The 10 Best Concerts in Dallas This Week: Santigold, Disturbed & More

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Hopefully through some sage advice, your St. Paddy's Day celebrations left you needing only rest, not bail. If you're not reading this from a drunk tank (they probably have Wi-Fi by now, right?), then make sure to get back out there and pair your bad decisions with good concerts. Whether it's with Santigold's electronic-pop jams or Disturbed's growling nu-metal, you can't really go wrong in Dallas this week.

Basia Bulat
8 p.m. Monday, March 21, at Three Links, 2704 Elm St., $13-$15
Armed with an autoharp, it's Basia Bulat's folk against the world. Well, more accurately, it's her folk with the world. Her border-crossing Canadian folk integrates some of her Polish heritage into songs, particularly in songs like "W Zielonym Zoo," which is Polish for "In the Green Zoo." Though her folk influences are largely Western, she isn't afraid to get intersectional with her use of instruments, vocal techniques and world melodies. Matt Wood

8 p.m. Tuesday, March 22, at House of Blues, 2200 N. Lamar St., 214-978-2583 or houseofblues.com/dallas, $27.50-$37.50

If her recent, buzzed-about Tonight Show performance is any indication, fans attending Santigold’s Tuesday night show at House of Blues are in for a treat. Gracing the stage while decked out in a dress featuring her countenance and some of her own hair, Santi also let the hair still attached to her head down, grooving her way through her newest single, the undeniably catchy earworm “Can’t Get Enough of Myself.” Her appearance, boisterous as it was, proved to be no happy accident. Her latest album, and first in four years, 99¢, satirizes our current preoccupations with mass marketing and consumption, which tend to bring out our collective narcissism. When she brings her traveling show to town, expect bold statements and a healthy dose of cynicism to accompany the dizzying musical spectacle.Jeff Strowe

With Nonprofit, 8 p.m. Wednesday, March 23, at House of Blues, 2200 N. Lamar St., 214-978-2583 or houseofblues.com/dallas, $39.50-$59.50

Disturbed are probably known best for David Draiman’s demonic vocals on the song “Down With the Sickness,” the band’s signature hit from the beginning of the millennium. The alt-metal classic that starts off with Draiman’s throaty onomatopoeia — Uh-wah-ah-ah-ah! — attracted misfits and alt-rockers worldwide. That same album, The Sickness, also produced “The Game” and “The Meaning of Life,” which helped solidify the band’s claim to fame. The Chicagoans continued touring up until 2011, when they went on hiatus as a result of conflict between the band members. Last year, Disturbed reunited to come out with Immortalized, their seventh album, which offers a fresh take on their brand of alt-metal but still delivers on the Sickness formula that has always been their bedrock. Pablo Arauz

Finish Ticket
7:30 p.m. Thursday, March 24, at House of Blues, 2200 N. Lamar St., $17
Finish Ticket is an act that blurs the line between the dated ideas of "indie" vs. "pop." Brendan Hoye's striking singing sounds reminiscent of Sam Smith or Ed Sheeran, but the bouncy, synthesizer-driven instrumentation sounds eerily similar to Two Door Cinema Club. And while there's been a long-standing unspoken requirement for indie pop/rock to include vocalists with strange affectations, Hoye's more traditional delivery is refreshing and never lacking in power. But don't worry, they've performed with the Black Keys, which restores any "indie cred" they might've lost otherwise. MW

Bret Michaels
6 p.m. Friday, March 25, at Billy Bob’s Texas, 2520 Rodeo Plaza, Fort Worth, 817-624-7117 or billybobstexas.com, $20-$40

Believe it or not, Bret Michaels is more than just a reality TV personality. Long before the father of two daughters was the three-time star of Rock of Love — a show where women competed in borderline Hunger Games-style challenges for a chance at being his girlfriend — and also willingly participated in Donald Trump’s Celebrity Apprentice 3, he was the lead singer of ’80s hair metal balladeers Poison. Michaels has been blending a country sound into his guitar-driven anthems, which is surely not a calculated attempt to capitalize on the increasing popularity of country radio. That doesn’t mean the former Poison frontman and current face of the “Bret Michaels Live” Overstock.com store won’t belt out “Every Rose Has Its Thorn,” though. There’s a good chance Michaels will also play one of the three new tracks from his 2015 release True Grit, an album containing 21 songs. Daniel Mikelonis

8 p.m. Friday, March 25, at House of Blues, 2200 N. Lamar St., $25

Tinashe is the renaissance woman that Beyoncé wants us all to be. She began modeling and acting at age 3, danced exhaustively until 18, and at 19 she released two mixtapes. Since then she released her debut album Aquarius to critical buzz, and she's following up her tour with Nicki Minaj with a headlining tour and new album this year. Her sound mixes rapping and singing over trap beats, and her rise has earned her features alongside names like ScHoolboy Q, A$AP Rocky and Young Thug. All this to say, she's been busy. And it's clear that Tinashe has the kind of work ethic that won't be stopping anytime, for anyone. MW

8 p.m. Friday, March 25, at Verizon Theatre, 1001 Performance Place, Grand Prairie, 972-854-5111 or verizontheatre.com, $49.50-$125

If the prospect of marveling at Yanni’s facial hair isn’t enough reason to give him your Friday night, you can be assured he will also woo you with keyboards so silky they’re rivaled only by his wavy mane. The appeal of Yanni’s neoclassical electro style goes well beyond the finesse of his blockbuster film scores; his bread-and-butter is blending modern synth with a host of exotic instrumentation, a talent he most recently exhibited on his album Sensuous Chill, released last January. It’s how he’s earned a reputation as a “true global artist,” an identity bolstered by his work with the World Wildlife Fund. That international appeal means the self-made Greek star will have no trouble filling out Verizon Theatre in Grand Prairie this Friday. Matt Payne

6:30 p.m. Saturday, March 26, at Gas Monkey, 10261 Technology Blvd. E., $12-$20

In the world of post-rock, Foxing is emblematic of all the genre's defining qualities. Strained, emotional vocals; stretches of quiet, building instrumentation heavy with reverb; explosive releases of sound that echo for what seems like forever. And although they clearly understand the genre they're working within, Foxing's talent comes from knowing what to exclude. Some songs stay away from the stereotypical climax, instead bubbling at the surface for a heart-pounding four minutes. Others offer more gentle vocal approaches to let the instruments command attention. The sign of a true master of his craft isn't someone who follows all the rules, but someone who knows exactly when and how to break them — which is exactly what Foxing does. MW

7 p.m. Saturday, March 26, at The Bomb Factory, 2713 Canton St., $27

Logic's name always comes up in a conversation about the newest waves of hip-hop, alongside acts like Chance the Rapper and Childish Gambino. All three artists have dense, complicated lyrical structures and have lines that require dissecting to fully understand. Wordplay, deep introspection and heavy pop culture references make this breed of hip-hop potentially alienating and often ill-suited for the radio. But that's also part of their appeal: By requiring a bit more work, all of these artists have built diehard fanbases who know every word. MW

7 p.m. Sunday, March 27, House of Blues, 2200 N. Lamar St., $22

What've they come up with this time? Metalcore and electronica? Oh, fine. Further stretching the definition of metal, Issues uses elements of pop, electronic music and even some R&B in their songs. In a song like "Mad at Myself," the choppy metal riffs have overlaid keyboard parts that sound similar to something by Purity Ring or Chvrches. While it's not the first time metal has crossed over to the pop side of the spectrum, the unexpected combination ends up working out well enough. Besides, the award for the worst hardcore/electronic crossover was won long ago. MW

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