From the front barrier to the back of the lawn, the crowd at Pavillion at Toyota Music Factory belted out the lyrics to Black Sabbath’s “War Pigs.” A few moments later, the house lights went down and a banner dropped, revealing the leather-and-spike-clad British metal band, Judas Priest. Saturday’s date in Irving was the band’s 84th and last stop on their “Invincible Shield” tour, commemorating a new album of the same name…
Simon Pruitt
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JAMBALOO, a week-long series of free concerts across North Texas, will take place at multiple venues Feb. 2–8, 2025. The inaugural celebration, curated by The Mullen & Mullen Music Project and Spune Productions, is set to spotlight the best in local talent and emerging touring bands during a season that is often quiet for entertainers and venues…
Leah Frazier
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When a band launches a tour titled “Over and Out,” is it a promise or a threat? For an ELO fan, either way, you’d feel compelled not to miss it…
Kendall Morgan
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“Dallas, what’s up? How are you space cadets doing tonight?” Rivers Cuomo inquired, not long after Weezer took the American Airlines Center stage Sunday night…
Preston Jones
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The Ottoman Turks, the country-rock outfit that’s one of Dallas’ best live bands, are celebrating 15 years of playing music together with a special concert at the Granada on Aug. 24. TURKATHON will present a set from the band as well as solo sets from frontman Nathan Mongol Wells and bassist Billy Law’s band The Baby Boys…
Carly May Gravley
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We’ve had hot girl summer and feral girl summer. Now, the brats take over…
Charles Farmer
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Leah Lane has faith in the counterculture. “Things will work out,” the singer says…
Charles Farmer
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Nearly selling out South Side Ballroom, post-punk’s madcap boys from Bristol, IDLES, played Dallas last night for the final date of the U.S. leg of their “LOVE IS THE FING TOUR.” Supporting TANGK, the band’s fifth studio album, the ferociously vulnerable five-piece outfit is now halfway through a year-long, worldwide outing. The band will play three shows (in Florida and New Orleans) in mid-June on their way to Bonnaroo, and will be back in the States for four more in September (Asheville, Atlanta, Chicago, Boston) — and that’s it…
Vanessa Quilantan
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Olivia Rodrigo and Noah Kahan trade covers of their hit songs. The Doors play live to a Swedish audience in 1968…
Simon Pruitt
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When Warner Bros. Pictures decided to partner with UnitedMasters for a song themed around Godzilla x Kong: The New Empire, it was a no-brainer to get BigXThaPlug and his longtime rhyming partner Ro$ama to collaborate on “Beast Mode.” “We do so much together already,” BigXThaPlug says during a Zoom press junket for Godzilla x Kong…
Eric Diep
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But the artist seemed very much at home back on stage at the Majestic. Setzer has been credited for reviving two genres of music: In the ’80s, it was rockabilly with The Stray Cats, and at the turn of the last century, he leaned into swing with the Brian Setzer Orchestra.
While Setzer still tours with his big band, especially around Christmas, on Thursday he was armed with a power trio that harkened back to his original Stray Cats lineup. His band is international, with Juan Larios from Mexico City on drums and Chris D’Rozario from Australia on double bass. One can only imagine these two were heavily influenced by the Stray Cats and Setzer, as they had the hep-cat thing down pat.
Setzer told the crowd that the group had just endured a 900-mile bus trip from Tucson, where he “left some of his voice behind.” He then asked them for some assistance on the vocals for the classic “Stray Cat Strut.” While that could’ve been a ploy to engage the audience, it did seem there was some truth to this. Setzer seemed hoarse throughout, and drummer Larios chipped in on vocals at times.
The show, however, was mostly centered around how astoundingly gifted Setzer is (still) on lead guitar. Beyond his skill, Setzer’s guitar sound is robust, easily making the trio feel much fuller. He played without effort, never missing a note, creating a truly mesmerizing moment to witness.
The group’s set consisted of a mix of old and new songs from all incarnations of his bands, but the solos were extended in pretty much every song, allowing Setzer to really showcase what a truly iconic talent he is.
Most definitely in his happy place on stage, Setzer exclaimed, “Hey, Dallas, you’ve always been a rockabilly town, haven’t you?” This night at the Majestic, it absolutely was.
