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19th Street Red

You can normally find 19th Street Red at the foot of Canal Street near the sreetcar tracks. He plays one man stripped-down blues with a kick drum, tambourine, harmonica, guitar, and raspy voice. With a broken bottleneck on one finger, he performs with a Texas twang that is a continuous nod to Stevie Ray Vaughn.
3 Now 4

One of the best modern jazz outfits in town. One second they're in a post-bop frenzy and the next they're in a spacey lull. Upright bassist James Singleton's loops and pedal steel maestro Dave Easley's harmonics make anyone they play with sound better, but right now they're gigging with drummer Endre Landses. He has an enviable loose and limber approach.
Modern Jazz
Andy J. Forest

Andy J. Forest's blues and Cajun grooves will make you wanna jump out your seat. Forest makes his harp sound like a screeching guitar. This band plays the stuff they don't have and crave in Italy. The real stuff. The soul.
Blues Harmonica
Astral Project

The godfathers of New Orleans modern jazz. For over twenty five years, Astral Project has made the city proud with their funk and fusion tendencies. The band slips in and out of soft and loud dynamics easily. They put on a good show because they'll make you stomp your foot and nod your head as if you were listening to Supagroup. The band's not-so-secret weapon is the chemistry between bassist James Singleton and drummer Johnny Vidacovich. If you don't know a lot about jazz and want to start, begin with these guys.
Modern Jazz

The terror from Gretna uses pop culture references and catchy hooks for a Beck-like mixture of rap, rock, and folk. With song titles like "Monkey Handjobs," "Pencil Crack Tournament," and "Make My Own Stickers," Ballzack’s lyrics are predictably silly, but more importantly, his rhyme-style is inventive. Ballzack has a demeanor similar to fellow non-Black pop-culture maven MC Paul Barman.
Big Blue Marble

Smart pop/rock that is driving, contemplative, and silly. Some songs are fast and angry, while other numbers wonder who took the last piece of cake. Love and the '70's are re-visited topics. A lap steel, piano, and roller rink instrumentals from Romania? Ahhh, the different textures.

Bipolaroid plays whimsical, glee pop that turns into subtle psychedelic rock that turns into noise jams. Synthesizer a must. Shoegazing effects-laden meanderings, guitar loops and some spacey artistry make them enjoyable. They build so much sound upon sound in an inconspicuous way. "They were playing all that?"

The band is centered around trombonist Mark Mullins. They throw out a slow groove, and when Mullins gives distortion to his trombone, beautiful guitar-like noise eminates. The distortion gets old quick. This is a band for middle-aged people. They'll make you tap your foot, but they're not doing anything spectacular. They work hard, though.
Trombone Rock/Funk
Chef Menteur

A local instrumental band that relies heavily on mood, texture, and nuance. Space rock? Why not? They play super dreamy songs, but they can get nasty as well. They’re total electro-heads. Samples, synthesizers(one a Moog), e-bows—it was all there.
Clarence Henry

The universal themes in Henry's enjoyable R&B have survived the test of time. Some people just have "it." Henry is one of those people. The good-natured, talkative performer wears a very broad smile, and he radiates community and joy. "Ain't Got No Home." "(I Don't Know Why) But I Do." "You Always Hurt the One You Love."
Consortium of Genius

A rock parody band for New Orleans. They focus their funny in three ways: songs, between song banter among the three mad scientists/musicians, and band breaks that feature fake advertisements on a screen. So, this is the deal: the band is made up of three mad scientists trying to take over the world--by playing heavy metal parodies with leather pants(Hey, it's better than invading Iraq). If you have no appreciation for almost non-sensical silly humor, don't go to one of their shows.
Rock Parody
D.J. Proppa Bear

Proppa Bear composes Jungle that's more ambient and trip-hop oriented than the original edition. Most of his music is unobtrusive and groove oriented. But, he can turn things up at the end of a party with pounding beats. Look for Hip Hop slices, too.
Ambient Jungle
D.J. Quickie Mart

