
The 35-year-old (born Valerie June Hockett) from Jackson, Tenn., grew up in a musical churchgoing family (her father also did some concert promotion) and made her first noise after relocating to Memphis at 19. She released two indie albums and then put her dreams (along with her day jobs) on hold for a few years in her mid-20s after being diagnosed with diabetes.
• • •
Word that Twenty One Pilots would headline PPG Paints Arena in January felt a little like turning back time.
In the good old days, of rock ’n’ roll at least, young acts with hits, talent and charisma could move steadily from clubs to theaters to arenas.
These days, not so much.
But Twenty One Pilots have the flight plan and the ground support. When last in Pittsburgh back in June, the Columbus, Ohio, duo had teen fans camped out in front of Stage AE for three days to get a spot up front. Combine the hysteria with the high-energy show and it’s not a huge surprise that the duo, which blends hip-hop and electronic rock, is going the full 18,000 on the Emotional Roadshow Tour.
• • •
In November 2011, Kim Gordon and Thurston Moore — essentially, the royal family of noise rock — announced that they were splitting after 27 years of marriage, scattering the members of Sonic Youth in different directions.
“The couple everyone believed was golden and normal and eternally intact, who gave younger musicians hope they could outlast a crazy rock ’n’ roll world, was now just another cliche of middle-aged relationship failure — a male midlife crisis, another woman, a double life,” Ms. Gordon wrote in her 2015 memoir.
Although it came as a surprise and a devastating blow to the rock world to lose one of the most innovative bands of the past three decades, founding member Lee Ranaldo had been bracing himself for it.
• • •
It’s hard to describe the new offering from Code Orange without tossing around words like “sick,” “brutal,” “punishing,” “extreme.”
Such adjectives fill the lively and argumentative comments section under the violent, blood-soaked video for the title track to “Forever,” the Pittsburgh hardcore band’s third album.
When Code Orange was just forming, back in 2008 at Pittsburgh CAPA, as Code Orange Kids, the mission was full-on hardcore chaos. Now, the quartet tinkers more with the dynamics, employing more breakdowns, tempo changes, textures and electronic elements.
• • •
Anti-Flag didn’t pull its punches during the Obama administration, taking on the Democrat for drone strikes and bowing to corporate interests on their last album, 2015’s “American Spring.”
You can only imagine what the veteran Pittsburgh punk band is gearing up for now. And Anti-Flag is likely to have a lot more company from its musical peers, punk and otherwise, in the political arena.
But, as the Trump administration prepares to take office, Anti-Flag is in the midst of a tour, stopping at Stage AE Wednesday, with some fun-loving, lighthearted cohorts: California ska-punk band Reel Big Fish.
• • •
Jimmy Wopo just collected his first million — hits, not dollars. But in the music world, a million hits on YouTube is currency and certainly on the path to more of it.
The rapper from the Hill District is over a million views each for the videos to “Elm Street” and “Walking Bomb,” a staggering number for an up-and-coming independent artist and one that’s sure to get the attention of the industry.
“Two singles over a million. Once you get up there, that’s an elite level. That’s the feeling you get inside,” he says.
• • •
Pittsburgh’s favorite musicians
Christina Aguilera worked hard to become an overnight sensation. The Grammy-winning multiplatinum singer, ranked No. 58 on Rolling Stone’s list of the 100 Greatest Singers of All Time, started performing at backyard parties when she was 6 or 7, around the time she moved here with her mother from her native Staten Island, N.Y.
If you Google “political punk,” the first image that comes up is a picture of Anti-Flag, the Pittsburgh band that went from basement gigs to an international sensation. Anti-Flag initially formed in 1988 but hit the local scene in 1992 with riffs and attitude straight out of the ‘77 punk yearbook.
Of all Pittsburgh’s exports, few are more talented than George Benson, whose stellar career found him going from doo-wop singer to jazz master to R&B hitmaker. The Hill District native began performing at around age 7 or 8, playing the ukulele and singing on street corners.
While many of his contemporaries enjoyed only a few golden years on the charts, Lou Christie, one of the most successful artists out of the Pittsburgh area, stretched that success, charting a dozen Top 100 hits from 1963 to 1973 in styles ranging from doo-wop to country.
Guitar-rockers The Clarks were a product of the Graffiti scene. The Clarks formed as a cover band at Indiana University of Pennsylvania in 1986, playing for beer and bashing out songs by the Replacements, Hoodoo Gurus and R.E.M.
Since forming in the ‘80s, the Pittsburgh band has carried the torch for the garage rock of the ‘60s, taking its cue from bands like the Swamp Rats and the Sonics. To ensure they would never be at the mercy of a national label, they formed their own garage-rock label Get Hip.
Combining computer savvy, an infectious love of pop, rap and indie-rock, and a whole of lot of stage charisma, Girl Talk has become one of the leading electronic artists of the 21st century. The former biomedical engineer known as Gregg Gillis is known for knocking out servers when he uploads a new release and rocking festival stages all over the world.
