by Ryan Snyder

Upcoming shows you should check out


Echoes of pre-grunge rock ring through the new album In the Marrow by Athens quartet Dead Confederate, so it’s not altogether surprising that the most common comparisons of front man Hardy Morris are Kurt Cobain himself (in part because they were both at one time managed by Gary Gersh, the man who signed Nirvana). The partly bemused, partly numbed groan he wields is immediately evocative, but the band finds itself closer in true musical lineage to the more artfully sinister face of the Cure, or the gleefully fractious median of the Pixies, either focused through the lens of burly southern rock. With In the Marrow, the reformed jam band overcame the seesawing between overly gritty and overly polished production that disrupted Wrecking Ball and Sugar. No matter how it’s sliced, it’s still rock music in all its ragged, imperfect glory. Dead Confederate will visit the Garage this Thursday night, where they’ll be supported by Florida indie-folk brother act the Roadkill Ghost Choir and Winston-Salem post-hardcore outfit Echo Crush. Tickets are $10 in advance and $12 at the door, and the music starts at 9 p.m.


Jason Aldean is going to duet alongside a hologram of Kelly Clarkson when he sings their Grammy-winning ballad “Don’t You Wanna Stay” at this Saturday’s performance at the Greensboro Coliseum. Oh, spoiler alert? It shouldn’t be necessary. Aldean is infamous for coattailing on famous ghosts. On his 2009 album Carolina, Eric Church took shots at Jason Aldean through the song “Lotta Boot Left to Fill” for Aldean’s gratuitous name-dropping of Johnny Cash, et al. Church’s point was that far too often do country musicians toss about the names of the greats while having someone else pen their music. All puff, no stuff as it were. According to Church, his former Capitol Records labelmate Aldean was as guilt of that as anyone. Aldean has been off of Capitol and onto the independent Broken Bow records for two albums now, though he’s still not writing a single one of his songs, but that hasn’t slowed down his runaway success. Four years ago this week, Aldean was playing the War Memorial Auditorium, and now he’s commanding sellout warnings in the big room. So it doesn’t matter a great deal that he’s not the owner of his songs, at least not when he can afford to have that guy, in this case Thomas Rhett, open for him. Also opening is Jake Owen, for the banjos and drum machine niche. Tickets start at just under $40 and the music begins at 7:30 p.m.


The idea of guitar virtuoso Stanley Jordan fielding a tour alongside another brand-name jazz guitarist with the positioning that each show will culminate in a jaw-dropping, twin guitar finale is a little redundant, given Jordan’s unique skill set. One of the touch technique’s most important innovators, Jordan is fully capable of serving as his own accompaniment, and he does so to rather breathtaking effect. Jordan’s songwriting is elemental, not in the sense of rudiment, but ancient. Whether he’s playing one or two guitars, weaving Mozart into Led Zeppelin into tasteful originals, Jordan’s voice is singular. He engages layer upon layer of texture and melody at his most visceral, but can just as easily synthesize his entire milieu into a single, breathless progression. Jordan will be joined at the High Point Theatre by former “Tonight Show” bandleader Kevin Eubanks, whose own lineage stretches back to his side work for Art Blakey & the Jazz Messengers. Both players will have their own sets, and the finale will be dynamite. Tickets range from $30 to $40, and the show starts at 7:30 p.m.