Flashes of Mix Master Mike. Quickie Mart plays sample-heavy underground Hip-Hop by artists such as Dilated Peoples, Atmosphere, RJD2, Slick Rick, and Houdini.
Underground Hip-Hop
D.J. T-Roy

D.J. T-Roy plays Hip-Hop influenced Reggae. As he picks up the pace and the amplitude of his 45's, the dancefloor fills until it reachs its apex at around 1. T-Roy plays Reggae from the '70's until today, and he spins everything from Roots/Rock to Rub-A-Dub to Dancehall. T-Roy keeps his music positive. T-Roy matches beats well, but he doesn't make one seamless mix of songs. He puts a couple seconds pause in between each record. T-Roy sampler: Yellowman, Sister Nancy, Bob Marley, Steel Pulse, Capleton, Shabba Ranks, and Sizzla.
Reggae Variety
Dave Easley

Dave Easley is the most talented pedal steel guitarist in New Orleans. Easley plays Funk, Indian, Folk, and Latin music, while making his guitar sound like an organ, sitar, or horn. He's got a sense of humor: "My apartment was infested with insects/But I didn't want to make a complaint/I covered myself with repellent/Turns out it was paint/I got the blues/So don't give me no clues."
Dave Pirner

Dave Pirner's new songs are good. He needs a full-fledged comeback concert at a large venue. Pirner plays impenetrable rock/pop/country/soul/gospel numbers. Like Pirner has Elvis, Victoria Williams, Aaron Neville, Sheryl Crow and Johnny Cash on shuffle, absorbs it all, then uses the best aspects of each artist to write songs. Pirner's best songs are upbeat shufflers with a spiritual tilt. He also offers straight pop/rock songs about obsession and pensive, raw slow rockers about lost love.

Deep within his "mansion" in Treme, Davis Rogan has been concocting a musical mixture that combines a dash of funk, several jiggers of rock, and a heap of soul tunes that make up his next project, simply called Davis. Davis has the bright yet cynical wit of Ben Folds Five, the Brit-pop-filtered-back-through-America sound of Big Star, the rock meets jazz sensibilities of early Steely Dan, and the enthusiasm and playfulness of early New Orleans rhythm and blues.
Drums & Tuba

Whether they're playing angular progressions or funky, head bopping rhythms, the ten year-old rock band gets you foot tapping. It's smart music with a sousaphone manipulated by effects pedals. Looped sounds. Drums and Tuba play pleasant music that mixes punk, funk, and jazz.
Electronic Experimental Variety
Eric Lindell

The R&B/Blues man gets people throwing dollars at the feet of his rockin’ band. It's a Blues party. Bassist Cassandra Faulconer locks onto the kick drum for a rock hard tightness and groove. The band is a study in minimalism well-done—no one plays one more note than needed. This leaves a lot of room for Lindell’s guitar melodies and vocal soulfulness to shine through.
Ingrid Lucia

Lucia's voice has a Billie Holliday shine, but she isn't afraid to leave tradition behind. She drops out of her voice's trance-inducing beauty to find a lower register where she adds splashes of personality and humor. Lucia is just as likely to cover a Latin tune as she is to pull out a Patsy Cline, Willie Nelson, or Gene Autry cover. Romantic ballads are her forte, but she also swings and does the blues. "Junco Partner" and "Almost Blue" also included.
Variety Vocalist
Irene Sage

Sage shakes her booty and commands a performance with such confidence that you're forced to believe her rock, funk, and blues. Sage's band is tight, and they stick to lengthy funk songs full of solos. Powerful blues numbers also show up, along with plaintive songs that could have come right out of Melissa Etheridge's songbook. Sage is best when she's rockin' the funk, though.
James Hall

The former Pleasure Club lead singer/vocalist is a local modern rock legend. He's released so much enjoyable music in the last fifteen years, yet he's still on the fringe. Just listen to his new music to know that he's still pushing the boundaries of what rock can be.
Jazz Vipers

