- Todd Walberg
FRIDAY 11/10
Guantanamo Baywatch, Night Shapes, 90s Television, Dream Slut
It's a twisted path pop culture has followed, if you even want to try to trace it to determine what "cool" is anymore. That path is enveloped by Portland band Guantanamo Baywatch, whose moniker crosses a hipster fascination with kitschy-sexy TV shows of bygone decades with real political anxiety and even a hint of dissent. In other words, it's perfect! You'd be hard-pressed to find two better words to encapsulate their music, a similarly impeccable pastiche of '60s Northwest surf and garage rock. Their latest, Desert Center (Suicide Squeeze), is a paean to a California town in the middle of nowhere. Oakland psych-synthers Night Shapes open, along with two locals: lo-fi popsmiths 90s Television and feminist indie rockers Dream Slut. (Brian Staker) Diabolical Records, 238 S. Edison St., 8 p.m., free, all ages, facebook.com/diabolicalslc
- Dana Beveridge via Wikimedia
SATURDAY 11/11
Kid Cudi
After enduring a rather difficult 2016, Cleveland-based rapper and Kanye West acolyte Kid Cudi (née Scott Ramon Seguro Mescudi) is gathering his strength—or, as he put it in an interview with Billboard, "pre-cumming" before he "ejaculates a full spew." Hot on the heels of the release of his latest album Passion, Pain & Demon Slayin' (Republic/Wicked Awesome), Cudi is rolling through the nation's clubs and venues in pursuit of his own artistic vision, giving zero fucks along the way. After dealing with the fallout of 2015's poorly received experiment Speedin' Bullet 2 Heaven and completing a stint in rehab, his new album and tour are the rapper's testament that he's still alive and rapping. Yes, fans can expect a return to his hip-hop roots, but the next person who asks about Man on the Moon 3 is going to get a mic drop to the forehead—the rapper has made it clear that it's just not in the cards. (Alex Springer) The Great Saltair, 12408 W. Saltair Drive, 9 p.m., $45-$50, all ages, thesaltair.com
- Karen Jerzyk
SUNDAY 11/12
Dark Hearts: feat. Amigo the Devil, Andrew Sheppard, Mike Frazier, Will Ridge, Lorin Walker Madsen
Dark visions never seem to go out of fashion in music—"A friend of the devil is a friend of mine," as some old rock band once sang. Goth-folk—or "murderfolk," as Spicewood, Texas, singer/songwriter Amigo the Devil (aka Danny Kiranos) calls his stories of love and other earthly passions, like bloodlust gone wrong—is a genre that never lacks popularity, perhaps because we can all relate to the appetite if not the, uh, execution. Last time he came through here, Kiranos was all sold out of the ultra-dark merch he sells to complement his disturbing songs—everything from serial killer T-shirts to fetal mandibles. Now his website is down. Bad omen? Previously the frontman of Gypsy River Haunts, opening act and Hailey, Idaho, native Andrew Sheppard is pursuing a solo music career, with songs (and a backing band) reminiscent of classic old-school country in tow. (BS) The Urban Lounge, 241 S. 500 East, 8 p.m., $12, 21+, theurbanloungeslc.com
- Sean Dunn
WEDNESDAY 11/15
Cindy Wilson, Olivia Jean, Primitive Programme
While The B-52's might not have the street cred that some of their late '70s contemporaries enjoyed, a look back over the last 40 years of their existence reveals that this eccentric little new wave band from Athens, Ga., has been extremely influential on '80s and '90s music. While band founders Fred Schneider and Kate Pierson have enjoyed moderate solo success, Cindy Wilson is mounting her own return to music, having released two synthpop EPs over the past year, with her first full-length album Change (Kill Rock Stars) poised to make a splash in December. Joined by her band—which features Suny Lyons (Dream Boat, Phosphorescent), Ryan Monahan (Easter Island) and Marie Davon (Powerkompany)—the singer's dreamy sonic evolution has come a long way from the love shack. Americana witch Olivia Jean (formerly of garage-goth quartet The Black Belles) and local retro-futurists Primitive Programme open the show (AS) Metro Music Hall, 615 W. 100 South, 7 p.m., $20-$35, 21+, metromusichall.com
- Joshua Timmermans
Hard Working Americans
Most supergroups are cheap, orgiastic assemblies of familiar names that would just be another decent band without their grabby résumés—and whose work is often, ironically, not up to their usual snuff. Sometimes, it's because the project is contrived and money/ego-driven. Not that these bands were ever holy undertakings: The first supergroup, Cream, was orchestrated by notorious Rolling Stone co-founder Jann Wenner. But when a supergroup works, when they actually resemble the superheroic dream teams formed by forces cosmic and organic (that their managers portray them to be), where each player is the only individual that can perform their certain duty? Look out! More hype. Well, legend is integral to the concept; it's all about getting your attention and selling a product. Some of these bands might come together like fated hearts in a serendipitous romance, but most don't. This one did, founded by a barefoot gypsy stoner bard and a Sasquatchian bass player/producer, along with guys you'd know from other bands. Except that Hard Working Americans doesn't even want to be called a supergroup. In fact, although they're not trying to hide—you might already know their names—the band insists that they be kept off of album covers and tour posters. That way, HWA can be taken on its own merits as a group of everyman superheroes making a racket only friends can muster. And getting to know a band that way beats the hell out of any hype. (Randy Harward) The State Room, 638 S. State, 8 p.m., sold out, 21+, thestateroomslc.com
- Marc Lemoine
The White Buffalo
Not to be confused with Buffalo Springfield, Buffalo Tom or Donna the Buffalo, The White Buffalo—the nom de plume for founder and mainstay Jake Smith—is in a herd all his own. Indeed, despite the handle, Smith has managed to make a formidable name for himself courtesy of six exceptional albums and various EPs released over the past 14 years. With his first efforts, released independently, he began building a brand by sowing a blend of frayed folk, punk and alt-country, establishing a sound that's both gritty and passionate, edgy and insurgent. Given wide exposure through musical contributions to cable's cult classics Sons of Anarchy and Californication, Smith quickly accumulated additional notoriety. However, it's clear he's hit his peak with an exceptional new album, the tellingly titled Darkest Darks, Lightest Lights (Unison). The record finds him elevating both his attitude and aptitude through songs that are rowdier than usual. Given its deliberate approach, it might very well be a breakthrough record, inspiring a stampede of ardent new admirers. (Lee Zimmerman) The Depot, 400 W. South Temple, 8 p.m., $17 presale; $25 day of show, 21+, depotslc.com
