Blues & Beyond: Critic’s Picks for May, 2026

Each month, critic Hal Horowitz surveys a selection of performances and releases that reflect the enduring legacy and evolving traditions of blues music. May’s picks span veteran performers, contemporary artists and roots-driven sounds from across Atlanta and beyond.

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CRITIC’S PICK: Chris Smither

Sat., May 2
Chris Smither
Eddie’s Attic

Folk/bluesman Smither, now 81, has been knocking around the coffeehouse/small club scene since his 1970 debut. Most recognize him as the writer of “Love Me Like a Man” that Bonnie Raitt often performed early in her career. But his world-weary baritone voice, along with an ability to combine folk and blues with dry, emotional honesty has kept him on the road for fifty-plus years. He recently expanded to acting, playing a small part in this year’s Oscar winning short film Singers. He’ll likely mention that, but his long, respected music resume is the reason to catch him live. Listen for songs from his lates, All About the Bones (2024), one of the finest in an extensive history of releases. — Hal Horowitz
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CRITIC’S PICK: Marty Stuart and the Fabulous Superlatives

Sat., May 2
Marty Stuart and the Fabulous Superlatives
Variety Playhouse

Iconic roots singer/songwriter Stuart began his professional career in the mid-80s as a country/honky-tonk/rockabilly revivalist but was far too inventive to stay pigeonholed. He has since famously worked with Johnny Cash and released about two dozen albums that shift from gospel to psychedelic country rock, all built around his compelling voice along with one of the finest backing bands in roots music. He took another artistic side road with last year’s all instrumental Space Junk, a feisty surf/Spaghetti Western inspired collection that should sound even better live. Stuart returns often, but every show is unique; this one promises to be another rollicking evening of twang and strum. — Hal Horowitz
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CRITIC’S PICK: John Nemeth

Sat., May 2
John Nemeth
Blind Willie’s

A multiple nominee for various Blues Music Awards, Nemeth is no stranger to Atlanta or Blind Willie’s stage. A searing vocalist and tough, rugged harmonica player, he has delivered a dozen soul/blues albums since 2002. A recent concert disc, Live from the Fallout Shelter, displays his talents on a knockout 75 minute set that shows, along with his Blue Dreamers band, just how electrifying his performances are. He also contributes a track to the new BB King tribute on the ballad “Please Accept My Love,” singing alongside the album’s producer Joe Bonamassa. Nemeth’s an established veteran who never phones it in. — Hal Horowitz
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CRITIC’S PICK: The Wallflowers

Mon. May 4
The Wallflowers
Aaron Lee Tasjan, Buckhead Theater

Jacob Dylan used to have a band called The Wallflowers. Now he has virtually unknown backup musicians fulfilling that job. The group is whoever he says is in it. Regardless, tonight’s show features full performances of 1996s Bringing Down the Horse, the outfit’s biggest hit album and, more interestingly and unusually, Tom Petty’s Long After Dark. Petty and the younger Dylan were such good friends that he asked Jacob to induct him into the Rock and Roll Hall of Fame, explaining that connection. This somewhat obscures that The Wallflowers’ most recent release, 2021s Exit Wounds, and the four that came before it, didn’t exactly set the charts on fire. Still, if you were a 99X fan 30 years ago, you heard Bringing Down’s… songs on daily repeat, and will likely want to experience them performed again to relive those good old days. — Hal Horowitz
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CRITIC’S PICK: Eagles

Tues. May 5
Eagles
Tedeschi Trucks Band, Truist Park

OK, so a baseball stadium isn’t the best, or even a good, place to experience music. But with bands that have too many fans for even the Mercedes-Benz arena to hold, that’s where you’ll need to go to hear the Eagles play their hits on what might be their final go-round (this “Long Goodbye” tour is at least the third time they have announced their last set of dates). Even though only Don Henley remains from the original quartet, Joe Walsh and Timothy B. Schmit are still around from the Hotel California heyday. Vince Gill also helps with harmonies and guitar parts. Normally Tedeschi Trucks would make terrific openers, but how well their sprawling soulful rock will translate in an outdoor venue this expansive is unclear. Sure hope it doesn’t rain. — Hal Horowitz
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CRITIC’S PICK: Herbie Hancock

