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DTSTART;TZID=America/New_York:20260421T190000
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SUMMARY:Boys Like Girls: The Soundtrack of Your Life Tour
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/girls-like-boys-the-soundtrack-of-your-life-tour/
LOCATION:Buckhead Theatre\, 3110 Roswell Rd NE\, Atlanta\, GA\, 30305
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2025/11/girlslikeboys-BT-21APR2026.jpg
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DTSTART;TZID=America/New_York:20260421T200000
DTEND;TZID=America/New_York:20260421T200000
DTSTAMP:20260420T071925
CREATED:20260104T210908Z
LAST-MODIFIED:20260104T210908Z
UID:17981-1776801600-1776801600@atlantaconcertreviews.com
SUMMARY:Lambrini Girls
DESCRIPTION:In January 2025 Lambrini Girls have released their long-awaited debut album ‘Who Let The Dogs Out’ via City Slang. They sold out shows all over the world and left craters in towns and cities and festival sites across the UK\, Europe\, South Korea and North America. The album cracked the Top 20 of the UK album chart. It’s good\, you see. They graced the covers of publications such as DIY\, NME\, Kerrang! Magazine\, NOTION\, and features with the likes of Variety\, The Line Of Best Fit\, BBC Radio 1\, tons of playlisting on BBC Radio 6 Music\, a KEXP session\, coverage from Pitchfork and The Needle Drop etc etc\, the Brighton-based duo of Phoebe Lunny (vocals/guitar) and Selin Macieira (bass) have spent the last few years on a tear in more ways than one. ‘Who Let The Dogs Out’ bottles everything wrong with the modern world and shakes it up. If peppering political songs with humour is like sticking a sparkler in some bread\, then their debut is like a fireworks display in the factory itself: strange\, dangerous\, exciting\, and it rips through a laundry list of social ills. It’s so good in fact that the legend Peaches herself did the one and only remix for the record. Is this basically band in the world? Yes. Quite obviously. Get involved you stupid idiot.
URL:https://atlantaconcertreviews.com/event/lambrini-girls/
LOCATION:Variety Playhouse\, 1099 Euclid Avenue NE\, Atlanta\, GA\, 30307\, United States
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/01/LambriniGirls-VP-21APR2026.jpg
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DTSTART;TZID=America/New_York:20260421T200000
DTEND;TZID=America/New_York:20260421T200000
DTSTAMP:20260420T071925
CREATED:20260104T222626Z
LAST-MODIFIED:20260104T222626Z
UID:18038-1776801600-1776801600@atlantaconcertreviews.com
SUMMARY:Black Pistol Fire
DESCRIPTION:Black Pistol Fire is a high-energy Canadian rock duo renowned for their explosive live performances and gritty blues-infused rock sound. Formed inToronto\, Ontario\, the band consists of childhood friends Kevin Mckeown (vocals\, guitar) and Eric Owen (drums)\, who have been playing music together since high school. Their unique blend of garage rock\, blues\, punk\, has drawn comparisons to acts like Arctic Monkeys\, The White Stripes\, and Kings of Leon\, but their raw\, uninhibited energy sets them apart as a force of their own. With their uncompromising dedication to rock and roll\, Black Pistol Fire continues to push boundaries\, proving that the spirit of raw\, unfiltered rock music is alive and thriving. Whether in a small club or on a festival stage\, the duo’s electrifying presence and relentless drive ensure that their place in the modern rock landscape remains as powerful as ever.
URL:https://atlantaconcertreviews.com/event/black-pistol-fire/
LOCATION:Masquerade – Hell\, 50 Lower Alabama St\, Atlanta\, GA\, 30303\, United States
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/01/BlackPistolFire-MASQ-21APR2026.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260422T200000
DTEND;TZID=America/New_York:20260422T200000
DTSTAMP:20260420T071925
CREATED:20260304T035529Z
LAST-MODIFIED:20260304T035529Z
UID:18694-1776888000-1776888000@atlantaconcertreviews.com
SUMMARY:Snail Mail
DESCRIPTION:On Ricochet\, her third album as Snail Mail\, Lindsey Jordan returns to assert herself as a generational songwriter\, clear-eyed and honest as ever. Time has passed\, but she remains a sensitive soul\, and here her incisive introspection is tethered to newly expansive and hypnotic melodies and ornate string arrangements. While writing Ricochet\, Jordan found herself fixating on concerns she’d previously pushed out of her mind\, namely death and what happens after. These 11 songs are colored by the anxiety of watching life slip through your fingers\, as well as the vulnerability of loving deeply rather than frenetically. Ultimately\, Ricochet is an album about realizing—and accepting—that the world still turns no matter what is going on in your tiny life. \nRicochet is the first Snail Mail album in five years\, and a lot has happened in the interim. Before touring 2021’s Valentine around the world\, Jordan had surgery for vocal polyps. She underwent intensive speech therapy and emerged as a more confident vocalist—on Ricochet\, Jordan wields newfound control over her voice\, ironically enough for an album about uncertainty. She made her acting debut in Jane Schoenbrun’s indie horror I Saw the TV Glow\, playing a Buffy-esque heroine with psychic powers. She moved out of New York\, floated around for a bit\, and landed in the area around Greensboro\, North Carolina. She’s 26 and has a fluffy white puffball of a dog\, whom she holds up to the night sky so she can see the stars. \nAll the while\, Jordan was working on new music. She tried to write quickly—“which obviously didn’t work”—but with intention\, aiming not to leave any material on the cutting room floor. “I’ve never done this before\, but I wrote all of the instrumentals and vocal melodies on the piano or guitar\, and then I filled in the lyrics all at once over a year\,” Jordan says. “It takes me a lot more time and consideration to make great melodies than it does trying to connect things lyrically\, so I gave myself more time to do the one.” \nWhen it came time to record the songs bouncing around in her head\, Jordan turned to a friend\, Aron Kobayashi Ritch\, the bassist and producer of the fuzzy indie rock band Momma. In winter 2025\, they made Ricochet at North Carolina’s Fidelitorium Recordings\, owned by R.E.M. producer Mitch Easter\, and the Nightfly and Studio G in Brooklyn. Jordan describes the process as refreshing\, trusting\, and