Out Every Night: The Best Concerts in St. Louis This Week From July 7 to 13

Categories: Out Every Night

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Jason Stoff for RFT
Alice Cooper and Motley Crue - Wednesday, July 9 @ Verizon Wireless Amphitheater.
This week, check out Fucked Up at the Luminary, Motley Crue and Alice Cooper at the Verizon Wireless Amphitheater, the Ying Yang Twins at the Ready Room, Veruca Salt at the Firebird and much more. For details on these shows and more, read on for our critics' picks in this week's show recommendations.

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Press Photo
Soulard Blues Band
Monday, July 7, 9 p.m.
@ Broadway Oyster Bar - $6
By Roy Kasten
From the 2014 RFT Music Awards: One day, dear reader, the Soulard Blues Band will be no more. It's just a fact. And one day you'll wonder why, despite all the opportunities every other day of the week, you never saw this St. Louis institution in its prime -- and no, the band's prime ain't over. If somehow you've never danced your ass off when Art Dwyer lays down a bass line as smooth as crushed velvet, or when Marty Abdullah swings his phrasing on "Kansas City Blues" or "Dust My Broom," or when Tom Maloney plays a solo that would make his mentor (the late, great Benny Smith) smile, well you really should. Don't take this band for granted. Pay your respects soon; they've been earned.

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Brendan George Ko
Fucked Up
Tuesday, July 8, 8 p.m.
w/ Weed, Life Like
@ The Luminary - $13/$15
By Christian Schaeffer
In musical terms, and as a lifestyle term in general, the words "punk" and "epic" are diametrically opposed. Punk songs are supposed to be nasty, brutish and short; epics are wide-ranging, meandering and lyrical. Leave it to the Toronto-bred sextet Fucked Up to bridge that gap, first with 2008's genre-pushing The Chemistry of Common Life and more so with 2011's celebrated rock opera David Comes to Life. In the three years between that album and the new Glass Boys, Fucked Up hasn't necessarily altered its approach or undertaken an even grander design; instead, the band continues to expand the concept of what a living, breathing hardcore band can become. Vancouver quartet Weed opens the show with melodic squalls somewhere along the lines of Dinosaur Jr. and the Jesus Lizard.

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Mabel Suen
Stag Nite
Wednesday, July 9, 9 p.m.
w/ Pat Sajak Assassins, Stonechat, Bear Cub, Zagk Gibbons
@ Livery Company - $5
By Joseph Hess
From this recent feature: In the broadest sense, Pat Sajak Assassins is a rock band, but its tendency to stray from straight-ahead rhythm, along with an almost total absence of recurring pieces, places the band in experimental territory. But [Brian] Fleschute and [Harold] Covey don't discount the use of melody or even pop structure. In this way, the group works as a gateway to a stranger realm of music while still remaining accessible.... Despite the constant shifts in personnel, PSA retains two key elements. Fleschute's punchy bass brings a punk edge, warbling under melody with menacing tone. Covey plays a hybrid drum kit, mixing standard shells with synthetic percussion. Thanks to this core, there's a sense of continuity throughout the albums, but their contributions might be underrated thanks to the strong choices of bandmates both past and present.

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Jason Stoff
Alice Cooper
Wednesday, July 9, 7 p.m.
w/ Motley Crue
@ Verizon Wireless Amphitheater - $30-$600
By Kiernan Maletsky
From this 2012 photo review: Alice Cooper may not be catching anyone off guard with his horror rock musical act any more, but he can still put on a hell of a show. Over the weekend, the man who ate his band by taking its moniker for his solo project made a stop in St. Louis. He brought with him a demon pulpit, a black-widow coat complete with extra arms and approximately two gallons of makeup.

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Chase Wilson
Anodes
Thursday, July 10, 9 p.m.
w/ Wounded Knee, Mariner, Arsenals
@ Livery Company - $5
By Ryan Wasoba
From the 2014 RFT Music Awards: Like the greatest bands of its ilk, Anodes lives on the edge of impending collapse. The quartet taps into the cathartic scariness of screamo's forefathers, pushing the intense end of its dynamic to a collective breaking point and reassembling the scraps via reserved, atmospheric passages that would not feel out of place on an Isis record. The contrast works because Anodes never relaxes. Listening to a gorgeous interlude in a song like "Fall and Rise" is akin to staring at the pretty flame eating up the fuse of a bomb. We all know it's going to explode, but the tension is its own reward.

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