Andrew Sherman
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Thanks to last year’s Barbie movie and its wonderful use and re-use of Indigo Girls’ “Closer To Fine,” the longtime duo of Amy Ray and Emily Saliers have seen renewed interest in their songwriting partnership. The duo have known each other since grade school and began performing together as high schoolers in Decatur, Georgia, in the early ’80s. The two parted ways after high school; Saliers went to Tulane University in Louisiana and Ray to Vanderbilt University in Tennessee. Both grew homesick and returned to Georgia, transferring to Emory University in Atlanta in 1985 when they began performing as Indigo Girls. That lifelong shared bond really shows in Indigo Girls’ music. Roots Americana and honest to its core, Indigo Girls’ songwriting has always explored the nuances of identity and emotion, never bending in its integrity. Southern gothic singer-songwriter Kristy Lee opens the show.
Olivia Rodrigo
7:00 p.m., Friday, March 1, American Airlines Center, 2500 Victory Ave. $400+ at stubhub.com
With verified resale tickets starting at around $400, we certainly hope that you scored tickets to Olivia Rodrigo’s Guts World Tour concert with Chappell Roan before reading this. If you haven’t, we’re also quite certain that your social media feed will have plenty of poorly shot videos of the show for you to scroll through come Saturday morning. The former Disney Channel actress turned pop star released her second album, Guts, last September, a much anticipated follow-up to her Grammy Award-winning debut, Sour, from 2020. Guts didn’t fare as well at this year’s Grammy Awards, receiving none of the awards for which it was nominated from the Recording Academy. The album did, however, take home the “Album of the Year” award at this year’s People’s Choice Awards, and it’s people who buy albums and concert tickets, not the Academy.
LANY
7:30 p.m., Friday and Saturday, March 1 and 2, South Side Ballroom, 1135 Botham Jean Blvd. $23.50+ at axs.com
The duo of guitarist and lead vocalist Paul Jason Klein and drummer Jake Clifford Goss, otherwise known as LANY, will play two nights this week in The Cedars as part of this beautiful blur: the world tour 2024. The indie-pop band was formed in Nashville in 2014 before moving to Los Angeles to make it big. The band’s name is a nod to its nationwide ambitions, spanning from Los Angeles to New York. To date, the band has released five albums, all of which have entered the Billboard 200. Last year, the band released A Beautiful Blur, its first since leaving Universal Records for Virgin Records to have more creative freedom. It was also the band’s first album as a duo after the departure of keyboardist Leslie Priest, but as Priest became more of an engineer for the band, the music has not suffered. Singer-songwriters Hazlett and Conor Burns open the show.
Jenny Lewis
7 p.m., Saturday, March 2, South Side Music Hall, 1135 Botham Jean Blvd. $42+ at axs.com
Indie goddess Jenny Lewis comes to town this week on her Joy’All Tour with avant-garde musician Hayden Pedigo. Lewis had a long career as a child actor in the ’80s and ’90s before starting Rilo Kiley with fellow child actor and then-boyfriend Blake Sennett of Salute Your Shorts and Boy Meets World. In addition to playing with Rilo Kiley, Lewis also contributed background vocals for bands Cursive and The Postal Service. Lewis had started doing solo work before Rilo Kiley officially disbanded, releasing Rabbit Fur Coat with the Watson Twins in 2006 and Acid Tongue in 2008. For those albums, as with her next two, The Voyager and On The Line, Lewis stuck close to the indie-rock genre that has gotten her this far. On Joy’All, however, she has gone more in an avant-country direction that is at once familiar and foreign.
Ariel Pink
7 p.m., Saturday, March 2, Granada Theater, 3524 Greenville Ave. $32 at prekindle.com
Ariel Pink is nothing if not a controversial figure in the music world. Seen as both the godfather of lo-fi hypnagogic pop and chillwave as well as a glib speaker who has said more than his share of problematic things in interviews, Pink has established himself as one of those figures whose life and music is an extension of a larger artistic project. Pink’s work with The Haunted Graffiti from the late ’90s through the ’00s repurposed the sounds and techniques of decades past, but also generated the feelings that kind of music evoked. Pink’s first two studio albums in 2010 and 2012 brought this kind of musical hauntology to the masses before he dropped The Haunted Graffiti band and began exploring art rock in all of its directions. Pink will have opening support from Period Bomb, Psychic Love Child and Semiwestern.
