We certainly have an affinity with the gals at Hypnocraft (who organize the Deli sponsored weekly, collaborative, female-artist-only nights called The Hum) since they keep booking musicians involved with bands we love, many of whom we featured on our rag’s cover in the past. The upcoming event, scheduled for Monday 10.19, features a particularly intriguing line up. 

The first collaboration will see extraordinary one-woman-band Emily Wells (whom we booked years ago for a fantastic BK Bazaar show) collaborate with atmospheric electronic artist Lorna Dune; expect a lot of electronic instrumentation laying around, and some looping of acoustic instruments. After this duo, a quartet of ladies will take the stage: Kristin Slipp (Cuddle Magic), Rosana Caban (Psychic Twin), Angelica Bess (Body Language), and Becca Kauffman (Ava Luna) – the latter two were featured with their bands on the cover of past issues of The Deli; a lot of really good vocalists in this group, we would be surprised if we didn’t witness some three way harmonizing at some point during the set… The final show will mix things up big time, with a jazz flavor brought by saxophonist Hailey Niswanger and xylophonist Nikara Warren, and Hip Hop vocals courtesy of rapper L.atasha A.lcindor AKA L.A. and soulful singer Katie Jones.

It will be a fun night, hope to see you there! – Photo by Amanda Hatfield — with Katrina Cunningham and Idgy Dean at Manhattan Inn last Monday.

My second night of CMJ started at DROM in the East Village. The lineup consisted it three NYC-based artists: Mackenzie Shivers, Lance Breakfast, and Kenyon Phillips & The Ladies in Waiting. Shivers started the night at the piano. Her music can be classified as folk pop, but listening closely, both country and celtic influences animate her melodies. During her track, “Fourth of July,” Shivers’ voice, harmonizing with another singer, swamped the venue in a sound that was emotional and authentically beautiful. She was also the pianist for the next two acts: Lance Breakfast stepped onto the stage wearing an NYU t-shirt and strumming on a baby blue guitar – or was that an electric Ukulele? Breakfast’s music floated between genres. His voice, gruff and weighty, suggested folk, but his band’s instrumentation, which was clear, organized, and hard-hitting, leaned towards rock n’ roll and blues. Although most of his tracks were consistently up-tempo, I appreciated Breakfast’s slower, quieter, moments. It was only then I could hear his lyrics. Progressing through the night, each act amped up the volume and tempo. So, by the time Kenyon Phillips & The Ladies in Waiting hit the stage, the audience was ready for some punch. Phillips commanded the stage with wide-eyed theatricalism; while watching him sing track “Born to Be Famous” I couldn’t help but think that he made a good case for it. Towards the end the night, I headed west to The Studio at Webster Hall. Up next was Cardiknox, (pictured, who recently moved from NYC to LA) and it was the most fun set of the night. Lead singer, Lonnie Angle, bounced around the stage, and her performance energized me and the audience. Angle’s singing is ethereal and amplified by backup vocals, but there is nothing dreamy about Cardiknox. Almost midnight, Angle yelled into the microphone, “Let’s keep fucking doing this.” Their synth-driven anthems were so energetic and empowering, no one at Webster Hall was wishing they were asleep. – Isabel Rolston

It’s Friday and you wanna turn up, but keep it kinda classy. Picnic in the evening before evenings start at 5. Try some new gourmet food trucks. Check out some art, DIY crafts, and fashion. Go out and people-watch. Anything but Netflix and chill. When was the last time you went to a museum and learned some cool stuff about US history and California Impressionism? Come to Odd Nights at the Autry tonight, right after work. Take a friend. Take a date. Take your parents. Maybe your children?

It’s an all-ages event right across from the LA Zoo. The Unending Thread, Crescendo, and The Fuzzy Crystals are performing there, too. It’s gonna be sweet, and he’ll be totally happy that you suggested the idea.

Odd Nights at the Autry is a recurring event at The Autry National Center, curated by Odd Market‘s Phillip Dane (Dodger Stadium Flea, Downtown Flea, Melrose Flea). Odd Market brings together artisans and cooks, artists and musicians for Los Angeles to experience every third Friday of the month. Parking and admission are free, and visitors are welcome to bring pets, even horses. Full bar/beergarden, specials for the museum, and — I think it bears repeating — the event is totally free. – Ryan Mo

Wednesday night on the Lower East Side started with unabashed energy as Sag Harbor, New York-hailing duo The Glazzies performed its guitar-stormed tracks at Pianos’ Upstairs Lounge. Along with drummer Dave Horn, whose Johnny Cash T-shirt added to the room’s ominous yet warm aura, singer Peter Landi broke into tight songs that conveyed the passionate angst of Nirvana while burning the mirror-paneled stage with its own punk fire. Just across the street at Arlene’s Grocery, New Jersey quintet Owel delivered a shinier but no less fiery sound, frontman Jay Sakong and his bandmates playing soaring, violin-girded cuts that recalled the grand-rock of Muse but glowed in a unique halo of ferocity and sonority. Fellow five-piece Controller (pictured, scheduled to play our Pianos indie show on Friday) took the bustling Arlene’s next, jumping into pop-bubbled rock pieces that almost sounded like Bruce Springsteen beside a synth station. There was also something of ’80s dance in these delightfully loud songs, as vividly seen in lead vocalist Jon Bellinger’s elastic sways and swoons, the movements of a bashful master of ceremonies. Back at Pianos, the five mustached men of Los Angeles’ Bird Dog brought things down to a somewhat calmer notch, their folk-inflected rock songs reaching particular beauty with gliding harmonies and topping the high-ceilinged hall with western sun. New York-via-Israel musician Tesha closed the evening a few blocks away at Fat Baby. Before a wall that had pictures of such hip-hop masters as Tupac, the computer-decked artist dipped into subtly moving fantasias of skipping beats and sputtering synths, almost holding time in a bewitchingly nocturnal instant and then releasing it back into the wee hours of the morning. – Zach Weg