Record Review: Quezz

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  string(67) "Fuck the regularly scheduled programming — the fight isn’t over"
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  string(2066) "All Black lives matter, and it is horrifying to witness the many ways in which Atlanta — the city T.I. infamously called Wakanda recently — shows that it doesn’t believe that.

In response to the hunting of Ahmaud Arbery, the slaying of Breonna Taylor, the suffocation of George Floyd, and the shooting of Tony McDade, protestors flood Atlanta’s streets to air their grievances against the systemic racism and police brutality sweeping the nation. In turn, they are met with excessive force from Atlanta’s own police department.

During the first weekend of protests, video footage captures members of the Atlanta Police Department using tear gas on and shooting rubber bullets at protestors. Several Atlanta police officers gain viral infamy when a video is posted on social media of two Atlanta University Center students being relentlessly assaulted by the APD. With the city already scrutinizing the brutal policing practices being protested across the country, a handful of officers decided to repeatedly tase both Taniyah Pilgrim, a Spelman student, and Messiah Young, a Morehouse student, and forcefully remove them from their car in order to make two highly questionable arrests.

Two weeks later, the APD’s attack on Rayshard Brooks has a much darker and more definitive ending. At the Wendy’s on University Avenue, the 27-year-old Black man is shot and killed by an Atlanta police officer after resisting arrest and attempting to flee.

Atlanta should be outraged. The flagrant wrongdoings by Atlanta police officers keep aggravating an already festering wound. Even as a creative who makes a living by stringing words together to make statements, I truly do not know what to say. However, I do know that we cannot afford to go back to the regularly scheduled programming. Protesting — in whatever form or fashion — must continue, so here are some songs to guide, in-spire, and possibly heal you as the fight rages on.


 


 


 


 


 


 


 


 


 


 


 


 


 


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  string(15781) "All Black lives matter, and it is horrifying to witness the many ways in which Atlanta — the city T.I. infamously called Wakanda recently — shows that it doesn’t believe that.

In response to the hunting of Ahmaud Arbery, the slaying of Breonna Taylor, the suffocation of George Floyd, and the shooting of Tony McDade, protestors flood Atlanta’s streets to air their grievances against the systemic racism and police brutality sweeping the nation. In turn, they are met with excessive force from Atlanta’s own police department.

During the first weekend of protests, video footage captures members of the Atlanta Police Department using tear gas on and shooting rubber bullets at protestors. Several Atlanta police officers gain viral infamy when a video is posted on social media of two Atlanta University Center students being relentlessly assaulted by the APD. With the city already scrutinizing the brutal policing practices being protested across the country, a handful of officers decided to repeatedly tase both Taniyah Pilgrim, a Spelman student, and Messiah Young, a Morehouse student, and forcefully remove them from their car in order to make two highly questionable arrests.

Two weeks later, the APD’s attack on Rayshard Brooks has a much darker and more definitive ending. At the Wendy’s on University Avenue, the 27-year-old Black man is shot and killed by an Atlanta police officer after resisting arrest and attempting to flee.

Atlanta should be outraged. The flagrant wrongdoings by Atlanta police officers keep aggravating an already festering wound. Even as a creative who makes a living by stringing words together to make statements, I truly do not know what to say. However, I do know that we cannot afford to go back to the regularly scheduled programming. Protesting — in whatever form or fashion — must continue, so here are some songs to guide, in-spire, and possibly heal you as the fight rages on.

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{img fileId="31946" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Lil Baby: “The Bigger Picture”~~__ ~~black:(Quality Control, 2020) — Lil Baby, like many of us, is trying to make sense of it all, and you can hear his pain, hope, and confusion in every verse of “The Bigger Picture.” A unifying effort that addresses the Black community’s distrust for the police and the racist structures upholding American society, from poverty to mass incarceration, “The Bigger Picture” is also a bold call to continuous action. In the hook, Lil Baby advises listeners to be ready for the long haul, fully aware that in order to fully enact change, this has to be a long-lasting movement.~~

''~~black:"I can’t lie like I don’t rap about killing and dope, but I’m telling my youngins to vote"~~''{BOX}
 

{BOX( bg="#66bfff")}
{img fileId="31947" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Arrested Development: “Revolution”~~__ ~~black:(Capitol Records, 1992) — The current struggle that we’re facing is one that’s been fought by generations before us. This contribution by Arrested Development to Spike Lee’s 1992 film ''Malcolm X'' acknowledges exactly that, giving a nod to past leaders and those who were a part of the struggle, while motivating a new generation of activists. Just because the fight is long does not mean it is not worth fighting. As Speech rhymes near the song’s three-minute mark, “There’s got to be action if you want satisfaction.”~~

''~~black:"There has been a rude awakening / That I have marched until my feet have bled / And I have rioted until they called the feds / What’s left, my conscience said / What’s left, my conscience said"~~''{BOX}
 

{BOX( bg="#66bfff")}
{img fileId="31948" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Janelle Monáe, Wondaland: “Hell You Talmbout”~~__ ~~black:(Wondaland Records, 2015) — We have to keep saying their names — all of their names. Oftentimes, the most well-known instances of police brutality make the headlines at major news outlets, but there are so many Black women and queer and trans people who don’t become hashtags. Janelle Monáe and Wondaland’s war anthem “Hell You Talmbout” sheds light on nearly 20 victims of police brutality from across decades, and the protest-ready chant allows for the seamless integration of the names of all Black people that are murdered by the police.~~

''~~black:"Say her name / Say her name / Say her name / Say her name / Say her name / Say her name / Say her name / Won’t you say her name?"~~''{BOX}
 

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{img fileId="31949" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:OG Maco: “Get Down”~~__ ~~black:(Quality Control, 2014) — There’s no sil-ver lining to the seemingly endless killings by police in our city and around the country, but one can’t deny that the recent happenings have been a ruthless learning experience. The widespread questioning of racist law enforcement and other prejudiced systems within our society is reminiscent of OG Maco’s ''Breathe EP'', a free three-track project that promoted the Black Lives Matter movement in 2014. “Get Down,” the intro to the EP, most notably presented thought-provoking questions about society, oppression, and hip-hop culture as a whole. Seeking out knowledge and information is key to our progression, and, like “Get Down,” it starts with asking questions.~~

''~~black:"I tell my people get down / I tell my people get down / I said who like to party, fuck livin’ in fear, yeah"~~''{BOX}
 

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{img fileId="31950" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Childish Gambino: “This Is America”~~__ ~~black:(RCA, 2018) — This Grammy award-winning record and music-video received instant critical praise when released in 2018. Beyond all of the accolades, “This is America” serves as a staunch reminder of how the United States continues to treat Black people. Coupled with its visuals, the single touches on important topics, from police brutality and gun violence to domestic white terrorism and the distractions of materialism and social advancement. Especially as major corporations companies and national brands make their best at-tempts at performative alignment, the song’s message to stay focused is crucial. Remember, this is America that we’re dealing with.~~

''~~black:"This is America / Don’t catch you slippin’ now / Look how I’m livin’ now / Police be trippin’ now"~~''{BOX}
 

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{img fileId="31951" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Future: “March Madness”~~__ ~~black:(EPIC, 2015) — With everything that’s been going on, we must also actively work to preserve our souls. In order for these tragedies to not extinguish our joy, our excitement, or our passion, taking care of ourselves is crucial. Contributing to the movement is hard work, and without the proper rest it can be draining. Take a breather and recoup, but don’t forget there’s still a fight ahead. This electrifying standout from Future’s 2015 mixtape ''56 Nights'' is a classic example, as it embodies the energy of a great night out while still addressing pressing social issues. Be like “March Madness” — sensational, yet still conscious-minded.~~

''~~black:"We ballin’ like the March Madness / All these cops shootin’ a nigga, tragic"~~''{BOX}
 

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{img fileId="31952" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:RMR, Young Thug: “RASCAL”~~__ ~~black:(Warner, 2020) — Sure, RMR’s breakout single is a viral country-rap effort that reimagines Rascal Flatt’s “Bless the Broken Road,” but it also spends nearly a third of its runtime dissing cops. In light of the recent tragedies and subsequent protests that have broken out since the original release of “RASCAL,” Young Thug hopped on an updated version of the record and used the opportunity to transform a silly viral hit into a serious critique of America’s police. Maybe it’s the track’s dramatic piano-laden production, but singing “Fuck them boys in blue” has never felt so cathartic.~~

''~~black:"They even try to break us down and point guns with our hands up / It’s fuck 12, man, they been losin’ they manners / Fuck around and tie up a blue and red bandana"~~''{BOX}
 

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{img fileId="31953" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:LaDonnis, ER: “Black Boy”~~__ ~~black:(Free Love LLC, 2020) This song — although predominantly focused on the Black male experience — is a testament to the trying yet beautiful lives of Black people. In a tweet from November 2017, Atlanta comedian and ''Wild ‘N Out'' star Karlous Miller summed it up best, saying, “I love being black. This shit is dangerous as fuck but it’s kinda fun.” LaDonnis’s new release amplifies those 69 characters into a two-and-a-half-minute ode to that duality, touching on the pain that comes with the territory but mostly celebrating Blackness in general. It’s an aggressive approach to self-love, which will always be much-needed while facing injustice.~~

''~~black:"Black boy got it/ Every single Black girl poppin’ / This for all the Black folks watchin’"~~''{BOX}
 

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{img fileId="31954" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Run the Jewels, Gangsta Boo: “walking in the snow”~~__ ~~black:(Jewel Runners, 2020) When Run the Jewels (Killer Mike and El-P) decided to end the ''RTJ4'' album rollout early and release the album for free, they delivered on their mission to share some raw music to help listeners make sense of everything that’s happening. On its cutting track, “walking in the snow,” Killer Mike’s chilling verse is an obvious standout, but El-P’s verse is just as challenging and dissection-worthy. One of the main concerns present in “walking in the snow” is the public’s apathy in regard to police brutality, so whether it frightens you or infuriates you, prepare to be emotionally charged.~~

''~~black:"And every day on the evening news, they feed you fear for free / And you so numb, you watch the cops choke out a man like me / Until my voice goes from a shriek to whisper , ‘I can’t breathe’"~~''{BOX}
 

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{img fileId="31955" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:21 Savage: “Nothin New”~~__ ~~black:(Slaughter Gang, 2017) One of 21 Savage’s early forays into conscious rap, “Nothin New” speaks to the apathy that Killer Mike warns about on “walking in the snow.” Due to the lack of effective police reform across the country, unnecessarily forceful attacks by police officers continue to disproportionately kill Black people, and the hashtags start to blur. Despite the public’s desensitization to these tragedies — prior to George Floyd’s death, that is — 21 is fed up on “Nothin New.” His terse delivery while breaking down America’s history of racism and oppression makes for a concise critique. He’s right — we should all be fed up.~~

''~~black:"Police gunned his brother down, this shit too hard to handle / Loadin’ up his chopper, he gon’ show ’em Black lives matter"~~''{BOX}
 

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{img fileId="31956" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Nasty C, T.I.: “They Don’t”~~__ ~~black:(UMG, 2020) Teaming up with South African rapper Nasty C, T.I. approaches the reactionary protesting that’s taking place in Atlanta and across the country. Instead of applauding the peaceful protesting and belittling the riots, he directs his criticism to what caused these reactions in the first place. Referring to the Minneapolis 3rd Police Precinct, T.I. deems 2020 to be “the year of the burn,” and perhaps he’s right because eight days after the release of “They Don’t,” the Wendy’s on University Avenue went up in flames following the murder of Rayshard Brooks.~~

''~~black:"But even still, if I’ma be real with you, no fuckin’ joke / Best thing I seen, that police station goin’ up in smoke / Hmm, felt like vindication for so many folks / Breonna Taylor, Sandra Bland, and so many more"~~''{BOX}
 

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{img fileId="31957" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Dane Caston, Christian Ahmed: “Don’t Know What to Say”~~__ ~~black:(Self-released, 2020) The journey for social justice has not been easy. Absorbing the news of Black people and leaders dying at the hands of injustice is extremely difficult right now. Learning of Oluwatoyin Salau’s heinous end in June — after she had been such a vibrant leader in the Black Lives Matter movement in Tallahassee, Florida — is especially heartbreaking. Unfortunately, though there will probably be more mourning during this movement, it’s integral for us to heal along the way. Dane Caston, a local artist and co-founder of World Peace Connection, released “Don’t Know What to Say” after the murder of Ahmaud Arbery, yet the heartfelt tune continues to apply, tragedy after tragedy.~~

''~~black:"All we really need is some healing / Black skin’s not made for killing / Tryna see tomorrow Lord willin’ / I don’t know what to say"~~''{BOX}
 

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{img fileId="31958" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Jaye Newton: “No More Parties in Atlanta”~~__ ~~black:(8oAPE Music, 2019) Local rapper and leader Jaye Newton hid away a somber gem in the back half of “No More Parties in Atlanta,” a standout cut from his 2019 album, ''Just Pray for Me''. Thus, carefree lines like “Wipe me down, Boosie fade” transition into more poignant ones like “Death is all I see / Please, no more funerals.” Newton continues by relinquishing the pain and fear that the police throughout America have instilled in him and countless other Black lives. It’s a melancholy, yet therapeutic passage that highlights the importance of addressing one’s mental health throughout all of this.~~

''~~black:"I’m scared of headlights at night in my rear view / Scared of police, flashing lights that are blue / Cause they’re killing, stealing our lives"~~''{BOX}
 

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{img fileId="31959" stylebox="float: left; margin-right:25px;" desc="desc" max="300px" responsive="y"}__~~black:Raury: “Take Back the Power”~~__ ~~black:(THE WOODS, 2020) Ruary’s latest release is a war cry and a declaration: Enough is enough. Direct statements about the police and systemic racism in America aren’t mouthed throughout “Take Back the Power”’s four-minute run, but the song makes it clear that it is about putting power in the people’s hands. Lines such as “No I cannot relate / This place was never great” and “Know what you took from me / Know what you stole from me” capture the anger that situations like President Trump’s racist looting tweets or Rayshard Brook’s killing ignite, and the repetitive refrain channels that anger into an invigorating call to action.~~

''~~black:"Now is the time / There will never be later / You hear the whisper / You are the savior."~~''__-CL-__{BOX}
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  string(2487) " Covers Graphic  2020-07-01T20:58:50+00:00 covers_graphic.jpg    untrapped blacklivesmatter Fuck the regularly scheduled programming — the fight isn’t over 31945  2020-06-30T15:37:00+00:00 ATL UNTRAPPED: Tunes for the times jim.harris@creativeloafing.com Jim Harris Joshua Robinson  2020-06-30T15:37:00+00:00  All Black lives matter, and it is horrifying to witness the many ways in which Atlanta — the city T.I. infamously called Wakanda recently — shows that it doesn’t believe that.