The Decade was home to a bruising bunch of bar-rock bands, none more fierce than the Iron City Houserockers led by towering frontman Joe Grushecky. Rooted in the 1977 group Brick Alley Band, the Houserockers would come to embody the rough-and-tumble sound of Pittsburgh rock ‘n’ roll with local anthems like “Pumpin’ Iron (Sweatin’ Steel)” and “Junior’s Bar.”
In Pittsburgh, he needs only one name: Donnie. Pronounced Dahnie. Donnie Iris, the pride of Beaver Falls, gave Pittsburgh one of its most beloved hits with “Ah! Leah!” in 1981, from the album “Back on the Streets.”
On any given day, Jasiri is most likely traveling the country to speak on a panel, lead a workshop for students or appear at a political rally. If you’ve seen him, you know he’s the kind of potent performer who can put an electric charge into a crowd.
A hip-hop star out of Pittsburgh? Hadn’t happened. Rappers came from New York, LA, Atlanta, Detroit, even Cleveland, but not Pittsburgh. That was almost unheard of. Until Cameron “Wiz Khalifa” Thomaz came of age.
Mac Miller proved that lightning can strike twice at Allderdice when he followed Wiz Khalifa’s footsteps into international hip-hop stardom. In Miller’s case, it was more of a long shot, as a white, Jewish, middle-class upbringing is not the usual launching ground for a rap star. However, he was able to silence the doubters pretty quickly with his clever lyrical flow.
Billy Price (born William Pollak) grew up in suburban Jersey in the ‘60s glued to New York R&B stations and favoring a DJ named the Dixie Drifter, who spun Southern soul. Price’s first band, the Rhythm Kings, formed at Penn State around 1970 and then relocated to Pittsburgh to become a Walnut Street institution at the Fox Cafe.
In the space between the blues-rockers at the Decade and the punks at the Electric Banana, literally, Pittsburgh sprouted an unlikely tribal rock band in Rusted Root, sprung from the Graffiti Rock Challenge in 1991. Root developed a grass-roots following with their colorful and festive gigs.
Thirteen labels rejected the demo for “Since I Don’t Have You” as being too sad. Undeterred, manager Joe Rock and singer Jimmy Beaumont sent it to the local Calico Records, which set up the Crescents -- Beaumont, Janet Vogel, Wally Lester, Joe VerScharen and Jackie Taylor -- in Capitol Studios in New York with 18 musicians.
ARCHITECTS: Mr. Smalls, March 29, 7:30 p.m., $20/$23; ticketweb.com.
RED ELVISES: Hard Rock Cafe, March 29, 8 p.m., $13-$15; ticketfly.com.
DAYA: Stage AE, March 30, 6:30 p.m. doors, $20/$22; ticketmaster.com.
HERE COME THE MUMMIES: Jergel’s Rhythm Grille, March 30, 7 p.m., $25-$40; ticketfly.com.
BRYAN FERRY: Heinz Hall, April 1, 8 p.m., $49.25-$129.25, pittsburghsymphony.org.
ANDREW McMAHON IN THE WILDERNESS: Stage AE, April 1, 6:30 p.m. doors, $26/$28; ticketmaster.com.
DAVID LINDLEY: Carnegie Lecture Hall, April 1, 7:30 p.m., $40/$20 students; www.calliopehouse.org.
MINUS THE BEAR/BEACH SLANG: Mr. Smalls, April 1, 8 p.m., $23.50/$25; ticketweb.com.
NEVER SAY NEVER: The Club at Stage AE, April 2, 6 p.m. doors, $20/$23; ticketmaster.com.
PASSAFIRE/BALLYHOO: Rex Theater, April 2, 7 p.m., $15; ticketfly.com.
BOWLING FOR SOUP: Rex Theater, April 3, 7:30 p.m., $20-$22; ticketfly.com.
SON VOLT: Mr. Smalls, April 4, 8 p.m., $20/$22; ticketweb.com.
DEVIN THE DUDE/BILLY PILGRIM: Rex Theater, April 5, 8:30 p.m., $20/$23; ticketfly.com.
BILLY CURRINGTON: Stage AE, April 6, 7 p.m. doors, $32; ticketmaster.com.
CHELSEA GRIN/ICE NINE KILLS: Mr. Smalls, April 7, 6:30 p.m., $17.50/$20; ticketweb.com.
MODERN ENGLISH: Rex Theater, April 8, 8 p.m., $18-$20; ticketfly.com.
THE DECEMBERISTS/JULIEN BAKER: Stage AE, April 8, 7 p.m. doors, $39.50; ticketmaster.com.
KILLSWITCH ENGAGE/ANTHRAX: Stage AE, April 9, 6 p.m. doors, $32/$35; ticketmaster.com.
ME FIRST AND THE GIMME GIMMES: Rex Theater, April 11, 8 p.m., $23-$25; ticketfly.com.
