The weekend of nice weather we just had feels like an occasion worth celebrating, and there’s no better way to continue to toast the end of a brutal winter than with live music. Fortunately you’ve got plenty of opportunities to do just that during the next few days.
Tonight Oarsman and MTVghosts perform at the Whistler. Tomorrow night you can see Neko Case and Dodos at Chicago Theatre or Peaking Lights and Ant’lrd at Empty Bottle. On Wednesday there’s Mirah at SPACE and Deleted Scenes at Empty Bottle.
Be sure to check out Soundboard for even more concert listings and check out a few more show recommendations below.
“This Swedish trio reflects a sun-baked American stoner-rock style back at us from the cold, dark north,” writes Monica Kendrick. “After three solid albums in the late 2000s, the great things the band seemed to promise didn’t materialize, at least not soon enough—the 2009 full-length Maniawas their last new material for four years. (It was a little easier to wait thanks to two combination reissues of early EPs and LPs.) Truckfighters have spent a lot of time on the road and gone through a Spinal Tap-like procession of drummers, but judging by the new Universe (Fuzzorama), they’re stronger for it.”
“Baltimore duo Wye Oak began their life as a folk-rock act with a thing for blown-out, shoegaze-style guitar tones—their reputation-making 2009 album The Knot sounded like Crazy Horse reincarnated as a stripped-down, female-fronted dream-pop band,” writes Miles Raymer. “But despite these early trad-rock tendencies, singer-guitarist Jenn Wasner and drummer-keyboardist Andy Stack hardly number among the antimodernist reactionaries who’ve come out of the woodwork during the current folk boom. In the years since The Knot their sound has evolved so dramatically that in a blind listen it’d be difficult to tell that their new LP is the work of the same people. Shriek (Merge) ditches guitars for synths and abandons rootsiness in favor of gauzy electronic textures and dance-inflected rhythms—it borrows from old Kate Bush and Siouxsie & the Banshees records, not to mention contemporary artists like Grimes who’ve been reviving that style.”
“If you’re still pining for the early Young Widows’ salute to old-guard Louisville hardcore, it’s time to move on,” writes Kevin Warwick. “On 2011’s In and Out of Youth and Lightness and especially the brand-new Easy Pain (Temporary Residence), they’re considerably slower on the draw. The new record continues the trio’s pattern of finding room for a hot track or two (‘Kerosene Girl’ in this instance), but Young Widows are now much more invested in gloom—their aesthetic isn’t so much soaked in bourbon as it is drowned. More than anything else, what’s brought the band here is the way front man Evan Patterson has claimed full ownership of his role. He’s always been a handler of business on guitar—the thick twang he gets out of an early-aughts Telecaster, which often sounds like a dozen century-old doors creaking open at once, is one of the best tones in rock—and as a singer he’s more sure of himself than ever.”