In response to the hunting of Ahmaud Arbery, the slaying of Breonna Taylor, the suffocation of George Floyd, and the shooting of Tony McDade, protestors flood Atlanta’s streets to air their grievances against the systemic racism and police brutality sweeping the nation. In turn, they are met with excessive force from Atlanta’s own police department.

During the first weekend of protests, video footage captures members of the Atlanta Police Department using tear gas on and shooting rubber bullets at protestors. Several Atlanta police officers gain viral infamy when a video is posted on social media of two Atlanta University Center students being relentlessly assaulted by the APD. With the city already scrutinizing the brutal policing practices being protested across the country, a handful of officers decided to repeatedly tase both Taniyah Pilgrim, a Spelman student, and Messiah Young, a Morehouse student, and forcefully remove them from their car in order to make two highly questionable arrests.

Two weeks later, the APD’s attack on Rayshard Brooks has a much darker and more definitive ending. At the Wendy’s on University Avenue, the 27-year-old Black man is shot and killed by an Atlanta police officer after resisting arrest and attempting to flee.

Atlanta should be outraged. The flagrant wrongdoings by Atlanta police officers keep aggravating an already festering wound. Even as a creative who makes a living by stringing words together to make statements, I truly do not know what to say. However, I do know that we cannot afford to go back to the regularly scheduled programming. Protesting — in whatever form or fashion — must continue, so here are some songs to guide, in-spire, and possibly heal you as the fight rages on.


 


 


 


 


 


 


 


 


 


 


 


 


 


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  string(5808) "I often forget that I am perpetually not safe, but events in the country that I live in remind me. In middle school, George Zimmerman reminded me. In high school, Darren Wilson did the same. A month prior to my first semester at Georgia State University, Jeronimo Yanez carried the torch. Now, as a young Black man living on my own, I struggle with the news of Ahmaud Arbery and the two white men in my home state continuing this inhumane practice. And now, without even a chance for me to catch my breath, I’m confronted with the death of George Floyd, murdered by police in Minneapolis

In response to past tragedies like these, I’ve looked to hip-hop — for consolation, for reassurance, and for guidance. Perhaps my most vivid memories of sociopolitical rap was the stretch from late 2014 to early 2015. On March 15, 2015, Kendrick Lamar’s To Pimp a Butterfly was released, and it was truly an album of the times. Its themes of race, politics, violence, and empowerment showed me — even after many uncomfortable listens — that there was light at the end of this dark and seemingly never-ending tunnel.

But honestly, it was J. Cole who prepared me for that behemoth of an album. His “Be Free,” released within days of the public lynching of Michael Brown, was the first song to give me chills, erect the hairs on my body, and bring tears to my eyes. Where To Pimp a Butterfly was the powerful and much-needed response to months of nonstop brutality, “Be Free” was an in-the-moment call to grieve. Cole said what I thought, and he sang how I felt. The song stripped me of my pent-up emotions so that Kendrick’s album could build me back up.

As Ahmaud Arbery’s case has been thrust into the public eye, I find myself feeling stripped of the confidence and hope given to me by To Pimp a Butterfly and revisiting “Be Free.” Although Brunswick, the Georgia coastal city where Travis and Gregory McMichael’s hunting of Aubrey resulted in the jogger’s death, is four hours from metro Atlanta, it feels too dangerously close to home. Wanting to make sense of the senseless, seeking some light in a dark tunnel of my psyche, I looked to Atlanta’s hip-hop artists to make a profound statement — and to help combat this overwhelming feeling of powerlessness. I’ve been met with a disturbing silence.

Sure, when Andre 3000 exclaimed, “The South got something to say!” at the 1995 Source Awards, he wasn’t exactly referring to the conscious messages embedded in Southern hip-hop. However, the sentiment that Southern, and specifically Atlanta, rap should be taken seriously rings truer today than in 1995, considering the city’s current domination of the music charts. So, why doesn’t the South have much — if anything — to say about what’s happening mere hours away from the current hip-hop capital of the world?

Originally, that was my angle. To question why many of this city’s most prominent voices are saying little to nothing at all felt right. To criticize artists who are sacrificing their right to speak out on injustice for a larger number of streams during highly-publicized rollouts of long-awaited records, felt appropriate. Yet, after more consideration, I don’t think either of those approaches are fair.

Instead, I question whether Atlanta’s artists have a responsibility to speak out about current events and the trauma that has overcome us once again — a trauma which directly affects a bulk of their listenership. As a non-recording artist, the work of criticizing the musical output of others tends to fall under my editorial umbrella, but defining an artist’s responsibilities feels entirely out of bounds.

For many artists, how a single or full-length record is received can determine whether or not they are able to eat in the coming months. Consumers and critics alike are finicky and fickle with their sonic expectations of an artist as it is; it’s easy to understand why artists wouldn’t want to possibly alienate them with their own political and social views. Both Kanye West’s  “that sounds like a choice” and Michael Jordan’s “Republicans buy sneakers, too” comments have tarnished their respective legacies, evidence that fans and consumers can be less than forgiving when a public figure speaks out.

One wrong misstep, inside or outside of the booth, can undo a lot of the progress that an artist makes over their career. Any stand that an artist takes should be theirs and theirs alone — not something prompted by a 20-something journalist with a mightier-than-thou complex.

Nonetheless, it’s hard for me to absolve artists of social responsibility. To have experienced firsthand the power that “Be Free” and To Pimp a Butterfly had on my coming of age, I have to question why today’s hip-hop and rap artists aren’t speaking out. Where is some light in this ever-darkening tunnel? Where are the words to help this generation escape the hopelessness that they no doubt feel, just as I did? I would be remiss not to question the absence of songs and records for this generation that would give a voice to the perpetually not safe.

The debate boils down to choice. Regardless of whether critics and consumers considered it J. Cole and Kendrick Lamar’s responsibility to respond to the string of murders of unarmed Black people in 2014 and 2015, it was their choice to do so. Now, Atlanta artists have a decision to make: how they will respond to the killing of Ahmaud Arbery.

More importantly, you and I have a choice. We can look to our favorite artists to be the ones brave enough to spread awareness about the issues that bring turmoil, destruction, and grief to our communities, or we can look inward and decide to do something about it ourselves. —CL—"
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  string(5828) "I often forget that I am perpetually not safe, but events in the country that I live in remind me. In middle school, George Zimmerman reminded me. In high school, Darren Wilson did the same. A month prior to my first semester at Georgia State University, Jeronimo Yanez carried the torch. Now, as a young Black man living on my own, I struggle with the news of Ahmaud Arbery and the two white men in my home state continuing this inhumane practice. And now, without even a chance for me to catch my breath, I’m confronted with the death of George Floyd, murdered by police in Minneapolis

In response to past tragedies like these, I’ve looked to hip-hop — for consolation, for reassurance, and for guidance. Perhaps my most vivid memories of sociopolitical rap was the stretch from late 2014 to early 2015. On March 15, 2015, Kendrick Lamar’s ''To Pimp a Butterfly'' was released, and it was truly an album of the times. Its themes of race, politics, violence, and empowerment showed me — even after many uncomfortable listens — that there was light at the end of this dark and seemingly never-ending tunnel.

But honestly, it was J. Cole who prepared me for that behemoth of an album. His “Be Free,” released within days of the public lynching of Michael Brown, was the first song to give me chills, erect the hairs on my body, and bring tears to my eyes. Where ''To Pimp a Butterfly'' was the powerful and much-needed response to months of nonstop brutality, “Be Free” was an in-the-moment call to grieve. Cole said what I thought, and he sang how I felt. The song stripped me of my pent-up emotions so that Kendrick’s album could build me back up.

As Ahmaud Arbery’s case has been thrust into the public eye, I find myself feeling stripped of the confidence and hope given to me by ''To Pimp a Butterfly'' and revisiting “Be Free.” Although Brunswick, the Georgia coastal city where Travis and Gregory McMichael’s hunting of Aubrey resulted in the jogger’s death, is four hours from metro Atlanta, it feels too dangerously close to home. Wanting to make sense of the senseless, seeking some light in a dark tunnel of my psyche, I looked to Atlanta’s hip-hop artists to make a profound statement — and to help combat this overwhelming feeling of powerlessness. I’ve been met with a disturbing silence.

Sure, when Andre 3000 exclaimed, “The South got something to say!” at the 1995 Source Awards, he wasn’t exactly referring to the conscious messages embedded in Southern hip-hop. However, the sentiment that Southern, and specifically Atlanta, rap should be taken seriously rings truer today than in 1995, considering the city’s current domination of the music charts. So, why doesn’t the South have much — if anything — to say about what’s happening mere hours away from the current hip-hop capital of the world?

Originally, that was my angle. To question why many of this city’s most prominent voices are saying little to nothing at all felt right. To criticize artists who are sacrificing their right to speak out on injustice for a larger number of streams during highly-publicized rollouts of long-awaited records, felt appropriate. Yet, after more consideration, I don’t think either of those approaches are fair.

Instead, I question whether Atlanta’s artists have a responsibility to speak out about current events and the trauma that has overcome us once again — a trauma which directly affects a bulk of their listenership. As a non-recording artist, the work of criticizing the musical output of others tends to fall under my editorial umbrella, but defining an artist’s responsibilities feels entirely out of bounds.

For many artists, how a single or full-length record is received can determine whether or not they are able to eat in the coming months. Consumers and critics alike are finicky and fickle with their sonic expectations of an artist as it is; it’s easy to understand why artists wouldn’t want to possibly alienate them with their own political and social views. Both Kanye West’s  “that sounds like a choice” and Michael Jordan’s “Republicans buy sneakers, too” comments have tarnished their respective legacies, evidence that fans and consumers can be less than forgiving when a public figure speaks out.

One wrong misstep, inside or outside of the booth, can undo a lot of the progress that an artist makes over their career. Any stand that an artist takes should be theirs and theirs alone — not something prompted by a 20-something journalist with a mightier-than-thou complex.

Nonetheless, it’s hard for me to absolve artists of social responsibility. To have experienced firsthand the power that “Be Free” and ''To Pimp a Butterfly'' had on my coming of age, I have to question why today’s hip-hop and rap artists aren’t speaking out. Where is some light in this ever-darkening tunnel? Where are the words to help this generation escape the hopelessness that they no doubt feel, just as I did? I would be remiss not to question the absence of songs and records for this generation that would give a voice to the perpetually not safe.

The debate boils down to choice. Regardless of whether critics and consumers considered it J. Cole and Kendrick Lamar’s responsibility to respond to the string of murders of unarmed Black people in 2014 and 2015, it was their choice to do so. Now, Atlanta artists have a decision to make: how they will respond to the killing of Ahmaud Arbery.

More importantly, you and I have a choice. We can look to our favorite artists to be the ones brave enough to spread awareness about the issues that bring turmoil, destruction, and grief to our communities, or we can look inward and decide to do something about it ourselves. __—CL—__"
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  string(7133) " Creative Loafing 23 Final Web  2020-06-04T14:03:53+00:00 creative_loafing_23_final_web.jpg   This was a very different approach to what most of society would think of the celebrity stance. I myself have thought -where are the artists? why aren't they commenting, taking a stance? However, at the end of the day--each day,  we are our society and have to decide to do "something about it ourselves" - regardless of what that looks like. I commend the writer for his honesty and introspection as well as his call to action for each of us. It is very interesting from my point of view.  From my era, the late 80's and early 90's, conscious hip hop littered the airwaves.  Groups like PE and solo artists like Rakim felt the responsibility to entertain and educate.  I often feel that sense of responsibility has taken a back seat to marketability. untrapped atluntrapped Weighing the pain of recent events against the responsibility of artists to speak out 31433  2020-06-04T14:03:58+00:00 ATL UNTRAPPED: Should the South have something to say? jim.harris@creativeloafing.com Jim Harris Joshua Robinson  2020-06-04T14:03:58+00:00  I often forget that I am perpetually not safe, but events in the country that I live in remind me. In middle school, George Zimmerman reminded me. In high school, Darren Wilson did the same. A month prior to my first semester at Georgia State University, Jeronimo Yanez carried the torch. Now, as a young Black man living on my own, I struggle with the news of Ahmaud Arbery and the two white men in my home state continuing this inhumane practice. And now, without even a chance for me to catch my breath, I’m confronted with the death of George Floyd, murdered by police in Minneapolis

In response to past tragedies like these, I’ve looked to hip-hop — for consolation, for reassurance, and for guidance. Perhaps my most vivid memories of sociopolitical rap was the stretch from late 2014 to early 2015. On March 15, 2015, Kendrick Lamar’s To Pimp a Butterfly was released, and it was truly an album of the times. Its themes of race, politics, violence, and empowerment showed me — even after many uncomfortable listens — that there was light at the end of this dark and seemingly never-ending tunnel.

