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A Night of Three Trios and One Duo

[JAZZ] There have been tens of hundreds of millions of evenings featuring combinations of talented musicians collaborating in sets of twos and threes. While A Night of Three Trios and One Duo appears to be just another such night of duo and trios, in reality the triage of trios assembled, along with the one duo are nothing if not entirely singular.

GreenWatch: Outer Harbor Danger

Today, GreenWatch is pleased to publish a guest column by Lynda Stephens. Stephens has been a long-time advocate of Buffalo’s Outer Harbor and has expressed her concerns about contamination issues, clean-up strategies, and public engagment whenever and wherever she can. For more on Lynda Stephens, see the short biographical paragraph at the end of the article.

Disclaimer: The views expressed in this article are of the author’s alone.

—Jay Burney

The Smoking Dead

[JAM] If you’re looking for a 420 celebration, head over to Nietzsche’s on Friday, April 20, for The Smoking Dead and company. The Smoking Dead is a local super group of sorts, featuring members of Lazlo Hollyfeld, Scarlet Begonias, Gravy, and Intrepid Travelers playing their Grateful Dead favorites. They’ll be joined by reggae-rock jam band Kaleidoscope Sky for, if you do it right, a night you’ll never remember.

Blue October

[ROCK] Texas-based rock band Blue October returns to Western New York for a show at the Rapids Theatre on Wednesday, April 25. The five-piece band, formed in 1995, has released eight studio albums, and are preparing for the release of their ninth album, I Hope You’re Happy, later this year. Fans should expect to hear some from the band at this show presented by 103.3 the Edge. Support comes from rock band Flagship.

B.O.B.

[HIP HOP] B.O.B. became famous as a producer for hip hop artists like Waka Flocka Flame, Iggy Azalea, Killer Mike, and Techn N9ne, but more recently his production reputation has been eclipsed by his flat Earther beliefs. Those views have leaked into his music, with songs with titles like “Flatline” and a mixtape titled “EARTH.” Whatever you think about his beliefs, it’s bound to be an interesting show this Sunday, April 22 at the Rapids Theatre.

Built to Spill and Afghan Whigs

[ROCK] This show can only be described as a dream come true for 1990s alt rock fans. The Afghan Whigs and Built to Spill both helped define the indie rock side of things in the early 1990s, and paved the way for a whole movement in emo music. Probably the most notable factor of this co-headlining tour is that the Afghan Whigs are performing without their guitarist Dave Rosser, who passed away from colon-cancer shortly after the release of the band’s latest album, In Spades, which he recorded guitar on.

Mary Gauthier

[FOLK] Mary Gauthier wasn’t looking to get into a political discussion with her new disc, Rifles & Rosary Beads. If anything, her intentions were to transcend our petty bickering—maybe even unify some listeners—while staying true to her craft of storytelling in song.

2018 NPR Tiny Desk Contest Concert

[INDIE] A few years ago, NPR launched a series of live video performances by well known bands in small, ordinary spaces that they called Tiny Desk Concerts (presumably because you’d likely be watching or listening to the concert while at your desk at work). These Tiny Desk Concerts came from artists like Iron & Wine to T-Pain, Yo La Tengo, Adele, and many in between. A couple of years ago, NPR decided to open up this opportunity to unsigned, independent artists from all over the country.

Keller Williams

[JAM] It’s been said before, and it’s a fitting description: Keller WIlliams a one-man-jam-band. He’s a bit of a deadhead to begin with, and his mix of musicianly chops with absurdist humor (not to mention various stints touring with Umphrey’s McGee, Ratdog, The String Cheese Incident, i.e. the Keller Williams Incident, and others) has kept the interest of the jam band community for two decades. His musical hodgepodge is something he jokingly calls ADM – Acoustic Dance Music.

Strange Allure Volume 15: Gene Tellem and Kris Guilty

[ELECTRONIC/DANCE] The next edition of the underground electronic music party known as Strange Allure will feature two selectors from Montreal, Quebec, Canada in the form of Gene Tellem and Kris Guilty. Expect deep, deep techno tones and left-field house anomalies from Tellem, who released her stunning EP Who Says No on hometown imprint Sounds of Beaubien Quest late last year.

Brian Posehn

[COMEDY] Before a previous visit to Buffalo, comedian Brian Posehn quipped to The Public that he’s not really a winter person and that he hoped it wasn’t winter in Buffalo at the moment. It was August at the time. This time around it’s April, and unfortunately for Posehn, it could certainly feel like winter here. Hopefully the famously nerdy heavy metal music fan and comedian won’t let it effect his self-loathing, biting comedic style.

Curtis Lovell

[EXPERIMENTAL] Curtis Lovell is inviting spectators to come watch an intimate live recording at GCR Audio at 564 Franklin Street on Monday, April 23. Her unique performance combines the powerful, healing sounds of her timeless voice with a microphone, a looper, and an amp. Drawing on influences, such as Ella Fitzgerald and Fela Kuti, Lovell takes her audience on a journey of sound with unreleased original music. Doors for this one-of-a-kind event open at 7pm.

The Mountain Goats

[INDIE] It took me a moment to understand the connection between The Mountain Goats, the folky indie rock band from North Carolina, and goths. Goths as in outsiders—teased out black hair having, black clothes wearing, overzealous fans of Joy Division and The Cure. The reason we’re here contemplating this is because the Mountain Goats have titled their 16th album, Goths. Upon closer inspection, the album follows the singer of a goth band in 1980s California.

We Wanted a Revolution

Over the years, scholars have read the contemporary Feminist Movement in the United States, and rights movements at the end of the twentieth century generally, as building on the successes of the civil rights struggles of the 1950s and 1960s. However, more recent scholarship sees earlier black left feminism as setting the stage for the more visible feminist work of the 1970s.

—Kellie Jones

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