Live: Music Picks Apr. 7-13 

Joshy Soul and The Cool, Father John Misty, Gary Clark Jr. and more

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Joshy Soul and The Cool

At only 26, Joshy Soul (born Joshua David Strauther) sounds like he's been playing music since the heyday of Motown, Sun and Stax/Volt. Fittingly, he describes his debut release Vintage Dreamin' ( as "an album for old souls who miss the old ways of music and lifestyle." He says every song draws from his personal experience, but also from the good ol' days of the '50s, "with rhythm and blues, to Lindy hop, to straight Motown shuffle that makes you want to rock back and forth." The fat-toned guitar, plucky piano, bright brass and Soul's exuberant voice can turn even the most determined frown upside-down, accomplishing Strauther's main goal, which is to make you "want to smile, put your nicest clothes on, and show somebody some love!" (Randy Harward) The Gallivan Center, 239 S. Main, 7:30 p.m., free,

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Father John Misty

Joshua Michael Tillman, also known as Father John Misty, has been a part of the new indie folk rock movement since the early 2000s, working solo as J. Tillman; with the bands Fleet Foxes, Saxon Shore and Har Mar Superstar (the nom-de-tune of his brother, Sean Tillman); and since 2012 with the religious moniker. As "Father," he seems to be able to access a more essential level of performing and songwriting, balancing near-romantic profundity with bleak cynicism. His earlier work showed fluency in a variety of indie rock subgenres, but his more recent stuff demonstrates a poeticism that the best of the new folkies are bringing to their craft. Last year's I Love You, Honeybear (Sub Pop), his second as FJM, shows that the persona isn't a gimmick—he has something genuine and worthwhile to say. (Brian Staker) The Depot, 400 W. South Temple, 8 p.m., $28 in advance, $30 day of show (plus $2 for fans under 21),


Gary Clark Jr.
Austin, Texas, guitar whiz Gary Clark Jr. came up in the late '90s, and almost immediately began to attract attention for his self-assured, blues-influenced playing style. As opposed to his musical forerunners like Stevie Ray Vaughan, rather than a clean, ringing tone, Clark favored a more distorted guitar sound. Once he conquered the Texas blues scene, he started to receive national attention, playing numerous festivals, earning Spin's Golden Corndog in 2012 for performing in more festivals than any other musician, and, for a while, watching his song "Bright Lights" become almost ubiquitous in TV (Suits), film (Stand Up Guys) and even in a video game (Max Payne 3). If his music seems to have damn-near universal appeal, it's because he shows how the blues is integral to almost all other genres of American music. (BS) The Complex, 536 W. 100 South, 7 p.m., $30 in advance, $35 day of show,

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An Evening with Elvis Costello

In 2005, at Antone's in Austin, I was watching blues legend Hubert Sumlin tear it up—while standing next to Robert Plant, whose super-cool bodyguard had promised me a post-set photo. Suddenly, a figure in a porkpie hat and trademark spectacles zipped onstage and grabbed a mic. Elvis Fucking Costello. He looked like a giddy kid up there. When the song ended, Costello and Sumlin hugged. Then, Costello ran offstage. So, was I a Zeppelin guy, or a Costello guy? My feet knew before my brain did—I was already giving chase. I caught up and asked for a photo. Costello grabbed my camera, put his arm around me, clicked the shutter, shook my hand and ran on. Well, the LCD display on my camera showed only a flesh-colored rectangle. Noooo—I'd been at full zoom! I caught Costello near the exit. Still smiling, he performed a full do-over, then split for his own show across town. Now my screen showed two music fans stoked on encountering our heroes. Sadly, I lost the shot in a hard-drive crash. But tonight, 11 years and one month later, and for the first time—because I was obligated to cover something else that night—I'll get to see Elvis Costello perform a nice, long set comprised of whip-smart pub rock songs that shake my soul. Larkin Poe opens. (RH) Kingsbury Hall, 1395 E. Presidents Circle, 7:30 p.m., $30-$60,

Parov Stelar
Parov Stelar's 2013 double album The Art of Sampling (Etage Noir) is a comprehensive sojourn through the technique of sampling in a variety of settings. The Austrian DJ/producer's eclectic style—fusing breakbeat, electro, house, jazz and swing music, earned him a reputation as a real innovator, and one of the founders of the electro-swing genre. Stelar's somewhat formal attire and use of small jazz-combo instrumentation recreates the excitement of old-school jazz music in modern electronic context. (BS) The Complex, 536 W. 100 South, 7 p.m., $30 in advance, $35 day of show,


Roger Clyne & The Peacemakers

In music journalism, comparisons are like Monopoly money: Some of us make it rain with the cheap "a = b" references. But when the Asbury Park Press calls you the "Springsteen of the Southwest," that means something. That's the Boss's hometown paper, so the analogy is weighty—and accurate. Just like Bruce is jacked into the souls of the common folk in Jersey, Clyne is plugged into the worker-slash-dreamers of the American Southwest. We first heard Clyne's twangy rock on The Refreshments' 1996 album Fizzy Fuzzy Big & Buzzy (Universal), and the Peacemakers are touring in celebration of the platter's 20th anniversary, plus its recent release on vinyl. Expect to hear Fizzy in its entirety and Peacemakers songs that demonstrate why a Clyne's getting tribute album with contributions from Alice Cooper, Lydia Loveless, The Smithereens and Cracker. (RH) Liquid Joe's, 1249 E. 3300 South, 7 p.m., $15 in advance, $20 day of show,


Nathan Fox

Singer-songwriter and Berklee grad Nathan Fox plays music too expansive to be pinned to any one genre. While Americana is his main sound, Fox reaches deeper into areas of rock, jazz, soul and folk than traditional Americana artists do. A San Diego native, he stands out for his full, heavy-noted acoustic songs, nuanced by jazz-tone electric guitar, piano, saxophone and his silky vocals. The emotional breadth of his material led to Fox's songs popping up on TV (Daredevil, Jessica Jones) and in films (Deliver Us from Evil). Local bands The Arvos and City of Salt open. (Westin Porter) Kilby Court, 741 S. 330 West, 7 p.m., $10 in advance, $12 day of show,


Ellie Goulding

What can you say about someone like Ellie Goulding, who rocketed to fame so quickly while still in her 20s? Her kind of overwhelmingly successful pop music is largely the product of producers, who create a synthetic (literally, synthesized) environment in which lyrical fantasies swim. Of course, without singing chops, the music is nothing, and Goulding has vox for days. Her breathy, airy vocal delivery creates a sense of the organic, the human amidst the artificial background. Her third album, Delirium (Polydor, 2015) manages to avoid repeating the same moves of her previous two. Broods and Bebe Rexha open. (Brian Staker) Maverik Center, 3200 South Decker Lake Drive, 7 p.m., $29.50-$59.50,

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