But honestly, it was J. Cole who prepared me for that behemoth of an album. His “Be Free,” released within days of the public lynching of Michael Brown, was the first song to give me chills, erect the hairs on my body, and bring tears to my eyes. Where To Pimp a Butterfly was the powerful and much-needed response to months of nonstop brutality, “Be Free” was an in-the-moment call to grieve. Cole said what I thought, and he sang how I felt. The song stripped me of my pent-up emotions so that Kendrick’s album could build me back up.

As Ahmaud Arbery’s case has been thrust into the public eye, I find myself feeling stripped of the confidence and hope given to me by To Pimp a Butterfly and revisiting “Be Free.” Although Brunswick, the Georgia coastal city where Travis and Gregory McMichael’s hunting of Aubrey resulted in the jogger’s death, is four hours from metro Atlanta, it feels too dangerously close to home. Wanting to make sense of the senseless, seeking some light in a dark tunnel of my psyche, I looked to Atlanta’s hip-hop artists to make a profound statement — and to help combat this overwhelming feeling of powerlessness. I’ve been met with a disturbing silence.

Sure, when Andre 3000 exclaimed, “The South got something to say!” at the 1995 Source Awards, he wasn’t exactly referring to the conscious messages embedded in Southern hip-hop. However, the sentiment that Southern, and specifically Atlanta, rap should be taken seriously rings truer today than in 1995, considering the city’s current domination of the music charts. So, why doesn’t the South have much — if anything — to say about what’s happening mere hours away from the current hip-hop capital of the world?

Originally, that was my angle. To question why many of this city’s most prominent voices are saying little to nothing at all felt right. To criticize artists who are sacrificing their right to speak out on injustice for a larger number of streams during highly-publicized rollouts of long-awaited records, felt appropriate. Yet, after more consideration, I don’t think either of those approaches are fair.

Instead, I question whether Atlanta’s artists have a responsibility to speak out about current events and the trauma that has overcome us once again — a trauma which directly affects a bulk of their listenership. As a non-recording artist, the work of criticizing the musical output of others tends to fall under my editorial umbrella, but defining an artist’s responsibilities feels entirely out of bounds.

For many artists, how a single or full-length record is received can determine whether or not they are able to eat in the coming months. Consumers and critics alike are finicky and fickle with their sonic expectations of an artist as it is; it’s easy to understand why artists wouldn’t want to possibly alienate them with their own political and social views. Both Kanye West’s  “that sounds like a choice” and Michael Jordan’s “Republicans buy sneakers, too” comments have tarnished their respective legacies, evidence that fans and consumers can be less than forgiving when a public figure speaks out.

One wrong misstep, inside or outside of the booth, can undo a lot of the progress that an artist makes over their career. Any stand that an artist takes should be theirs and theirs alone — not something prompted by a 20-something journalist with a mightier-than-thou complex.

Nonetheless, it’s hard for me to absolve artists of social responsibility. To have experienced firsthand the power that “Be Free” and To Pimp a Butterfly had on my coming of age, I have to question why today’s hip-hop and rap artists aren’t speaking out. Where is some light in this ever-darkening tunnel? Where are the words to help this generation escape the hopelessness that they no doubt feel, just as I did? I would be remiss not to question the absence of songs and records for this generation that would give a voice to the perpetually not safe.

The debate boils down to choice. Regardless of whether critics and consumers considered it J. Cole and Kendrick Lamar’s responsibility to respond to the string of murders of unarmed Black people in 2014 and 2015, it was their choice to do so. Now, Atlanta artists have a decision to make: how they will respond to the killing of Ahmaud Arbery.

More importantly, you and I have a choice. We can look to our favorite artists to be the ones brave enough to spread awareness about the issues that bring turmoil, destruction, and grief to our communities, or we can look inward and decide to do something about it ourselves. —CL—    Demetri Stefan Burke BE FREE: We can decide to be the change that we seek.  0,0,16    atluntrapped untrapped                             ATL UNTRAPPED: Should the South have something to say? "
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  string(6614) "By squealing “CORONAVIRUS!” in an Instagram video on March 10, Cardi B became the unofficial celebrity spokesperson for informing everyone that shit had really hit the fan. In  addition to inspiring a viral — and Billboard-charting — remix of her original post, she ushered in an era of disbelief and uncertainty that deepened when the World Health Organization declared the global outbreak to be a pandemic one day later.

News of a novel virus overseas was quickly eclipsed by stateside fear as cases started being reported in several states. Atlanta, while not hit as hard as other major cities across the country, was hit nonetheless, and life has since changed dramatically for healthcare professionals, bartenders, and everyone in between as nonessential businesses close and essential businesses intensify. 

The music industry is no exception, leaving local artists in an unexpected position. Not being able to earn money from performing at venues and possibly having to refrain from recording music are both legitimate concerns, yet instead of conceding defeat to COVID-19, Atlanta’s hip-hop community is fighting back with creativity. Here’s a snapshot of four artists who, despite social distancing, are still connecting and interacting with their listeners.

Quanna

Savannah native Quanna (pictured, bottom right) regularly shuffles between Atlanta and Brooklyn, but due to the outbreak in New York, she has been quarantined in the latter since March. While there, her hustle has gone completely digital, and over the past month, Quanna has reinvigorated the promotion of her 2019 project Miss Thang and lobbied, albeit unsuccessfully, for entry to Tory Lanez’s “Quarantine Radio.” Her longest-running effort, however, was the “Like Me (Remix)” Challenge, in which she tasked hungry producers to recreate and modernize the beat to one of her fan-favorites.

“Every time I perform, I do “Like Me,” my first song ever, and people love it,” Quanna says. “I think it’s dated, though, so I decided to do a beat challenge to give it a refresher of sorts.”

Unlike the TikTok and freestyle challenges flooding social media, Quanna’s challenge has put the spotlight on young producers and given her listeners the opportunity to be a part of her upcoming project, which will feature the top-voted remix to “Like Me.” Work on the project was unfortunately halted due to New York’s shelter-in-place order, but for the time being Quanna is dedicated to fostering a connection with listeners through social media.

ProtéJay 

The son of New York legend Half-A-Mill and a decorated multihyphenate with music- and television-related accomplishments under his belt, ProtéJay (pictured, right) is a man of routine, and one of his major challenges with adapting to life during COVID-19 is the disruption to his nonstop work ethic. He admits to struggling with a forced change of pace, as well as having to reconsider major plans for 2020, but he isn’t letting this slump stop his drive.

“Our plan coming into this year was to drop four projects — one for each quarter,” ProtéJay says, “so we can’t back out on that. We’ve gotta do what we said we were gonna do.”

Sure enough, he dropped the eight-track project, Your World, on March 27, and the week after he started a live streamed concert series with local producer 88Jay, called Sound Disorder. Powered by We Get It Media Productions, their weekly acoustic set now airs every Thursday evening at 6 p.m. on his Instagram account. With newfound structure and an additional creative outlet at his disposal, ProtéJay is re-energized and motivated to lift the spirits of everyone who tunes in.

“With all this shit going on, those little glimpses give people a break from reality,” he says. “We’re just tryna have fun and get our minds off of the situation.” 

Zaia

Artists like Zaia (pictured, left) are pushing through the only way they know how — by releasing new music. Nearly a year removed from signing with Sony Records and releasing his stellar RESET EP, Zaia is done with waiting. On April 1, he unleashed “DEMONS,” the first single from his upcoming project. The bass-rattling earworm hijacks a simple refrain and infiltrates its surroundings with sharp lyricism and monstrous vocal effects to create a beast of a record. Complimenting the single is an equally villainous music video, directed by Patrick Tohill and The Misunderstoods.

Luckily, “DEMONS” is only the appetizer for what Zaia has in store for listeners. While COVID-19 hasn’t delayed the release of his anticipated follow-up to RESET, the project’s rollout has suffered from canceled photoshoots and other unfinished supplementary content. Zaia powers on nevertheless.

“I’m not waiting until corona ends to release music,” he says. “I’m not going to let monetary projections right now affect when the music can come out or when people can hear it. The people that need to hear my music are gonna hear my music at the right time.”

Rashford

While many artists have found solace in innovative strategies and sheer grit, plenty are grappling with financial hardships and simply being unable to do what they love. In the wake of venue cancellations and shelter-in-place orders, Rashford (pictured, top) was one of those artists. As a rapper and the event planner behind Atlanta’s burgeoning We Gotta Make It concert series, he takes performing seriously, both as a passion and as a way for artists to eat.

“It’s definitely depressing, like, ‘Damn. What am I gonna do now?’” Rashford says. “That connection that happens at shows, you can’t really replace that. I depend on my craft for happiness.”

To rediscover that creative satisfaction and maintain a connection with his listeners, he recently announced a new web series titled “Just Because.” The show will feature a loose direction, solely centered around what his fanbase wants to watch him discuss, and it will also serve as a way for him to tease upcoming music, akin to how one would tease new music at a concert. Whether or not it works, Rashford realizes that taking risks, regardless of the looming pandemic, will always be a part of his craft.

“This pandemic is something we’re not sure of,” he says. “We’re not sure how life is gonna be in the summer or fall or even next year. Yeah, I can hold back on my music because we’re not sure, but I can also just go forward — because when have we ever been sure anyways?”

This too shall pass. —CL—"
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News of a novel virus overseas was quickly eclipsed by stateside fear as cases started being reported in several states. Atlanta, while not hit as hard as other major cities across the country, was hit nonetheless, and life has since changed dramatically for healthcare professionals, bartenders, and everyone in between as nonessential businesses close and essential businesses intensify. 

The music industry is no exception, leaving local artists in an unexpected position. Not being able to earn money from performing at venues and possibly having to refrain from recording music are both legitimate concerns, yet instead of conceding defeat to COVID-19, Atlanta’s hip-hop community is fighting back with creativity. Here’s a snapshot of four artists who, despite social distancing, are still connecting and interacting with their listeners.

__Quanna__

Savannah native Quanna (pictured, bottom right) regularly shuffles between Atlanta and Brooklyn, but due to the outbreak in New York, she has been quarantined in the latter since March. While there, her hustle has gone completely digital, and over the past month, Quanna has reinvigorated the promotion of her 2019 project ''Miss Thang'' and lobbied, albeit unsuccessfully, for entry to Tory Lanez’s “Quarantine Radio.” Her longest-running effort, however, was the “Like Me (Remix)” Challenge, in which she tasked hungry producers to recreate and modernize the beat to one of her fan-favorites.

“Every time I perform, I do “Like Me,” my first song ever, and people love it,” Quanna says. “I think it’s dated, though, so I decided to do a beat challenge to give it a refresher of sorts.”

Unlike the TikTok and freestyle challenges flooding social media, Quanna’s challenge has put the spotlight on young producers and given her listeners the opportunity to be a part of her upcoming project, which will feature the top-voted remix to “Like Me.” Work on the project was unfortunately halted due to New York’s shelter-in-place order, but for the time being Quanna is dedicated to fostering a connection with listeners through social media.

__ProtéJay__ 

The son of New York legend Half-A-Mill and a decorated multihyphenate with music- and television-related accomplishments under his belt, ProtéJay (pictured, right) is a man of routine, and one of his major challenges with adapting to life during COVID-19 is the disruption to his nonstop work ethic. He admits to struggling with a forced change of pace, as well as having to reconsider major plans for 2020, but he isn’t letting this slump stop his drive.

“Our plan coming into this year was to drop four projects — one for each quarter,” ProtéJay says, “so we can’t back out on that. We’ve gotta do what we said we were gonna do.”

Sure enough, he dropped the eight-track project, ''Your World'', on March 27, and the week after he started a live streamed concert series with local producer 88Jay, called Sound Disorder. Powered by We Get It Media Productions, their weekly acoustic set now airs every Thursday evening at 6 p.m. on his Instagram account. With newfound structure and an additional creative outlet at his disposal, ProtéJay is re-energized and motivated to lift the spirits of everyone who tunes in.

“With all this shit going on, those little glimpses give people a break from reality,” he says. “We’re just tryna have fun and get our minds off of the situation.” 

