YES, PLEASE: Good Lovelies, Killer Filler, The Malamondos, Leadfoot, The Needles, The T’s, Enemy In Disguise, Derek Poteat, Unholy Tongues, Akris, Dominant Legs, Nurses, Junior Boys, Jill Andrews, Katharine Whalen, Murs
VS: Charlie Wilson vs Blind Boys Of Alabama
OPENING: Minus Sound Research 6
10.06 GOOD LOVELIES @ FLETCHER OPERA THEATER
Perhaps an East Coast mirror to the Vancouver female folk trio the Be Good Tanyas, Toronto's Good Lovelies have risen from a Christmas-season lark to a flourishing year-round act. Winners of a roots-traditional Juno (Canada's Grammy) for their self-titled debut of 2009, the women are back, gooder and lovelier than ever, with a new disc titled Let the Rain Fall. $25–$27/ 8 p.m. —Peter Blackstock
10.07 KILLER FILLER, THE MALAMONDOS @ THE CAVE
They may not be the straw that stirs the drink so much as the packet that holds the Sweet 'N Low. Killer Filler aren't loud, intense grandstanders; instead, they work with savory invitation and beguiling backgrounds. Part of that comes with the territory as an instrumental act, but it's beyond that, likely tracing to the genial enthusiasm with which they attack their mix of classic surf and R&B. And that goes back to keyboardist/ leader Chris Bess' easygoing manner. He may not sing, but his warm spirit inhabits their foot-tapping grooves and vibrant shimmy. Free/ 10 p.m. —Chris Parker
10.07 LEADFOOT, THE NEEDLES, THE T'S, ENEMY IN DISGUISE @ SOUTHLAND BALLROOM
Like KFC's Double Down sandwich, Leadfoot doesn't need bread; instead, frontman Karl Agell's hard rock strut comes surrounded by enough greasy licks to plug all the arteries of the Mississippi. Like AC/DC doing their best Molly Hatchet, Leadfoot specializes in chunky fist-waving riffage, dressed with a metaphorical mullet, a case of Busch and a Firebird. The attitude's all Saturday night—to hell with Sunday morning. They've been largely AWOL at least a half-dozen years but have lined up some shows this fall. $10/ 9 p.m. —Chris Parker
10.08 DEREK POTEAT, UNHOLY TONGUES, AKRIS @ NIGHTLIGHT
The most amazing thing about watching early Ahleuchatistas was the speed and precision of the avant-math-jazz-rock trio's interplay. Derek Poteat left that band years ago, and, solo, his dizzying bass chops take on an even more alarming character. He mixes expressionistic washes of distortion and abuses tonality with loops and other effects. Sometimes he orchestrates massive soundscapes, sometimes he simply runs up and down undulating progressions. Wilmington's Unholy Tongues abandon the heady trudge of post-rockers like Mono or Eluvium for more confident, buoyant Maserati-style instro-rock. Riff-heavy murk metal, courtesy of Virginia duo Akris, rounds out the bill. Poteat opens. 9:30 p.m.—Corbie Hill
10.09 DOMINANT LEGS, NURSES @ LOCAL 506
Dominant Legs' Ryan William Welch might have gotten his foot in the door by being part of Girls' coterie, but the music he's making now would have opened it for him anyway. On his group's first full-length, Invitation, he adorns affable pop tunes with bits and baubles that might give folks allergic to '80s FM radio a case of the hives—sucks for them. Opening is Nurses, an oft-feral psych-pop outfit that, with this year's Dracula, seems to be slowly tuning into Dominant Legs' wavelength. $9–$11/ 9 p.m. —David Raposa
10.10 JUNIOR BOYS @ CAT'S CRADLE
Before settling in to write their latest record, 2011's It's All True, Ontario indie-electro duo Junior Boys did a bit of traveling. Jeremy Greenspan spent two months in Shanghai. Synth programmer and engineer Matt Didemus mucked it up at home in Berlin. They met back in Canada and made another synth-heavy dance record—this time, about growing older and breaking up. The album, like much of the Junior Boys discography, is a surprisingly coherent tangle of post-punk, disco, R&B, techno, soul and more. The duo's knack for paring sharp percussion with synth flares, stabbing bass lines and lyrical transcendence plays out in swift offerings and anthemic builds alike. Egyptrixx opens. $13–$15/ 9 p.m. —Ashley Melzer
10.11 JILL ANDREWS, KATHARINE WHALEN @ THE POUR HOUSE
Best known as co-leader of Americana maestros the everybodyfields, Jill Andrews has kept herself busy with a fine solo career between the band's 2009 split and recent reunion shows. The everybodyfields' mournful songcraft was matched by slow, sorrowful arrangements; Andrews' tunes are often deceptively buoyant, belying their melancholic lyrical tendencies. "Another Man," for instance, is a bouncy, boy-bashing piano tune that Andrews admits sounds far more commercial than anything her former band produced. In this case, that's a plus: By emphasizing dynamics and her knack for catchy melodies, Andrews' golden, twang-tinged vocals shine bright as ever. $10/ 8 p.m. —Spencer Griffith
