The 10 Best Concerts in New York This Weekend, 10/4/13


For more shows throughout the weekend, check out our New York Concert Calendar, which we update daily.

Friday, 10/4:

Blondie + X
Roseland Ballroom
8pm, $49.50
The punk band who deftly integrated disco, hip-hop, and new wave well before popular music took heed to all of those elements is back with a new album titled Ghosts of Download and a Beth Ditto-featuring single called “A Rose by Any Name.” Always up on the modern and never a band to back into the past, the band’s 2013 sound is a tasty dip into electro pop that showcases just how much more fun Blondie is always having. — By Brittany Spanos

Marc Ribot and Ceramic Dog
Union Pool
9pm, $12
“Not a ‘project’: a real band” promises this experimental power trio consisting of Marc Ribot (guitar), Shazad Ismaily (bass, electronics), and Ches Smith (drums). And their fairly recent Your Turn proves it with a lubricious hard-rock frenzy miles beyond their clinkety-clank 2011 debut. It’s also half-instrumental, which is all for the best–sidemen should always get it together so daringly. — By Richard Gehr

The Glasslands Gallery
8:30pm, $12/$15
As one of Brooklyn’s most prolific and resilient units, rock experimentalists Oneida maintain a state of perpetual motion that equals only their own hypnotic rhythms. In the past three years, they’ve played day-long “Ocropolis” concerts, they’ve put out albums, singles, and live LPs, and they’ve always managed to squeeze in a few hometown shows in between European tours. Tonight, they make their return to Glasslands. With a set by Dump, a lo-fi side project of Yo La Tengo’s James McNew. — By Kory Grow

Christine Salem
Symphony Space
8pm, $35
This contralto singer from the island of Réunion in the Indian Ocean works a sophisticated version of maloya, a local percussion-powered genre that combines sufferer lyrics with a dense skein of percussion. Her Creole, Malagasy, Comorian, and Swahili lyrics take on an incantatory aspect as she bangs out rhythms on a kayamn reed rattle. Expect music from her new album, Salem Tradition. — By Richard Gehr

Saturday, 10/5:

Audra McDonald
Kupferberg Center
8pm, $30-$89
Anyone sore at Audra MacDonald for bailing on the now-embalmed Private Practice to focus on her singing career really should experience the electric magic that happens when this five-time Tony Award winner takes the stage and approaches a microphone. Simply put, she inhabits and embodies standards like “Over The Rainbow” and “Summertime” so fully and effortlessly that it’s as if every song she tackles was originally written with her in mind. MacDonald’s winning combination of virtuosity, tonal purity, and emotional vulnerability will leave you wondering why she would use her voice for any other purpose. — By Raymond Cummings

Saturday, 10/5:

Living Colour + Tamar-kali
Ginny’s Supper Club
8:30pm, $20
Even after guitarist Vernon Reid’s forward-thinking metal band Living Colour achieved double-platinum status for their 1988 breakthrough debut Vivid, the Black Rock Coalition founder continues raising awareness about other musicians. His latest endeavor, the Stark, Raving, Sane Music Series at Ginny’s Supper Club, will spotlight Tamar-kali, whose powerful voice can cut through hard-rock guitars just as well as tonight’s orchestral Psychochamber Ensemble. Afterwards, Living Colour will celebrate the 25th anniversary of that debut. With DJ Rampage. — By Kory Grow

Theo Katzman + Joey Dosik
Studio at Webster Hall
8pm, $12
Brooklyn singer-songwriter Theo Katzman is one to watch, soulfully crooning and writing funky and sweet songs that balance the romance of indie with the fun of pop. Between starring in some infectious music videos for his singles (including the dance break-featuring clip for “Brooklyn”) and spending part of his summer supporting Darren Criss on his tour, it’s a wonder Katzman found time to still be regular at venues around the city or write a pop song as good as “Pop Song,” his new single. At his Webster Hall show, the singer will be making time to play some of his tunes, and it may be worth yours to listen up. — By Brittany Spanos

‘Sun Ra Turns 100’
Jazz at Lincoln Center, Allen Room
9:30pm, $45
Yep, the great one arrived in Alabama a century or so ago, and though he left the planet in ’93, his spectacular music is still getting much play from his feisty lieutenant, Marshall Allen, and the revolving door of musicians who populate the Arkestra on any given night. They know all about the idiosyncratic nature of swing and still have a grand time exploding standards, waxing theatrical, and proving camaraderie can carry the day. — By Jim Macnie

Sunday, 10/6:

Goblin + Secret Chiefs 3
Music Hall of Williamsburg
8pm, $28
The Italian progressive rockers formerly known as the Cherry Five entered horror-movie history in 1975 when, Pink Floyd being unavailable, Goblin stepped in at the last minute to score Dario Argento’s ultraviolent giallo classic Profondo Rosso. Combining the technical smarts of bands like Genesis and King Crimson with the emotional techne of film composers like Bernard Hermann, Goblin specialized in quick, economical scores that imbued heavy arrangements with emotional subtlety and quiet moments with sweet, sweet paranoia. Arguably their finest score, 1977’s Suspiria is a creepy hybrid of over-the-top electric art rock and acoustic medieval evil. For their first North American tour, Goblin consist of founding members Massimo Morante (guitar) and Claudio Simonetti (keyboards), synth player Maurizio Guarini, and Simonetti’s later rhythm section. — By Richard Gehr

Allen Toussaint
Music Hall of Williamsburg
12pm, $30
Allen Toussaint’s songs were once defined by the kind of slippery funk that could only be found in New Orleans–50 variations of backbeat girding hits by Lee Dorsey, Ernie K-Doe, and other regional heroes. On the new Songbook album and DVD, he gives us a one-man career retrospective that’s all about grace. These solo romps through “It’s Raining,” “Holy Cow,” and other Toussaint jewels are built on poise and elegance. The r&b maestro’s meticulous lines provide enough nuanced accents to give the performances a rhythmic thrust, and the signature gentility of his vocals adds a cushion of sentiment or humor, depending on the needs at hand. At 75, the author of “Yes We Can” (used to stoke both post-Katrina optimism and Obama’s presidential run) remains a marvel who still likes to bounce those Fess riffs and knock out Crescent City commercials like “I Could Eat Crawfish Everyday.” This brunch session at the club where Songbook was recorded is a chance to see royalty up close. — By Jim Macnie

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