__Zaia__

Artists like Zaia (pictured, left) are pushing through the only way they know how — by releasing new music. Nearly a year removed from signing with Sony Records and releasing his stellar ''RESET'' EP, Zaia is done with waiting. On April 1, he unleashed “DEMONS,” the first single from his upcoming project. The bass-rattling earworm hijacks a simple refrain and infiltrates its surroundings with sharp lyricism and monstrous vocal effects to create a beast of a record. Complimenting the single is an equally villainous music video, directed by Patrick Tohill and The Misunderstoods.

Luckily, “DEMONS” is only the appetizer for what Zaia has in store for listeners. While COVID-19 hasn’t delayed the release of his anticipated follow-up to ''RESET'', the project’s rollout has suffered from canceled photoshoots and other unfinished supplementary content. Zaia powers on nevertheless.

“I’m not waiting until corona ends to release music,” he says. “I’m not going to let monetary projections right now affect when the music can come out or when people can hear it. The people that need to hear my music are gonna hear my music at the right time.”

__Rashford__

While many artists have found solace in innovative strategies and sheer grit, plenty are grappling with financial hardships and simply being unable to do what they love. In the wake of venue cancellations and shelter-in-place orders, Rashford (pictured, top) was one of those artists. As a rapper and the event planner behind Atlanta’s burgeoning We Gotta Make It concert series, he takes performing seriously, both as a passion and as a way for artists to eat.

“It’s definitely depressing, like, ‘Damn. What am I gonna do now?’” Rashford says. “That connection that happens at shows, you can’t really replace that. I depend on my craft for happiness.”

To rediscover that creative satisfaction and maintain a connection with his listeners, he recently announced a new web series titled “Just Because.” The show will feature a loose direction, solely centered around what his fanbase wants to watch him discuss, and it will also serve as a way for him to tease upcoming music, akin to how one would tease new music at a concert. Whether or not it works, Rashford realizes that taking risks, regardless of the looming pandemic, will always be a part of his craft.

“This pandemic is something we’re not sure of,” he says. “We’re not sure how life is gonna be in the summer or fall or even next year. Yeah, I can hold back on my music because we’re not sure, but I can also just go forward — because when have we ever been sure anyways?”

''This too shall pass.'' __—CL—__"
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  string(7183) " ATL UNT Website  2020-05-11T20:58:18+00:00 ATL_UNT_Website.jpg    atlu Local artists react and adjust to COVID-19 31023  2020-05-01T04:17:00+00:00 ATL UNTRAPPED: Socially distanced, musically connected jim.harris@creativeloafing.com Jim Harris Joshua Robinson  2020-05-01T04:17:00+00:00  By squealing “CORONAVIRUS!” in an Instagram video on March 10, Cardi B became the unofficial celebrity spokesperson for informing everyone that shit had really hit the fan. In  addition to inspiring a viral — and Billboard-charting — remix of her original post, she ushered in an era of disbelief and uncertainty that deepened when the World Health Organization declared the global outbreak to be a pandemic one day later.

News of a novel virus overseas was quickly eclipsed by stateside fear as cases started being reported in several states. Atlanta, while not hit as hard as other major cities across the country, was hit nonetheless, and life has since changed dramatically for healthcare professionals, bartenders, and everyone in between as nonessential businesses close and essential businesses intensify. 

The music industry is no exception, leaving local artists in an unexpected position. Not being able to earn money from performing at venues and possibly having to refrain from recording music are both legitimate concerns, yet instead of conceding defeat to COVID-19, Atlanta’s hip-hop community is fighting back with creativity. Here’s a snapshot of four artists who, despite social distancing, are still connecting and interacting with their listeners.

Quanna

Savannah native Quanna (pictured, bottom right) regularly shuffles between Atlanta and Brooklyn, but due to the outbreak in New York, she has been quarantined in the latter since March. While there, her hustle has gone completely digital, and over the past month, Quanna has reinvigorated the promotion of her 2019 project Miss Thang and lobbied, albeit unsuccessfully, for entry to Tory Lanez’s “Quarantine Radio.” Her longest-running effort, however, was the “Like Me (Remix)” Challenge, in which she tasked hungry producers to recreate and modernize the beat to one of her fan-favorites.

“Every time I perform, I do “Like Me,” my first song ever, and people love it,” Quanna says. “I think it’s dated, though, so I decided to do a beat challenge to give it a refresher of sorts.”

Unlike the TikTok and freestyle challenges flooding social media, Quanna’s challenge has put the spotlight on young producers and given her listeners the opportunity to be a part of her upcoming project, which will feature the top-voted remix to “Like Me.” Work on the project was unfortunately halted due to New York’s shelter-in-place order, but for the time being Quanna is dedicated to fostering a connection with listeners through social media.

ProtéJay 

The son of New York legend Half-A-Mill and a decorated multihyphenate with music- and television-related accomplishments under his belt, ProtéJay (pictured, right) is a man of routine, and one of his major challenges with adapting to life during COVID-19 is the disruption to his nonstop work ethic. He admits to struggling with a forced change of pace, as well as having to reconsider major plans for 2020, but he isn’t letting this slump stop his drive.

“Our plan coming into this year was to drop four projects — one for each quarter,” ProtéJay says, “so we can’t back out on that. We’ve gotta do what we said we were gonna do.”

Sure enough, he dropped the eight-track project, Your World, on March 27, and the week after he started a live streamed concert series with local producer 88Jay, called Sound Disorder. Powered by We Get It Media Productions, their weekly acoustic set now airs every Thursday evening at 6 p.m. on his Instagram account. With newfound structure and an additional creative outlet at his disposal, ProtéJay is re-energized and motivated to lift the spirits of everyone who tunes in.

“With all this shit going on, those little glimpses give people a break from reality,” he says. “We’re just tryna have fun and get our minds off of the situation.” 

Zaia

Artists like Zaia (pictured, left) are pushing through the only way they know how — by releasing new music. Nearly a year removed from signing with Sony Records and releasing his stellar RESET EP, Zaia is done with waiting. On April 1, he unleashed “DEMONS,” the first single from his upcoming project. The bass-rattling earworm hijacks a simple refrain and infiltrates its surroundings with sharp lyricism and monstrous vocal effects to create a beast of a record. Complimenting the single is an equally villainous music video, directed by Patrick Tohill and The Misunderstoods.

Luckily, “DEMONS” is only the appetizer for what Zaia has in store for listeners. While COVID-19 hasn’t delayed the release of his anticipated follow-up to RESET, the project’s rollout has suffered from canceled photoshoots and other unfinished supplementary content. Zaia powers on nevertheless.

“I’m not waiting until corona ends to release music,” he says. “I’m not going to let monetary projections right now affect when the music can come out or when people can hear it. The people that need to hear my music are gonna hear my music at the right time.”

Rashford

While many artists have found solace in innovative strategies and sheer grit, plenty are grappling with financial hardships and simply being unable to do what they love. In the wake of venue cancellations and shelter-in-place orders, Rashford (pictured, top) was one of those artists. As a rapper and the event planner behind Atlanta’s burgeoning We Gotta Make It concert series, he takes performing seriously, both as a passion and as a way for artists to eat.

“It’s definitely depressing, like, ‘Damn. What am I gonna do now?’” Rashford says. “That connection that happens at shows, you can’t really replace that. I depend on my craft for happiness.”

To rediscover that creative satisfaction and maintain a connection with his listeners, he recently announced a new web series titled “Just Because.” The show will feature a loose direction, solely centered around what his fanbase wants to watch him discuss, and it will also serve as a way for him to tease upcoming music, akin to how one would tease new music at a concert. Whether or not it works, Rashford realizes that taking risks, regardless of the looming pandemic, will always be a part of his craft.

“This pandemic is something we’re not sure of,” he says. “We’re not sure how life is gonna be in the summer or fall or even next year. Yeah, I can hold back on my music because we’re not sure, but I can also just go forward — because when have we ever been sure anyways?”

This too shall pass. —CL—    Demetri Stefan Burke TRYNA GET AWAY: Atlanta Hip Hop is distancing itself from the horrors of the ongoing pandemic (Clockwise, from top: Rashford, ProtéJay, Quanna, and Zaia).  0,0,10    ATLU                             ATL UNTRAPPED: Socially distanced, musically connected "
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  string(64) "The Eastside artist embraces his duality with a fiery new record"
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  string(5202) "TICK. TICK. TICK. TICK. TICK. TICK. TICK. TICK.

For the first six seconds of LoKii AD’s latest single, “Juug,” the sound of a clock is all that reverberates throughout an otherwise empty soundscape. Time is ticking, setting a tone of urgency that builds as soon as the 20-year-old artist delivers the cold opening lines — “I got folks in the 6, folks in the 1/Bro in the 3 hit the coast like Lebron/Big bro in the hills, lil bro in the slums/They down to pull up whenever I want.”

A nod to the scamming, robbing, and finessing that LoKii witnessed while growing up in DeKalb County, “Juug” perfectly captures the frantic energy of its subject matter and features an exuberant hook that channels a bittersweet fondness for what many listeners know all too well.

“I remember when I was four or five years old, I was outside when somebody literally walked up and stole someone’s AC unit,” he says, laughing. “I was just watching it happen until my uncle finally told me to go back inside.”

No longer the  naive bystander of his childhood in Redan, LoKii embodies the chaos around him on his latest single, sharing stories over its sinister synths. Tongue-twisting wordplay parallels the expositions about his studies at Georgia Tech and time spent working at UPS with sly references to guns and drug dealing. Initially, LoKii appears to be a good kid trapped in a mad city, but after meeting with him, it’s clear that he’s actually the one facilitating the stickup. What he wants is your immediate attention and support.

Born Antonio Lucas, LoKii AD is a producer, singer, rapper, and songwriter who specializes in creating trap-inspired R&B and lyrically robust hip-hop. Inspired by both his low-key nature as well as the Norse god Loki, his stage name is just the tip of the iceberg when it comes to the duality that characterizes his existence as an artist and a young man.

“I kind of relate to the god of mischief because my mellow attitude is deceiving,” LoKii says. “If you see me in public and go back and listen to some of my tracks, you’ll think, ‘Dang, is this the same dude?’”

Yet somehow, it is the same dude. LoKii studies mechanical engineering at Georgia Tech while simultaneously knocking out performances at events featuring well-known rising hip-hop and R&B acts such as Wave Chapelle, Melodik, and Josh Waters. It’s incredible how his warring worlds intersect so gracefully, but LoKii has a lot of experience in code-switching.

Throughout his primary and secondary education, he sidestepped the typical school-to-school pipeline that most of his classmates followed. He attended elementary school at Eldridge L. Miller, middle school at Stephenson, and high school at Arabia Mountain. As a result, he became comfortable being the new kid.

“All my life I’ve been used to starting over,” LoKii admits. “Every single time, I had to make completely brand-new friends. I had to readjust and adapt [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[in order] to try and find a way to mesh with new people.”

Applying those tactics to his music, he began to approach his diverging interests in rap and R&B as if they were different languages, ultimately separating the two sides of his musical identity in his output. Although he had built a buzz on his Instagram by posting well-received freestyle videos, LoKii opted to release the R&B-laden record M T last summer. The project didn’t feature any rapping from the Redan-bred artist, but it gained steam nevertheless.

“After I put out M T, I was really just putting out R&B for about six months,” he says. “I told myself that I’ve gotta go back to all of who I am.”

Now — due to the mischievous satisfaction he gets from twisting the expectations of his listeners, an inward yearning to show off his lyrical chops, and the turn of a new decade — LoKii has embraced his duality as a singer and a rapper in “Juug,” his first statement of 2020. The explosive two-minute single, delivered alongside a companion music video, amassed over 13,000 views in the first month.

The brainchild of LoKii and his cousin Khalid Johnson, the video showcases the  20-year-old’s deep cultural roots in DeKalb and experiences attending college at Georgia Tech. Clips of Glenwood Road and a Mrs. Winners restaurant add character to the visual just as much as the scenes shot on Tech’s campus, with pop-culture references to Pulp Fiction and King Vader’s viral videos adding welcome doses of comedy and stylistic flare.

For the Eastside artist, now is not the time to rest. Hard at work on his most versatile project yet, LoKii is eyeing a fall release for the upcoming record but reveals that additional singles are scheduled to release over the coming weeks and months.

An artist who envisions platinum plaques and Grammy nominations on the horizon, LoKii AD’s set-up is clear when he recites the final line of “Juug”: “We finna hit, I got a hunch.” Whether or not you’re cool with it, he’s taking your streams, your views, and everything you’ve got to help him reach his dreams.

Give it up — the clock is ticking."
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  string(5200) "__TICK. TICK. TICK. TICK. TICK. TICK. TICK. TICK.__

For the first six seconds of LoKii AD’s latest single, “Juug,” the sound of a clock is all that reverberates throughout an otherwise empty soundscape. Time is ticking, setting a tone of urgency that builds as soon as the 20-year-old artist delivers the cold opening lines — “I got folks in the 6, folks in the 1/Bro in the 3 hit the coast like Lebron/Big bro in the hills, lil bro in the slums/They down to pull up whenever I want.”

A nod to the scamming, robbing, and finessing that LoKii witnessed while growing up in DeKalb County, “Juug” perfectly captures the frantic energy of its subject matter and features an exuberant hook that channels a bittersweet fondness for what many listeners know all too well.

“I remember when I was four or five years old, I was outside when somebody literally walked up and stole someone’s AC unit,” he says, laughing. “I was just watching it happen until my uncle finally told me to go back inside.”

