Four Shows to See This Weekend

Spoon, Mega Bog, American Culture, and Charly Bliss.

Indie rock


While not as celebrated as the howl, the shriek, or the croon, a good rock drawl can really make a band, and Spoon’s Britt Daniel might have the best drawl in the business. A slow-moving, loquacious effort, Daniel’s Southwestern-inspired inflection imbues an existential coolness to every Spoon song — as if he couldn’t be bothered to care how fucking cool his music is. Throughout a journey that has included pit stops as a Pixies tribute band with detours in noirish lounge music, icy minimalism, and post-punk reverie, Daniel and company have maintained an effortless adaptability. It doesn’t matter if they’re channeling Wire or Daniel Johnston, Spoon pulls it off with a sense of detached hipness. The group’s discography is a staggering collection of great albums, including the latest, 2017’s sassy Hot Thoughts. A peek at their setlists shows the band is unafraid to dip into their vast catalog, cherry-picking hits from a variety of different eras. But it doesn’t really matter what album a Spoon song is from, or what year it was recorded. If Britt Daniel is singing it, it’s going to sound cool as shit. Will Reisman

8 p.m., Wednesday, Jan. 17, at the SF Masonic. $39.50;


Indie rock

Mega Bog

For all the relatively verifiable reports that indie rock — if not all music made with guitars — has fallen from the favor and ears of mainstream audiences, truly innovative songwriters currently lead the genre. Count Mega Bog, the Brooklyn solo project by Erin Birgy, among them. On her most recent album, Happy Together, Birgy weaves abstract jazz and lounge pop textures into her melodic, swirling songs, which conjure images of Belle & Sebastian in their attention to detail and light touch. Birgy’s voice, a sonic shapeshifter all its own, contains flavors of Laura Marling and Joni Mitchell, depending on the track. Spacious, and lush, Mega Bog’s experimental rock demands a second listen — with or without the approval of the mainstream. Elle Carroll

8 p.m., Thursday, Jan. 11, at The Fillmore. $25;



American Culture

Legendary among the Denver DIY and underground scenes, American Culture make the kind of pop-ish punk that’s perfect to dance to while crying. There’s a sense of rudderless nostalgia in its power-pop progressions, the kind that comes from being born too late to have experienced any of the so-called glory days: Fridays at the drive-in movie theater, The Beatles, Nirvana in some Seattle basement back when nobody knew about them. 2017’s For Keeps, the band’s most recent EP, comes loaded with lo-fi, post-punk guitar and songs thick with a shaky sense of self: “It was the first time I actually looked at myself / Besides the countless hours spent in front of the mirror,” frontman Chris Adolf sings on “I’m Just An Animal.” Everyone under 45 concurs. EC

9 p.m., Thursday, Jan. 11, at The Knockout. $7;



Charly Bliss

It’s difficult to imagine Charly Bliss’ songs being sung by anyone besides Eva Hendricks, mainly because her voice is so distinct from the band’s music itself. The four-piece’s mid-’90s-inspired grunge is sunny enough — the Veruca Salt and Letters To Cleo influences can be heard loud and clear. But Hendricks’ voice is pure pop, astronomically more “Oops I Did It Again”-era Britney or present day Carly Rae Jepsen than Courtney Love or Kim Gordon. It’s not teen-pop for adults, per se, but Hendricks’ taut, semi-cryptic couplets — “Smoke the last of the bad pot / Listen in on your last thought” — speak to an anxiety that lasts long after you drink your first legal beer. Cheers to that. EC

With Wolf Parade, 8 p.m., Tuesday, Jan. 16, at The Fillmore. $35;

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