Tues., May 5
Herbie Hancock
Atlanta Symphony Hall

Now 85, legendary keyboardist Hancock brings a full band for this rare tour stop, only one of six in the south this year. His six decade catalog is so thick, diverse, and impressive, it’s impossible to know what to expect. But previous sets have included acoustic and electric sections and closed with the funky “Rockit,” his lone charting hit. Irrespective of what he plays, you’ll get to see a renowned jazz icon who, even at his advanced age, hasn’t lost a step. It’s unlikely he will be doing many more concerts locally; don’t miss this opportunity. — Hal Horowitz
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CRITIC’S PICK: Courtney Barnett

Wed. May 6
Courtney Barnett
Truman Sinclair, The Tabernacle

Australian indie singer/songwriter Barnett (she has since moved to LA), initially found fame in her home country, the UK and in the States (where she was nominated for a Best New Artist GRAMMY® for her 2015 debut full-length album. Four more have appeared since, with Creature of Habit, her first in five years released earlier in 2026. She will likely feature many of those songs which range from the punky strum of “Stay in Your Lane,” to the dreamier, more pop-oriented approach of “Mantis.” The new disc was especially welcome after such a long layoff, and the size of this larger auditorium speaks to the fact that she hasn’t lost any fans in the interim. Melodic LA folkie Sinclair makes a musically sympathetic opener. — Hal Horowitz
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CRITIC’S PICK: Ty Segall

Wed., May 6
Ty Segall
Upchuck, Variety Playhouse

Singer/songwriter and garage music revivalist Segall is a lot of things, but lazy is not one of them. He has only been releasing albums since 2008, but already has about two dozen. Most flit from style to style with the frequency of an over-caffeinated dachshund. He jumps from metal, to bluesy psychedelia and even quieter music on a journey to confound and confuse even his most dedicated followers. It’s likely we’ll get music from his latest incarnation as a dark, somewhat glam, rocker with retro impulses, where he landed on 2025s Possession. No matter which Segall shows up though, you’re sure to get a professional and challenging rock show with lots of guitar and attitude. A little of opener’s Upchuck’s punked-up Stooges rawk goes a long way. — Hal Horowitz
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CRITIC’S PICK: Yarn

Thurs., May 7
Yarn
Eddie’s Attic

Frontman singer/songwriter Blake Christiana has been steering this NYC-based country/Americana outfit since 2006. They have released about a dozen albums, all in the strummy folk rocking groove. Christiana writes potent lyrics, like those to the surprisingly heartfelt and serious “Play Freebird.” And even though their “Cocaine Bear” song was turned down from that movie’s producers, its story about the titular animal is truer than the flick’s wackier approach. They have become popular enough in the Northeast to host their own annual festival, Yarnival, in Virginia, for the past five years and have been nominated for four GRAMMY awards. Yarn will feature music from the recently released Saturday Night Sermon. This will likely sell out, plan accordingly. — Hal Horowitz
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CRITIC’S PICK: Chris Knight

Thurs., May 7
Chris Knight
Mic Harrison, Eddie Owen Presents at Red Clay

Hard touring outlaw country swamp rocker Knight is no stranger to the Atlanta area. He has been a regular at Eddie’s Attic for years but moves OTP to continue his relationship with Owen at this Duluth theatre. The larger venue and stage adapt especially well to Knight’s gritty, tough storytelling music, often compared to that of Steve Earle, with throaty vocals similar to Paul Thorn. His songs are as gritty and hard-nosed as his characters, many derived from encounters in his Kentucky home state. Opener Americana rocker Harrison has been a member of the V-Roys, Superdrag and, for the past 20 years, The High Score. This is a great double bill of uncompromising American rocking. — Hal Horowitz
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CRITIC’S PICK: Kim Richey Trio