No longer the  naive bystander of his childhood in Redan, LoKii embodies the chaos around him on his latest single, sharing stories over its sinister synths. Tongue-twisting wordplay parallels the expositions about his studies at Georgia Tech and time spent working at UPS with sly references to guns and drug dealing. Initially, LoKii appears to be a good kid trapped in a mad city, but after meeting with him, it’s clear that he’s actually the one facilitating the stickup. What he wants is your immediate attention and support.

Born Antonio Lucas, LoKii AD is a producer, singer, rapper, and songwriter who specializes in creating trap-inspired R&B and lyrically robust hip-hop. Inspired by both his low-key nature as well as the Norse god Loki, his stage name is just the tip of the iceberg when it comes to the duality that characterizes his existence as an artist and a young man.

“I kind of relate to the god of mischief because my mellow attitude is deceiving,” LoKii says. “If you see me in public and go back and listen to some of my tracks, you’ll think, ‘Dang, is this the same dude?’”

Yet somehow, it is the same dude. LoKii studies mechanical engineering at Georgia Tech while simultaneously knocking out performances at events featuring well-known rising hip-hop and R&B acts such as Wave Chapelle, Melodik, and Josh Waters. It’s incredible how his warring worlds intersect so gracefully, but LoKii has a lot of experience in code-switching.

Throughout his primary and secondary education, he sidestepped the typical school-to-school pipeline that most of his classmates followed. He attended elementary school at Eldridge L. Miller, middle school at Stephenson, and high school at Arabia Mountain. As a result, he became comfortable being the new kid.

“All my life I’ve been used to starting over,” LoKii admits. “Every single time, I had to make completely brand-new friends. I had to readjust and adapt [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[in order] to try and find a way to mesh with new people.”

Applying those tactics to his music, he began to approach his diverging interests in rap and R&B as if they were different languages, ultimately separating the two sides of his musical identity in his output. Although he had built a buzz on his Instagram by posting well-received freestyle videos, LoKii opted to release the R&B-laden record ''M T'' last summer. The project didn’t feature any rapping from the Redan-bred artist, but it gained steam nevertheless.

“After I put out ''M T'', I was really just putting out R&B for about six months,” he says. “I told myself that I’ve gotta go back to all of who I am.”

Now — due to the mischievous satisfaction he gets from twisting the expectations of his listeners, an inward yearning to show off his lyrical chops, and the turn of a new decade — LoKii has embraced his duality as a singer and a rapper in “Juug,” his first statement of 2020. The explosive two-minute single, delivered alongside a companion music video, amassed over 13,000 views in the first month.

The brainchild of LoKii and his cousin Khalid Johnson, the video showcases the  20-year-old’s deep cultural roots in DeKalb and experiences attending college at Georgia Tech. Clips of Glenwood Road and a Mrs. Winners restaurant add character to the visual just as much as the scenes shot on Tech’s campus, with pop-culture references to ''Pulp Fiction'' and King Vader’s viral videos adding welcome doses of comedy and stylistic flare.

For the Eastside artist, now is not the time to rest. Hard at work on his most versatile project yet, LoKii is eyeing a fall release for the upcoming record but reveals that additional singles are scheduled to release over the coming weeks and months.

An artist who envisions platinum plaques and Grammy nominations on the horizon, LoKii AD’s set-up is clear when he recites the final line of “Juug”: “We finna hit, I got a hunch.” Whether or not you’re cool with it, he’s taking your streams, your views, and everything you’ve got to help him reach his dreams.

Give it up — the clock is ticking."
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For the first six seconds of LoKii AD’s latest single, “Juug,” the sound of a clock is all that reverberates throughout an otherwise empty soundscape. Time is ticking, setting a tone of urgency that builds as soon as the 20-year-old artist delivers the cold opening lines — “I got folks in the 6, folks in the 1/Bro in the 3 hit the coast like Lebron/Big bro in the hills, lil bro in the slums/They down to pull up whenever I want.”

A nod to the scamming, robbing, and finessing that LoKii witnessed while growing up in DeKalb County, “Juug” perfectly captures the frantic energy of its subject matter and features an exuberant hook that channels a bittersweet fondness for what many listeners know all too well.

“I remember when I was four or five years old, I was outside when somebody literally walked up and stole someone’s AC unit,” he says, laughing. “I was just watching it happen until my uncle finally told me to go back inside.”

No longer the  naive bystander of his childhood in Redan, LoKii embodies the chaos around him on his latest single, sharing stories over its sinister synths. Tongue-twisting wordplay parallels the expositions about his studies at Georgia Tech and time spent working at UPS with sly references to guns and drug dealing. Initially, LoKii appears to be a good kid trapped in a mad city, but after meeting with him, it’s clear that he’s actually the one facilitating the stickup. What he wants is your immediate attention and support.

Born Antonio Lucas, LoKii AD is a producer, singer, rapper, and songwriter who specializes in creating trap-inspired R&B and lyrically robust hip-hop. Inspired by both his low-key nature as well as the Norse god Loki, his stage name is just the tip of the iceberg when it comes to the duality that characterizes his existence as an artist and a young man.

“I kind of relate to the god of mischief because my mellow attitude is deceiving,” LoKii says. “If you see me in public and go back and listen to some of my tracks, you’ll think, ‘Dang, is this the same dude?’”

Yet somehow, it is the same dude. LoKii studies mechanical engineering at Georgia Tech while simultaneously knocking out performances at events featuring well-known rising hip-hop and R&B acts such as Wave Chapelle, Melodik, and Josh Waters. It’s incredible how his warring worlds intersect so gracefully, but LoKii has a lot of experience in code-switching.

Throughout his primary and secondary education, he sidestepped the typical school-to-school pipeline that most of his classmates followed. He attended elementary school at Eldridge L. Miller, middle school at Stephenson, and high school at Arabia Mountain. As a result, he became comfortable being the new kid.

“All my life I’ve been used to starting over,” LoKii admits. “Every single time, I had to make completely brand-new friends. I had to readjust and adapt [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[in order] to try and find a way to mesh with new people.”

Applying those tactics to his music, he began to approach his diverging interests in rap and R&B as if they were different languages, ultimately separating the two sides of his musical identity in his output. Although he had built a buzz on his Instagram by posting well-received freestyle videos, LoKii opted to release the R&B-laden record M T last summer. The project didn’t feature any rapping from the Redan-bred artist, but it gained steam nevertheless.

“After I put out M T, I was really just putting out R&B for about six months,” he says. “I told myself that I’ve gotta go back to all of who I am.”

Now — due to the mischievous satisfaction he gets from twisting the expectations of his listeners, an inward yearning to show off his lyrical chops, and the turn of a new decade — LoKii has embraced his duality as a singer and a rapper in “Juug,” his first statement of 2020. The explosive two-minute single, delivered alongside a companion music video, amassed over 13,000 views in the first month.

The brainchild of LoKii and his cousin Khalid Johnson, the video showcases the  20-year-old’s deep cultural roots in DeKalb and experiences attending college at Georgia Tech. Clips of Glenwood Road and a Mrs. Winners restaurant add character to the visual just as much as the scenes shot on Tech’s campus, with pop-culture references to Pulp Fiction and King Vader’s viral videos adding welcome doses of comedy and stylistic flare.

For the Eastside artist, now is not the time to rest. Hard at work on his most versatile project yet, LoKii is eyeing a fall release for the upcoming record but reveals that additional singles are scheduled to release over the coming weeks and months.

An artist who envisions platinum plaques and Grammy nominations on the horizon, LoKii AD’s set-up is clear when he recites the final line of “Juug”: “We finna hit, I got a hunch.” Whether or not you’re cool with it, he’s taking your streams, your views, and everything you’ve got to help him reach his dreams.

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  string(15213) "!!THURSDAY, MARCH 5

TRIGGER HIPPY, Aisle 5. Returning soon after their December 2019 appearance, the revamped Trigger Hippy features ex-Black Crowes drummer Steve Gorman (who recently penned a book about his time and misadventures with the band) and Nashville bassist Nick Govrik, now joined by lead singer and occasional sax player Amber Woodhouse. The result is soulful, bluesy, and occasionally funky Southern rock not far from Wet Willie or a scaled-down Tedeschi Trucks Band. — Hal Horowitz

::::

!!FRIDAY, MARCH 6
KRISTEN ENGLENZ, Eddie’s Attic. This CD-release show celebrates hometown girl (now in Nashville) Englenz’s new ingénue'' debut. The singer/songwriter/multi-instrumentalist’s (hopefully she’ll display her French horn talents) disc was produced by ex-Wilco drummer Ken Coomer and features Englenz’s sultry voice on swampy, Southern folk rockers that find an elusive soulful groove. — HH
WILL HOGE/JULIE GRIBBLE, Gypsy Rose — Marietta. Get up close and personal with roots rocker Hoge in this intimate venue as he unloads on the current administration with songs from 2018’s socio-political My American Dream EP. Indie singer/songwriter Gribble’s tough and tender voice and her emotional, introspective songs make a solid opener for a sure sellout. — HH
TRUE BLOSSOM, NICHOLAS MALLIS, LAVEDA, DELOREAN GRAY — Mammal Gallery Sit back and relax in the neon lit atmosphere created by True Blossom, where a girl with magenta lips whispers sweet nothings into your ear. The East Atlanta band formed in 2017 during the rise of the Atlanta synth pop scene, and is making waves with its alluring juxtapositions of sounds: comforting, yet stirring; soft, yet punchy; minimalistic, yet engaging. Singer Sophie Cox and guitarist Chandler Kelley started recording their first few songs while still in high school, and by 2019 put out their first album, Heater, with the addition of Adam Weisberg (drummer), Nadav Flax (bassist), and Jamison Murphy (synths.) The album combines influences of studio formalism, sophisti-pop, and Stereolab. Now, True Blossom are working towards their next album as well as on tour promoting this new record with dancey and mesmerizing shows. Join them at Mammal Gallery for a candy-coated night of dream pop — first they’re sweet, then they’re sour! $8-$10. 9 p.m. — Narah Landress 

!!SATURDAY MARCH 7
STURGILL SIMPSON/TYLER CHILDERS, Infinite Energy Center. How Simpson will incorporate his new album’s synth-pop heavy sound with the more organic country and singer/songwriter approach of his older albums is as unclear as how many of his old fans are on board for his rather drastic artistic transformation. No such problems for opener Kentucky born and bred Childers, whose second disc firmly built on the unvarnished country debut that made him a medium-sized venue headliner. — HH 

SUNDAY MARCH 8 
KATIE TOUPIN, Eddie’s Attic. Toupin’s unique two-person lineup — she and incredibly talented co-musician Michael Chavez play loops, synths, and organic instruments — will make you think there is a full band on stage as Toupin sings dark, bluesy pop with luminous, sultry vocals. The singer/songwriter’s 2019 Magnetic Moves solo debut (she used to be in the band Houndmouth) should have been more widely heard, since it was a highlight of the year. — HH

WEDNESDAY MARCH 11 
THEM DIRTY ROSES, Eddie’s Attic. This whisky soaked Alabama quartet’s record collection seems to start and stop with the Georgia Satellites’ original trilogy from the mid-late ’80s. But since Dan Baird’s current lineup isn’t playing tonight, this is the next best thing as the Roses’ guitars crash and twang with robust red clay rocking. — HH

!!THURSDAY, MARCH 12
MARTY STUART & THE FABULOUS SUPERLATIVES – Variety Playhouse If any one performer encapsulates all the great things about country music, it is Marty Stuart. From his teen years in Lester Flatt’s band, to his time with Johnny Cash, and up through his ongoing reign as one of the most authentic and talented purveyors of the genre, Stuart continues to do it all. His commitment to promoting and maintaining the deep roots and traditions of the music shine brightly the moment he steps on stage. Touring in support of the reissue of The Pilgrim, his incredible concept album, Stuart and his amazing band of Superlatives will make it a night to remember. $35-$249. 8 p.m. — James Kelly

!!FRIDAY, MARCH 13
ERYKAH BADU, COMMON — State Farm Arena Erykah Badu and Common have a storied past together, and there is no denying their infectious chemistry on wax. Common’s soulful lyrics are the perfect compliment to Badu’s eclectic funk, and the sweet serenade of their Grammy-winning song “Love of my Life (An Ode to Hip-Hop)” showcases how well the two work and sound together. Seeing a neo-soul legend and a hip-hop pioneer in a stadium setting is an opportunity you shouldn’t pass up — this is one for the books. $59-$250+. 8 p.m. — Joshua Robinson
KEVN KINNEY, Hunt House — Marietta. The Drivin N Cryin frontman/founder is even more engaging when unplugged and solo than when he’s tearing it up with his veteran band. You never know where he’s going musically (although you can usually bet on hearing “Straight to Hell”) and his between-song chatter is also unpredictable but always witty and charming. SOLD OUT. — HH

!!SATURDAY MARCH 14
MARC BROUSSARD, Variety Playhouse. Louisiana roots/soul/blues belter Broussard has been touring and releasing albums for over 15 years, and knows how to deliver a riveting performance. His catalog is wildly eclectic, ranging from a recent children’s album of lullabies to covers of R&B classics and live acoustic sets, so you never know what you’ll get. But you can count on a professional show and him killing it on “Lonely Night in Georgia.” — HH