comfortable. “I felt like an equal voice\,” she says. “He was as interested in my decisions as I was in his.” \nSonically\, Ricochet sounds like the natural next step in Snail Mail’s small but mighty discography\, building on the poised guitar parts of her 2018 Matador debut\, Lush\, and Valentine’s raw rock passion. Ricochet channels the Smashing Pumpkins at their sunniest and Radiohead at their most Britpop\, with notes of Catherine Wheel shoegaze\, Ivy power pop\, and Sunny Day Real Estate emo. These are welcoming and vibrant tones of the ambitious ’90s alt-rock variety\, embellished with unusual chords and curious textures that tickle the ear. (The most immediate and obvious descriptor is\, ahem\, lush.) \nJordan’s early music largely dealt with matters of the heart\, a territory that she tried to step beyond on Ricochet. “Misery feels safe to write about because I am good at it\,” she says\, “but I’m not bathing in my own agony anymore.” To feel the pain of everything and then nothing is a lonesome contradiction. Ricochet is a record about being caught in this whirlpool\, but Jordan’s music has never been so transcendent. The luminous opener\, “Tractor Beam\,” is driven by jangly guitars\, but is ultimately about dissociation and “feeling othered while acknowledging that you’re spending a lot of your time and energy figuring out how to float away.” \nWhile writing Ricochet\, Jordan found herself drawn to art that explores the concept of life itself. The questions of artistic worth\, ego\, alienation\, self-destruction\, and failure posed by Charlie Kaufman’s 2008 film Synecdoche\, New York cast a long-lasting existential shadow. “Nowhere” is informed by Laura Gilpin’s 1977 poem “The Two-Headed Calf\,” about a young animal whose congenital condition allows it to see twice as many stars (the gentle stuff just kills her). On “My Maker\,” she imagines flying a plane to heaven and overstaying her welcome at the airport bar. “Another year gone by\,” she laments atop swirling guitars and spaced-out sprawl. “What if nothing matters?” “Oh\, bouncer in the sky\,” she wearily pleads on another song. “Let me in\, I’m scared to die.” \nRicochet’s interiority reminds Jordan of Lush and other early music written in her Maryland childhood bedroom. “I was writing those songs for so long\, my whole life\,” she says. “It was my diary.” On the grunge-gaze song “Dead End\,” she mourns the simplicity of a suburban adolescence\, of parking in a cul-de-sac and smoking with friends. \n“I’ve aged out of thinking that you’ll have everybody forever. Many of these songs are about friendships\, friends that I’m sad about\,” Jordan says\, “But I’m also talking to myself.” “Looks like you made it/Somebody would be so proud\,” she sneers on “Hell.” “But you isolated/Alienate your friends/‘Cus they’re just a means to an end.” \n“Sometimes it’s devastating to be close with people. You’re busy during a birthday party. Then it happens again\,” Jordan says. “All of a sudden\, you haven’t talked to somebody you care about in years. You wake up one day and realize you’ve put yourself in a snowglobe\, and it’s cold and weird and plasticy.” \nTo this end\, emotional detachment can be self-imposed and involuntary\, a protective impulse and a clinical blunting. “Numb myself out/What else should we do?\,” Jordan sings on “Nowhere.” “You covered me all in kisses/I said I couldn’t feel it\, but I wanted to.” Slipping into the abyss can become a comforting guilty pleasure. “Fireworks going off from above/Lit up the sky like lightning bugs/Felt so alive then\, I can’t explain\,” she sings on “Cruise.” “Couldn’t wait to get home and hide my face/Couldn’t wait to get home and slip away.” \nRicochet’s cover is the first not to feature Jordan’s face. Instead\, a distressed deep blue expanse is filled by a spiral shell. A spiral moves in dual\, opposing directions. Inward winding suggests contraction to the point of disappearance\, while outward motion implies the promise of infinity. Distance and time may lead us away from the epicenter\, and growth may be uneven\, in fits and starts\, and maybe a few steps backwards. It’s easy to get tangled up in emotions along the way\, but every rotation offers the chance for pattern recognition\, for perspective\, for the realization that you do it to yourself\, that’s what really hurts.
URL:https://atlantaconcertreviews.com/event/snail-mail/
LOCATION:Variety Playhouse\, 1099 Euclid Avenue NE\, Atlanta\, GA\, 30307\, United States
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/03/SnailMail-VP-22APR2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260422T203000
DTEND;TZID=America/New_York:20260422T203000
DTSTAMP:20260420T071925
CREATED:20260210T010017Z
LAST-MODIFIED:20260210T010017Z
UID:18362-1776889800-1776889800@atlantaconcertreviews.com
SUMMARY:King Tuff
DESCRIPTION:I got my Tascam 388 fixed\, the same tape machine I had used to record my first album\, King Tuff Was Dead. It had been sitting in my parent’s house in Vermont for the past 14 years\, but I had finally dragged it out to LA. The first song I recorded on it was “Twisted On A Train”\, and I was shocked by how instantly I sounded\, and felt\, like myself again. In fact\, I wrote and recorded the whole dang song in the span of a few hours\, which was basically the opposite of how I had been working in the computer. Spending hours moving waveforms around like a zombie\, comping vocals\, second guessing\, trying to make things sound not lifeless\, trying to make anything sound good at all\, took months. But here on the tape it was so much more alive. More like painting or collaging. More like making actual music. Every move I made stuck like super glue. It was effortless. It was pure joy. I stopped caring if there were mistakes. There’s not enough mistakes. I played my old\, blue\, Gibson SG\, Jazijoo\, and she spewed mangled electrified gold. For once\, I sang and I didn’t hate my voice. I played the drums badly and bounced them in mono to one track and it sounded like glorious shit. I wish it sounded even worse. Rock & Roll is the music of rodents and bugs. It should sound like it crept from a decrepit trashcan or a crypt or a toilet. It is not chill or vibey\, autotuned or on the grid. It is not perfect\, which is why it’s perfect. And I don’t care if it’s dead or alive\, cool or uncool: when I hear it\, and when I play it\, as a chubby and balding 43 year old punk weirdo\, I FEEL ENERGIZED.
