Credit: Photo by Luke Rogers

Dayglow: The Tour

Thursday 21, Friday 22 & Saturday 23, Parish, Scoot Inn & Stubb’s

“I don’t like when art feels rushed,” Sloan Struble told us at the start of the pandemic. Dayglow, his fourth full-length, doesn’t sound underserved, but it does bounce and BPM far sprightlier and most pop in relation to the rest of his effervescent oeuvre. “I was just 18 with the Fuzzybrain,” recalls the onetime UT bedroom dream-weaver on opener “Mindless Creatures,” making us suddenly nostalgic by name-dropping his 2019 viral breakout. “Nothing Ever Does!!!” similarly recalls that initiating ether, then finishes spastically Devo-esque, while “This Feeling” admits, “I wish I could relax a bit, but then I have no time.”   – Raoul Hernandez


Free Press Forever: The Soulectors

Thursday 21, The Chronpound

Ever wanted to stand like two feet from a band playing tunes while the sun sets? You’re holding a pleasantly – and legally – THC’d seltzer and chewing a pork-perfect hot dog. Around you run kids, adults, dogs, all fellow supporters of the newspaper arts. This reality exists, and it’s available to those who donate to this ol’ Chronicle. Catch this month’s band, Texas soul slingers Soulectors, by poppin’ over to austinchronicle.com/support. See ya at the Chron campus!   – James Scott


The Lox

Thursday 21, Stubb’s

The Lox – consisting of Yonkers rappers Sheek Louch, Styles P, and “Top 5, Dead or Alive” Jadakiss – formed in 1994 and arrived for the masses after signing with embattled mogul P. Diddy’s Bad Boy Records. Their debut, 1998’s Money, Power & Respect, was a critical and commercial hit, but the group did not enjoy Diddy’s demand for poppy “shiny suit” music. Enter Ruff Ryders Entertainment, where they rebranded themselves with 2000’s infinitely more authentic We Are the Streets. Jada and Styles have had great success as solo artists, but the recent resurgence of the group comes from its already-legendary Verzuz battle with the Cam’ron-led Diplomats.   – Kahron Spearman


Kalu & the Electric Joint

Kalu & the Electric Joint, Redbud

Thursday 21, Hole in the Wall

Long one of the town’s best bands, Afropysch outfit Kalu & the Electric Joint – featuring butter-smooth vocalist Kalu James and bandleader Jonathan “JT” Holt – blends Afrobeat polyrhythms with psych-soul and blues rock fusions. Latest album Garden of Eden, made in fits and starts throughout the pandemic, is punctuated by its bottom-heavy, vibe-forward title single. Opener Redbud is a white-hot ray of indie-pop sunshine that burst through with 2023’s kaleidoscopic, genre-bending debut EP, Long Night.   – Kahron Spearman


Goblin: The Ultimate Anthology Tour

Thursday 21, Come & Take It Live

When informally polled about American politics in 2019 upon visiting this same East Riverside metal and dungeon synth HQ – perhaps you’ll recall that year’s destroyer-in-chief – Claudio Simonetti told the Chronicle: “Unfortunately, the human race behaves like this, and is one of the reasons why horror films are successful. They reveal the evil in us. Sad, but true.” Italian horror and giallo pioneers dating back to the early Seventies, Goblin remains a cinematic soundtrack institution that cemented its local ties three years after an initial visit in 2013 for the Housecore Horror Fest with Austinato, Live in Austin, Texas.   – Raoul Hernandez


Root Beerthoven

Friday 22 – Sunday 24, Location provided With Ticket

Forget polished symphony halls with gilded staircases and velvet chairs. Experience classical music and more the way it was meant to be heard – outdoors, with a pint of something dark and delicious in hand. This November, string quartet Invoke explores the intersection of classical and folk music. They’ve arranged a presentation riffing on the idea of “roots music,” with selections ranging from Haydn to Copland to Florence Price, the first African American woman whose music was performed by an American symphony orchestra. Partake of musical history while snacking on pastries and beer. It’s the right thing to do.   – Cat McCarrey


Bill Ball 7

Friday 22, Sagebrush

If this year’s lineup means anything, it’s safe to say Big Bill hasn’t felt the seven-year itch when it comes to the band’s annual punk prom. Alongside the weirdo quartet, the next installment of the Austin Music Award-nominated mini-fest features luminaries in hip-hop (Houston rapper Fat Tony, plus local hip-hop maestro Jonny Jukebox and slam poet-turned-MC Chucky Blk) and alt-rock (longtime garage favorites Sailor Poon, newbies Specific Thing, and twee trio Gummy Fang). Grab your tickets online for $20 before the cover shoots up to $30 at the door; tuxedos and ball gowns encouraged.   – Carys Anderson