Chelsea Wolfe
7 p.m., Saturday, March 2, The Studio at The Factory, 2727 Canton St. $30.50+ at axs.com
Singer-songwriter Chelsea Wolfe grew up in Northern California as the daughter of a country musician father, an upbringing that inspired the young Wolfe to begin writing and recording songs in her childhood. Far from the music of her father, Wolfe’s earliest recordings were Casio-based, dark R&B songs. As Wolfe developed as a musician, she began to combine elements from the folk music she grew up with and doom metal, gothic rock and experimental noise. Wolfe’s early struggles with sleep paralysis inspired many of the lyrics in her albums Abyss and Hiss Spun. Wolfe has also struggled with alcoholism since an early age, but in 2021, she made the decision to become sober, documenting her ups and downs in the newly released album, She Reaches Out to She Reaches Out to She. For this album, Wolfe went in a more electronic direction, creating music more akin to trip-hop than neo-folk. Australian doom metal band Divide & Dissolve will be there Saturday to warm up the crowd.
The Union Underground
8 p.m., Sunday, March 3, Trees, 2709 Elm St. $28 at axs.com
Sunday night in Deep Ellum will take us back to the 2000s nü metal scene with a concert from San Antonio’s The Union Underground. The band never saw the success of a Korn or Limp Bizkit, but The Union Underground did give us one undeniable classic from the era. When the band released … An Education in Rebellion in 2000, it came with the hit single “Turn Me On ‘Mr. Deadman’,” which stayed on the mainstream rock charts for six months, earning the band spots on Marilyn Manson’s Holy Wood tour in 2000 and the Ozzfest 2001 tour. However, in 2002, the band released a live album and broke up. The band members all went on to new projects, notably John Moyer joining Disturbed on bass. But in 2016, singer Bryan Scott announced that the band would be coming back with a new lineup, and although this new lineup has yet to release any new material, the band is set to show you everything it has been working on Sunday after sets from SOiL, RA and Flaw.
Mom Jeans.
6 p.m., Monday, March 4, Granada Theater, 3524 Greenville Ave. $38 at prekindle.com
Berkeley, California, indie-rock band Mom Jeans. started in early 2014 at UC Berkeley, and it has been coming up slowly on the indie music scene for the past decade. For the band’s first three albums, Mom Jeans. stuck to a pretty standard indie-rock sound one would expect from anyone bearing such a genre label. Last year, Mom Jeans. decided to do something a little different for its fourth album, Bear Market. Rather than writing new songs, the band returned to its older songs to re-record them with a new perspective. In these new renditions, the songs have taken on a poppier sound that has really divided fans and critics. While some praise the album for its clean mixes and tightened time signatures, others think that the new approach has ruined the old music. You can judge for yourself Sunday night when the band plays after Summer Salt, Hunny and Slow Joy on Lower Greenville.
Sleater‐Kinney
7 p.m., Tuesday, March 5, The Studio at The Factory, 2727 Canton St. $41 at axs.com
Sleater-Kinney formed in 1994 in Olympia, Washington, when Corin Tucker of riot grrrl band Heavens to Betsy and Carrie Brownstein of Excuse 17 joined forces, creating one of the most important and influential bands to come out of that time and place. Taking its name from Sleater Kinney Road, in Lacey, Washington, the band combines feminist and progressive politics with punk-infused indie rock, playing sharp, hard-driving music that’s had a profound influence on women like St. Vincent and Beth Ditto as well as men like Gerard Way of My Chemical Romance and Patrick Stickles of Titus Andronicus. Sleater-Kinney released seven albums before going on a 10-year hiatus in 2005. Since 2015, the band has released four more, including Little Rope, which came out in January. Indie-rock singer-songwriter Black Belt Eagle Scout will open.
KRS-One
7 p.m.. Wednesday, March 6, Trees, 2709 Elm St. $35 at axs.com
“Woop-woop! That’s the sound of da police.” KRS-One is back in town with a show in Deep Ellum Wednesday night. The legendary rapper made his debut in 1993, helping to popularize the “boom bap” sub-genre of hip-hop, named after the kick-snare pattern used primarily in the East Coast style of hardcore hip-hop. Before that, KRS-One had been one-third of the hip-hop group Boogie Down Productions, where he first incorporated a Jamaican zung gu zung melody — a rapping style made famous by Yellowman — into American hip-hop. Over the years, KRS-One has maintained his prominent stature in hip-hop culture, not just as an early music influence, but as a philanthropist and a philosopher concerned with pushing forward hip-hop music and the culture from which it originates. No opening act has been announced for the show.