URL:https://atlantaconcertreviews.com/event/king-tuff/
LOCATION:The EARL\, 488 Flat Shoals Ave SE\, Atlanta\, GA\, 30316
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/02/kingtuff-EARL-22APR2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260423T200000
DTEND;TZID=America/New_York:20260423T200000
DTSTAMP:20260420T071925
CREATED:20260215T191503Z
LAST-MODIFIED:20260215T191503Z
UID:18466-1776974400-1776974400@atlantaconcertreviews.com
SUMMARY:Superchunk with Rosali
DESCRIPTION:Like every record Superchunk has made over the last thirty-some years\, Wild Loneliness is unskippably excellent and infectious. It’s a blend of stripped-down and lush\, electric and acoustic\, highs and lows\, and I love it all. On Wild Loneliness I hear echoes of Come Pick Me Up\, Here’s to Shutting Up\, and Majesty Shredding. After the (ahem\, completely justifiable) anger of What a Time to Be Alive\, this new record is less about what we’ve lost in these harrowing times and more about what we have to be thankful for. (I know something about gratitude. I’ve been a huge Superchunk fan since the 1990s\, around the same time I first found my way to poetry\, so the fact that I’m writing these words feels like a minor miracle.) \nOn Wild Loneliness\, it feels like the band is refocusing on possibility\, and possibility is built into the songs themselves\, in the sweet surprises tucked inside them. I say all the time that what makes a good poem—the “secret ingredient”—is surprise. Perhaps the same is true of songs. Like when the sax comes in on the title track\, played by Wye Oak’s Andy Stack\, adding a completely new texture to the song. Or when Owen Pallett’s strings come in on “This Night.” But my favorite surprise on Wild Loneliness is when the harmonies of Norman Blake and Raymond McGinley of Teenage Fanclub kick in on “Endless Summer.” It’s as perfect a pop song as you’ll ever hear—sweet\, bright\, flat-out gorgeous—and yet it grapples with the depressing reality of climate change: “Is this the year the leaves don’t lose their color / and hummingbirds\, they don’t come back to hover / I don’t mean to be a giant bummer but / I’m not ready / for an endless summer\, no / I’m not ready for an endless summer.” I love how the music acts as a kind of counterweight to the lyrics. \nBecause of COVID\, Mac\, Laura\, Jim\, and Jon each recorded separately\, but a silver lining is that this method made other long-distance contributions possible\, from R.E.M.’s Mike Mills\, Sharon Van Etten\, Franklin Bruno\, and Tracyanne Campbell of Camera Obscura\, among others. Some of the songs for the record were written before the pandemic hit\, but others\, like “Wild Loneliness\,” were written from and about isolation. \nI’ve been thinking of songs as memory machines. Every time we play a record\, we remember when we heard it before\, and where we were\, and who we were. Music crystallizes memories so well: listening to “Detroit Has a Skyline\,” suddenly I’m shout-singing along with it at a show in Detroit twenty years ago; listening to “Overflows\,” I’m transported back to whisper- singing a slowed-down version of it to my young son\, that year it was his most-requested lullaby. \nWild Loneliness is becoming part of my life\, part of my memories\, too. And it will be part of yours. I can picture people in 20\, 50\, or 100 years listening to this record and marveling at what these artists created together—beauty\, possibility\, surprise—during this alarming (and alarmingly isolated) time. But why wait? Let’s marvel now.
URL:https://atlantaconcertreviews.com/event/superchunk-with-rosali/
LOCATION:Terminal West\, 887 West Maritetta St. NW\, Atlanta\, GA\, 30318\, United States
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/02/superchunk-TW-23APR2026.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260423T200000
DTEND;TZID=America/New_York:20260423T200000
DTSTAMP:20260420T071925
CREATED:20260403T014252Z
LAST-MODIFIED:20260403T014252Z
UID:19063-1776974400-1776974400@atlantaconcertreviews.com
SUMMARY:Willie Nelson & Family
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/willie-nelson-family/
LOCATION:Synovus Bank Amphitheatre at Chastain Park\, 4469 Stella Drive\, Atlanta\, GA\, 30327
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/04/WillieNelson-CHAS-23APR2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260424T193000
DTEND;TZID=America/New_York:20260424T193000
DTSTAMP:20260420T071925
CREATED:20251124T033641Z
LAST-MODIFIED:20251124T033641Z
UID:17738-1777059000-1777059000@atlantaconcertreviews.com
SUMMARY:Panchiko
DESCRIPTION:Panchiko is beginning to settle into rockstar life. It’s different from how the UK band imagined it when they were teens\, crafting ethereal\, at times cosmic bits of heart-forward rock music to little outside interest\, playing shows to nearly empty rooms. They set aside their hopes of becoming full-time musicians and pursued other careers. Their high school artistry became a distant memory. But that all changed in 2016 when an internet user discovered Panchiko’s discarded 2000 demo CD\, D>E>A>T>H>M>E>T>A>L\, in a Nottingham charity shop and posted it to 4chan to intrigue and fanfare. It took four years for Panchiko’s legions of dedicated fans to find the people behind the music\, but when they did\, Panchiko’s long let-go-of dreams became an imperative to pursue. Millions of curious listeners were swaying to their adolescent creations; it was time for them to meet their moment. Panchiko — which reformed in 2021 with original members Andy Wright (keyboardist and producer)\, Owain Davies (vocalist and guitarist)\, and Shaun Ferreday (bassist) alongside new members Robert Harris (guitarist) and John Schofield (drummer) — pursued their new path with vigor. Upon discovering their own virality in 2020\, they toured the world and wrote\, recorded\, and released their first album in 20+ years\, 2023’s Failed At Maths. But after the thrill of the whirlwind came a new question. What comes next when your dreams come true? The answer is Ginkgo\, a 13-track project that finds the band making some of their most introspective\, cinematic\, and moving music yet. “The whole production has gone up ten-fold\,” says Wright of the new album. They were finally able to quit their day jobs and dedicate themselves to music full-time\, which changed their process completely. “If you have a bit of time\, you can make something really great.” Plus\, the band got their own studio in Nottingham\, which they refer to as their “teenage dream.” With time and space\, making Ginkgo became a very different\, slower process than the creation of Failed at Maths\, which they recorded while balancing their nascent music career with day jobs — alongside the stuff of life\, like the birth of Wright’s child. You can hear the result of this slower approach on tracks like “Chapel of Salt\,” where the lyrics have a gravelly wisdom. “Obsolescence\, greatest lessons/ You can’t afford to miss/Don’t go quietly in the night see/You’re too good for this\,” sings Davies in a steady register\, before the music veers towards the stars. Here too\, the music feels bigger than Panchiko’s earlier work which was colored by a bedroom intimacy. The sonic and lyrical scale is grander\, but maybe a bit more weary and lived-in as well. The lessons of experience were on the band’s mind. After touring the world with songs they had written as teenagers\, Panchiko was beginning to craft music that reflected their current\, more adult reality\, like on “Lifestyle Trainers\,” a drifty swirl of guitar plucks and synth pads that finds the band reflecting on the winding road of long term commitment. But even as Panchiko explored the particulars of middle age\, the teenage versions of themselves (the versions that wrote D>E>A>T>H>M>E>T>A>L) were still floating in their minds\, especially given the fact that Panchiko’s fans skew younger themselves. That’s clear on album standout “Shandy In The Graveyard” (featuring billy woods) which Davies shares “came from [him] reconnecting with the feeling of being the age of the audience that comes to see [them].” That youthful spirit can be felt in the song’s sonic world\, as its production genre shifts between trip-hop and orchestral folk. Woods’s inclusion is fitting given that American artists and the experience of touring throughout the States has made an indelible impression on Ginkgo. Most of Panchiko’s fans reside in the States\, a place they had little connection to before their virality. “We don’t normally do a lot of shows in England\, because nobody likes us there\,” jokes Wright. “We were too ahead of the time.” Seeing the expanse of a foreign country brought out new sounds and textures for the crew. It’s apt then that the album opener is titled “Florida.” “I was playing around with some samples in the van whilst we were driving through Florida\,” remembers Davies of creating the track. “Writing on the road is cool because you don’t have all the toys in your toy box. You’re using what you got.” That makes sense given that “Florida” is marked by a diverse set of sounds and musical leaps\, a vast landscape of guitar flourishes\, and almost alien sonic textures. New places\, a new generation of listeners\, a whole new life — the shock of their circumstances often leads Panchiko to reflect on the youth they’ve lost since they recorded their high school demo. “We had to delete ‘My Mortgage Repayments Are Going Up\,’” laughs Wright\, offering a sarcastic song title. And while they decidedly did not record an album about the tedium of adult living\, they did make a record that truthfully reflects their grounded station in life. That was bolstered by the fact that Panchiko made the record largely at home in Nottingham. With that\, the simple promises of home are evoked in every moment of the record\, and on the cover — a picture of Wright’s young daughter that she took herself. “She had just turned two at that point. She ran off with my phone and our album cover was done\,” Wright shares. Even though they paid an artist a hefty advance to make original artwork\, they decided to forgo that art for the picture. It said it all. “It’s pure\,” adds Davies. “It’s not contrived in any way.” The cover is an invitation to consider the expanse of Panchiko’s experience\, from adolescence and teenage artistry onward. The same wrenching honesty that attracted legions of fans to their teenage demos is the same truthful ethos that keeps them listening to new material. That full-hearted ethos may be most audible on the title track\, “Ginkgo.” On it\, Davies sings “You command the leaves to fall/The Ginkgo bends at will.” A rumination on the limits of control\, collaboration\, and fate\, the song is an apt meditation for a band whose resurgence came about through a mix of luck\, artistry\, and then clear-eyed energy. They couldn’t “command the leaves to fall” when they were teens trudging up the improbable hill of rock star success\, and they still can’t. But like the Ginkgo tree itself\, their roots grow deep\, which makes the going all the easier.
