House of Blues, September 13
Since her Trill Feels EP was released earlier this spring, Houston rapper Ingrid has kept herself busy: opening for label boss Beyoncé, continuing to break down her contribution to Lemonade, figuring out the perfect hat to wear, etc. She's also made a bit of history as well. Last month she took up residency at House of Blues, performing a month's worth of shows every Tuesday and effectively making the building an addition to her Third Ward upbringing. Pontificating about love and loss makes up the bulk of Trill Feels; contributions from the likes of Kirko Bangz and Devin the Dude mellow it out even further. Ingrid's power comes in her songwriting and willingness to let her voice filter through plenty of others. In a live setting, she's prone to letting her voice snake through her fans, too. BRANDON CALDWELL
White Oak Music Hall, September 15
Dinosaur Jr. is a rarity in today’s musical landscape, a classic-rock act that can yell out, “We’re gonna play one off our new record,” and not have half the crowd head for the restroom or beer line. That’s because the trio (who have been together off-and-on for more than 30 years) have once again hit pay dirt with their latest album, Give a Glimpse of What Yer Not. Fortunately, in a recent interview with the Houston Press, bassist Lou Barlow acknowledged that while the band will certainly play some of its new tracks (not a bad thing; many of them are awesome), those who bought tickets to hear the band’s pre-1997 catalog will be treated to any number of tracks from favorites of yesteryear like You’re Living All Over Me and Bug. Front man J Mascis is among the more enigmatic figures in rock and even Barlow admits the band’s future is far from mapped out. In other words, this is a show to make time for; you never know when – or if – Dinosaur Jr. will roll through Houston again. CLINT HALE
Stafford Centre, September 15
One of the few female artists in ‘90s Nashville who could out-sing even Faith Hill, Martina McBride has never been shy about making use of her voice’s glass-shattering properties, notably on 1995 breakthrough “Independence Day.” Without outright repeating herself, McBride went on to have major hits with a number of other uplifting anthems aimed at young women, among them “Wild Angels,” “My Baby Loves Me” and, indeed, “This One’s For the Girls.” However, unlike many of her peers, she’s as comfortable singing traditional country as more pop-oriented material; McBride’s version of Lynn Anderson’s “Rose Garden” reached No. 1 in 2005. This spring she endeavored something of a reboot with Reckless, her debut for Nash Icon, Nashville alpha dog Big Machine’s boutique label for more mature artists.
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YES, INDEED! FEST
"EaDo Party Park," September 17
e Yes, Indeed! is the kind of festival Houston needs, and its continuing growth over its five-year run is an encouraging sign that local audiences remain eager to get to know their musical neighbors, and will always come out to support their favorites. Populated mostly by Houston-based acts, either upstarts looking for a toehold on the scene or veterans out to cherry-pick some fans from their peers, Yes, Indeed! is rapidly establishing a reputation as the festival to go to to find your new favorite bands. (The same applies to its spring counterpart from the same producers, Madness On Main.) Relocating this year to the “EaDo Party Park,” which encompasses Warehouse Live, Lucky’s Pub and Neil’s Bahr, the fest has rolled out the red carpet for trippy Austin rockers Ringo Deathstarr and San Antonio chicana-punks Fea as “headliners,” but with 25 acts spread across four stages, the real main attraction is its variety. That said, it would be hard to go wrong with Jealous Creatures, Only Beast!, the Wheel Workers and Jon Black and Young Girls, to name just a few personal picks.
BEAVER NELSON, MICHAEL FRACASSO
Continental Club, September 17
Veterans held in high esteem by their peers throughout decades-long careers, Beaver Nelson and Michael Fracasso are the kind of rangy singer-songwriters Austin used to produce in abundance. In general, Nelson is the more upbeat of the two, Fracasso the more introspective, but both artists have produced formidable and idiosyncratic catalogs that defy easy generalizations, eight albums’ worth for Nelson and ten for Fracasso. Nelson’s Positive, his latest record and first in four years, collects more shaggy-dog stories in the Paul Westerberg tradition, while Fracasso’s first since 2011, Here Come the Savages (Blue Door), winds his lilting and wistful originals around covers of the Beach Boys, Johnny Thunders and the Kinks. Though they may not have much else in common, both men’s high degree of musical literacy makes Saturday a fine opportunity to admire some fine complementary craftsmanship.