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for Wed., April 24

  • Carnival Entertainment Auditions

    Are you ready to choose fun and take your music career to the next level?! If so, then fill out your application for the opportunity to audition live in Austin. If they feel you may be a good fit for Carnival Entertainment, they will send you an invitation to audition live. Click on the link to apply!
    Tues. Apr. 23  
    Apply Here
    Austin, Texas

  • Beatles Full Moon Concert in the Dark

    On the April Full Moon, come set intentions and indulge in the mesmerizing allure of live acoustic music performed by world-class musicians, surrounded by the warm glow of candlelight. Its a different kind of concert, that begins and ends in darkness, with music and a poem or two surrounding and soothing you. Audience members will be given the choice of bringing their own yoga mats and/or pillows to gaze at the shadows on the ceiling. A circle of chairs will be provided.
    Tues. Apr. 23, 8pm-9pm  
    get tickets
    ATX Unplugged
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  • Music

    Al Green

    Back locally for the first time since ACL Fest 2003, Al Green, 73, begins his first tour in six years – an eight-city jaunt – at Bass Concert Hall. Last Saturday on Record Store Day, Possum Records released The Hi Records Singles Collection, which contains all 26 vinyl singles by the Grammy-winning Kennedy Center Honors recipient.: Once the Arkansas native found his voice with the help of producer Willie Mitchell (1928-2010), he broke through with Al Green Gets Next to You in 1971, featuring a bluesy cover of the Temptations’ “I Can’t Get Next to You.” The LP also contained million-seller “Tired of Being Alone.” The esteemed Let’s Stay Together (1972) followed, Green’s smooth falsetto ascending the soul pantheon with its honeyed, Billboard-topping title track.: Aside from Marvin Gaye, and perhaps the Isley Brothers, the son of a sharecropper defined Seventies R&B. None of it would’ve been possible without Mitchell’s tutelage, a yearlong process beginning with Green approaching the producer “to find out who Al was.” At some point, Mitchell angered him and Green stormed out of a studio.: “I left, squealing my tires out of the parking lot, and went home,” chuckles Green. “I thought about it, and called him back. I was a lot clearer later that night, I said, ‘Hey man! Are you ready?’ He started laughing. He said, ‘Yeah, I’m ready.’: “I was gonna sing like Pickett, or James Brown,” continues Green. “He said, ‘No, no, no. That’s not it.’ Then I said, ‘Okay, I’m gonna just sing it without putting anything extra into it.’ And I went, [singing], ‘I’m so in love with you.’: “He said, ‘That’s it – that’s Al!’ I said, ‘Oh, okay. Now I know who Al is.’”
    Wed., April 24, 8pm
    Bass Concert Hall

    • Music

      Robin Trower, Ian Moore

      Under the gray skies of post-World War II England, the guitar gods of rock entered the world. Within the slim span of five years, Peter Green, Jeff Beck, Martin Barre, Jimmy Page, Ritchie Blackmore, Eric Clapton, Keith Richards, Tony Iommi, and Robin Trower all fell through a rip in the spacetime continuum and landed on a green island in the North Atlantic. The latter proved lucky, boasting a record collector friend who imported records from America and exposed him to “a great music, a heavy music, a beautiful music.” “Ninety percent, if not all of those guys, were inspired by American music,” affirms Trower, 74. “You can’t underestimate the effect James Brown Live at the Apollo had on musicians in Britain.” That explains a funk streak throughout the guitarist’s work, bubbling under during his tenure in Procol Harum and emerging fully formed on Trower’s second solo release, 1974’s Top 10 hit Bridge of Sighs. From headlining stadiums in the Seventies to the fallow Eighties when radio turned away from the grandeur of his sound, the Stratocaster loyalist has stayed the course. Constantly evolving and serving as a guardian of the blues, he quietly influenced generations of guitarists, including myself. Even Sabbath worshippers Goatsnake titled a track “Trower” on their debut. Latest release Coming Closer to the Day is a stripped down and unflinching look at his own mortality. “I’m starting to realize I’m closer to the end than the beginning, which seems like a really obvious thing to say,” he laughs. “It’s about coming closer to the day, you know.” His voice trails off. With lyrics like, “Nothing of myself I want to keep/ Living with the memory of a flame of fractured life,” Trower’s making his most personal musical statements right now. Then there’s the guitar playing. File it under a heavy, beautiful music.
      Wed., April 24, 8pm
      ACL Live at the Moody Theater

    • Music

      The Wild Reeds, Valley Queen

      L.A. indie-folk ladies & gents bid Cheers.
      Wed., April 24, 8pm
      Antone's Nightclub

    • Music

      Steve Gunn, Gun Outfit, Michael C. Sharp

      Since leaving Kurt Vile’s band and releasing his 2013 breakthrough fifth album Time Off, New York singer/songwriter/guitarist Steve Gunn earned critical acclaim for a series of engaging, expansive folk/rock records. Eighth LP The Unseen in Between continues that trend, gently shifting the spotlight from the virtuoso guitar work that grabbed public attention to the songs into which he pours heart, soul, and craft. “It’s obvious the record is a bit reduced,” says Gunn by phone following a soundcheck in Belgium. “There’s some poppier stuff in there. Years ago I wouldn’t have been into that, but I’ve come around to it and that simplified how I come up with songs. Before, I was writing really complex, open-tuning, capoed songs that had all these weird movements and parts. “For this record, I felt like really focusing on the lyrics and the singing, and I felt a bit more freed up.” The introspective Unseen does bear some connection to Time Off, as the Philadelphia native revisited the older disc’s aesthetic, recording mostly live after vigorously road-testing the tunes. “[2016’s] Eyes on the Lines was just this web of tracks, and it was just too much,” admits Gunn. “I wanted to get back to the way it felt with Time Off. Obviously I’ve come a long way with my singing and song structure, but there’s an ease to that record. Things are a bit more simple [on Unseen], in the sense of trying to get back to that. It felt really organic, like I wasn’t trying to be better than I am. “I think in the past I was trying to force it a bit. Guess I’m just getting old. I felt a little more mature with this record, like I can stand on my own singing and strumming.”
      Wed., April 24, 9pm
      Barracuda

    • Music

      Metal Church, Images of Eden, Halcyon Way

      Left Coast thrash pioneers near 40 as still led by guitarist Kurdt Vanderhoof.
      Wed., April 24, 8pm
      Come & Take It Live
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