Thurs., May 7
Kim Richey Trio
From the Earth Brewery

For a while in the late ‘90s-early ‘00s it seemed like Americana singer/songwriter Richey was going to be a big star, at least based on the quality and attention her first batch of albums generated. But, despite constant touring and plenty of critical acclaim, that hasn’t happened. It hasn’t stop Richey from recording terrific titles for scrappy indie Yep Roc who continue to release her work. The latest, Every New Beginning (2024), is another classy, melodic slice of folk/rock that should have topped the Americana charts. Her supple voice and knack for crafting quality songs is especially evident when they are stripped down to a trio format as in tonight’s show. Better yet, it’s free. Take advantage of this opportunity to see one of the country’s finest and most overlooked singer/songwriters. — Hal Horowitz
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CRITIC’S PICK: St. Paul and the Broken Bones

Fri., May 8
St. Paul and the Broken Bones
Brother Wallace, The Eastern

Paul Janeway has lent his powerful blue-eyed soul pipes leading Alabama’s Broken Bones for over a decade. The band’s music has often strayed from its ‘60s Memphis R&B roots into more psychedelic areas that were interesting, but lost some of the natural grit and guts of their earlier approach. The ship was righted with last year’s self-titled album which found them returning to those tougher Southern roots with songs that were some of the best they had written. Between the horns and Janeway’s magnetic stage presence, these guys connect live and deliver impassioned shows. Arrive early for rootsy soulman Brother Wallace whose sweet, retro Motown-styled pop-soul from his new Electric Love debut makes a great double bill. — Hal Horowitz
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CRITIC’S PICK: Brandon Santini

Fri., May 8
Brandon Santini
Blind Willie’s

Harpist/singer Santini was already an established veteran of the contemporary blues scene when he released last year’s Which Way Do We Go. With a powerful socio-political stance, and tautly crafted songs, it was a highlight of the genre, generating four nominations for the Blues Music Awards (they haven’t been handed out yet). The honor is well-deserved for Santini, whose dynamic live shows are as impressive as his studio recording. His work on the swamp-drenched “Mile After Mile,” the track nominated for Best Blues Song, captures a dark, gritty, ominous sound, similar to that of Charlie Musselwhite, far from anything commercially-oriented. His gravelly voice also reflects the music’s darker qualities. It’s probably the last time Santini will play a place this intimate so catch him while you can. — Hal Horowitz
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CRITIC’S PICK: Breakfield

Sat., May 9
Breakfield
Smith’s Olde Bar

Some might recognize the members of Nashville quartet Breakfield as those once in the band Boy Named Banjo. Same group, new name; one they think better reflects the slight change in direction to a less bluegrass, more roots rock approach. Their new self-titled album, out next month, is produced by Jason Isbell’s 400 Unit guitarist Sadler Vaden, a sign that these guys are on a track to corral a similar audience as the one Isbell attracts. It follows Dusk (2023), a well-received debut under the foursome’s new moniker. Early single “Canyon Walls” displays a country rock angle with sumptuous harmonies similar to those of Poco or early Eagles. Organic, melodic and with just enough pop to attract Americana attention. — Hal Horowitz
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CRITIC’S PICK: Built to Spill

Sat., May 9
Built to Spill
The Hypos, Variety Playhouse

Only guitarist/singer Doug Martsch remains leading this iconic 34 year old Idaho-bred blues and indie rocking institution. Members rotate frequently, but Martsch keeps the flame burning, mixing tracks from When the Wind Forgets Your Name (2022) with music from 10 (or more) older albums, highlighted by a high tech stage presentation. You’ll surely hear an updated reading of “Carry the Zero,” their most popular composition by a wide margin. But after that, it’s a jump-shot as to what Martsch decides to work into the show. Regardless, it’ll be a guitar-heavy traipse through the history of one of indie rock’s most respected, and longest lasting, outfits. The openers, featuring members of Reigning Sound and Dr. Dog, lean to a more pop oriented, Wood Brothers sound on their lone 2024 release. — Hal Horowitz
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CRITIC’S PICK: Alison Krauss and Union Station featuring Jerry Douglas

Sat., May 9
Alison Krauss and Union Station featuring Jerry Douglas
Theo Lawrence, Synovus Band Amphitheater at Chastain Park