URL:https://atlantaconcertreviews.com/event/panchiko/
LOCATION:The Eastern\, 777 Memorial Dr SE\, Atlanta\, GA
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2025/11/panchiko-EAST-24APR2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260424T200000
DTEND;TZID=America/New_York:20260424T200000
DTSTAMP:20260420T071925
CREATED:20260104T215237Z
LAST-MODIFIED:20260104T215237Z
UID:18007-1777060800-1777060800@atlantaconcertreviews.com
SUMMARY:Alabama Shakes
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/alabama-shakes/
LOCATION:Synovus Bank Amphitheatre at Chastain Park\, 4469 Stella Drive\, Atlanta\, GA\, 30327
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/01/AlabamaShakes-CHAS-24APR2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260426T190000
DTEND;TZID=America/New_York:20260426T190000
DTSTAMP:20260420T071925
CREATED:20251107T021227Z
LAST-MODIFIED:20251107T021227Z
UID:17532-1777230000-1777230000@atlantaconcertreviews.com
SUMMARY:Alter Bridge - What Lies Within Tour
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/alter-bridge-what-lies-within-tour/
LOCATION:Coca-Cola Roxy\, 800 Battery Ave SE\, Atlanta\, GA\, 30339
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2025/11/AlterBridge-CCR-26APR2026.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260426T200000
DTEND;TZID=America/New_York:20260426T200000
DTSTAMP:20260420T071925
CREATED:20260215T193058Z
LAST-MODIFIED:20260215T193058Z
UID:18472-1777233600-1777233600@atlantaconcertreviews.com
SUMMARY:The Black Keys: Peaches 'N Kream
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/the-black-keys-peaches-n-kream/
LOCATION:Tabernacle\, 152 Luckie Street\, Atlanta\, GA\, 30303
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/02/blackkeys-TAB-26-27APR2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260427T190000
DTEND;TZID=America/New_York:20260427T190000
DTSTAMP:20260420T071925
CREATED:20260111T212356Z
LAST-MODIFIED:20260111T212356Z
UID:18063-1777316400-1777316400@atlantaconcertreviews.com
SUMMARY:SatchVai Band Ft Joe Satriani & Steve Vai
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/satchvai-band-ft-joe-satriani-steve-vai/
LOCATION:Atlanta Symphony Hall\, 1280 Peachtree St.\, Atlanta\, GA\, 30309
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/01/Satchvai-ASO-27APR2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260427T200000
DTEND;TZID=America/New_York:20260427T200000
DTSTAMP:20260420T071925
CREATED:20260123T035536Z
LAST-MODIFIED:20260123T035536Z
UID:18171-1777320000-1777320000@atlantaconcertreviews.com
SUMMARY:NewDad
DESCRIPTION:The beauty and bite of NewDad’s debut album ‘Madra’ made the Galway band one of the biggest new hopes around. Bringing a youthful zest to storied influences such as Slowdive\, The Cure and Cocteau Twins\, their amalgamation of classic ‘90s aesthetics attracted a diverse and still-growing audience: teenagers throwing themselves around in the mosh pit with care-free abandon.
URL:https://atlantaconcertreviews.com/event/newdad/
LOCATION:Terminal West\, 887 West Maritetta St. NW\, Atlanta\, GA\, 30318\, United States
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/01/NewDad-TW-27APR2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260427T200000
DTEND;TZID=America/New_York:20260427T200000
DTSTAMP:20260420T071925
CREATED:20260125T215125Z
LAST-MODIFIED:20260125T215125Z
UID:18208-1777320000-1777320000@atlantaconcertreviews.com
SUMMARY:Chameleons: Arctic Moon Tour
DESCRIPTION:The legacy of The Chameleons dates all the way back to 1981 when the band were discovered by the legendary BBC Radio host John Peel. Following their debut single ‘In Shreds’ for Epic Records in 1982\, the band released three seminal albums: the widely acclaimed ‘Script of the Bridge’ (1983)\, cited by many sources to be a masterpiece way ahead of its time\, its follow up ‘What Does Anything Mean? Basically!’ (1984) and for the US based Geffen Records ‘Strange Times’ (1986). Their unique sound quickly captivated the public through their very own mix of melancholic\, yet energetic and powerful tunes\, hypnotic ethereal riffs and the potent\, timeless lyrical style. The Chameleons are considered to be one of the most influential guitar bands of the 80s and 90s\, contributing substantially to the post-punk\, shoegaze and indie scenes and are often regarded as one of the most underrated bands ever to emerge from the city of Manchester England. \nThe Chameleons disbanded in 1987 only to re-emerge in 2000 with the independently released\, ‘Why Call It Anything’ and toured widely across Europe and the United States. However following the tragic death of their drummer\, John Lever\, and the departure of another founding member guitarist\, Dave Fielding\, the group disbanded once more. The Chameleons reformed in 2021 with surviving founders and principle writers: guitarist Reg Smithies and bassist\, vocalist & lyricist Mark Burgess\, joined by guitarist Stephen Rice\, Danny Ashberry on keyboards and on drums Todd Demma. \nOver the decades the popularity and reputation of the band continued to grow leading them to share the stage with the likes of U2\, Killing Joke\, Bauhaus\, Simple Minds\, Talk Talk\, The Cure amongst others. The Chameleons regard themselves primarily as a ‘live band’\, which has earned the fan’s loyalty and respect for decades with ther effortlessly intense and emotionally-charged performances. They have been touring extensively in the EU\, UK\, US and as far abroad as Australia\, South America and China. \nThe Chameleons are excited to announce the release of their first new single in over a decade: ‘Where Are You’ coming out on May 24th on Metropolis Records in conjunction with ‘Strange Times Entertainment. \n“We are thrilled to be working on our brand new album titled ‘Arctic Moon’ coming out later this year. We’ ve been working extremely hard and we’re really proud of the results so far. We all feel it’s the best work we’ve done so far. Fans might have the chance to hear some of the new songs on the upcoming tour in the United States\, Europe\, Australia and South America.”
