Crucial Concerts for the Week Ahead: Die Spitz, Red Axes, Fiddlehead, Albert Lee, Elsa Cross and Other Recommended Shows – Music


Residence Die Spitz

Hotel Vegas, Sundays in July

Die Spitz, which declared allegiance to Hole in the the Chronicle“10 Bands Under 25 That Make Me Feel Alive” last month didn’t want to see any in the crowd last Sunday. The singer, who goes by “the Boogeyman”, threatened the pit with condiments – “Can you fill the hole, or do you want mustard thrown at you?” – having already penetrated the audience to liven up in front during the first song. The evening of grungy, muddy rock mayhem kicked off a July residency at the Vegas Hotel for the lively X-handed quartet. Next week, July 10, promises a cross-generation encounter with standards Texan cowpunk Hickoids, as well as the noise project Skratz.

Since Die Spitz’s origins as a trio in 2020, the Boogeyman and Ava Schrobilgen now share vocals and fat Veruca Salt-y guitar riffs. Adding to the constant engagement, bassist and aerial hype Kate Halter leaps off the top of an amp to the occasional “I can’t hear you” hand wave. An equal flip-flop, drummer Chloe Andrews visits the mic for one of their best tunes. Wearing the Pacific Northwest alt allegiance on their sleeve, Die Spitz’s recent performances include a wild, COVID-appropriate rendition of Mudhoney’s “Touch Me I’m Sick.” They also usually end up rolling in a pile of comments. Beyond the one-month stay, the quartet is planning a first EP entitled Evangeline’s Revenge this month, as well as a New York tour in August. –Rachel Rascoe

red axes

Concourse Project, Friday 8

French electro DJ Ivan Smagghe described Tel Aviv duo Red Axes as beach goths when he performed with them. It’s a perfect label for the dark, tropical vibe of former punk rockers Niv Arzi and Dori Sadovnik, who also swirl post-punk and Middle Eastern sounds on the dance floor. Through creative use of old-school trance, spaghetti western sounds and live cowbell, the Red Axes are sometimes labeled “leftfield” for merging “organic” with synthetic as they DJ and produce fresh and electrifying house/techno. Friday’s Concourse Project show marks their Austin debut. – Christina Garcia

Fern head, no pressure

Mohawk, Saturday 9

Truly putting the “post” in “post-hardcore”, this Boston supergroup (fronted by former Have Heart frontman and current history professor Patrick Flynn) is the best argument since Fugazi that punk passion shouldn’t be s fade over time. Fiddlehead’s hard-hitting emo anthems draw unparalleled vitality from bending over in the age and experience of the group. When Flynn takes advantage of his distance from adolescent follies and heartaches, he isolates the improbable and vital persistence of youthful feeling. And if you care at all what I think last year between wealth was the best album of 2021 across all genres. Stop in early for dream-folk fuzz-boxes from local On Being an Angel openers. – Julian Towers

Albert Lee

Saxon Pub, Saturday 9

Even though the English Romani picker Albert Lee had not cut A long way From Lubbock with the Crickets in 1974, he still deserves a big bronze star on any Lone Star Walk of Fame. Raised in London, the future Mr. Telecaster began mastering the guitar a decade and a half earlier thanks to the same muse as the incoming Beatles and Stones: our Panhandle shooting star, Buddy Holly. The gentleman and countryman Clapton thus used his fingerstyle technique with luminaries of Americana, in particular the Everly Brothers, Emmylou Harris, Nanci Griffith. Now 78, the Grammy-winning string bender heads to the intimate Saxon roadhouse for a history lesson. –Raoul Hernandez

Andre Hayward

Parker Jazz Club, Tuesday 12

Affectionately known as Big Butter, trombonist Andre Hayward wears many hats: bandleader, hitman, teacher, philosopher; all these colors painting a picture called “jazz”. A former member of Wynton Marsalis’ Jazz at Lincoln Center Orchestra and the SF Jazz Collective, the Houston native made his road debut for Texas legend Roy Hargrove and currently holds No. 1 with the Duke Ellington Orchestra. A local staple since 2011, Hayward cruises around town at least once or twice a week, often with pals Elias Haslanger and Mike Sailors, dazzling with his smooth tone and effortless improvisation.–Michael Toland

Elsa Cross, Annabelle Chairlegs, Alicia Gail

Hotel Vegas, Thursday 14

The obligatory cover image of the leather jacket in an alley on Elsa Cross’kick of love was completely justified. The 2021 album eschewed his earlier rockabilly-tinged work for a powerful sound with resolute vocals on songs of spite and strength. On Thursday, his heavyweight quartet team up with two solo charmers. Memphis-built singer-songwriter Alicia Gail boasts a voice like Norah Jones and imbues plenty of sentiment in the bluesy indie songwriter’s lyrical life diaries that came out endearingly on her project’s LP. Nightingail.strange love. Recent sessions with producer Mike McCarthy (Spoon, Patty Griffin) have sparked further interest. Meanwhile, Annabelle Chairlegs’ Lindsey Mackin proves powerful outside the realms of the heavy psyche withThe Sad Machine series, Pt. 1 – an adorable, lo-fi collection specializing in surreal love songs with haunting lines and 60s vibes.– Kevin Curtin

Crucial concerts for the week ahead

Alvin Crow’s 50th birthday at the Broken Spoke

Saturday 9, Broken Spoke

The fiddler celebrates 50 years of playing in the cultured dance hall with performances by Ian Stewart and surprise guest musicians.– Derek Udensi

Banks

Monday the 11th, ACL Live at the Moody Theater

The Orange County pop singer kicks off the tour supporting the fourth studio album,serpentine.– Derek Udensi

The Masked Singer National tour

Wednesday 13, Bass Concert Hall

Fox’s reality singing costume competition — such a bizarre concept that its success seems entirely deserved at this point — is finally going on tour after a long hiatus from COVID-19 plans. Natasha Bedingfield is hosting the occasion which will feature a surprise appearance from a local celebrity. Hopefully the British singer-songwriter delivers at least one rendition of the 2004 classic “Unwritten.”– Derek Udensi

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