Bikini Beach Presented by the Ugly Beats

Friday 22, Cloud Tree Gallery

Garage rock beboppers the Ugly Beats once had their special magic described by Chronicle writer Greg Beets as the “ability to capture the hip-shaking teen canteen vibe in a fresh, immediate way that never sounds like canned nostalgia.” To the best of that ability, they’ll be opening up the pit ahead of a supremely Sixties screening over at Eastside art gallery Cloud Tree with the help of roving kino curates Rocket Cinema. Bikini Beach double-bills teen heartthrobs Frankie Avalon and Annette Funicello for its particular flavor of fun-in-the-sun antics. The weather may be getting chilly, but this movie – and the Ugly Beats – will have you going beach-mode, no problem.   – James Scott


3 Nights Starring the Slackers

Friday 22 – Sunday 24, Flamingo Cantina

Fitting that early grooves on last year’s Self Medication find the Slackers sounding like nothing less than primal recordings by Bob Marley’s Wailing Wailers, because especially in Austin, this Manhattan sextet stacks up as a true legacy act. Knocking on nearly 35 years of domestic ska, Vic Ruggiero & Co. channel Jamaican riddim-n-roots legends the Skatalites at their home away from home, Sixth Street reggae hub the Flamingo Cantina. Three consecutive nights stack thick, slick, slackerrific bills: Friday (Tiarras, Rat King Cole), Saturday (Los Kurados, Young Costello), Sunday (Micah Shalom). Kung Fu Sound System spins and dubs before, after, and in-between.   – Raoul Hernandez


Hickoids, Gran Moreno, Lazer Fire

Friday 22, 13th Floor

The Hickoids are a local treasure, though they commute from San Antonio for the most part these days. It’s been 40 years since last-Hickoid-standing Jeff Smith first hooked up with sick six-string sensation John Thomas “Jukebox” Jackson and began playing punk rock that sounded like “an episode of Hee Haw on your TV set, [played] really, really loud,” as described in an early interview. Though they are nowhere near as chaotic nowadays, they still rock ferociously. 13th Floor won’t have to worry about cleaning up excessive hay, at least.   – Tim Stegall


Credit: Courtesy of Graham Weber

Graham Weber Record Release

Friday 22, Continental Club Gallery

Graham Weber writes songs that hinge on the subtlest of details, entire emotional novels packed into seemingly simple scenes. The Restos frontman’s sixth solo album, Old Young Man, marks his first LP in a decade, and finds the songwriter in a reflective calm as he winds his mind through the vicissitudes of priorities in maturing relationships, growing older, and parenthood. These are soft songs, at times even wistful, as Weber’s weary vocals seem to marvel at the quiet revelations of all that changes and remains, but finds an exuding peace in lullabies and serenades to what’s worth keeping.   – Doug Freeman


The Azmaris

Saturday 23, Monks Jazz

Inspired by Ethiopian bandleader Mulatu Astatke, who folded jazz and Latin music into his country’s native sounds to broker the style known as “Ethio-jazz,” the Azmaris – derived from Austin Afrofunk standard-bearers Hard Proof – started out with a similar focus before, like their forefathers, evolving into a beast unique unto themselves. Led by HP saxophonist Jason Frey, the quartet mixes acoustic jazz and electronic psych into an atmospheric groove unlike anyone else in Austin. Frey’s compadres for this distinctive trip include vibraphonist Carolyn Trowbridge (Coke/Michel Sextet, Adrian Quesada), drummer Andy Beaudoin (Nori), and double bassist Mario Castellanos (Suzanna Choffel).   – Michael Toland


A Benefit for Leslie Sisson

Sunday 24, Hotel Vegas

Over the summer, Moving Panoramas singer Leslie Sisson announced she’d been diagnosed with breast cancer. Understandably, her long-running dream rock band has been more or less dormant since then, but a worthy cause brings the group back to the stage: a joint birthday-benefit show for their fearless leader, who needs help with mounting medical bills. The gig starts early at 5pm, and also features rugged singer-songwriter Matthew Logan Vasquez and sevenpiece rock & roll collective Booher – whose titular lead singer celebrates another year around the sun himself.   – Carys Anderson


Nat Adderley 93rd Birthday Tribute

Monday 25, Parker Jazz Club

Cornetist Nat Adderley made his name accompanying his saxophonist brother Julian – better known as Cannonball – on the latter’s popular jazz records. But he wrote the jazz standard “Work Song,” and accompanied other popular bandleaders like Lionel Hampton and Wes Montgomery. His keyboard-wielding son Nat Jr. went on to become a songwriter, producer, and accompanist to R&B great Luther Vandross, as well as the proud papa of Austin’s own Akina Adderley, a powerhouse singer, songwriter, and frontwoman for jazz band Nori. Father and daughter lead this tribute to the family patriarch, with ATX multi-instrumentalist Erik Telford standing in on cornet.   – Michael Toland


Allie X

Allie X, Violet Chachki

Tuesday 26, Empire Garage

Canadian singer/songwriter Alexandra Hughes, doing business as avant-garde indie-pop star Allie X, debuted with 2015 EP CollXtion I, a knockout collection of songs about “addiction and self-destruction.” She followed the critical success with proper studio-full-length CollXtion II, a dark/bubblegum/synth-pop record that features an in-depth multimedia experience. 2024’s Girl With No Face is an uncanny and hauntological powerhouse of pop sifted through Eighties glam, muddling the lines between futurism and nostalgia. As a near-perfect opener, drag/burlesque star Violet Chachki, winner of RuPaul’s Drag Race‘s seventh season, offers electro-pop with heavy fetishism/sado vibes – y’know, if you’re into it.   – Kahron Spearman