URL:https://atlantaconcertreviews.com/event/chameleons-arctic-moon-tour/
LOCATION:The Loft\, 1374 West Peachtree St\, Atlanta\, GA\, 30309\, United States
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/01/Chameleons-Loft-27APR2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260427T203000
DTEND;TZID=America/New_York:20260427T203000
DTSTAMP:20260420T071925
CREATED:20260111T214340Z
LAST-MODIFIED:20260111T214340Z
UID:18081-1777321800-1777321800@atlantaconcertreviews.com
SUMMARY:The Messthetics
DESCRIPTION:Deface the Currency\, the new second collaborative album from the Messthetics and James Brandon Lewis\, grew out of a simple intuition. The group — with saxophonist Lewis joining the core Messthetics lineup of Brendan Canty on drums\, Joe Lally on bass and Anthony Pirog on guitar — was on tour in the summer of 2025 when Canty knew it was time to go back into the studio.This configuration of the band had debuted on record the year prior\, releasing an acclaimed self-titled album via Impulse!\, the legendary jazz label. But as the quartet logged serious time on the road\, the drummer felt their chemistry evolving\, so he called up engineer Don Godwin and booked a couple of days at Tonal Park in Takoma Park\, Maryland\, where The Messthetics and James Brandon Lewis was recorded.“The driving impulse was to not let a moment in time go away when you have a band that’s really jelling with one another emotionally and musically\,” Canty recalls.The plan was never to track an entire album — rather just to capture a few songs that they’d been playing live. But once the sessions began\, it became clear that the group was ready to make its next full-length statement.Deface the Currency preserves the tightness and variety of its predecessor\, but across the album’s seven tracks\, it reveals new levels of confidence and risk. On pieces such as the title track — named after a quote from Greek philosopher Diogenes that speaks to challenging societal norms — and a new version of “Serpent Tongue\,” which first appeared on the Messthetics’ self-titled 2018 debut\, the quartet reaches ecstatic peaks that convey fun as much as ferocity. More than any earlier statement by the band\, the record seamlessly melds the sounds that make up its collective DNA\, from punk rock to free jazz and funk\, balancing compositional precision with palpable improvisational fire.“I like making nice\, carefully orchestrated records\,” Canty says. “But I also really like to bring abandon into the studio\, because I think people hear that difference.”The Messthetics formed in 2016 in Washington\, D.C.\, drawn together by mutual admiration: Pirog had grown up listening to Fugazi\, the era-defining post-hardcore band anchored by the rhythm section of Lally and Canty\, while the bassist and drummer heard the genre-spanning guitar visionary play around town and took note of his unusually inclusive aesthetic. Pirog had played and bonded with Lewis before the Messthetics formed\, and in 2019\, he invited the saxophonist — whose massive\, soulful sound has made him a star of the contemporary jazz scene — to sit in with the group live. The collaboration blossomed and eventually led to the quartet’s 2024 LP.As strong as that effort was\, it documented a union that was still in its infancy: The trio worked up most of the material apart from Lewis and then rehearsed with the saxophonist for just one day before entering the studio.“We literally were not a band that did what bands do at that point that we made the first record\,” Lally notes.The quartet’s subsequent extensive touring brought about a very different result on Deface the Currency. “The more you know someone\, the better the relationship is\, the more enriched it becomes\,” Lewis says. “It’s like a cast-iron skillet: The more you keep cooking in it\, the better the food gets. So I think that’s what you hear on the record\, and you hear an urgency of now.”The band’s heightened communication comes through in Deface the Currency’s many surprising dynamic shifts. On “Universal Security\,” Pirog and Lewis’s floating melody\, played over a waltz-time pulse from Lally and Canty\, segues into the saxophonist improvising against a wall of richly textured guitar noise. And “Gestations\,” which layers a bebop-esque line atop a taut funk groove\, holds its energy in reserve before revving up to an explosive climax that suggests doom metal meets Ask the Ages\, guitarist Sonny Sharrock’s 1991 avant-jazz masterpiece\, which the quartet has recently covered in concert.“We just started recording things and getting them down in first or second takes\,” Pirog recalls of the Tonal Park session. “I don’t think we were expecting to finish the record that quickly\, but we were just so in the zone of playing together that it was pretty easy.”Their collective instincts served them equally well on the album’s mellower moments\, such as the Wayne Shorter–esque “30 Years of Knowing\,” as on the tracks that reach full roar\, including “Rules of the Game\,” with its hard-funk stomp that earned it the Parliament-nodding provisional title of “Mr. Wiggles\,” or the grinding\, anthemic “Clutch\,” which exemplifies what Lewis calls a “wounded warrior\, ‘we will prevail’ type vibe.”The album as a whole — a statement of vigor\, sensitivity and spontaneity — shows that Canty’s initial instincts were correct: Through playing night after night\, the quartet had reached new territory.“The band has become its own thing\, and it’s become its own different thing\,” the drummer says\, “a collective\, an actual group.”