Bluegrass fiddler/singer/songwriter Krauss reached new heights of popularity through two albums and extensive tours with Robert Plant. So much so that she put her own career on hold. That ended last year with Arcadia, the first release under her and her longtime band’s name since 2011(another, recorded as a solo project, came out in 2017). She now tours that album with her veteran group, in a reunion that even without dobro master Jerry Douglas along to sweeten the pot and share the billing, would sell out quickly. Her high lonesome voice can easily fill the larger outdoor amphitheater and Union Station is one of the finest, most talented bluegrass outfits ever assembled. That makes this required for all string band fans, of which Atlanta has plenty. Better get tickets early. — Hal Horowitz
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CRITIC’S PICK: Joseph Arthur

Sat., May 9
Joseph Arthur
Abe Partridge, Eddie’s Attic

Despite releasing too many albums for anyone but hardcore fans to follow, enigmatic singer/songwriter Arthur promises to play a large swath of music from You’re Not a Ghost Anymore, a new release out last month. Since Arthur’s second collaboration with Peter Buck appeared last year, he might toss a few of those songs in there too. Notorious for his one-man band shows featuring overdubbed looping which establishes a unique and encompassing sound, Arthur’s extensive catalog reveals an artist who seldom creates anything similar to what he has already released. In other words, this will be an unpredictable experience. Arrive early for local favorite, Alabama’s Abe Partridge, typically a headliner in his own right, whose idiosyncratic Southern-based story songs reflect his colorfully offbeat work as a respected folk artist. — Hal Horowitz
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CRITIC’S PICK: Big Bad Voodoo Daddy

Tues., May 12
Big Bad Voodoo Daddy
City Winery

Those who recall the short-lived yet vibrant big band swing revival craze of the mid-90s (that also brought us the Squirrel Nut Zippers), will recognize Big Bad Voodoo Daddy’s name, although they may not remember any of their songs, let alone band members. And since their most recent album was almost a decade ago, you can be forgiven for thinking the outfit had dissolved. But the horn-based group has seldom stopped touring — and their shows are as vibrant and frisky as ever. Frontman/guitarist Scotty Morris remains, and since these guys were never known for originals, the music they refresh from the ‘40s and ‘50s remains as upbeat and exciting as it was to our great grandparents, grandparents, our even parents. Grab your baggy trousers or hoop skirts and do what their hit suggests, “Go, Daddy-O.” — Hal Horowitz
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CRITIC’S PICK: Drayton Farley

Thurs., May 14
Drayton Farley
Landon Smith, Eddie’s Attic

Alabama-bred Americana singer/songwriter Farley began as a solo acoustic performer. But he shifted to involving a full band after opening larger stages for Willie Nelson, Dwight Yoakam and others. Connecting with producer and Jason Isbell 400 Unit veteran Sadler Vaden for Twenty On High (2023) kicked him into next big thing status. His latest, A Heavy Duty Heart, again produced with Vaden and a full group backing him up, should have him headlining larger stages. This’ll probably be the last chance you’ll get to see him sing his intimate introspective, rootsy personality sketches, clearly influenced by Isbell, in this cozy venue. — Hal Horowitz
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CRITIC’S PICK: Lavahi

Thurs., May 14
Lavahi
Roswell River Landing

This young chanteuse doesn’t have much music out, but her sensual combination of neo soul and jazz is unique and refreshing. She has worked behind big names such as Yola and her performances, like one at the Atlanta Jazz Fest, have generated rave reviews. There are comparisons to a combination of Billie Holiday and Nina Simone. Others might add India.Arie, Roberta Flack and Sade. This is sure to be a refreshing outdoor experience for an under-the-radar local artist you’ll be raving about to your friends. — Hal Horowitz
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CRITIC’S PICK: John-Robert

Fri., May 15
John-Robert
Eddie’s Attic

This young Virginia singer/songwriter recorded his first EP in LA, but realized that by doing so he lost the essence of the down-home rootsy qualities that was what was so captivating about his easy flowing folk/pop. Following his instinct, Robert returned to that more stripped-down approach for his 2023 EP. Recent singles show him combining both for a sweetly melodic sound that should resonate with a crossover Americana audience. It’s hard to ignore how much his airy, plaintive voice sounds like that of John Mayer, but that becomes more of a plus than a distraction as his easy flowing songs kick in. Definitely worth a look. — Hal Horowitz
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CRITIC’S PICK: The Black Angels