David Fletcher
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The lineup boasts Lil Wayne and Summer Walker as headliners as well as Latto, Gucci Mane, Mariah the Scientist and Three 6 Mafia among others. Dallas favorites Erica Banks, Yella Beezy and Dorrough will also appear in a concerted effort to highlight the local music scene.
“I definitely think some people will walk away saying, “You know what, I didn’t realize how much we actually needed this.’” says ONE Musicfest founder J Carter, who chose Dallas as the host for TwoGether Land for its rich music scene and desire to pay homage to it.
The tagline for ToGether Land is, “The Southwest got something to say” and Carter believes Dallas is the right place to say it.
“We really did kind of look for the cities that would appreciate a diverse lineup like this,” Carter says. “Dallas was really kind of high up on our list. I mean, it’s a huge, huge market […] and a music lover’s city. Dallas just makes perfect sense to create this magical music moment.”’
Fair Park, which is known both for its history of hosting large events like the State Fair and a dark legacy of racism and segregation, was particularly inspiring during the conception of a festival that highlights and celebrates Black culture.
“There’s a lot of rich history surrounding Fair Park,” he says. “So to host an urban-based music festival like this […] made the idea even more inviting. I’m sure folks in Dallas know the story. But for those that are going to be visiting the city, I think it’s a great storytelling moment for Dallas, Fair Park and the festival.”
Carter also emphasizes that while TwoGether Land Festival is a sister event for ONE Musicfest, it is also a distinct festival that stands entirely on its own. It’s a Dallas festival, he claims, not an Atlanta festival that happens to take place in Dallas.
“I think there’s some artists that are on our lineup that would resonate more in this area than elsewhere,” he says. “You know, there’s there’s a podcast stage that’s programmed around a lot of local podcasts that are based in Dallas. We partnered with DJs and influencers that serve the Dallas area primarily. We’re partnering with a creative art team that produces [music and arts festival] Art Overdose.”
“It’s not just ‘Let’s just take what we’re producing in Atlanta and do that in Dallas,’” he continues. “It’s, ‘How do we just really make this unique to the creative culture of the city?’”
TwoGether Land will offer entertainment beyond the music and podcasts. The event will be packed with activities and entertainment that will keep the party going between sets.
“From mixology moments to pitmaster moments to the food experience that will be at the festival, there will be more than what people are thinking,” Carter says. “There will not be a dull moment anywhere within the festival grounds.”
TwoGether Land Festival will take place at Fair Park on May 25–26. Weekend passes are available on the festival’s website, starting at $199.
Carly May Gravley
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The remnants and documentation of this proud and vibrant culture will be on display at Southern Methodist University starting this week. Torn Apart, the self-described largest exhibition of punk, post-punk and new-wave relics, opens on Thursday, Feb. 8, at the campus’s Hamon Arts Library, with a panel moderated by Michael Worthington.
The following evening’s reception will include a speech by none other than Malcolm Garrett, famed British graphic designer whose most notable work includes art for the controversial Buzzcocks single “Orgasm Addict.” Garrett was bestowed the Most Excellent Order of the British Empire in 2020 for his formidable achievements in this field.
“I think it’s a given that there’s going to be a great deal of interest from the community,” says Jolene de Verges, the director of the Hamon Arts Library. “It’s a pretty ambitious exhibition. We put a lot of work and resources in it.”
Indeed, as this interview was being conducted in the university library, de Verges and Assistant Director Beverly Mitchell guided us past a cargo-grade shipping container that contained the art pieces and artifacts. Mitchell says the scale of this is truly unprecedented in the history of the school’s exhibitions in the library.
“We’ve worked with fine arts shippers before, but this one is significant in terms of the number of objects,” she says. “For example, the last exhibition we did in the fall, there were 15 drawings. And, of course, this one, there’s hundreds and hundreds of objects in it.”
Q: Are We Not Men? A: A DEVO postcard from 1979 will be on display at SMU’s Torn Apart exhibition.
Janet Pier
That is hardly surprising, considering the do-it-yourself ethics on which punk rock was founded. The ephemera on display for this exhibition include a punk fanzine autographed by each member of the Ramones; a gig poster for a Hazel O’Connor and Duran Duran show at England’s Lancaster University; and promotional art for Richard Hell & the Voivoids’ Blank Generation, the Sex Pistols’ Never Mind the Bollocks and Alternative TV’s The Image Has Cracked.