10.11 MURS @ LOCAL 506
It's a matter of taste, but, for me, here's good news: LA emcee Murs finally chopped off those floppy dreadlocks. The more exciting news is that, in the midst of this hairdo switcheroo, he's still commissioning N.C.-bred producers to make whole albums with him. Murs and 9th Wonder knocked out a few great LPs, and now arthouse beatmaker Ski Beatz will have his turn on their collaborative album Love & Rockets v.1: The Transformation, to be released on the day of this show. We'd like to think that the Murs has intervened in order to put an end to Ski Beatz's binge of awfully blaring, rock-hop beats heard on his last two 24 Hour Karate School LPs, but then again, Murs is a skater, so maybe he likes that sort of stuff. Ski Beatz is also on the bill, along with Tabi Bonney and three other acts. $13/ 9 p.m. —Eric Tullis
THURSDAY, OCT. 6
From: Tulsa, Okla.
Claim to fame: Fronted funk hit makers The Gap Band
After pumping out loads of hits—many of them heavily sampled by the hip-hop community—with '70s brotherly funk unit The Gap Band, singer Charlie Wilson has had no shortage of success since striking out on a solo R&B career. He's performed on five urban chart toppers and scored four Grammy nominations in a little more than a decade. It's proof that Wilson's legend has translated to a new generation, not to mention collaborations with rap icons Kanye West and Snoop Dogg and modern R&B stars Boyz II Men and R. Kelly. The Blind Boys may bring the soulful spirit, but Wilson brings the smooth and sensual slow jams. British R&B quartet Loose Ends opens. At DPAC. $45–$65/ 7:30 p.m.
BLIND BOYS OF ALABAMA
From: Talladega, Ala.
Claim to fame: Bringing gospel to the pop world
After pumping out loads of traditional gospel albums—many of them while the group still heavily toured churches, concert halls and auditoriums—with an original lineup of students from the Alabama Institute for the Negro Blind, The Blind Boys of Alabama have had no shortage of success since crossing over into pop music. They've even collaborated with contemporaries Mavis Staples and Solomon Burke and modern superstars Prince and Ben Harper. It's proof that the Blind Boys' legend has translated to a new generation, not to mention that they've won six Grammy Awards along the way. Wilson may dish out the grooves, but the Blind Boys dish out food for the soul. At LINCOLN THEATRE. $25–$35/ 8 p.m. —Spencer Griffith
10.07 MINUS SOUND RESEARCH 6 @ MOTORCO MUSIC HALL
The tagline for the sixth annual Minus Sound Research exhibition is "Music For the Eyes." On the surface, it's just a twist of phrase. Founded by local bandleaders John Harrison (North Elementary) and Maria Albani (Organos), MSR features the visual art of N.C. musicians, allowing them a space to display their work without it seeming like they're forcing themselves into another artistic realm. More than just emphasizing the obvious, the slogan subtly highlights the connection between the art and the music.
"The intent is to show a different side of creativity from this person," Albani says. "That naturally sort of lends to further insight of their music, if you do know the music. I'll get visual art from somebody, and when I get it, it completely matches how I feel about their music. It makes sense."
The exhibition features work from Dexter Romweber, The Love Language's Missy Thangs and Andy Herod of Asheville's Electric Owls, all housed in the garage space of Durham's Motorco Music Hall. For the second year in a row, the cross-form connections will be highlighted by live music The free opening reception will feature performances from cello-propelled pop act Birds and Arrows and dirty DIY folk outfit Inspector 22. After the reception, celebrations continue with a proper concert. Revered local punk band Pipe headlines the affair. Their chugging mix of scuzzy rock boogie and bent slacker tones will provide a rowdy send-off. Free Electric State offers support with a shoegaze-y mix of big hooks and bigger riffs that should prove a satisfying intro. Organos opens. Throughout the night, Veelee's Ginger Wagg will present a live dance installation. —Jordan Lawrence
The reception goes from 6 p.m. to 9 p.m. and is free to the public. The concert follows and costs $6. The MSR6 exhibit will be on display at Motorco until Dec. 3.