!!MONDAY MARCH 16 
Walter Trout, Terminal West. The title of electrifying blues rocker Trout’s latest is Survivor Blues, and that’s an understatement. He’s had a series of health scares since a liver transplant in 2014, so the fact that he’s back touring and grinding out one-nighters at his age (late 60s) is pretty remarkable. Better yet, his blistering guitar hasn’t lost a step throughout the ordeal. — HH

!!WEDNESDAY MARCH 18
John Moreland/Justin Peter Kinkel-Schuster, Terminal West. Oklahoma folk/country/Americana singer/songwriter Moreland has a gruff voice that brings out the bluesy undercurrents of his emotional songs. He’ll be playing tracks from his new, swampy LP5 set, arguably his finest yet. Arrive early for opener Kinkel-Schuster, whose reserved yet ringing folk rockers are expressive and powerful. — HH

!!THURSDAY, MARCH 19
CRIS JACOBS BAND, Eddie’s Attic. His name might not be well known but Jacobs and his taut, groove-oriented band will blow the roof off Eddie’s with their combination of tough, Petty-styled Americana, country rocking, and jaw-dropping instrumental chops. His recent Color Where You Are album is just a teaser for what this talented band can do live. He won’t be playing places this intimate for long, so catch him now. — HH
WAYLON PAYNE, DOUG SEEGERS, GARRETT WHEELER — Smith’s Olde Bar The second generation of country music royalty is among us, and Waylon Payne (son of singer Sammi Smith and guitarist Jody Payne) does not need his parent’s laurels to define his place in the industry. An incredibly talented songwriter, musician, and actor, Payne has his own impeccable credentials to trumpet. While the contemporary Nashville songwriting machines may crank out pointless ditties, Payne’s work is on a different level, much more intelligent and thoughtful than the mainstream radio drivel. With fellow singer-songwriters Doug Seegers and Atlanta’s Garrett Wheeler on hand, you can expect some heartfelt and insightful tunes. $15. 6:30 p.m. (doors) — JK

!!FRIDAY, MARCH 20
RARE CREATURES, THE HAILS, LITTLE BIRD — Smith’s Olde Bar Formed by guitarist and vocalist Jay Hurtt and guitarist James Rubush in Annapolis in 2014, pop funk band Little Bird plays ambient soul music with sensual crooning and lively beats. Their jazzy new release, Familiar, delivers a genre bending, funky experience to what can otherwise be a repetitive indie scene, with surfy guitar riffs, sparkling synths, fluttering piano, and steady beats. Each song sounds as if it’s echoing across the walls of a dimly lit basement. In concert, Little Bird creates a similarly raw and intimate experience from the stage. $10-$13. 8  p.m. — NL 
POST ANIMAL, TWEN — Masquerade (Purgatory) Imagine punk rock married to psychedelia, but having an open relationship with electronic, hard rock, and glam rock, and you get Post Animal, a psyche rock group from Chicago whose range within each album is nearly as expansive as the range between albums. Formed in 2014, they released their debut record, The Garden Series, in 2016. Their newest album, Forward Motion Godyssey (2020), takes a darker turn into the matrix of music. Mellow tempos alternate with thrashing guitar riffs, carried by electronic bleeps and dings and punk style vocals, in dark ebbs and flows that invoke themes of the nature of grief and life itself. $15. 7 p.m. — NL 

!!SATURDAY MARCH 21
MICHELLE MALONE, Eddie’s Attic. Two shows 7 & 9 p.m. She’s a local icon as she somewhat reluctantly admits, but Moanin’ Malone doesn’t take her status for granted. Her taut, swampy rock, blues, and soul is steeped in a Southern sensibility, and when she tears into a slide guitar solo, it all comes together in a perfect storm of tough and tender rocking. — HH
NATHANIEL RATELIFF, Tabernacle. Soul/bluesman Rateliff cracked the big time with his booming, horn-infused rocking Night Sweats band. But he started as a low-key folk singer, which is where he returns on his new, mostly acoustic And It’s Still Alright release. How fans will react to this kinder, gentler, more sensitive, reflective, and ballad-oriented Rateliff is unclear, but since he’s playing a relatively large venue, he probably has some tricks up his sleeve. — HH

!!SATURDAY MARCH 21 and SUNDAY MARCH 22
CHICKEN RAID BLUES FESTIVAL, Waller’s Coffee Shop. See feature in Blues & Beyond. — HH

!!MONDAY MARCH 23
LEGENDARY SHACKSHAKERS with SLIM CESSNA’S AUTO CLUB, The EARL. Other than frontman and founding multitalented (banjo, harmonica, author, illustrator) wildman Colonel J.D. Wilkes, it’s hard to say who else is currently in the band he has led intermittently since 2001. Their latest album of unhinged swampy bluegrass, blues, and rockabilly was recorded live at Sun Studios, which should give you a good indication of the raw, rollicking sound. Hopefully local guitarist Rod Hamdallah, who has played in various Wilkes’ bands, will be along for this ride. — HH
 
::::
 
!!WEDNESDAY, MARCH 25
CHARLOTTE DOS SANTOS, YANG, FLWR CHYLD — 529 Less than two weeks after dropping her Harvest Time EP, Brazilian-Norwegian artist Charlotte Dos Santos makes the trek to Atlanta for a jazzy evening of music. The show serves as the penultimate stop of her first North American Tour, and local talents Yang and Flwr Chyld are slated as openers. With such a talented bunch of songwriters and composers, the night is sure to be soulful and instrumentally rich. $12. 9 p.m. — JR

!!THURSDAY MARCH 26
BOTTLEROCKETS, Eddie’s Attic. After nearly 30 years of one-nighters and over a dozen rocking Americana albums, it’s a mystery why this Brian Henneman-led quartet isn’t more popular. Henneman’s literate, never pretentious songs capture the frustration of the working class with insight and sometimes surprising humor, and the band always tears it up live. If you haven’t experienced the Bottlerockets yet, now’s your chance to see what you’ve been missing for the past three decades. — HH

!!FRIDAY, MARCH 27
THE QUEENDOM — Mammal Gallery Rocket Rhonnie and AUDIADASOUND, this month’s stars of ATL Untrapped, have many major performances this month, and their upcoming show at Mammal Gallery is more than a one-off gig. The Queendom is set to perform at My Illegal Body II, a benefit concert for the Latino Community Fund. After a run at Ad•verse Fest in Athens and SXSW in Austin, Texas, the ladies return to the city for a homecoming show that means something. $10-$20. 9 p.m. — JR

!!SATURDAY, MARCH 28
DABABY, LIL BABY, WALE — State Farm Arena V103 has announced the powerhouse line-up to their upcoming V103 Live event, and it promises to be lit no matter which Baby you prefer — DaBaby or Lil Baby. In addition to the babies, veteran hip-hop poet Wale, Edgewood’s own Trouble, and social media starlet Kayla Nicole round out the bill. Even though Babyfest would have been a hilarious and apropos name for the star-studded event, it’s all good because the show is an extremely cost-efficient way to see two of the biggest rappers in music right now. $63-$124+. 8 p.m. — JR
KERMIT RUFFINS, City Winery. Ruffins is a colorful New Orleans veteran whose brash, bold trumpet and vocals encompass the history of jazz and blues in that storied music mecca. He doesn’t play here often, so take advantage of this gig to get in on a little post-Mardi Gras fun. — HH

!!TUESDAY, MARCH 31
RODNEY CROWELL — City Winery The total package of being a singer-songwriter AND a great performer is a gift, and Rodney Crowell has been delivering it for five decades. He seems to reinvent himself with each new album, and stage time with Emmylou Harris, and his ex, Rosanne Cash, have sharpened his wit and relationship with his audience. Some people simply observe and reflect the toils of life, and some prove that they have actually lived it. With a ton of great material (and a new album, Texas) to choose from, Crowell guarantees a wonderful and insightful evening, with equal parts laughter and tears. SOLD OUT. 8 p.m. — JK

!!WEDNESDAY APRIL 1
KENNY WAYNE SHEPPARD BAND/SAMANTHA FISH, Center Stage. This dynamic double bill of youngish but established blues rockers matches the serious guitar chops of Shepherd and Fish with solid, mostly original material. Both are touring behind well-received 2019 albums that display their prowess as songwriters as well as guitar slingers. Hopefully they will share the stage together, which in itself should be worth the price of admission. — HH

!!FRIDAY APRIL 3
The Music of Cream plays Disraeli Gears, Center Stage. The son of Ginger Baker (drummer Kofi Baker) with Eric Clapton’s nephew guitarist Will Johns are as close as we’ll get to the original power trio these days. Along with Sean McNabb (bass, vocals) and Chris Shutters (guitar, keyboards, vocals), they’re touring to reproduce Cream’s 1969 classic Disraeli Gears, arguably the band’s finest and most cohesive studio set. But since that album is barely a half hour long, expect plenty of other Cream gems and of course a lengthy drum solo, to expand the set. Bring your own air guitar. No, Jack Bruce’s son Malcolm Bruce is not along for the 2020 tour. — HH ''"
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__TRIGGER HIPPY, Aisle 5.__ Returning soon after their December 2019 appearance, the revamped Trigger Hippy features ex-Black Crowes drummer Steve Gorman (who recently penned a book about his time and misadventures with the band) and Nashville bassist Nick Govrik, now joined by lead singer and occasional sax player Amber Woodhouse. The result is soulful, bluesy, and occasionally funky Southern rock not far from Wet Willie or a scaled-down Tedeschi Trucks Band. __— Hal Horowitz__

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!!__FRIDAY, MARCH 6__
__KRISTEN ENGLENZ, Eddie’s Attic.__ This CD-release show celebrates hometown girl (now in Nashville) Englenz’s new ''ingénue'''' debut. The singer/songwriter/multi-instrumentalist’s (hopefully she’ll display her French horn talents) disc was produced by ex-Wilco drummer Ken Coomer and features Englenz’s sultry voice on swampy, Southern folk rockers that find an elusive soulful groove. __— HH__
__WILL HOGE/JULIE GRIBBLE, Gypsy Rose — Marietta.__ Get up close and personal with roots rocker Hoge in this intimate venue as he unloads on the current administration with songs from 2018’s socio-political ''My American Dream'' EP. Indie singer/songwriter Gribble’s tough and tender voice and her emotional, introspective songs make a solid opener for a sure sellout. __— HH__
__TRUE BLOSSOM, NICHOLAS MALLIS, LAVEDA, DELOREAN GRAY — Mammal Gallery__ Sit back and relax in the neon lit atmosphere created by True Blossom, where a girl with magenta lips whispers sweet nothings into your ear. The East Atlanta band formed in 2017 during the rise of the Atlanta synth pop scene, and is making waves with its alluring juxtapositions of sounds: comforting, yet stirring; soft, yet punchy; minimalistic, yet engaging. Singer Sophie Cox and guitarist Chandler Kelley started recording their first few songs while still in high school, and by 2019 put out their first album, ''Heater'', with the addition of Adam Weisberg (drummer), Nadav Flax (bassist), and Jamison Murphy (synths.) The album combines influences of studio formalism, sophisti-pop, and Stereolab. Now, True Blossom are working towards their next album as well as on tour promoting this new record with dancey and mesmerizing shows. Join them at Mammal Gallery for a candy-coated night of dream pop — first they’re sweet, then they’re sour! $8-$10. 9 p.m. __— Narah Landress__ 

!!__SATURDAY MARCH 7__
__STURGILL SIMPSON/TYLER CHILDERS, Infinite Energy Center.__ How Simpson will incorporate his new album’s synth-pop heavy sound with the more organic country and singer/songwriter approach of his older albums is as unclear as how many of his old fans are on board for his rather drastic artistic transformation. No such problems for opener Kentucky born and bred Childers, whose second disc firmly built on the unvarnished country debut that made him a medium-sized venue headliner. __— HH__ 

__SUNDAY MARCH 8 __
__KATIE TOUPIN, Eddie’s Attic.__ Toupin’s unique two-person lineup — she and incredibly talented co-musician Michael Chavez play loops, synths, and organic instruments — will make you think there is a full band on stage as Toupin sings dark, bluesy pop with luminous, sultry vocals. The singer/songwriter’s 2019 Magnetic Moves solo debut (she used to be in the band Houndmouth) should have been more widely heard, since it was a highlight of the year. __— HH__

__WEDNESDAY MARCH 11 __
__THEM DIRTY ROSES, Eddie’s Attic.__ This whisky soaked Alabama quartet’s record collection seems to start and stop with the Georgia Satellites’ original trilogy from the mid-late ’80s. But since Dan Baird’s current lineup isn’t playing tonight, this is the next best thing as the Roses’ guitars crash and twang with robust red clay rocking. __— HH__

!!__THURSDAY, MARCH 12__
__MARTY STUART & THE FABULOUS SUPERLATIVES – Variety Playhouse__ If any one performer encapsulates all the great things about country music, it is Marty Stuart. From his teen years in Lester Flatt’s band, to his time with Johnny Cash, and up through his ongoing reign as one of the most authentic and talented purveyors of the genre, Stuart continues to do it all. His commitment to promoting and maintaining the deep roots and traditions of the music shine brightly the moment he steps on stage. Touring in support of the reissue of ''The Pilgrim'', his incredible concept album, Stuart and his amazing band of Superlatives will make it a night to remember. $35-$249. 8 p.m. __— James Kelly__

