LIVE: Music Picks, Nov. 10-16 | Music Picks | Salt Lake City | Salt Lake City Weekly

LIVE: Music Picks, Nov. 10-16 

A roundup of can't-miss concerts heading your way this week.

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Steve Grimmett's Grim Reaper

It never made sense why Beavis and Butt-head bagged on Grim Reaper, and it's a shame that this is one of the most commonly regurgitated facts about the severely underrated English '80s heavy metal band. Although southpaw guitarist Nick Bowcott isn't around to wring killer riffs, squeals and divebombs out of his Union Jack guitars, Steve Grimmett's voice is the band's other great asset, and it sounds incredible after nearly 40 years. The band's latest album, Walking in the Shadows (Dissonance Productions) is only their fourth—and the first since 1987. Even absent Bowcott's guitar, it's a feast for fans who've long hoped for new Grim Reaper music. Seeing the band perform classics like "Fear No Evil" and "See You in Hell," on the tiny Liquid Joe's stage will be, to borrow from B&B, huh-huh ... cool. (Randy Harward) Liquid Joe's, 1249 E. 3300 South, 7 p.m., $10 in advance, $12 day of show, 21+,


FRIDAY 11.11
Jai Wolf, Jerry Folk, Khai

In July of 2015, Rolling Stone proclaimed Jai Wolf (born Sajeeb Saha) one of their "10 New Artists You Need to Know." Jai Wolf's notoriety came in large part from the Middle Eastern-tinged remix that he composed of Skrillex's "Ease My Mind." The dubstep legend was so impressed with Jai Wolf's musical instincts that he released the song via OWLSA, his own record label. From there, Jai Wolf got involved with Foreign Family Collective, where he released "Indian Summer," which was the kind of blockbusting debut that threatened to leave other EDM luminaries in the dust. He's currently touring in preparation for the upcoming release of Kindred Spirits, his first EP. In addition to checking out the first of Jai Wolf's new material, fans can also look forward to the genre-defying work of Oslo native Jerry Folk and the R&B-inspired beats of Austin-based Khai. (Alex Springer) The Urban Lounge, 241 S. 500 East, 8 p.m., $16 in advance, $18 day of show, 21+,


Steven Wilson, Bruce Soord
Steven Wilson is a prog guy, one of those old school experimental types that believes in taking music well beyond the confines of the standard three-minute song template and instead adding intriguing imaginative elements. Sounds that allow the audience to think, ruminate and ponder the possibilities. Wilson's main vehicle is the band Porcupine Tree—a leading progressive rock band of the modern era. However he's also shown due reverence for his forebears by remixing and reintroducing classic albums by earlier auteurs such as Jethro Tull, King Crimson, Yes and XTC. In short, he's one prolific producer. The bill also features Bruce Soord, known not only as the founder of the band The Pineapple Thief, but also as one of today's most interesting and innovative musicians. In addition, he frequently collaborates with other artists, which has helped him work his way into major prog prominence. (Lee Zimmerman) In the Venue, 219 S. 600 West, 6:30 p.m., $30 in advance, $35 day of show,

The Nods (7-inch release), Brain Bagz
Yes, there is old-school punk rock in Salt Lake City—the kind played without an ounce of irony. The kids even put out records, or since vinyl has become eclipsed as the hip musical medium, cassette tapes. Three-year-old four-piece The Nods have an eight-song album, last year's Ariadne's Thread ( under their belts, and are releasing a limited-edition two-track 7-inch this Friday via the Scottish label Hail Atlantis. The Nods, who at times, bring to mind the Dead Kennedys and Brain Bagz, are somewhat reminiscent of the Cramps, with Mikey Blackhurst's vocals and a '70s touch of punk-rock sax. (Brian Staker) Big Iron, 438 W. 700 South, 10 p.m., $10