Fri., May 15
The Black Angels
LA Witch, Variety Playhouse

Emerging in 2006 out of the musical gumbo that is Austin, Texas, The Black Angels’ combination of scruffy psychedelic rock, grunge and warped blues has been compared to The Jesus and Mary Chain playing the Velvet Underground’s catalog. Not surprising since they took their name from the latter band’s “The Black Angel’s Death Song.” The Alex Maas fronted outfit tours behind the 20th anniversary of 2006s still edgy and fresh sounding debut Passover (missed the actual holiday by a month, but no one will care), their breakout and arguably finest moment. The album, initially self-described as “Native American drone ‘n’ roll,” captures their fuzzed-out sound. Raw, relentless and intense. — Hal Horowitz
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CRITIC’S PICK: Bella White

Fri., May 15
Bella White
Aisle 5

A recent move from Vancouver Island to New Orleans brings vivaciousness to Americana singer/songwriter Bella White’s new album, A Sign in the Weather. Her third, it is released next month. Early singles find the folksinger influenced by her new surroundings. The songs are fuller and more soulful, pushing her sweet, often quivering voice into fresh territory, still touching on her more delicate acoustic roots but moving further away from the bluegrass informing her first recordings. It’s moving, emotionally touching music performed by a singer whose voice floats and soars. — Hal Horowitz
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CRITIC’S PICK: Cristina Vane

Sat., May 16
Cristina Vane
Eddie’s Attic

Bluegrass, blues, rockabilly, folk and country get tossed together in Nashville-based Cristina Vane’s appetizing salad of diverse songs. Molly Tuttle guests on her third and newest album, Hear My Call (2025), which also features Vane’s clawhammer banjo and slide guitar. She also rocks out for “Shake It Babe” and wades in the Tony Joe White swamp with “Coming in Hot.” Her sweet yet idiosyncratic voice makes it all go down smoothly. Just watching as she kicks into multi-instrumentalist mode is enough to appreciate the breadth of her talents, but hearing hero so is even better. — terrific, rootsy yet boundary-expanding music. — Hal Horowitz
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CRITIC’S PICK: Marcus King Band

Sat. May 16
Marcus King Band
Penelope Road, Fox Theatre

It wasn’t that long ago that South Carolina’s Marcus King got a standing ovation as opening act at this venue on a three-band bill headlined by the Tedeschi Trucks ensemble. He returns, rather triumphantly, as the top billed performer at the same place, only a handful of years, a GRAMMY® nomination and hundreds of shows later. It helps to ride in on a hit album; Darling Blue (2025) captures King’s southern rock, blues, soul and country influences in songs you hear once and can sing along with. He’s a world-class guitar slinger, sporting a raspy voice that makes anything he sings reverberate with honesty and authenticity. And he’s still just tapping into his talents which are sure to grow. Catch him now. — Hal Horowitz
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CRITIC’S PICK: David Ramirez

Sat. May 17
David Ramirez
The EARL

Texas based indie singer/songwriter Ramirez has been creating emotionally powerful albums for over 20 years. He has been remarkably prolific too, releasing singles, EPs and full length discs — with even a few Christmas tunes — that incorporate subtle country with more meditative, even darker material. Immaculately crafted songs such as “Harder to Lie” (2023), his most streamed composition, have typically drifted towards a dreamier approach. But Ramirez’s most recent project, All the Not So Gentle Reminders, released a year ago, featuring introspective songs titled “Maybe It Was All a Dream,” “Waiting for the Dust to Settle, and “Do Not Disturb Me,” is sparser, gloomier and more personal than much of his previous output. But it’s all good. — Hal Horowitz
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CRITIC’S PICK: Atlanta Blues Society Gathering and Jam

Sun. May 17
Atlanta Blues Society Gathering and Jam
Napoleon’s

The host band is Red Sugar Blues, but that’s only a small part of these monthly confabs for local blues fans, musicians, and those who’d like to be either or both. The atmosphere is always congenial, newbies are welcomed, and this is the best way to hear about upcoming blues shows from Atlanta newcomers or established veterans. As the event’s name states, the closing jam is always a highlight, so those talented enough to hit the stage should bring their instruments (or voice) and let loose. — Hal Horowitz
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CRITIC’S PICK: New Pornographers