URL:https://atlantaconcertreviews.com/event/the-messthetics/
LOCATION:The EARL\, 488 Flat Shoals Ave SE\, Atlanta\, GA\, 30316
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/01/messthetics-EARL-27APR2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260428T193000
DTEND;TZID=America/New_York:20260428T193000
DTSTAMP:20260420T071925
CREATED:20260210T005737Z
LAST-MODIFIED:20260210T005737Z
UID:18360-1777404600-1777404600@atlantaconcertreviews.com
SUMMARY:Tedeschi Trucks Band with Jason Isbell
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/tedeschi-trucks-band-with-jason-isbell/
LOCATION:Ameris Bank Amphitheatre\, 2200 Encore Parkway\, Alpharetta\, GA\, 30009
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/02/TTB-Ameris-28APR2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260430T200000
DTEND;TZID=America/New_York:20260430T200000
DTSTAMP:20260420T071925
CREATED:20260104T221941Z
LAST-MODIFIED:20260104T221941Z
UID:18032-1777579200-1777579200@atlantaconcertreviews.com
SUMMARY:Liz Cooper
DESCRIPTION:The thing about finding yourself is there’s always another corner to turn. The Vermont-based singer/songwriter Liz Cooper made her third album during a period of intense self-discovery and reinvention. She moved to New York for the first time\, weathered a pandemic\, came out to herself after falling in love with a friend\, and experienced her first queer relationship and breakup\, all in the course of a few years. New Day marks both a personal and a musical revolution for Cooper – a plunge into psychedelic pop depths and a fullhearted reflection of a whirlwind chapter in her life. These songs scintillate with the kind of self-confidence that only beams through after you’ve aimed a sharp gaze inward and realized that whatever you see will always keep darting ahead of you.In making New Day\, Cooper radically overturned her habitual approaches to making music. Rather than writing with a full band behind her\, she recorded demos alone in her apartment\, learning day by day to trust herself as she forged her new sound. “I needed to show up for myself to finish writing something that felt impossible\,” Cooper says. “New York really challenged me to become a better writer\, artist\, and person. Living there made me ask myself\, why am I making this? Why am I doing any of this? What’s the point? I was tired of being pigeonholed as a guitar player and Americana artist. I needed to follow my own creative bliss.” While recording\, Cooper assumed production duties for the first time in her career\, which enabled her to work bold new textures into each song. Together with co-producer Dan Molad (Lucius\, JD McPherson)\, she wrung entirely new sounds out of her guitar with studio equipment she’d never tried before. For the album’s bristlingly optimistic title track\, Cooper ran her guitar through a Kaoss pad synthesizer while Molad captured the sound by swinging a microphone around the room. They visited the War on Drugs’ studio to record feedback from Marshall amplifier stacks. Rather than focusing solely on composition and performance\, Cooper took a sculptural and procedural approach to production. “Instead of writing my guitar parts note by note\, I was experimenting on the spot\,” she says. “It opened my mind up – and it felt really good.”Despite its boisterousness and verve\, New Day was originally born in a quiet place. After nearly a decade of living in Nashville\, where she’d moved at age 19\, Cooper relocated to Brooklyn in February of 2020. She had expected to stay on the road as a touring musician as she’d done for years\, but the pandemic soon upended the industry and shuttered venues indefinitely. Confined to her neighborhood and her apartment\, Cooper sought out new ways to keep making music. A longtime guitarist who found her first musical home in Nashville’s Americana scene\, Cooper taught herself to play the piano during lockdown\, opening up brand new creative channels outside her usual writing practices. She didn’t have to worry about disturbing her neighbors with an amplified electric guitar\, and the process of learning an instrument while simultaneously writing on it unearthed an almost childlike sense of discovery. The piano proved to be a loyal friend during a profoundly alienating time. “It felt like someone I could lean on – like the piano was my voice when I couldn’t talk or sing\,” says Cooper.As songs started to trickle out\, Cooper flew back and forth to Los Angeles to record with Molad\, who engineered her 2021 album Hot Sass. The first song they recorded together was the riotous new wave number “Boy Toy\,” where Cooper fully ignites her confidence as an openly queer performer. “I wrote ‘Boy Toy’ the night before we went into the studio. It was totally random\, not at all planned\,” says Cooper. “I met up with my friend Caroline Kingsbury\, and we were like\, Let’s make a fun song that’s just super direct and sexy and big. It felt so powerful and free to start there.”Over time\, Cooper built out the songs she had written and demoed in New York. Slow and sparse sketches became big\, buoyant anthems. She looked to early Beck records for inspiration as she crafted New Day’s crisp\, high-contrast sound. On the album’s lead single and title track\, fuzz bass churns underneath twinkling synths and binaural backing vocals. Piano and strings take center stage on the swelling “IDFK\,” one of many songs inflected by Lou Reed’s classic album Coney Island Baby\, which Cooper played on repeat while living in Brooklyn. The bittersweet “Sorry (That I Love You)” conjures the extremes of a troubled relationship over warm\, vintage-toned guitar and bass\, while closer “Baby Steps” wraps the album on a hopeful note: “I’ve made mistakes / I’m only human / These baby steps / Lead me to you\,” she sings at the love song’s sweetly irresistible hook. “I struggled so much while writing this record\,” Cooper says. “I felt like I wasn’t allowed to come out – I was dealing with a lot of internalized homophobia. Celebrating my queerness and understanding who I am has been a long process. Every day is a new day of coming out to myself and to everyone around me. I’m very proud to be making music that feels honest to me and my experience.”No matter how many times you change\, no matter how many hours you commit to improving yourself\, each new phase in a life is still only a prelude to the next one. With New Day\, Cooper captures the unfurling transformations that revealed her to herself – and leaves the door wide open for all the people she’s still yet to become.
URL:https://atlantaconcertreviews.com/event/liz-cooper/
LOCATION:The EARL\, 488 Flat Shoals Ave SE\, Atlanta\, GA\, 30316
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/01/lizcooper-EARL-30APR2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260430T200000
DTEND;TZID=America/New_York:20260430T200000
DTSTAMP:20260420T071925
CREATED:20260304T033145Z
LAST-MODIFIED:20260304T033145Z
UID:18678-1777579200-1777579200@atlantaconcertreviews.com
SUMMARY:Aaron Hibell
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/aaron-hibell/
LOCATION:Terminal West\, 887 West Maritetta St. NW\, Atlanta\, GA\, 30318\, United States
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/03/AaronHibbell-TW-30APR2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260501T190000
DTEND;TZID=America/New_York:20260501T190000
DTSTAMP:20260420T071925
CREATED:20260304T040142Z
LAST-MODIFIED:20260304T040142Z
UID:18698-1777662000-1777662000@atlantaconcertreviews.com
SUMMARY:Magoo
DESCRIPTION:Magoo is a progressive bluegrass quartet from Denver\, Colorado\, redefining the boundaries of modern bluegrass with fearless creativity and world-class musicianship. Known for their dynamic live performances\, the band delivers a powerful blend of intricate arrangements\, tight three-part harmonies\, and extended improvisations that bring new life to the genre. \nTheir debut album What a Life arrives in February 2026\, capturing the group’s adventurous spirit and balance between heartfelt songwriting and soaring instrumental work. The record honors the roots of bluegrass while boldly exploring its modern evolution\, featuring a guest appearance from bluegrass legend Sam Bush on fiddle and harmony vocals and mastering by two-time GRAMMY Award winner David Glasser at Airshow Mastering. \nEach member of Magoo brings a distinctive voice and musical strength to the project. Dobroist Dylan Flynn\, winner of the 2024 RockyGrass Dobro Competition\, adds soulful depth and melodic warmth. Guitarist Erik Hill\, runner-up in the RockyGrass Flatpicking Contest\, drives the band’s rhythmic pulse with power and precision. Mandolinist Courtlyn Bills injects fiery solos and inventive arrangements\, while bassist Denton Turner grounds the sound with groove\, timing\, and subtle dynamics. Together\, they form a sound that is rich\, cohesive\, and unmistakably their own. \nMagoo’s recent achievements include first place at UllrGrass Band Competition and Clash of the Strings\, second at the Telluride Bluegrass Festival Band Competition\, and a sold-out headlining show at Globe Hall in Denver. Their festival appearances at Winter WonderGrass\, Grand Lake Folk Festival\, RapidGrass\, and Huck Finn Jubilee have solidified their reputation as one of the most exciting new acts in the progressive bluegrass scene. \nWith What a Life on the horizon\, Magoo stands poised for a breakout year\, bridging the heart of traditional bluegrass with the fearless innovation of a new generation.
