Music Shortlist: 5 Very Different Shows To See This Week
Tokyo Police Club @ Union Transfer | Tuesday, April 19
A decade in, indie/garage pop rockers Tokyo Police Club just kicked off a tour for their newest album, Melon Collie and the Infinite Radness. The new tracks have the group’s usual upbeat sound, even in a breakup anthem like “Not My Girl.” Indian Lakes and Charly Bliss open.
Chris Pureka @ Boot and Saddle | Wednesday, April 20
Singer-songwriter Chris Pureka sounds like she should always be sitting on a low wooden stool in a coffeehouse, acoustic guitar in hand, but Boot and Saddle works as a venue too. She’ll be playing her intimate songs in support of her sixth album, Back in the Ring. Expect to feel feelings during the title track.
Moosh and Twist @ Underground Arts | Thursday, April 21
These Philly kids are growing up before our eyes. High-energy rappers Moosh, aka DeQuincy Coleman, and Oliver “Twist” Feighan headline a Red Bull Sound Select show at Underground Arts. (Full disclosure: I almost called them “spunky.”). Check out their new video here. Philly-based Tunji Ige, New Yorkers Loaf Muzik, and Boston’s Michael Christmas are also on the bill. RSVP to get a $3 ticket, or wait and pay $10. The catch: A ticket doesn’t guarantee entry, so get there early.
Fell Into Yesterday @ The Fire | Saturday, April 23
The members of Fell Into Yesterday classify themselves as pop-punk/post-hardcore, so they’re kind of angry but not quite as yell-y as punk, with a hint of Billy Joe from Green Day on some tracks — though they do sell a T-shirt that says “Angry Philly Dudes” under the band name. They’re playing a record release show and hosting a party for their debut EP, From the Ground Up, at The Fire.
Charles Bradley and His Extraordinaires @ Union Transfer | Sunday, April 24
The 67-year-old Screaming Eagle of Soul has a throwback sound with modern lyrics. Despite sounding like he’s been honing his voice since the ’60s, Bradley is fairly new to the scene. His third new album, Changes from Daptone Records, includes an emotional cover of Black Sabbath’s 1972 song of the same name, which Pitchfork recently named a Best New Track.