This Week in Milwaukee: March 3-9, 2022

Here are the Milwaukee events we are looking forward to coming up this week.

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The return of familiar faces The Smithereens, Marshall Crenshaw and The Jayhawks, something less familiar with Ryley Walker and Bitchin Bajas, a celebration of motorcycle culture with the Mama Tried Motorcycle Show and Flat-Out Friday and more—This Week in Milwaukee!

Thursday, March 3

The Smithereens and Marshall Crenshaw w/Colin Peterik @ The Northern Lights Theater—Potawatomi Hotel & Casino, 8 p.m.

When Smithereens singer Pat DiNizio died in 2017, Little Seven Van Zandt suggested they turn an already-booked show into a tribute. Marshall Crenshaw played that show and has since worked with the group, honoring DiNizio’s memory while seamlessly fitting in with the group’s pop-influenced music. Smithereens drummer and band historian Dennis Diken talked about the group’s history here shepherdexpress.com/music/music-feature/the-smithereens-and-marshall-crenshaw-return-to-milwaukee/

Well-crafted, hook-filled music never goes out of style. Both Crenshaw and The Smithereens have been carving out careers in music for four decades. Opener Colin Peterik is the son of Jim Peterik, who founded Survivor and The Ides Of March.

Friday, March 4

Ryley Walker w/Bitchin Bajas @ Cactus Club, 7:30 p.m.

Here in Milwaukee, we are fortunate to be so close to Chicago. Case in point this double bill of serious Windy City talent. Fingerstyle guitarist, singer, and songwriter Ryley Walker has taken the road less traveled. He’s been compared to Nick Drake, Bert Jansch and Van Morrison. You judge a book by its cover and you’ll miss out on a lot of great books. Don’t be fooled by Bitchin Bajas name. Their 2021 album Switched on Ra pays sideways tribute to Wendy Carlos and Sun Ra and his Arkestra.

Mama Tried Motorcycle Show and Flat Out Friday @ Various Locations

Milwaukee is no stranger to motorcycle culture. The annual Mama Tried Motorcycle Show and Flat Out Friday celebration is as inclusive as outsider culture gets. Flat Out Friday is an indoor flat track motorcycle race on a Dr. Pepper syrup coated concrete track. Riders from the ages of 6 to 79 years old come from across the country to compete at the largest and most distinguished indoor flat track race in the U.S.A. The Hooligan class is street legal motorcycles modified for racing and the Goofball class is where almost anything with two wheels—ometimes with just one or three—goes! In addition, it is mandatory for racers to wear a costume in this class.

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The Mama Tried Motorcycle Show is an indoor invitational that connects motorcycles and builders to fans and riders alike, keeping the fire stoked all winter long. On Saturday and Sunday, the Show features over 100 motorcycles from builders of all calibers—flat-tracker, hill climber, chopper, and bar hopper.

More info on venues and times here flatoutfriday.com

Saturday, March 5

An Evening with The Flat Five @ Anodyne (224 West Bruce St.), 8 p.m.

Chicago’s Flat Five on the 5th, eh? You’d be hard-pressed to find more talent in one band. Singer Kelly Hogan casually steals the spotlight in any musical situation she’s involved in, while Scott Ligon and Casey McDonough have been part of the current incarnation of NRBQ. This quintet has toured and recorded with Neko Case, NRBQ, The Decemberists, Andrew Bird, Mavis Staples, Iron and Wine, Jakob Dylan, Robbie Fulks, Alejandro Escovedo, The New Pornographers and J.D. McPherson.

WhiskyBelles and Ryan Necci & the Buffalo Gospel @ Cedarburg Cultural Center (W62 N546 Washington Ave., Cedarburg), 7 p.m.

Familiar faces, acoustic trio The WhiskeyBelles are known for their roots country music, mixing vocal harmonies with humor--Hank Williams and the Carter Family plus a little “Hee Haw” mixed in for good measure.

Ryan Necci & The Buffalo Gospel released the album We Can Be Horses in 2013 and in 2021 Necci signed with BMG Nashville. Growing up in the farm town of Ixonia, WI, Necci’s soundtrack included his father’s John Prine and Townes Van Zandt albums. His songwriting philosophy squares with his musical mentors. “I want my songs to connect with people and share a message of truth, hope, and comfort for those feeling alone or broken,” Necci says.

Sunday, March 6

The Jayhawks w/ The Mastersons, Turner Hall Ballroom, 7 p.m.

Witnessing the Jayhawks’ 1985 show at Minneapolis’ 7th Street Entry opening for Alex Chilton, it was obvious their Byrdsian sound was more than an avian coincidence. In 2020 the quartet released XOXO, their 11th album and one that signaled a newfound vitality that featured songwriting from all four members. “This album feels like a new lease on life for us,” head Hawk Gary Louris said, “I don’t know what the future holds, but this band is full of great songwriters who deserve to be heard, and my only regret is that we didn’t do something like this sooner.”

Opening for the Americana jangle of the Jayhawks is The Mastersons. The singer-songwriters/multi-instrumentalists Chris Masterson and Eleanor Whitmore are best known as longtime members of Steve Earle’s band the Dukes.

Tuesday, March 8

Dirty Dozen Brass Band @ @ The Northern Lights Theater-Potawatomi Hotel & Casino, 8 p.m.

The rich history of America’s music can be traced down the Mississippi River to New Orleans. Celebrating over 40 years since their founding in 1977, New Orleans-based Dirty Dozen Brass Band has taken the traditional foundation of brass band music and incorporated it into a blend of genres including bebop jazz, funk and R&B/soul.

In 1977, The Dirty Dozen Social and Pleasure Club in New Orleans began showcasing a traditional Crescent City brass band. It was a joining of two proud, but antiquated, traditions at the time: social and pleasure clubs dated back over a century to a time when Black southerners could rarely afford life insurance, and the clubs would provide proper funeral arrangements.

Brass bands, early predecessors of jazz as we know it, would often follow the funeral procession playing somber dirges, then once the family of the deceased was out of earshot, burst into jubilant dance tunes as casual onlookers danced in the streets. By the late ‘70s, few of either existed. The Dirty Dozen Social and Pleasure Club decided to assemble this group as a house band, and over the course of these early gigs, the seven-member ensemble adopted the venue’s name: The Dirty Dozen Brass Band.