URL:https://atlantaconcertreviews.com/event/magoo/
LOCATION:Eddie’s Attic\, 515B North Mcdonough St\, Decatur\, GA\, 30030
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/03/Magoo-Eddies-01MAY2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260501T193000
DTEND;TZID=America/New_York:20260501T193000
DTSTAMP:20260420T071925
CREATED:20251107T031220Z
LAST-MODIFIED:20251107T031220Z
UID:17569-1777663800-1777663800@atlantaconcertreviews.com
SUMMARY:Florence + The Machine
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/florence-the-machine/
LOCATION:State Farm Arena\, 1 State Farm Drive\, Atlanta\, GA
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2025/11/FlorenceMachine-SFA-01MAY2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260501T200000
DTEND;TZID=America/New_York:20260501T200000
DTSTAMP:20260420T071925
CREATED:20260104T221509Z
LAST-MODIFIED:20260104T221509Z
UID:18028-1777665600-1777665600@atlantaconcertreviews.com
SUMMARY:Arts Fishing Club
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/arts-fishing-club/
LOCATION:Aisle 5\, 1123 Euclid Ave NE\, Atlanta\, GA
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/01/ArtsFishingClub-Aisle5-01MAY2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260502T180000
DTEND;TZID=America/New_York:20260502T180000
DTSTAMP:20260420T071925
CREATED:20251121T040624Z
LAST-MODIFIED:20251121T040624Z
UID:17691-1777744800-1777744800@atlantaconcertreviews.com
SUMMARY:Chris Smither
DESCRIPTION:The sound and imagery of the 20th release by Chris Smither\, All About the Bones\, (release date: May 3\, 2024 on Signature Sounds/Mighty Albert\, distributed by Redeye) is as elemental as the inky black shadows cast by a shockingly bright moon. The listener is welcomed into some gothic mansion on an imaginary New Orleans street\, and there in the lamplit parlor confronts the band\, a minimalist skeleton crew: Smither’s inimitable propulsive guitar and rumbling baritone are joined seamlessly to producer David Goodrich’s carpetbag of instruments\, Zak Trojano’s rock-steady\, primal drumming\, BettySoo’s diaphanous harmony vocals\, and the flat\, mournful flood of Jazz legend Chris Cheek’s saxophone. \nRecorded at Sonelab Studios in Easthampton MA by Justin Pizzoferrato (Sonic Youth\, Dinosaur Jr.\, the Hold Steady) All About the Bones has a feel that is somehow baroque and austere at once. Smither and his longtime producer David Goodrich have been refining their musical conversation for decades\, both in the studio and onstage\, and by now\, their bond verges on the telepathic. Goodrich plays on nearly every track. His sound is by now so translucent that it seems to function as a swath of silence\, allowing the songs to burn like ciphers in the crackling air. \nAnd oh\, the songs on All About the Bones. Chris Smither\, after six decades of sharpening his knife as a songwriter\, can at this point open damn near anything with a flick of his wrist. God and the Devil are opened here. Mortality is too. Politics\, consciousness\, renewal\, family\, vulnerability\, surrender… Smither has sat with these topics like so many Zen koans\, for so long\, that every line is a pearl. The title track\, “All About the Bones\,” kicks the record off with “Consider your high station/ think about your fame. All of your creation depended on your frame.” Irony\, wit\, the double meaning of “depended”… each verse is a master class in songwriting. \nYet the stark\, elemental sage always has a twinkle in his eye\, a light touch at your elbow as he guides you along. From the wickedly funny defense of the Adversary in “If Not for the Devil” to the unsentimental open-heartedness of “Still Believe in You\,” he is as human as we all long to be. The disjointed imagery of “In the Bardo” and the dystopian mirror of “Close the Deal” find Smither unflinchingly staring down the mortality of both individuals and republics\, and yet he is at peace\, among loved ones in his cover of Eliza Gilkyson’s “Calm Before the Storm\,” and turning his gaze to the future in “Completion”. He sends us on our merry way\, startled\, dazzled\, unsettled and then comforted\, with Tom Petty’s “Time to Move On.” \nAs noted by the New York Times\, Rolling Stone\, MOJO\, NPR\, and others\, in the decades of travels to All About the Bones\, Chris Smither has gone from up-and-comer to journeyman to veteran to icon\, and yet the whole time his path has more closely resembled Joseph Campbell’s “Hero with a Thousand Faces”- an unblinking\, fearless trek into the depths of struggle and revelation\, and a return back to the land of the living\, to share the hard-won treasures found along the way. His restlessness is long gone\, and his eyes are fixed “where the moonlight falls on some never-to-be-seen horizon” (“Still Believe in You”). The light given off from his music casts our own lives into a sublime and welcome clarity.
URL:https://atlantaconcertreviews.com/event/chris-smither/
LOCATION:Eddie’s Attic\, 515B North Mcdonough St\, Decatur\, GA\, 30030
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2025/11/ChrisSmither-Eddies-02MAY2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260502T193000
DTEND;TZID=America/New_York:20260502T193000
DTSTAMP:20260420T071925
CREATED:20260304T032050Z
LAST-MODIFIED:20260304T032050Z
UID:18670-1777750200-1777750200@atlantaconcertreviews.com
SUMMARY:Bruce Springsteen & E Street Band: Land of Hope & Dreams Tour
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/bruce-springsteen-e-street-band-land-of-hope-dreams-tour/
LOCATION:State Farm Arena\, 1 State Farm Drive\, Atlanta\, GA
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/03/Springsteen-SFA-02MAY2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260502T203000
DTEND;TZID=America/New_York:20260502T203000
DTSTAMP:20260420T071925
CREATED:20260303T180010Z
LAST-MODIFIED:20260303T180010Z
UID:18615-1777753800-1777753800@atlantaconcertreviews.com
SUMMARY:Cass McCombs + Band
DESCRIPTION:Over the past twenty plus years\, Cass McCombs has journeyed a singular path as an uncompromising song-carver\, guitarist and singer. Along with the finest squadron of collaborators and bandmates\, his music travels gracefully over seemingly contradictory terrain\, from infectious guitar riffage to intensely personal lyricism. In August 2025\, Cass released his newest album “Interior Live Oak” to rave reviews including 5 stars from the Guardian\, an 8.1 from Pitchfork who said “16 songs and not a throwaway among them…\,” a 9/10 from Uncut Magazine\, and a rave from Mojo magazine who said “…this is the kind of record it’s impossible to be casual about.” Interior Live Oak is his most personal album to date\, and\, more than any previous record\, shows his vast range as a lyricist and musician. It draws from everything Cass has created over two decades of experimentation to cut through with a direct and clarifying light. Cass McCombs will embark on his “Interior Live Oak Live” tour over 2026. He lives in New York City.