There is also a DEVO postcard, an X-Ray Spex gig poster and a DIY t-shirt with ransom note typeface that reads in part, “We’re the 1% who don’t fit & don’t care.”
As such descriptions suggest, much of this exhibition will allow spectators to listen through the eyes.
“It’s going to be very impactful, visually,” Mitchell says.
“I don’t think anything like this has ever really been done [in Dallas],” de Verges adds. “We’re an educational institution, and our gallery has a mission to connect with the curriculum here. So we have a fashion media program in Meadows, a degree that students can earn in journalism from fashion media, advertising, graphic design, art …”
Torn Apart: Punk + New Wave Graphics, Fashion and Culture, 1976–86 runs from Feb. 8 through May 10 at SMU’s Hamon Arts Library, 6100 Hillcrest Ave. The exhibition will be open Monday – Thursday, 8 a.m. – 10 p.m.; Friday, 8 a.m. – 6 p.m.; Saturday, noon – 5 p.m.; and Sunday, noon – 10 p.m. More information can be found online on SMU’s website.
Garrett Gravley
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The policy is a direct result of a rise of violent pit behavior during hardcore shows at the Denton showroom over the past year. The Instagram announcement made by general manager Chad Withers includes images of an attendee with a bloody nose, the bar’s bloody bathroom sinks and a video of moshers punching each other in the crowd.
“It was tolerable because people seem to be able to be respectful and also the crowd was able to police itself, but it’s just escalated definitely within the past year or so,” Withers says. “We’ve had people leave shows because of this happening, and I’ve had people tell me that they weren’t going to come to shows because they were afraid of getting punched in the face. That’s not something that you should have to worry about when you’re wanting to go see a band that you like and going to hang out at a bar.”
The post states that four people have already been banned for their actions at previous shows. Withers says that only a few guests were involved in physical altercations during hardcore shows at the venue, but the new rule will improve safety for all attendees, staff and performers. The new policy is not a ban on moshing, stage diving or mosh pits, but rather a ban on unnecessary or dangerous behavior. If a complaint is made, the footage from a video camera in the showroom will be used to review the claims and differentiate between mosh pit mishaps and unnecessary audience violence.
“Honestly, we haven’t really taken measures before like we should have and that’s on us, and it’ll be different moving forward,” Withers says.
Many of Rubber Gloves’ followers soon took to the comment section to express their thoughts on the recent change. Some users shared their own negative experiences with violence in pit crowds, including those shown in the Instagram video, and they thanked the venue for taking pit etiquette and patrons’ safety seriously.
“This shouldn’t be as controversial as it is. Basic rules for life, do what you want as long as it doesn’t hurt people … kicking people in the face hurts, it’s not ‘hardcore’ it’s stupid,” @captainstanson wrote.
Others argued that the banning of actions like “pit killing,” when a person punches and kicks random members in the audience, is making hardcore “soft.” Many in the comment section defended “pit killing” as an important part of hardcore culture, saying that concertgoers should expect it when attending those kinds of shows.
“It’s disappointing reading comments from people saying ‘that shit isn’t welcome’ or that ‘it’s toxic’. Why even show up to a show of a genre centered around violence and not be ready to get violent? Definition of an A1 poser, Grow up or stay tf home,” @kian.the.king commented.
Withers says he has no problem with being called “soft” for providing a safe space for the local music community. He believes that those “calling themselves out” in the comments are not at shows to enjoy music and participate in community, but to be violent and aggressive in an area where those behaviors are not welcome. Withers says that Rubber Gloves has not actively reached out to book hardcore bands, but that the bands have reached out to Rubber Gloves because of the type of music and crowd experience they offer.
By moving forward with the policy on unnecessary violence, he knows the bands that agree with and want to keep playing with Rubber Gloves will comply, and that those who feel differently have other local venue options.
Withers is “not going to tell other businesses how to run their business,” but he has noticed similar trends in showroom violence at other venues across Dallas-Forth Worth, such as Cheapskates, he says. Because of the direct impact violent incidents can have on a venue, Withers thinks there is a need to address issues that relate to the well-being of concertgoers, performers and staff.
“I think these venues need to address the situation before it becomes something that closes the club down, because it’s something that could,” Withers says.
Samantha Thornfelt
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