Here's something for fans of The Smiths and their temperamental lead singer Morrissey to obsess over (you know, besides a pie-in-the-sky reunion): Just kiddin', suckers. I got nothin'. And I join you in the desire to see Moz and Marr and those other two guys onstage together again, for two reasons: One being that everyone wants to see a raging egomaniac either humbled or redeemed—and, in this case, eating the word "never." No. 2: Because it'd be bitchin'. Sorry, Moz. They aren't the most poetic of reasons, but you know I'm right. The mending of fences—even for show and filthy lucre—just so you can rekindle some of the magic you once achieved together and share it with the people whose adoration equals your career, has to be worth something. Otherwise, you're the father, son and heir of nothing in particular, goin' about things the wrong way. (RH) Eccles Theater, Delta Performance Hall, Nov. 12, 9 p.m., $35-$89.50

Postmodern Jukebox
What if you took today's contemporary pop hits and played them in the musical styles of yesteryear? Turns out they sound a lot better coming from real musicians instead of plastic pop stars. (RH) Eccles Theater, Delta Performance Hall, 131 S. Main, Nov. 13, 7:30 p.m., $35-$150,


MONDAY 11.14
The Fabulous Miss Wendy, Suburban Hell Kill, Detour, LSDO

It takes stones—not just balls—to call yourself "The Fabulous" anything. In spite of this cheesecake picture, Wendy has some hefty boulders south of her equator. She picked up a guitar at age 10 and was a virtuoso by 12. She played guitar in Green Jello for a year, was handpicked by Slash to open his tour, and has supported UFO, Quiet Riot and Nashville Pussy. Gerald Casale of Devo produced her first album, and the legendary Kim Fowley (The Runaways, Kiss) produced her third, No One Can Stop Me ( Live, she prowls and writhes all over the stage while playing her poppy punk/hard rock tunes, flashing a flirty smile, baring butt cleavage—and demonstrating a hip-shake that looks like it could put you through a wall. No wonder Revolver called her "the sexiest rock star ever." The woman is a rock 'n' roll dynamo, and she will tear you to pieces this Monday. (RH) Club X, 445 S. 400 West, 8 p.m., $5 in advance, $10 day of show, 21+,


The Manhattan Transfer Meets Take 6

Perhaps one of the longest-running vocal ensembles in North America, The Manhattan Transfer has been honing their particular cocktail of jazz, a cappella and gospel for more than 40 years. Despite the tragic loss of founder Tim Hauser in 2014, the remaining members of the Grammy Award-winning quartet are still committed to performing the music that has carried them through their long career. With new vocalist Trist Curless joining Cheryl Bentyne, Alan Paul and Janis Siegel, The Manhattan Transfer has organized a fall and winter tour that will take them all over the United States and Europe. The tour features a guest appearance by Take 6, the Alabama-based gospel sextet who are celebrating the March release of their 14th album, Believe. (AS) Val A. Browning Center for the Performing Arts, 1901 University Circle, Ogden, Nov. 14, 7:30 p.m., $15-$45,; Cache Valley Center for Arts, 43 S. Main, Ogden, Nov. 15, 7:30 p.m., $33-$52,

Glen Phillips, Jonathan Kingham

His thriving solo career aside, Glen Phillips has been involved in many diverse and dynamic musical enterprises; chief among them are Toad the Wet Sprocket and the supergroup WPA, as well as one-off projects like Plover and Remote Tree Children. Phillips' ability to write songs that boast a cheerful sweep and a keen melodic prowess remains a constant throughout his musical ventures. Phillips' latest album, Swallowed by the New, is a perfect primer—a collection of tracks that attest to his wonderfully affecting tones and easy, breezy demeanor. In concert, he's a real charmer, effortlessly dissolving any barriers between artist and audience. Opener Jonathan Kingham is no slouch, either. With three albums that mesh folk, pop, rock and jazz, he's well worth the price of admission on his own. (LZ) The State Room, 638 S. State, 8 p.m., $20, 21+,

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Lee Zimmerman

Lee Zimmerman

An accomplished writer, blogger and reviewer, Zimmerman contributes to several local and national publications, including No Depression, Paste, Relix and Goldmine. The music obsessive says he owns too many albums to count and numerous instruments he’s yet to learn.

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