JOHN 5 AND THE CREATURES: Hard Rock Cafe, April 11, 8 p.m., $17-$20; ticketfly.com.
GREAT LAKE SWIMMERS: Club Cafe, April 12, 8 p.m., $15; ticketweb.com.
PSYCHEDELIC FURS/ROBYN HITCHCOCK: Mr. Smalls, April 14, 8 p.m., $30/$32; ticketweb.com.
STEEL PANTHER: Stage AE, April 14, 7 p.m. doors, $27.50/$30; ticketmaster.com.
MARTIN BARRE BAND: Club Cafe, April 14, 7 p.m., $35; ticketweb.com.
DAN + SHAY: Stage AE, April 15, 6 p.m. doors, $25/$27; ticketmaster.com.
CHARLIE HUNTER TRIO: Club Cafe, April 15, 8 p.m., $20; ticketweb.com.
KISHI BASHI: Rex Theater, April 16, 8 p.m., $16/$18; ticketfly.com.
STS9: Stage AE, April 18, 7 p.m. doors, $25/$27; ticketmaster.com.
DRAKE WHITE: Jergel’s Rhythm Grille, April 19, 8 p.m., $12-$16; ticketfly.com.
BETTY WHO: Rex Theater, April 19, 8 p.m., $18; ticketfly.com.
SEBADOH: Club Cafe, April 19, 8 p.m., $16/$18; ticketweb.com.
MOD SUN: Mr. Smalls, April 20, 8 p.m., $20/$22; ticketweb.com.
NIGHT RANGER: Jergel’s Rhythm Grille, April 21, 9 p.m., $75; ticketfly.com.
TINARIWEN: Carnegie of Homestead Music Hall, April 21, 8 p.m., $24/$45; ticketfly.com.
THE CHAINSMOKERS: PPG Paints Arena, April 22, 7 p.m., $39-$72; ticketmaster.com.
DAVE MASON: Carnegie of Homestead Music Hall, April 22, 8 p.m., $39-$125; ticketfly.com.
JOJO/STANAJ: Stage AE, April 22, 7 p.m. doors, $25/$27; ticketmaster.com.
THE MAINE/THE SUMMER SET: Stage AE, April 24, 6:30 p.m. doors, $22/$25; ticketmaster.com.
IN THIS MOMENT/MOTIONLESS IN WHITE/AVATAR: Stage AE, April 25, 6 p.m. doors, $27/$30; ticketmaster.com.
AVERAGE WHITE BAND: August Wilson Center, April 25, 8 p.m., $41.75; trustarts.org
CASHMERE CAT: Rex Theater, April 25, 9 p.m., $18-$20; ticketfly.com.
OF MONTREAL: Mr. Smalls, April 25, 8 p.m., $18/$20; ticketweb.com.
BILLY BOB THORNTON AND THE BOXMASTERS: Jergels, April 25, 7 p.m., $25; ticketfly.com.
GUCCI MANE: Stage AE Outdoors, April 26, 6 p.m. doors, $42/$45; ticketmaster.com.
WINGER: Jergels, April 26, 7 p.m., $27-$40; ticketfly.com.
TOM RUSH: Carnegie Lecture Hall, April 27, 7:30 p.m., $45/$20 students; www.calliopehouse.org.
TWIN FORKS: The Club at Stage AE, April 27, 7 p.m. doors, $18/$20; ticketmaster.com.
MAYDAY PARADE: Stage AE, April 28, 7 p.m. doors, $25; ticketmaster.com.
KINKY FRIEDMAN: Club Cafe, April 28, 7 p.m., $25; ticketweb.com.
ROY WOOD JR.: Rex Theater, April 28, 7 p.m., $22-$25; ticketfly.com.
ACID MOTHERS TEMPLE: Club Cafe, April 29, 9 p.m., $15; ticketweb.com.
PISSED JEANS/S.L.I.P./PEACE TALKS: Mr. Smalls, April 29, 9 p.m., $15; ticketweb.com.
DAVE ALVIN & THE GUILTY ONES: Club Cafe, April 30, 8 p.m., $26; ticketweb.com.
GARY TALLENT: Hard Rock Cafe, April 30, 8 p.m., $15; ticketfly.com
THE STEEL WHEELS: Club Cafe, June 5, 8 p.m., $15; ticketweb.com.
ONEREPUBLIC/FITZ AND THE TANTRUMS: KeyBank Pavilion, July 18, 7 p.m., $25-$135; ticketmaster.com.
PHISH: Petersen Events Center, July 19; tickets.phish.com.
DEEP PURPLE/ALICE COOPER: KeyBank Pavilion, Sept. 1, 7 p.m., $33-$97.50; ticketmaster.com.
RODRIGUEZ: Carnegie of Homestead Music Hall, Sept. 13, 8 p.m., $45-$65; ticketfly.com.
SYLVAN ESSO/HELADO NEGRO: Stage AE, Sept. 16, 7 p.m. doors, $25; ticketmaster.com.