Tues., May 19
New Pornographers
Will Sheff, Variety Playhouse

This Carl Newman-fronted Canadian collective has been fashioning offbeat, folk-inflected indie pop since its debut in 2000. Members come and go, but Neko Case is a regular contributor, appearing on nearly all the band’s albums including their tenth — and newest — release, The Former Site Of. It’s another terrific set of oblique yet never aloof songs that shape shift without losing their natural slightly skewed charms. Opener Sheff from Okkervil River, a band that traverses similar territory, is a wonderful addition to the bill, especially if he joins the headliners for a few joint tunes. — Hal Horowitz
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CRITIC’S PICK: Levi Foster

Thurs., May 21
Levi Foster
Eddie’s Attic

Any singer/songwriter titling his first single from a forthcoming album “Fat Elvis” is working interesting territory. Better yet, Nashville’s Foster, who traveled to LA to hook up with hot Americana producer Shooter Jennings, names his October, 2026 disc Appalachian Funk Tree. Only a few tracks have been released but you’ll hear plenty more previewed tonight. Foster’s deep voice and lyrically intriguing songs like “Sawmill Man” and the jazzy “Josephine,” along with his perky melodies and rootsy, backwoods accompaniment have made him a face to watch in the crowded roots/folk/pop scene. — Hal Horowitz
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CRITIC’S PICK: Zach Person

Fri., May 22
Zach Person
Avon Theatre

Let’s Get Loud, the title of blues rocker Person’s most recent release, tells you most of what you need to know about his approach. Take Lenny Kravitz’s soulful voice, turn the amps up to eleven, add some Thin Lizzy licks and a dash of Hendrix bluster (he released a live single of “If 6 Was 9”), and you’re on the way to guitar slinger/singer Person’s tough sound. He’ll surely play his latest track, “Blow,” which continues that hard rocking style, adding a little Jack White frazzle to the already incendiary mix. Hot stuff. — Hal Horowitz
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CRITIC’S PICK: Sister Hazel

Fri., May 22
Sister Hazel
City Green Live/Sandy Springs

Only hardcore Sister Hazel fans, affectionately known as “Hazelnuts,” know that the Florida band, which reached critical mass in 1997 with the omnipresent hit “All For You,” is not only still alive and well, but also released an album in 2024. There have been some musical changes, taking them from their sunshiny, beach-ish sound into country and, recently, into the harder, slightly darker edge of Sand, Sea & Crash Debris (2024). They’ve kept at it, and at this point, are veterans that have enough live concert experience to deliver the goods to an audience likely comprised heavily of aging 99X listeners eager to relive their formative musical years with a familiar name. And you can’t argue with the ticket price, which is free. — Hal Horowitz
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CRITIC’S PICK: Wes Bayliss

Sat. May 23
Wes Bayliss
Eddie Owen Presents at Red Clay

Country rockers The Steel Woods called it quits in 2024 after four albums and moderate success in their crowded field. That sent co-founder/frontman/singer/songwriter Wes Bayliss off to a solo career where, according to his press release, he has shifted towards a Christian lyrical slant. There isn’t a post-Steel Woods Bayliss album yet, but a few singles are available which find him in familiar Americana twangish troubadour territory. Expect new material mixed with plenty of Steel Woods songs including the swampy “Let the Rain Come Down” and “Axe,” the band’s most streamed titles. Maybe he’ll also toss in his version of “Whipping Post.” — Hal Horowitz
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CRITIC’S PICK: The Black Crowes

Sat., May 23
The Black Crowes
Whiskey Myers, Southall, Ameris Bank Amphitheatre

It’s the “Southern Hospitality Tour” y’all, as Atlanta’s most visible, if not best, Southern rockers return to play this OTP shed with assistance from the similarly-styled Whiskey Myers and Southall. Both openers are post-Skynyrd Southern rockers with Myers forming in 2007 and Southall in 2015. But it’s the veteran Crowes, who played Atlanta bars as Mr. Crowe’s Garden back in 1984, that’ll bring out the greying longtime fans who have seen this band of Robinson brothers dissolve and reform three times. The most recent seems to be sticking though, at least based on the renewed popularity generated through two studio albums, Happiness Bastards (2024) and the new A Pound of Feathers. Both find the siblings, along with original bassist Sven Pipien and at least five other touring faceless backing musicians, cranking out a few decades worth of hits along with a healthy portion of new stuff. A rowdy time is guaranteed for all. — Hal Horowitz
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CRITIC’S PICK: Uncle Lucius

