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Special guests: Capture the Crown, Palisades, Bleach Blonde and Alive In The Lights.
Lonely Horse kicks off their "last DIY tour" at Hi-Tones with Tides, Donella Drive and Jonah Vin.
Twenty-three years after the release of its critically and commercially acclaimed debut, and with a new album rumored to be on the way this year, seminal West Coast gangsta rap tribe Cypress Hill is swinging by Saytown just in time for Fiesta. The show, a part of the eighth annual Siesta Fest, will no doubt have a set list that reads like a greatest hits compilation, with (hopefully) a taste of what’s to come as the Chicano rap pioneers prepare to unleash their first album since 2012’s disappointing dubstep mess Cypress X Rusko. Super fan-friendly prices and a rare chance to see one of golden-era hip-hop’s most successful and influential acts? If you call yourself a hip-hop head, you’d be insane (most likely in the membrane) to miss this one.
If you know one Cage the Elephant track, it’s probably “No Rest for the Wicked.” To refresh, it’s the one that sounds suspiciously like a re-write of Beck’s “Loser,” only with a more dangerously catchy chorus. If the rest of the Kentucky band’s catalog didn’t bear the Beck resemblance in sound, it certainly did in style. The quartet’s few albums gleefully sported a “why the fuck not?” spirit, jumping from Cheap Trick’s power-pop, the Arctic Monkeys’ dance-floor alt-rock and Red Hot Chili Peppers’ blue-eyed funk, with no look given to the rearview. Cage the Elephant has settled a bit since those early records, with 2013’s Melophobia leaning in a more streamlined indie-rock direction. However, this approach has yet to dim the group’s electric live show, powered primarily by energetic frontman Matt Shultz. With Cleveland roots-rock combo J Roddy Walston & the Business in the opening slot, expect no rest for the wicked or otherwise.
Dead the Poets, a collaboration between San Anto natives Kizer and Law, is throwing a positively ill party to celebrate the release of its second album, Korean Mardi Gras. The album itself, which is already available in more or less finished form at kizersoze.bandcamp.com, excels on the strength of Kizer’s sultry yet bangin’ production (which features tons of delightfully brassy samples) and the rappers’ wittily profane flows. But the expansive 21-track behemoth of an album has something for all types of hip-hop lovers—from sassy social commentary to inventive if cringe-worthy similes, from sunny day jaunts to thumping club tracks. Like the album, the show in its honor features some of our best local hip-hop talent, including Chisme’s REL, MAD-ONE and Current-lauded emcee Mr. Composition, among many others. But that’s not all. This unique party will also feature a producer showcase, burlesque dancers and live painting.
Join us for some blues and rock with special guest Ginger Picket.
Kevin Prince, aka Mr. Composition, is one of the hardest workers in SA music. The 23-year-old has released at least one LP or mixtape every year since he was 18 (much of this material is available at mrcomposition.bandcamp.com). Last year’s release, Running Red Lights Through Life, was one of my favorite local albums of 2013. It laid bare the rapper’s growth from a curious and earnest wordsmith to a master of his craft, gifted at melding personal narrative with commentary on universal concerns. Graffiti the Mind, out on May 2, sees the emcee truly coming into his own. Produced by San Anto native Ruler Why, Graffiti the Mind features beats that enhance the meaning of individual songs. Prince rhymes with entertaining, engaging lyrics, delivered with a unique flare in diverse styles. As Prince told the Current, he has long used rap as “a means of expressing [himself] and [his] experiences and frustrations.” As Prince has grown as an artist, he’s expanded his scope, concerned now with broader societal issues. Most impressively, these aren’t just raps; these are songs. Graffiti, anchored by the anthemic posse cut “Believe” and thought-provoking extended metaphor “Graffiti Lenz,” is a joy to bump and communicates an unstoppably positive message: Be patient, work your ass off, ask questions and give of yourself if you want to receive anything in return. Don’t miss the chance to see Graffiti done live at Fitzgerald’s on April 25
Even if you can’t dance salsa, Arjon’s will make you want to try. Live music Thursday-Sunday (with free salsa lessons Sundays from 7:30-9pm) sets the stage for seasoned professionals and protégées to cut some serious rug. Cocktail waitresses charge only slightly more if you’re lucky enough to score a table _ otherwise it’s dancing-room only. If you overdose on cumbia and merengue, hit the back patio, where you’re likely to find couples refueling over plates of mini tacos.
This venue is one of many studios participating in the East Austin Studio Tour. Visit eastaustinstudiotour.com for a complete list.
