by Ryan Snyder

Upcoming shows you should check out


There comes a point in every young star’s career when popularity versus output reaches diminishing returns. It almost seemed inevitable that the conversation around Taylor Swift would shift away from music to focus on the foibles of youth. The narrative pendulum for Taylor Swift, an erstwhile sweet girl with both an inarguable talent for songwriting and a heart affixed to her sleeve, seems to have swung that way during the campaign for her fourth and boldest album Red. It’s become generally accepted that Swift makes music worthy of adoration — she’s long since transcended her country roots to become one of the most respected pop artists in the world. But as the critical machine has settled into accepting Swift as a valid creative force — here she skillfully juggles the softer elements of everything from bluegrass and dubstep in her live performances — gossip media latches onto events like her mouthing a bad word at the VMAs. They’re the growing pains of young stardom, even if Swift demonstrates that she’s wise beyond her years. Example: She calmly walked collaborator and Red tour opener Ed Sheeran back from the precipices as a technical malfunction left him bewildered and off-track at a New Jersey show earlier this year. The two have had plenty of time to tighten their game since then, which comes to the Greensboro Coliseum on Thursday. Sheeran, Swift’s co-writer on the Butch Walker-produced hit “Everything Has Changed,” remains in the supporting slot. Tickets start at $29.50 and the show begins at 7 p.m.


For all of the international acclaim that Between the Buried and Me has accrued through extensive touring with bands like Coheed and Cambria or Cannibal Corpse, it’s not farfetched to assume that their hometown doesn’t know just how big they are. Guitarist Dustie Waring holds down the lead in Winston-Salem country bar staples the Ross Coppley Band and the on-again, off-again deathgrind outfit Glass Casket with Blake Richardson. Bassist Dan Briggs has been active in his Greensboro-based jazz-fusion side project Trioscapes since tapering off from his experimental supergroup Orbs, but Between the Buried and Me actually have not played Winston-Salem — the hometown of Richardson and Waring — since the release of Alaska in 2005. It was the band’s first record to feature this ineup, but it’s unlikely they’ll be revisiting the classics. Their most recent album, The Parrallax II: Future Sequence, is the focus of their current tour and will be played in its entirety. It encompasses almost all of the band’s influences, including some new ones, over the course of nearly 73 minutes, or more likely, 72 minutes, 33 seconds. This is a band that deals in a symphonic level of precision while fencehopping between nasally alt-rock hooks and gurgling death growls, pointillist staccato runs and slurred jazz-rock builds. It’s a chance to go all out on the record, i.e. bringing in Brand New Life sax player and Trioscapes co-conspirator Walter Fancourt for his spot on the album’s best track “Telos.” Indiana metalheads the Contortionist will open, along with Brits the Saftey Fire, for whom BTBAM vocalist Tommy Giles Rogers recently lent vocals. Tickets are $18 in advance and $20 at the door, and the show starts at 8 p.m.