Credit: Photo by Marta Bevacqua

Kacey Musgraves

Tuesday 26 & Wednesday 27, Moody Center

Marissa Moss starts her essential 2022 book, Her Country, with a scene of Kacey Musgraves packing Nashville’s Bridgestone Arena – a feat the author highlights as the emergence of a new brand of female artists kicking down country music’s barriers by pushing beyond the expectations of the genre and building a diverse and dedicated fan base. Texan Musgraves continues to chart her own path behind this year’s meditative Deeper Well, an aloe to the burning world, with her current arena tour literally levitating the artist above the world. Lord Huron and reunited Nickel Creek set up the spectacle.   – Doug Freeman


Music Notes

by Derek Udensi

Polo G

Friday 22, Stubb’s

This North Chicago MC known for his catchy sing-rap style ended a near three-year drought of projects when he dropped his latest album, HOOD POET, back in August. Openers include West Chicago native VonOff1700 and Polo’s Capalot Records signee, Scorey.

Jackie the Robot

Saturday 23, the Coral Snake

Jackie Venson brings back her electronic music alter ego on the precipice of another January residency at Antone’s. July 2024 EP Vibrant Waves saw the multi-time Austin Music Award winner remix MIKKY & THE DOOM. Brandon Wells opens.

Hanna Barakat Credit: Courtesy of the artist

Hurriyah Festival

Saturday 23, the Far Out

Arab musicians such as Hanna Barakat, BeatStars CEO Abe Batshon, and Free Hamze (FREETAPE 4: Renegade Rap) perform at this Gaza support event benefiting Malak Fund. “Hurriya” means “freedom” in Arabic.

Taméca Jones

Wednesday 27, 3TEN ACL Live

3TEN hosts a literal family affair before Thanksgiving as the Empress of Austin Soul headlines a show featuring her daughter, CHERRI, as an opener. A dollar from every ticket sold benefits Operation Turkey, a volunteer organization aiming to deliver 75,000 meals on Thanksgiving Day.

Want to see all of our listings broken down by day? Go to austinchronicle.com/calendar and see what’s happening now or in the coming week.

This article appears in November 22 • 2024.

A note to readers: Bold and uncensored, The Austin Chronicle has been Austin’s independent news source for over 40 years, expressing the community’s political and environmental concerns and supporting its active cultural scene. Now more than ever, we need your support to continue supplying Austin with independent, free press. If real news is important to you, please consider making a donation of $5, $10 or whatever you can afford, to help keep our journalism on stands.

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Carys Anderson moved from Nowhere, DFW to Austin in 2017 to study journalism at the University of Texas. She began writing for The Austin Chronicle in 2021 and joined its full-time staff in 2023, where she covers music and culture.

As the Chronicle's Club Listings Editor, Derek compiles a weekly list of music events occurring across town. The University of Texas alum also writes about hip-hop as a contributor to the Music section.

San Francisco native Raoul Hernandez crossed the border into Texas on July 2, 1992, and began writing about music for the Chronicle that fall, debuting with an album review of Keith Richards’ Main Offender. By virtue of local show previews – first “Recommendeds,” now calendar picks – his writing’s appeared in almost every issue since 1993.

James Scott is a writer who has lived in Austin since 2017. He covers queer events, news, and anything pertaining to Austin's LGBTQ community. Catch his work writing film essays for Hyperreal Film Club, performing in Queer Film Theory 101 at Barrel O' Fun, or on his social media platforms: @thejokesboy on Twitter and Bluesky or @ghostofelectricity on Instagram.

Kahron Spearman is a journalist and writer with bylines including The Austin Chronicle, Austin Monthly, Consequence of Sound, Texas Highways, and the London-based journal The Break-Down. He currently serves as Senior Editor at Atmosphere TV.

Cat McCarrey is a writer, editor, educator and Dracula enthusiast. A good sandwich will always win her heart. She began writing about the arts regularly for the Chronicle in 2023.

Tim Stegall contributed to The Austin Chronicle 1991-1995, and was a staff writer 1995-1997. He returned as a contributor in 2013. He has also freelanced for publications ranging from Flipside to Alternative Press to Guitar World. He plays punk rock guitar and sings in the Hormones.

Doug Freeman has been writing for the Austin Chronicle since 2007, covering the arts and music scene in the city. He is originally from Virginia and earned his Masters Degree from the University of Texas. He is also co-editor of The Austin Chronicle Music Anthology, published by UT Press.

Michael Toland started writing about music in 1988 on the Gulf Coast, moved to Austin in early 1991, and has inflicted bylines upon the corporeal and digital pages of Pop Culture Press, The Big Takeover, Blurt, Amplifier, Austin.citysearch, the Austin American Statesman, Goldmine, Sleazegrinder, Rock & Roll Globe, High Bias, FHT Music Notes, and, since 2011, The Austin Chronicle.