The Jazz Vipers inspire standing room only crowds at the Spotted Cat. They play head-boppin', good time music. The traditional jazz band and their fans creat a positive vibe together. All the instruments are un-amplified, so the band's sound is pure and not jumbled. The whole band chimes in to shout a lyric, and the Vipers' overall sing-songy attitude and delivery is really catchy.
Traditional Jazz
Los Vecinos

A bunch of local goofballs that repeat Spanish phrases after songs end, like children still enraptured with a foreign sound. Los Vecinos is a party band. Their vocal-oriented Afro-Cuban jazz uses hot rhythms, but the band also takes things down a notch with Cuban son music. They mix up originals with classics by Cachao, Chapotin, and the Buena Vista Social Club.
Afro-Cuban Jazz

Revelers shout and dance in appreciation of local spacey Afro-Cuban jazz band Otra. With delicious rhythms and percussive hooks, Otra makes a concert feel like a block party. The group sticks to original, sexy mid-tempo numbers that sweat soul. The band is mainly instrumental, but their thematic chants add to the party atmosphere.
Latin Jazz Psychedelia
Rebirth Brass Band

There is no other New Orleans band that brings the ruckus like Rebirth. Rebirth is like an insta-party. You don't have to worry about dancing. You're gonna dance your ass off. The band gets the crowd clapping, and they keep the positive energy up by giving each other props. The smooth snare rolls, syncopated beats, and surprising brass accents will throw you into a frenzy. The 21 year-old group is the best New Orleans brass band to feature a seperate kick and snare player.
Brass Band
Rotary Downs

Their stilted rock is more literate than most. The broken guitar and mumbled lyrics of Rotary Downs put them hand in hand with Pavement years ago, but now the band is incorporating piano and trumpet into their pedal steel guitar-flavored musings. When you least expect it, they will rock you.
The Buttons

The Buttons is a chord-oriented electronic dance music duo. Retro electro-funk, if you will. Trans Am without the rock. The music is repetitive. Robotic voices and thermin noodlings are standard. If you can't figure out how to dance to The Buttons, just do the robot.
Electronic Dance
The Geraniums

The Geraniums is a local rock quintet that plays sadcore music. It's beautiful in its sadness. The tone of the tunes depends on whether the lyrics bow to the weight of human existence or turn away in defiance or anger. The simplicity of the resigned numbers is haunting. For getting low or shaking your fist at the world.
Fist-Shaking Rock
The Happy Talk Band

The Happy Talk Band play heart-wrenching, mournful, country/rock/folk songs. They instigate knee-rockin' with well-crafted melodies and rock guitar solos. The mid-tempo numbers that have a pinch of punk are just as good as the trudging, depressing slow ones. Some songs are reminiscent of the "O Brother, Where Art Thou?" soundtrack, and others remind of Wilco.
The Myrtles

The Myrtles' brand of country/indie pop is wonderful. They play emotionally heavy rock that is as intelligent as it is fun. Straightforward, classic-rock influenced pieces go up against songs with a guarded disposition and tortured vocals. The Myrtles' music is moving, rocking, and well-crafted.
The Other Planets

Anthony Cuccia's The Other Planets is a instrumental jazz octet that puts samples from "Surfin U.S.A." and the Christian traditional "Amen" into the same song. Their sound is based on the risk-taking acid jazz of The Sun Ra Arkestra, while Frank Zappa’s irreverence for genre boundaries, sense of humor and political consciousness is alive in them. They jump from big band to reggae to classical in a moment’s notice, and they aren't afraid to mix a wailing guitar with a drop-heavy funk bass line and hip-hop beat.
The Public

Shoegazing dance-rock. Echo-drenched guitar leads cry over melodic bass lines to the strainings of a monotone singer. Distortion+The Smiths=The Public.
The Tomatoes

The Tomatoes play punk with a touch of grunge. The power trio's anthemic, fuzzed-out songs contain quiet verses and loud choruses. The lyrics contain backhanded vitriol and political imagery. A combination of razorblade guitars and psychedelia recalls early Nirvana.
Humid Beings


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