URL:https://atlantaconcertreviews.com/event/cass-mccombs-band/
LOCATION:The EARL\, 488 Flat Shoals Ave SE\, Atlanta\, GA\, 30316
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/03/CassMcCombs-EARL-02MAY2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260504T200000
DTEND;TZID=America/New_York:20260504T200000
DTSTAMP:20260420T071925
CREATED:20251124T043322Z
LAST-MODIFIED:20251124T043322Z
UID:17780-1777924800-1777924800@atlantaconcertreviews.com
SUMMARY:Flyte
DESCRIPTION:Flyte is the project of English songwriters Will Taylor and Nick Hill. The pair met at secondary school\, eventually settling in Hackney\, London. Taylor’s parents were both English teachers and inevitably\, various literary influences trickled into the duo’s music- the band taking its name from Sebastian Flyte of Evelyn Waugh’s Brideshead Revisited. After the release of two critically acclaimed albums\, they have established themselves as an influential mainstay. The Loved Ones (2017) recorded with Burke Reid (Julia Jacklin\, Courtney Barnett) in the Australian outback\, explored the ways in which people struggle to process love. The albums’ crafted storytelling and ambitious\, harmonic arrangements earned it the title ‘Best British debut of the year’ from the Sunday Times. Second album ‘This Is Really Going To Hurt’ (2021)\, took them out to Los Angeles to work with collaborator Andrew Sarlo (Big Thief\, Bon Iver). Seeing the sound move into a more simplistic and confessional mode\, focusing entirely on the aftermath of relationships ending. After extensive touring of Europe and North America\, Flyte have teamed back up with Andrew Sarlo\, this time at London’s famous Konk Studios\, to record their most confident and collaborative work to date. The latest self-titled album\, inspired by Taylor’s relationship with partner and artist Billie Marten\, explores love in all its early forms and features artists such as Laura Marling\, Bombay Bicycle Club and M Field.
URL:https://atlantaconcertreviews.com/event/flyte/
LOCATION:The EARL\, 488 Flat Shoals Ave SE\, Atlanta\, GA\, 30316
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2025/11/flyte-EARL-04MAY2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260504T200000
DTEND;TZID=America/New_York:20260504T200000
DTSTAMP:20260420T071925
CREATED:20260111T212552Z
LAST-MODIFIED:20260111T212552Z
UID:18065-1777924800-1777924800@atlantaconcertreviews.com
SUMMARY:The Wallflowers
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/the-wallflowers/
LOCATION:Buckhead Theatre\, 3110 Roswell Rd NE\, Atlanta\, GA\, 30305
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/01/wallflowers-BT-04MAY2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260505T190000
DTEND;TZID=America/New_York:20260505T190000
DTSTAMP:20260420T071925
CREATED:20260104T215412Z
LAST-MODIFIED:20260104T215412Z
UID:18009-1778007600-1778007600@atlantaconcertreviews.com
SUMMARY:Bilmuri - Kinda Hard Tour
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/bilmuri-kinda-hard-tour/
LOCATION:Coca-Cola Roxy\, 800 Battery Ave SE\, Atlanta\, GA\, 30339
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/01/bilmuri-CCR-05MAY2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260505T190000
DTEND;TZID=America/New_York:20260505T190000
DTSTAMP:20260420T071925
CREATED:20260117T224047Z
LAST-MODIFIED:20260117T224047Z
UID:18141-1778007600-1778007600@atlantaconcertreviews.com
SUMMARY:Soul Blind
DESCRIPTION:“We’re Soul Blind\, from the Hudson Valley\,” is how the set starts. And the band makes good on that threat from the first note. Thick\, pedal-drenched\, and aggressive\, Soul Blind take the heaviest elements of their hardcore roots and cut it with Modern Rock. The songs you heard in your dad’s truck are run through the unforgiving filter of the music that drew you to punk and metal. Crowbar and Stone Temple Pilots. All Out War into Tad. It’s all there\, because Soul Blind doesn’t try to hide what shaped them. The result is music for the freaks. Non-denominational subculture weirdo tracks. It’s the sound of living in the shadow of NYC and never feeling jealous. The sound of proudly standing on the shoulders of local giants who never got their due. The sound of being four reprobates with nothing to offer the world but music. In other words\, a real band.
URL:https://atlantaconcertreviews.com/event/soul-blind/
LOCATION:Masquerade – Purgatory\, 50 Lower Alabama St\, Atlanta\, GA\, 30303
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/01/SoulBlind-Masq-Purg-05MAY2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260505T190000
DTEND;TZID=America/New_York:20260505T190000
DTSTAMP:20260420T071925
CREATED:20260303T230113Z
LAST-MODIFIED:20260303T230113Z
UID:18648-1778007600-1778007600@atlantaconcertreviews.com
SUMMARY:Eagles - The Long Goodbye w/ Tedeschi Trucks Band
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/eagles-the-long-goodbye-w-tedeschi-trucks-band/
LOCATION:Truist Park\, 755 Battery Ave.\, Atlanta\, GA\, 30339
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/03/EAGLES-TTB-Truist-05MAY2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260505T193000
DTEND;TZID=America/New_York:20260505T193000
DTSTAMP:20260420T071925
CREATED:20260123T034914Z
LAST-MODIFIED:20260123T034914Z
UID:18167-1778009400-1778009400@atlantaconcertreviews.com
SUMMARY:Avatar: Don't Go Into the Forest
DESCRIPTION:
URL:https://atlantaconcertreviews.com/event/avatar-dont-go-into-the-forest/
LOCATION:Tabernacle\, 152 Luckie Street\, Atlanta\, GA\, 30303
ATTACH;FMTTYPE=image/jpeg:https://atlantaconcertreviews.com/wp-content/uploads/2026/01/avatar-TAB-05MAY2026.jpg
END:VEVENT
END:VCALENDAR