!!__FRIDAY, MARCH 13__
__ERYKAH BADU, COMMON — State Farm Arena__ Erykah Badu and Common have a storied past together, and there is no denying their infectious chemistry on wax. Common’s soulful lyrics are the perfect compliment to Badu’s eclectic funk, and the sweet serenade of their Grammy-winning song “Love of my Life (An Ode to Hip-Hop)” showcases how well the two work and sound together. Seeing a neo-soul legend and a hip-hop pioneer in a stadium setting is an opportunity you shouldn’t pass up — this is one for the books. $59-$250+. 8 p.m. __— Joshua Robinson__
__KEVN KINNEY, Hunt House — Marietta.__ The Drivin N Cryin frontman/founder is even more engaging when unplugged and solo than when he’s tearing it up with his veteran band. You never know where he’s going musically (although you can usually bet on hearing “Straight to Hell”) and his between-song chatter is also unpredictable but always witty and charming. SOLD OUT. __— HH__

!!__SATURDAY MARCH 14__
__MARC BROUSSARD, Variety Playhouse.__ Louisiana roots/soul/blues belter Broussard has been touring and releasing albums for over 15 years, and knows how to deliver a riveting performance. His catalog is wildly eclectic, ranging from a recent children’s album of lullabies to covers of R&B classics and live acoustic sets, so you never know what you’ll get. But you can count on a professional show and him killing it on “Lonely Night in Georgia.” __— HH__

!!__MONDAY MARCH 16 __
__Walter Trout, Terminal West.__ The title of electrifying blues rocker Trout’s latest is ''Survivor Blues'', and that’s an understatement. He’s had a series of health scares since a liver transplant in 2014, so the fact that he’s back touring and grinding out one-nighters at his age (late 60s) is pretty remarkable. Better yet, his blistering guitar hasn’t lost a step throughout the ordeal. __— HH__

!!__WEDNESDAY MARCH 18__
__John Moreland/Justin Peter Kinkel-Schuster, Terminal West.__ Oklahoma folk/country/Americana singer/songwriter Moreland has a gruff voice that brings out the bluesy undercurrents of his emotional songs. He’ll be playing tracks from his new, swampy LP5 set, arguably his finest yet. Arrive early for opener Kinkel-Schuster, whose reserved yet ringing folk rockers are expressive and powerful. __— HH__

!!__THURSDAY, MARCH 19__
__CRIS JACOBS BAND, Eddie’s Attic.__ His name might not be well known but Jacobs and his taut, groove-oriented band will blow the roof off Eddie’s with their combination of tough, Petty-styled Americana, country rocking, and jaw-dropping instrumental chops. His recent ''Color Where You Are'' album is just a teaser for what this talented band can do live. He won’t be playing places this intimate for long, so catch him now. __— HH__
__WAYLON PAYNE, DOUG SEEGERS, GARRETT WHEELER — Smith’s Olde Bar__ The second generation of country music royalty is among us, and Waylon Payne (son of singer Sammi Smith and guitarist Jody Payne) does not need his parent’s laurels to define his place in the industry. An incredibly talented songwriter, musician, and actor, Payne has his own impeccable credentials to trumpet. While the contemporary Nashville songwriting machines may crank out pointless ditties, Payne’s work is on a different level, much more intelligent and thoughtful than the mainstream radio drivel. With fellow singer-songwriters Doug Seegers and Atlanta’s Garrett Wheeler on hand, you can expect some heartfelt and insightful tunes. $15. 6:30 p.m. (doors) __— JK__

!!__FRIDAY, MARCH 20__
__RARE CREATURES, THE HAILS, LITTLE BIRD — Smith’s Olde Bar__ Formed by guitarist and vocalist Jay Hurtt and guitarist James Rubush in Annapolis in 2014, pop funk band Little Bird plays ambient soul music with sensual crooning and lively beats. Their jazzy new release, ''Familiar'', delivers a genre bending, funky experience to what can otherwise be a repetitive indie scene, with surfy guitar riffs, sparkling synths, fluttering piano, and steady beats. Each song sounds as if it’s echoing across the walls of a dimly lit basement. In concert, Little Bird creates a similarly raw and intimate experience from the stage. $10-$13. 8  p.m. __— NL__ 
__POST ANIMAL, TWEN — Masquerade (Purgatory)__ Imagine punk rock married to psychedelia, but having an open relationship with electronic, hard rock, and glam rock, and you get Post Animal, a psyche rock group from Chicago whose range within each album is nearly as expansive as the range between albums. Formed in 2014, they released their debut record, ''The Garden Series'', in 2016. Their newest album, ''Forward Motion Godyssey'' (2020), takes a darker turn into the matrix of music. Mellow tempos alternate with thrashing guitar riffs, carried by electronic bleeps and dings and punk style vocals, in dark ebbs and flows that invoke themes of the nature of grief and life itself. $15. 7 p.m. __— NL __

!!__SATURDAY MARCH 21__
__MICHELLE MALONE, Eddie’s Attic. Two shows 7 & 9 p.m.__ She’s a local icon as she somewhat reluctantly admits, but Moanin’ Malone doesn’t take her status for granted. Her taut, swampy rock, blues, and soul is steeped in a Southern sensibility, and when she tears into a slide guitar solo, it all comes together in a perfect storm of tough and tender rocking. __— HH__
__NATHANIEL RATELIFF, Tabernacle.__ Soul/bluesman Rateliff cracked the big time with his booming, horn-infused rocking Night Sweats band. But he started as a low-key folk singer, which is where he returns on his new, mostly acoustic ''And It’s Still Alright'' release. How fans will react to this kinder, gentler, more sensitive, reflective, and ballad-oriented Rateliff is unclear, but since he’s playing a relatively large venue, he probably has some tricks up his sleeve. __— HH__

!!__SATURDAY MARCH 21 and SUNDAY MARCH 22__
__CHICKEN RAID BLUES FESTIVAL, Waller’s Coffee Shop.__ See feature in Blues & Beyond. __— HH__

!!__MONDAY MARCH 23__
__LEGENDARY SHACKSHAKERS with SLIM CESSNA’S AUTO CLUB, The EARL.__ Other than frontman and founding multitalented (banjo, harmonica, author, illustrator) wildman Colonel J.D. Wilkes, it’s hard to say who else is currently in the band he has led intermittently since 2001. Their latest album of unhinged swampy bluegrass, blues, and rockabilly was recorded live at Sun Studios, which should give you a good indication of the raw, rollicking sound. Hopefully local guitarist Rod Hamdallah, who has played in various Wilkes’ bands, will be along for this ride. __— HH__
 
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!!__WEDNESDAY, MARCH 25__
__CHARLOTTE DOS SANTOS, YANG, FLWR CHYLD — 529__ Less than two weeks after dropping her ''Harvest Time'' EP, Brazilian-Norwegian artist Charlotte Dos Santos makes the trek to Atlanta for a jazzy evening of music. The show serves as the penultimate stop of her first North American Tour, and local talents Yang and Flwr Chyld are slated as openers. With such a talented bunch of songwriters and composers, the night is sure to be soulful and instrumentally rich. $12. 9 p.m. __— JR__

!!__THURSDAY MARCH 26__
__BOTTLEROCKETS, Eddie’s Attic.__ After nearly 30 years of one-nighters and over a dozen rocking Americana albums, it’s a mystery why this Brian Henneman-led quartet isn’t more popular. Henneman’s literate, never pretentious songs capture the frustration of the working class with insight and sometimes surprising humor, and the band always tears it up live. If you haven’t experienced the Bottlerockets yet, now’s your chance to see what you’ve been missing for the past three decades. __— HH__

!!__FRIDAY, MARCH 27__
__THE QUEENDOM — Mammal Gallery__ Rocket Rhonnie and AUDIADASOUND, this month’s stars of ATL Untrapped, have many major performances this month, and their upcoming show at Mammal Gallery is more than a one-off gig. The Queendom is set to perform at My Illegal Body II, a benefit concert for the Latino Community Fund. After a run at Ad•verse Fest in Athens and SXSW in Austin, Texas, the ladies return to the city for a homecoming show that means something. $10-$20. 9 p.m. __— JR__

!!__SATURDAY, MARCH 28__
__DABABY, LIL BABY, WALE — State Farm Arena__ V103 has announced the powerhouse line-up to their upcoming V103 Live event, and it promises to be lit no matter which Baby you prefer — DaBaby or Lil Baby. In addition to the babies, veteran hip-hop poet Wale, Edgewood’s own Trouble, and social media starlet Kayla Nicole round out the bill. Even though Babyfest would have been a hilarious and apropos name for the star-studded event, it’s all good because the show is an extremely cost-efficient way to see two of the biggest rappers in music right now. $63-$124+. 8 p.m. __— JR__
__KERMIT RUFFINS, City Winery.__ Ruffins is a colorful New Orleans veteran whose brash, bold trumpet and vocals encompass the history of jazz and blues in that storied music mecca. He doesn’t play here often, so take advantage of this gig to get in on a little post-Mardi Gras fun. __— HH__

!!__TUESDAY, MARCH 31__
__RODNEY CROWELL — City Winery__ The total package of being a singer-songwriter AND a great performer is a gift, and Rodney Crowell has been delivering it for five decades. He seems to reinvent himself with each new album, and stage time with Emmylou Harris, and his ex, Rosanne Cash, have sharpened his wit and relationship with his audience. Some people simply observe and reflect the toils of life, and some prove that they have actually lived it. With a ton of great material (and a new album, ''Texas'') to choose from, Crowell guarantees a wonderful and insightful evening, with equal parts laughter and tears. SOLD OUT. 8 p.m. __— JK__

!!__WEDNESDAY APRIL 1__
__KENNY WAYNE SHEPPARD BAND/SAMANTHA FISH, Center Stage.__ This dynamic double bill of youngish but established blues rockers matches the serious guitar chops of Shepherd and Fish with solid, mostly original material. Both are touring behind well-received 2019 albums that display their prowess as songwriters as well as guitar slingers. Hopefully they will share the stage together, which in itself should be worth the price of admission. __— HH__

!!__FRIDAY APRIL 3__
__The Music of Cream plays ____''Disraeli Gears''____, Center Stage.__ The son of Ginger Baker (drummer Kofi Baker) with Eric Clapton’s nephew guitarist Will Johns are as close as we’ll get to the original power trio these days. Along with Sean McNabb (bass, vocals) and Chris Shutters (guitar, keyboards, vocals), they’re touring to reproduce Cream’s 1969 classic ''Disraeli Gears'', arguably the band’s finest and most cohesive studio set. But since that album is barely a half hour long, expect plenty of other Cream gems and of course a lengthy drum solo, to expand the set. Bring your own air guitar. [[No, Jack Bruce’s son Malcolm Bruce is not along for the 2020 tour.] __— HH__ ''"
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  string(16258) " MM Pic Poguetry 1 Pc Zach Smith Web  2020-03-03T19:34:13+00:00 MM_pic_Poguetry_1_pc_Zach_Smith_web.jpg    musicmenu  29696  2020-03-03T19:25:16+00:00 Music Menu - March 2020 jim.harris@creativeloafing.com Jim Harris Hal Horowitz, James Kelly, Narah Landress, and Joshua Robinson  2020-03-03T19:25:16+00:00  !!THURSDAY, MARCH 5

TRIGGER HIPPY, Aisle 5. Returning soon after their December 2019 appearance, the revamped Trigger Hippy features ex-Black Crowes drummer Steve Gorman (who recently penned a book about his time and misadventures with the band) and Nashville bassist Nick Govrik, now joined by lead singer and occasional sax player Amber Woodhouse. The result is soulful, bluesy, and occasionally funky Southern rock not far from Wet Willie or a scaled-down Tedeschi Trucks Band. — Hal Horowitz

::::

!!FRIDAY, MARCH 6
KRISTEN ENGLENZ, Eddie’s Attic. This CD-release show celebrates hometown girl (now in Nashville) Englenz’s new ingénue'' debut. The singer/songwriter/multi-instrumentalist’s (hopefully she’ll display her French horn talents) disc was produced by ex-Wilco drummer Ken Coomer and features Englenz’s sultry voice on swampy, Southern folk rockers that find an elusive soulful groove. — HH
WILL HOGE/JULIE GRIBBLE, Gypsy Rose — Marietta. Get up close and personal with roots rocker Hoge in this intimate venue as he unloads on the current administration with songs from 2018’s socio-political My American Dream EP. Indie singer/songwriter Gribble’s tough and tender voice and her emotional, introspective songs make a solid opener for a sure sellout. — HH
TRUE BLOSSOM, NICHOLAS MALLIS, LAVEDA, DELOREAN GRAY — Mammal Gallery Sit back and relax in the neon lit atmosphere created by True Blossom, where a girl with magenta lips whispers sweet nothings into your ear. The East Atlanta band formed in 2017 during the rise of the Atlanta synth pop scene, and is making waves with its alluring juxtapositions of sounds: comforting, yet stirring; soft, yet punchy; minimalistic, yet engaging. Singer Sophie Cox and guitarist Chandler Kelley started recording their first few songs while still in high school, and by 2019 put out their first album, Heater, with the addition of Adam Weisberg (drummer), Nadav Flax (bassist), and Jamison Murphy (synths.) The album combines influences of studio formalism, sophisti-pop, and Stereolab. Now, True Blossom are working towards their next album as well as on tour promoting this new record with dancey and mesmerizing shows. Join them at Mammal Gallery for a candy-coated night of dream pop — first they’re sweet, then they’re sour! $8-$10. 9 p.m. — Narah Landress 