Sun., May 24
Uncle Lucius
The Point, Terminal West

Anyone who dismisses getting a song played in a hit TV series need only check into what happened when Austin’s then defunct (as of 2018) Uncle Lucius found their composition “Keep the Wolves at Bay” used prominently in a 2021 episode of Yellowstone. The ballad suddenly, and unpredictably, got nearly 330 million streams, 300 million more than the band’s next most popular title. That prompted the bluesy, roots rocking Americana outfit to regroup in 2023, release their first new music, Like It’s the Last One Left, and even tour Europe and Australia. Three years later they mark their 20th anniversary (minus a five-year sabbatical). The group’s solid, uncluttered Petty-ish rocking still sounds fresh and most of their initial followers think the latest release is their finest. It’s basically due to one song that revitalized their old fan base and generated a new one. — Hal Horowitz
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CRITIC’S PICK: David Nail

Fri., May 24
David Nail
Eddie’s Attic

It’s multi-platinum selling country singer/songwriter Nail’s “Down to the Studs” tour, which only means he’s playing solo acoustic, like plenty of other Eddie’s bookings. He scored big with “Whatever She’s Got,” a standard commercial radio hit that notched nearly 200 million streams, and “Night’s on Fire” just behind it, with 100-plus million folks clicking the track. Both will benefit from a more organic approach tonight, removed from the slicker production that brought him fame in the C&W trenches. He will surely introduce “The Crown,” the recently released melancholy tale of a high-school homecoming queen whose life took a tough turn, similar to the protagonist behind the Eagles’ “Lyin Eyes.” He has a deep smooth voice that goes down like creamed coffee and enough quality songs to fill at least a few sets. — Hal Horowitz
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CRITIC’S PICK: Buffalo Nichols

Wed., May 27
Buffalo Nichols
Eddie’s Attic

Some artists take many years, even decades, to change their sound. Contemporary bluesman Buffalo Nichols has accomplished that in just a short time. He shifted from the traditionally oriented acoustic folk blues of his Fat Possum label debut in 2021, to a psychedelic, but still solo, bluesman in the course of just two albums. Recent singles find him in a sort of grunge/metal mode, still informed by the acoustic blues with which he began his solo career, but amped up to insurgent, ominous, sometimes scary levels. One of his newest songs, “Precious Nothing,” edges into a loud, grimy, stoner rock groove… not typical Eddie’s fare. It’s unclear what you’ll hear tonight, but it’s definitely worth checking out for blues lovers with open minds. — Hal Horowitz
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CRITIC’S PICK: Jackson County Line

Fri., May 29
Jackson County Line
Eddie’s Attic

You have to appreciate any pop band, especially an Atlanta one, that incorporates a cello into their lineup. Now 20 years into a career that began in 2006, Jackson County Line has recorded five albums of easygoing singer/songwriter Americana. There’s a floating, sometimes soaring Eagles feel to their music with sweet harmonies, enticing vocals from frontman Kevin Jackson and tunes that go down smoothly but still reflect a soulful edge. — Hal Horowitz
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CRITIC’S PICK: Lee Roy Parnell Duo

Fri., May 29
Lee Roy Parnell Duo
Eddie Owen Presents at Red Clay

The virtuoso Texas instrumentalist once told an interviewer, “I’m a blue-eyed soul singer and slide guitar player by trade.” And while he doesn’t release many albums — the most recent was in 2017 which arrived a decade after the previous one-- his rootsy bluesy, soulful country songs are timeless. It’s an acoustic duo show allowing Parnell to tell stories of his colorful life, which includes working with marquee names like The Allman Brothers Band (he was a longtime member of Dickey Betts’ outfit too), Bonnie Raitt and others. He’s classy and cool which ensures this show will be something special. — Hal Horowitz
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CRITIC’S PICK: Trousdale