You’ve gotta walk over to the restaurant next door to get them, but Sam’s burgers are a damn sight better than standard bar food. Carry one back to the bar and stuff your face while you watch one of the large variety of bands, from alt rock to country to cumbia, that commandeer the mid-size stage, but expect to pay extra for a booth reservation if you want to set that sandwich on a table when a nationally known act like Joe Ely or Kinky Friedman comes to town.
God won’t return our calls (and we’re not so sure about all the fellas who claim to be his spokespeople), so we can only speculate how he feels about you guzzling hooch in his former home. We can tell you, though, that as of press time, the musicians who’ve played there — Bett Butler & Joël Dilley, the Dirty Dozen Brass Band, Rosie Flores — remain largely un-lightning-struck. Maybe the monthly visitation he gets during the popular Sunday Gospel Brunch is enough to stay his wrath.
For tickets and information, visit http://www.undertowtickets.com/product/sarah-jaffe-living-room-show-san-antonio-tx-july-26-8pm
Take a lesson from the Boy Scouts of America (not the one about discriminating against gay people) and be prepared when you visit this hybrid live music venue and dance club. Be prepared for a 20-minute drive up 281 if you live downtown. Be prepared to tip the bathroom attendant if you’re the hand-washing kind. Be prepared to see local bands (often for free) on a kick-ass stage that’s hosted the Toadies, Dropkick Murphies, and Billy Bob “Not an Actor” Thornton. And on Big Ass Beer nights, bring along a straight-edge friend or be prepared to call a cab.
A gritty new addition to SA’s evolving River Walk scene, the former Ruta Maya is back from the dead with a hardcore case of the punks. Other than a comfy white couch here and there, there are no coffeehouse remnants. High-octane live music attracts a mixed alternative crowd on certain nights, but it was a DJ spinning vintage New Order that made us want to know more. For a true taste of the SA underground, hang downstairs, where we were (accidentally) stomped on by a boot-clad mosher.
Linger too long on the St. Mary’s strip and the crowd will probably push you into the Mix whether you were planning to go or not. This mainstay often ends up the de-facto place to be when you have no particular place to be, but free shows by high-caliber local bands make it a destination spot on the weekends. When an established act’s on the bill, check your claustrophobia at the door and BYO shoehorn.
Stuck in a dilapidated building stuck between SAMA and the VFW, this small room hosting local and visiting bands defines the scene to many indie fans. Thirsty? Go for the changing beer selection, which trends towards Texas micro-brews.
The Jefferson Airplane song of the same name might fool you into thinking this place is a hippie joint, but usually what you’ll find waiting down this rabbit hole is a big old-fashioned mosh pit. Bands compete on the indoor and outdoor stages to see whose music is louder and most violent, so odds are you won’t even hear what that damn dormouse said, but most of the pitting is admirably polite, and the pizza place next door is a viable option should all the shoving give you an urge to feed your head.
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In celebration of National Poetry Month, Central Library screens Rob Epstein’s 2010 film starring James Franco as gay Beat-era poet Allen Ginsberg.
Recorded live at London’s famed O2 Arena, BAFTA-winning director Hamish Hamilton’s concert film Back to Front offers fans a rare, behind-the-scenes look at Peter Gabriel in celebration of the 25th anniversary of his seminal album So.
Billed as the “raunchiest, cheapest event of Fiesta,” Cornyation spoofs current events, local politics and pop culture and this year welcomes guests into The Court of Festive Fêtes and Frivolous Faux Pas, to be ruled by King and Queen Anchovy Steve and Jody Newman. “Not just a bunch of queens,” Fiesta Cornyation is a permanently committed nonprofit dedicated to enriching the lives of San Antonians with HIV or affected by HIV. To date, the organization has donated more than $1.5 million to local charities, including SAAF (San Antonio AIDS Foundation), Beat AIDS (Black Effort Against the Threat of AIDS) and HAC (Help, Action, Care).
“We Just Live in It” is the inevitable subtitle of William Shatner’s one-man show, which debuted on Broadway in 2012, and of all the solipsists to stake that claim, the one true Captain Kirk probably has the most shut-ins calling him god. If that’s you, dust off the doughnut pillow to watch and enjoy the filmed version, screened for a single night in theaters, regardless of how many times you saw it live on tour. Cheek-licking fans of Shatner’s “Rocket Man,” will hoot at the 83-year-old fitted with a flesh-tone wireless mic for the stereotypical black-box solo-show, but fans of both Shatner and good storytelling hoping for the sort of insight evident on Has Been (his pretty great collaboration with Ben Folds) might take encouragement from this: We haven’t seen Shatner’s World, but we did see Shatner last year, outside a Laurie Anderson show.
San Antonio, TX 78215
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