Fitzgerald’s, June 30
After an early push by Sonic Youth drummer Steve Shelley, Blonde Redhead have become one of the most unpredictable and adventurous bands on the New York City art-rock scene, often radically changing elements of their sound from one album to the next while retaining a core otherworldly identity. The cosmopolitan origins of Japanese-born chanteuse Kazu Makino and twin Italian brothers Armedeo and Simeone Pace no doubt have a lot to do with Blonde Redhead’s fearless mingling of all manner of subterranean noises — shoegaze, electronica and deep psychedelia are just three tips of their iceberg — but in one respect the band has been quite dependable; starting with 1995’s self-titled LP, they’ve released an album every three or four years through last year’s widely praised Barragan. With Talk In Tongues.
Big Ass Blues Jam
The Hideaway on Dunvale, June 30
At this point The Hideaway On Dunvale's weekly Big Ass Blues Jam, hosted by Rick Lee & the Night Owls every Tuesday at 9:30 p.m. sharp, at this west side tavern has become a Houston institution; a lot of great local blues musicians show up to jam with Lee, who gets things started with his impressive guitar playing, singing, and over-the-top showmanship. Lee usually winds up playing his guitar with the leg of a chair he has picked up, a beer bottle and even his tongue. (DAVID ROZYCKI)
Under the Volcano, July 1
A craftsman of a songwriter capable of both great wit and poignancy, Mike Stinson has raised the bar for local troubadors since moving to Houston in 2009. His 2013 LP Hell and Half of Georgia put a rockin', radio-friendly sheen on some damn fine turns of phrase, and was named that year's No. 42 album by former Washington Post critic Geoffrey Himes in Paste magazine. It also netted him a well-deserved Houston Press Music Award for Best Country Act the following year.
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Third Eye Blind, Dashboard Confessional
Cynthia Woods Mitchell Pavilion, July 2
You're not the first one to look at this Third Eye Blind/Dashboard Confessional tour and feel puzzled. On a surface level, the onetime alt-rock sensations and one of emo's finest being on the same bill does seem to be a bit perplexing. For those of a certain age and a certain mindset toward nostalgia, however, this is something of a dream show. If you were a teen who was really into songs like "Jumper" and "Motorcycle Drive By,” the slide into songs like "Screaming Infidelities" was probably so seamless you didn't even notice it. And if you still keep those albums on your phone because sometimes you need them on the drive home, the question isn't whether this show makes sense, it's why hasn't it happened sooner. Take the day after off; your voice is going to be sore from all the singing. (CORY GARCIA)
Warehouse Live, July 2
For quite a while, lots of Nashville folks have understood that Chris Stapleton is one of the most talented people in a town full of talent. The writer of dozens of country hits, Stapleton has finally stepped forward from bluegrass supergroup the Steeldrivers and Southern-rock project the Jompson Brothers to drop Traveller, his first attempt at mainstream radio play. A top-shelf picker with a timeless golden voice, Stapleton may well be the reality shot that country radio has needed for years; his music isn’t for 16-year-old-girls or the crowd that buys its music at Walmart. If country music needs a savior from the ongoing pop pabulum and bro-country idiocy, he might have just walked in the door. (WILLIAM MICHAEL SMITH)