Fri., May 29
Trousdale
Very Gently, Terminal West

These three women aren’t quite the American Bananarama, but they’re close. Trousdale’s sunny California-bred singer/songwriters also play instruments as the trio crafts fizzy, day-glo pop that shimmers as brightly as their shiny, rainbow-hued, polyester outfits. Perhaps the only act to play The Grand Ole Opry, Bonnaroo and the Kelly Clarkson show, their harmonies soar and glide, transforming Neil Young’s haunting “Old Man” into a sweet, slick but somehow satisfying single. This is the Growing Pains tour, named after their second album, songs from which will dominate the gig. — Hal Horowitz
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CRITIC’S PICK: Griffin House

Sat., May 30
Griffin House
Eddie’s Attic

American folkie/singer/songwriter House is no stranger to Eddie’s stage and patrons. His homey, introspective guitar-strumming music and yearning organic voice perfectly suits the venue’s coffee-house vibe. And, with a catalog that stretches back over twenty years, there are plenty of hidden gems for him to explore. He also has a twisty way with words that stay romantic as the title to his most streamed song, “The Guy That Says Goodbye to You Is Out of His Mind.” You’ll certainly hear that Dylan-ish tune along with newer compositions such as the recently released plaintive “Surrender to Win.” — Hal Horowitz
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CRITIC’S PICK: The Punch Brothers

Sat., May 30
The Punch Brothers
The Eastern

It has never been easy pigeonholing The Punch Brothers’ music, which is exactly the way frontman/founder Chris Thile wants it. “Progressive bluegrass” is an easy way to categorize this eclectic band, but that only begins to tickle their mix of jazz, roots, pop and even avant-garde influences. Musically, and philosophically this outfit can outplay and outthink almost all if its competitors, and mandolin master/ex-Nickel Creek co-founder Thile, for four years the host of NPRs Live from Here radio show, is a wonderful frontman. He keeps the music focused even in its most oblique, genre-pushing moments. — Hal Horowitz
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CRITIC’S PICK: Echo & the Bunnymen

Sat., May 30
Echo & the Bunnymen
The Tabernacle

The UK artsy new wavers have released plenty of music since their initial late ‘80s breakup and various reformations with only frontman Ian McCullough and guitarist Will Sergeant aboard. But few are coming to hear those songs. They of course understand that, titling this tour “More Songs to Learn and Sing,” the name of their “best of” album. Which means the show will be heavily tilted towards the band’s “hits” from their initial surge of popularity as one of the most influential, dark, psychedelically-infused outfits of a long gone era. — Hal Horowitz
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CRITIC’S PICK: “Weird Al” Yankovic

Sun., May 31
“Weird Al” Yankovic
Puddles Pity Party, Ameris Bank Amphitheatre

If anyone suggested to the audience attending an ‘80s club performance of the Dr. Demento tour that the wacky accordion playing opener, “Weird Al,” would someday be headlining Madison Square Garden-sized arenas, they’d have asked where you got your mind-expanding drugs from. But here we are, four decades later as Yankovic has not just weathered multiple changes in the musical landscape but created a booming, remarkably popular and profitable cottage industry for his satire songs rivaling anything from that era. Welcome to the 2026 “Bigger and Weirder Tour,” which promises wild visuals, unusual props and of course “Weird Al” playing his parody hits and originals to fans that know every word. The fun starts with Puddles Pity Party, our local hero who has increased his reach substantially by his association with Yankovic, who knows bizarre and cool when he sees it. — Hal Horowitz
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CRITIC’S PICK: Buckethead

Sun., May 31
Buckethead
Variety Playhouse

Considering the bizarre appearance of the masked, chicken bucket wearing headgear of the guitarist, Buckethead has amassed an impressive, but not surprisingly cultish, following. Avant-funk is the most concise way to describe his music, but that’s only a start. Check out his streaming page on any service and you’re presented with dozens of albums, EPs, singles, and live shows, almost rivaling Frank Zappa’s prodigious output. A recent 2025 album consists solely of two 15-minute instrumentals. It goes without saying that no one knows what to expect from one of his shows, but it’ll definitely be cool, weird and intense. — Hal Horowitz
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