!!SATURDAY MARCH 7
STURGILL SIMPSON/TYLER CHILDERS, Infinite Energy Center. How Simpson will incorporate his new album’s synth-pop heavy sound with the more organic country and singer/songwriter approach of his older albums is as unclear as how many of his old fans are on board for his rather drastic artistic transformation. No such problems for opener Kentucky born and bred Childers, whose second disc firmly built on the unvarnished country debut that made him a medium-sized venue headliner. — HH 

SUNDAY MARCH 8 
KATIE TOUPIN, Eddie’s Attic. Toupin’s unique two-person lineup — she and incredibly talented co-musician Michael Chavez play loops, synths, and organic instruments — will make you think there is a full band on stage as Toupin sings dark, bluesy pop with luminous, sultry vocals. The singer/songwriter’s 2019 Magnetic Moves solo debut (she used to be in the band Houndmouth) should have been more widely heard, since it was a highlight of the year. — HH

WEDNESDAY MARCH 11 
THEM DIRTY ROSES, Eddie’s Attic. This whisky soaked Alabama quartet’s record collection seems to start and stop with the Georgia Satellites’ original trilogy from the mid-late ’80s. But since Dan Baird’s current lineup isn’t playing tonight, this is the next best thing as the Roses’ guitars crash and twang with robust red clay rocking. — HH

!!THURSDAY, MARCH 12
MARTY STUART & THE FABULOUS SUPERLATIVES – Variety Playhouse If any one performer encapsulates all the great things about country music, it is Marty Stuart. From his teen years in Lester Flatt’s band, to his time with Johnny Cash, and up through his ongoing reign as one of the most authentic and talented purveyors of the genre, Stuart continues to do it all. His commitment to promoting and maintaining the deep roots and traditions of the music shine brightly the moment he steps on stage. Touring in support of the reissue of The Pilgrim, his incredible concept album, Stuart and his amazing band of Superlatives will make it a night to remember. $35-$249. 8 p.m. — James Kelly

!!FRIDAY, MARCH 13
ERYKAH BADU, COMMON — State Farm Arena Erykah Badu and Common have a storied past together, and there is no denying their infectious chemistry on wax. Common’s soulful lyrics are the perfect compliment to Badu’s eclectic funk, and the sweet serenade of their Grammy-winning song “Love of my Life (An Ode to Hip-Hop)” showcases how well the two work and sound together. Seeing a neo-soul legend and a hip-hop pioneer in a stadium setting is an opportunity you shouldn’t pass up — this is one for the books. $59-$250+. 8 p.m. — Joshua Robinson
KEVN KINNEY, Hunt House — Marietta. The Drivin N Cryin frontman/founder is even more engaging when unplugged and solo than when he’s tearing it up with his veteran band. You never know where he’s going musically (although you can usually bet on hearing “Straight to Hell”) and his between-song chatter is also unpredictable but always witty and charming. SOLD OUT. — HH

!!SATURDAY MARCH 14
MARC BROUSSARD, Variety Playhouse. Louisiana roots/soul/blues belter Broussard has been touring and releasing albums for over 15 years, and knows how to deliver a riveting performance. His catalog is wildly eclectic, ranging from a recent children’s album of lullabies to covers of R&B classics and live acoustic sets, so you never know what you’ll get. But you can count on a professional show and him killing it on “Lonely Night in Georgia.” — HH

!!MONDAY MARCH 16 
Walter Trout, Terminal West. The title of electrifying blues rocker Trout’s latest is Survivor Blues, and that’s an understatement. He’s had a series of health scares since a liver transplant in 2014, so the fact that he’s back touring and grinding out one-nighters at his age (late 60s) is pretty remarkable. Better yet, his blistering guitar hasn’t lost a step throughout the ordeal. — HH

!!WEDNESDAY MARCH 18
John Moreland/Justin Peter Kinkel-Schuster, Terminal West. Oklahoma folk/country/Americana singer/songwriter Moreland has a gruff voice that brings out the bluesy undercurrents of his emotional songs. He’ll be playing tracks from his new, swampy LP5 set, arguably his finest yet. Arrive early for opener Kinkel-Schuster, whose reserved yet ringing folk rockers are expressive and powerful. — HH

!!THURSDAY, MARCH 19
CRIS JACOBS BAND, Eddie’s Attic. His name might not be well known but Jacobs and his taut, groove-oriented band will blow the roof off Eddie’s with their combination of tough, Petty-styled Americana, country rocking, and jaw-dropping instrumental chops. His recent Color Where You Are album is just a teaser for what this talented band can do live. He won’t be playing places this intimate for long, so catch him now. — HH
WAYLON PAYNE, DOUG SEEGERS, GARRETT WHEELER — Smith’s Olde Bar The second generation of country music royalty is among us, and Waylon Payne (son of singer Sammi Smith and guitarist Jody Payne) does not need his parent’s laurels to define his place in the industry. An incredibly talented songwriter, musician, and actor, Payne has his own impeccable credentials to trumpet. While the contemporary Nashville songwriting machines may crank out pointless ditties, Payne’s work is on a different level, much more intelligent and thoughtful than the mainstream radio drivel. With fellow singer-songwriters Doug Seegers and Atlanta’s Garrett Wheeler on hand, you can expect some heartfelt and insightful tunes. $15. 6:30 p.m. (doors) — JK

!!FRIDAY, MARCH 20
RARE CREATURES, THE HAILS, LITTLE BIRD — Smith’s Olde Bar Formed by guitarist and vocalist Jay Hurtt and guitarist James Rubush in Annapolis in 2014, pop funk band Little Bird plays ambient soul music with sensual crooning and lively beats. Their jazzy new release, Familiar, delivers a genre bending, funky experience to what can otherwise be a repetitive indie scene, with surfy guitar riffs, sparkling synths, fluttering piano, and steady beats. Each song sounds as if it’s echoing across the walls of a dimly lit basement. In concert, Little Bird creates a similarly raw and intimate experience from the stage. $10-$13. 8  p.m. — NL 
POST ANIMAL, TWEN — Masquerade (Purgatory) Imagine punk rock married to psychedelia, but having an open relationship with electronic, hard rock, and glam rock, and you get Post Animal, a psyche rock group from Chicago whose range within each album is nearly as expansive as the range between albums. Formed in 2014, they released their debut record, The Garden Series, in 2016. Their newest album, Forward Motion Godyssey (2020), takes a darker turn into the matrix of music. Mellow tempos alternate with thrashing guitar riffs, carried by electronic bleeps and dings and punk style vocals, in dark ebbs and flows that invoke themes of the nature of grief and life itself. $15. 7 p.m. — NL 

!!SATURDAY MARCH 21
MICHELLE MALONE, Eddie’s Attic. Two shows 7 & 9 p.m. She’s a local icon as she somewhat reluctantly admits, but Moanin’ Malone doesn’t take her status for granted. Her taut, swampy rock, blues, and soul is steeped in a Southern sensibility, and when she tears into a slide guitar solo, it all comes together in a perfect storm of tough and tender rocking. — HH
NATHANIEL RATELIFF, Tabernacle. Soul/bluesman Rateliff cracked the big time with his booming, horn-infused rocking Night Sweats band. But he started as a low-key folk singer, which is where he returns on his new, mostly acoustic And It’s Still Alright release. How fans will react to this kinder, gentler, more sensitive, reflective, and ballad-oriented Rateliff is unclear, but since he’s playing a relatively large venue, he probably has some tricks up his sleeve. — HH

!!SATURDAY MARCH 21 and SUNDAY MARCH 22
CHICKEN RAID BLUES FESTIVAL, Waller’s Coffee Shop. See feature in Blues & Beyond. — HH

!!MONDAY MARCH 23
LEGENDARY SHACKSHAKERS with SLIM CESSNA’S AUTO CLUB, The EARL. Other than frontman and founding multitalented (banjo, harmonica, author, illustrator) wildman Colonel J.D. Wilkes, it’s hard to say who else is currently in the band he has led intermittently since 2001. Their latest album of unhinged swampy bluegrass, blues, and rockabilly was recorded live at Sun Studios, which should give you a good indication of the raw, rollicking sound. Hopefully local guitarist Rod Hamdallah, who has played in various Wilkes’ bands, will be along for this ride. — HH
 
::::
 
!!WEDNESDAY, MARCH 25
CHARLOTTE DOS SANTOS, YANG, FLWR CHYLD — 529 Less than two weeks after dropping her Harvest Time EP, Brazilian-Norwegian artist Charlotte Dos Santos makes the trek to Atlanta for a jazzy evening of music. The show serves as the penultimate stop of her first North American Tour, and local talents Yang and Flwr Chyld are slated as openers. With such a talented bunch of songwriters and composers, the night is sure to be soulful and instrumentally rich. $12. 9 p.m. — JR

!!THURSDAY MARCH 26
BOTTLEROCKETS, Eddie’s Attic. After nearly 30 years of one-nighters and over a dozen rocking Americana albums, it’s a mystery why this Brian Henneman-led quartet isn’t more popular. Henneman’s literate, never pretentious songs capture the frustration of the working class with insight and sometimes surprising humor, and the band always tears it up live. If you haven’t experienced the Bottlerockets yet, now’s your chance to see what you’ve been missing for the past three decades. — HH

!!FRIDAY, MARCH 27
THE QUEENDOM — Mammal Gallery Rocket Rhonnie and AUDIADASOUND, this month’s stars of ATL Untrapped, have many major performances this month, and their upcoming show at Mammal Gallery is more than a one-off gig. The Queendom is set to perform at My Illegal Body II, a benefit concert for the Latino Community Fund. After a run at Ad•verse Fest in Athens and SXSW in Austin, Texas, the ladies return to the city for a homecoming show that means something. $10-$20. 9 p.m. — JR

!!SATURDAY, MARCH 28
DABABY, LIL BABY, WALE — State Farm Arena V103 has announced the powerhouse line-up to their upcoming V103 Live event, and it promises to be lit no matter which Baby you prefer — DaBaby or Lil Baby. In addition to the babies, veteran hip-hop poet Wale, Edgewood’s own Trouble, and social media starlet Kayla Nicole round out the bill. Even though Babyfest would have been a hilarious and apropos name for the star-studded event, it’s all good because the show is an extremely cost-efficient way to see two of the biggest rappers in music right now. $63-$124+. 8 p.m. — JR
KERMIT RUFFINS, City Winery. Ruffins is a colorful New Orleans veteran whose brash, bold trumpet and vocals encompass the history of jazz and blues in that storied music mecca. He doesn’t play here often, so take advantage of this gig to get in on a little post-Mardi Gras fun. — HH

!!TUESDAY, MARCH 31
RODNEY CROWELL — City Winery The total package of being a singer-songwriter AND a great performer is a gift, and Rodney Crowell has been delivering it for five decades. He seems to reinvent himself with each new album, and stage time with Emmylou Harris, and his ex, Rosanne Cash, have sharpened his wit and relationship with his audience. Some people simply observe and reflect the toils of life, and some prove that they have actually lived it. With a ton of great material (and a new album, Texas) to choose from, Crowell guarantees a wonderful and insightful evening, with equal parts laughter and tears. SOLD OUT. 8 p.m. — JK

!!WEDNESDAY APRIL 1
KENNY WAYNE SHEPPARD BAND/SAMANTHA FISH, Center Stage. This dynamic double bill of youngish but established blues rockers matches the serious guitar chops of Shepherd and Fish with solid, mostly original material. Both are touring behind well-received 2019 albums that display their prowess as songwriters as well as guitar slingers. Hopefully they will share the stage together, which in itself should be worth the price of admission. — HH

!!FRIDAY APRIL 3
The Music of Cream plays Disraeli Gears, Center Stage. The son of Ginger Baker (drummer Kofi Baker) with Eric Clapton’s nephew guitarist Will Johns are as close as we’ll get to the original power trio these days. Along with Sean McNabb (bass, vocals) and Chris Shutters (guitar, keyboards, vocals), they’re touring to reproduce Cream’s 1969 classic Disraeli Gears, arguably the band’s finest and most cohesive studio set. But since that album is barely a half hour long, expect plenty of other Cream gems and of course a lengthy drum solo, to expand the set. Bring your own air guitar. No, Jack Bruce’s son Malcolm Bruce is not along for the 2020 tour. — HH ''    Zack Smith CAJUN PUNK, F*CK YOU: Louisiana’s Lost Bayou Ramblers have proven themselves as rough ’n' ready. Just ask Bob Dylan, Tom Waits or the late Joe Strummer, who fronted the band for a while. Since 2015, Spider Stacey — yes, of THE POGUES — has fallen under their spell. Now, with the addition of original Pogues bass player Cait O’Riordan joining the fold, they perform as Poguetry, aptly taken from John Wirt’s review of them, ““When Spider Stacy and Cáit O’Riordan from the Pogues meet the Lost Bayou Ramblers they make Poguetry.” Enough said. The City Winery is the place, Thursday, March 12, the date. Don’t you dare miss it!  0,0,15    musicmenu                             Music Menu - March 2020 "
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