The Eight Best Concerts in New York This Weekend, 2/6/15


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

Friday, 2/6
Nude Beach
Knitting Factory
8:30 p.m., $12
New Jersey’s Don Giovanni Records is hosting its annual showcase at the Knitting Factory, and headlining the bill is Brooklyn’s own Nude Beach. The label released the band’s stellar 77 album last year, which finds Nude Beach channeling Tom Petty with classic rock ‘n’ roll songs like “Used to It” and “See My Way.” Rounding out the night are other acts from the label’s roster, including Shellshag, the Hamiltons, Mal Blum, Black Wine, and Crow Bait. The cover is $12 and doors are at 7:30 p.m. — Jill Menze

Chelsea Nights Concert Series
The Chelsea Market
First Friday of every month, 7 p.m., FREE
Ever since it got cozy with the High Line in 2009, Chelsea Market has solidified its status as the classiest shopping mall that ever there was — where else can you pry into top-notch lobster while enjoying the sprawling vistas of an Anthropologie store? It also houses the Food Network studios, which would surely make it a foodie’s paradise if the shops peddling artisanal cheeses, crepes, wines, and other vaguely French-sounding stuff didn’t already. It’s a place you want to hang out at long after you’re finished ingesting, and now you can. Tonight marks the launch of Chelsea Nights: A Concert Series, in which Brooklyn’s Paper Garden Records will present its budding talent. Openers include Salt Cathedral, Little Strike, and Stranger Cat, who combine the earthy sounds of harp and tambourine with out-of-this-world synth lines. — Heather Baysa

8 p.m., $8–$10
Wolvves headline a bill filled with dark electro on February 6 in Queens. Siblings Joshua, Elizabeth, and Lewis Valleau have united their personal obsessions with synths, drum machines, and analog tape to create chilling, unsettling, gloriously disorienting music. The trio counts “bells, J Dilla, Berghain, Detroit, white-knuckled terror, the Gap Band, Paula Abdul, and the knowledge that ‘every moment we are living in someone else’s past’ ” as their inspirations. Also on the bill are Brooklyn synthpop duo Aeon Rings, one-man goth-synth force We Are Temporary (producer of the Eric Garner–inspired song “I Can’t Breathe”), and NYC duo Skeleton Head, who bring the sounds of early European dance clubs with songs like “Beaten, Bloody, Bruised” (you must watch its Eighties B-horror music video).

Saturday & Sunday are on the next page[

Saturday, 2/7
Apollo Theater
8 p.m., $56–$226
Have you heard the good news? Last month, D’Angelo released his first album in fifteen years, the long-awaited Black Messiah, which won our very own Pazz + Jop music critics’ poll for Best Album. He could have tinkered longer in the studio while us mere mortals preached the gospel of his first two r&b testaments, but things got so bad down here that he decided the world needed him. Of the great mononyms — Prince, Cher, Jesus — the prodigiously talented master of the backbeat might just be the most mysterious, or at least the funkiest. Having saved Saturday Night Live on January 31, he’ll turn to worshipping at the Apollo Theater’s altar of the Godfather of Soul. If this is the opiate of the masses, may we never get sober. — Aidan Levy

The Martinez Brothers
10 p.m., $20–$40
You cannot only see the energy of the Martinez Brothers but feel it when they perform live, as it bursts through the speakers with their low-frequency bass and old-school techno beats that wobble and reverberate. This deeper sound is emblematic of an apparently more mature, dark direction, but these guys are keeping it groovy in a seemingly spontaneous way. This Saturday the Bronx-based brothers will be celebrating the launch of their new label, Cuttin’ Headz, at Output. This will be something of a continuation of their work with Tuskegee, their label with Seth Troxler, which focuses on black/Latino music and its role in the electronic music scene. Now, with Cuttin’ Headz, they will explore the deeper side of the electronic music spectrum. — Eleanor Lambert

Jason Isbell
Beacon Theatre
8 p.m., $35–$50
Jason Isbell made his name as part of the Drive-By Truckers, the raucous Southern rockers from Georgia, before leaving the band after six years to pursue a solo career. And while his work with the Truckers was significant, it’s his solo efforts that display his true singer-songwriter talents. His 2013 album, Southeastern, in particular puts Isbell’s newfound sobriety on vulnerable display. Catch an intimate performance with Isbell at the Beacon Theatre, alongside fellow singer-songwriter Damien Jurado. — Jill Menze

Sunday, 2/8
Fleetwood Mac
Prudential Center
8 p.m., $49.50–$199.50
After founding guitarist Peter Green left Fleetwood Mac three years in and took with him his bluesier pedigree, the band pivoted to create some of the following decade’s finest pop. They owe much of that success to inspiration drawn from doomed internal romances, often featuring spooky singer Stevie Nicks and slick guitarist Lindsey Buckingham at the center of that narrative. The current tour notably features the return of keyboard player Christine McVie, who hasn’t played with the Mac since the band supported 1997’s terrific, chart-topping (mostly) live album, The Dance. — Vijith Assar

Alternative Guitar Summit
ShapeShifter Lab
Wandering through previous editions of the Alternative Guitar Summit could make your head whirl. Diversity is expected in experimental music, but the wealth of action coming from the various configs of string players was marvelous in its range. This year’s fifth annual gathering, taking place at both ShapeShifter Lab and Rockwood Music Hall, expands further, taking founder/curator Joel Harrison’s vision to a place where four nights of creative music focused on a single instrument will sound distinct at every turn. Its breadth might be summarized by a bill that finds Lee Ranaldo, of Sonic Youth fame, performing an opening solo set for Adam Rudolph’s Go, a nine-member guitar orchestra. Textural contrast and compositional rigor will be present and accounted for, as will thrust — this stuff has a tendency to be explosive. Don’t miss the series of duets that kick off the program, and there’s even reason to believe that the master classes that dot the landscape might tickle non-players, too. — Jim Macnie


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