by Ryan Snyder

Upcoming shows you should check out


To ordain the Rebirth Brass Band a New Orleans institution on the cusp of their 30th anniversary would be understating just what passes for a cultural institution in New Orleans. Indeed, they are one of the city’s most recognizable bands crews, arguably on par with that of their contemporaries the Dirty Dozen Brass band and the current standard bearers the Preservation Hall Jazz Band, but Rebirth is Paleocene to their Jurassic, with Onward Brass and the Young Tuxedos born in the Silurian. Thirty years is not long in the New Orleans sense, but the Rebirth Brass Band are game-changers nonetheless. You can go as far back as 1994’s “Rollin’” to hear how they were among the first in the city to embrace hip hop in their sound, taking the Mardi Gras Indian call-and-response and tempering it with salacious bars just because that’s the spirit of Rebirth: As long as you can hang, you can do your thang. They’re deeply versed in the songs that have been absorbed into the Big Easy canon just by sheer force of gravity: Bobby Womack’s “It’s All Over Now,” Herbie Hancock’s “Chameleon,” the Jacksons’ “Shake Your Body to the Ground” all as essential to their parties as the Rebirth of New Orleans material that won them the inaugural Best Regional Roots Grammy in 2012. When they aren’t holding it down at the Maple Leaf in one of New Orleans’ most high-profile residencies, they ar road warriors to the core, and their wayfaring tendencies will bring them to Greensboro this weekend for a pair of sets, one a little more accessible than the other. Their Saturday night show at the Blind Tiger will showcase them in all their funky, often scandalous glory with the Brand New Life in support, and on Sunday, they take the stage at the Greensboro Coliseum as the halftime entertainment for the ACC Women’s Basketball Tournament Championship Game. Tickets to the Blind Tiger show on Saturday are $15 in advance and $20 at the door, and the music starts at 10 p.m.


We’ve all been here: You’re on hold with tech support or the IRS or the cable company, full of piss and vinegar and ready to give an earful to the unlucky schmuck who picks up on the other end. But then something magical happens. “Maneater” comes on the line to help you bide the time and within seconds, you forget why you’re on hold in the first place. They only thing that matters is nailing that tricky vocal change between “Here she comes” and “Watch out boy” when suddenly a Pakistani guy named Chad is wondering why you’re shouting “Mind ova matter!” into his earpiece. That’s the effect that Hall & Oates have on us all, and it’s also why Callin’ Oates was invented: to mimic the sensation of perpetually being on hold to the sweet, sweet sounds of the bestselling pop duo of all time. It’s only second to seeing them live, however, but Daryl Hall and John Oates will make their return to the Durham Performing Arts Center next Wednesday, March 13, two years after a pretty incredible soldout performance in that very same room. It’s almost sold out, so don’t even think about it and go.