“We always look forward to coming to Austin, and we’re never disappointed.” Doug Martsch’s greeting arrived midway through Tuesday’s 90-minute set at Stubb’s. Those were among the only words the Built to Spill frontman spoke all night – not atypical for the mum but pleasant Boise native.
Platinum ego encases History of the Eagles, a three-hour rock doc (on Netflix and mailed to concert reviewers) that spawned a two-year tour. Founders and songwriting axis Don Henley and Glenn Frey wield their aural iconography like a tomahawk – screw up, get scalped. Tuesday at the Erwin Center, they selflessly ceded half of a three-hour show to Joe Walsh.
From tragedy, triumph. The Housecore Horror Festival, which many feared would end with the death of founder Corey Mitchell, will return for a third year. However, there's a big change: The combination horror/metal fest leaves Austin for San Antonio.
Pockets of Latinos inhabit every festival. We blend into the masses, meeting up at the small sampling of Spanish-speaking sets, and then disperse again. Pachanga Latino Music Festival’s 10-hour slate at Fiesta Gardens on Saturday turned that isolating experience on its head.
They called him “King of the Blues” for the past 50 years, but for me, Riley “Blues Boy” King remains the man who showed me how to live. When my older brother Bob and I found out one fall day in 1965 that the famed guitarist was playing Club Delta on the outskirts of Houston in the Sunnyside African-American neighborhood, we knew we had to go. I was 15.
Glenn Tipton’s refusal to dwell on yesterday mirrors Judas Priest’s relentless march across the decades. Joining the UK metallurgists in 1974, the guitarist’s armored onslaught defines the band’s unyielding forward momentum through highs and lows alike. Last year’s 17th studio disc, Redeemer of Souls, falls headlong into the former category.