Paul Jesse brings his introspective, synth-washed indie pop to the Den on Saturday at 8 pm. The Lawrence, Kansas singer, songwriter, and producer threads airy melodies through crisp electronic grooves, with a diaristic bent that lands between bedroom pop and club glow. His sets ride tasteful beats and guitar flourishes without losing the lyrical focus. Local support from Lily, Chloé Marie, and Penelope Shriver keeps the bill rooted in the current New Orleans pop underground.

The Den at Howlin' Wolf is the intimate side room of the Warehouse District mainstay, a low stage and concrete floors built for close-up energy. It is a reliable spot for local showcases, brass blowouts, and touring underplays, with quick changeovers and a dialed-in PA. The bar runs the length of the room, sightlines are easy, and the vibe is casual and neighborly even when it gets packed.

The Black Jacket Symphony tackles Pink Floyd's The Wall front to back, treating the album like a symphonic score with note-for-note precision and full-band dynamics. This crew is known for faithful recreations that still hit with live punch, then returns after intermission for a set of Floyd staples. Friday start is 7:30 pm, perfect for settling into the narrative arc and the towering guitar lines that defined a rock generation.

Jefferson Performing Arts Center in Metairie is a modern seated theater with clean acoustics and broad sightlines. It attracts touring productions, orchestras, and classic rock tributes that benefit from its big stage and pro crew. Parking on site keeps the night easy, and the room's balance makes both quiet passages and full-stack crescendos translate without harsh edges.

Steep Canyon Rangers bring modern bluegrass snap to Mid-City on Friday at 9 pm. The Grammy-winning North Carolina outfit folds tight harmonies, fleet banjo, and fiddle fire into songs that lean as much on songwriting as instrumental flash. Longtime collaborators with Steve Martin, they carry arena-ready chops into a room where every pick stroke and harmony blend lands right at the tables.

Chickie Wah Wah on Canal is a true listening room, small enough to hear the wood in the guitars yet lively enough to feel the band push. The club leans roots, Americana, and New Orleans songcraft, with friendly staff and a focused mix. Table seating up front, a solid bar along the side, and a house system that flatters acoustic instruments make it a favorite for players and regulars alike.

Liz Barnez, the Cary Morin Duo, and Miss Emily share the stage for a Saturday 2 pm songwriter round that leans on stories and craft. Barnez brings earthy folk-pop instincts, Morin's fluid fingerstyle and blues phrasing anchor the duo's sets, and Miss Emily's soulful belt warms the room. Expect trading tunes, harmonies, and the kind of between-song talk that connects the dots between scenes and influences.

Afternoon at Chickie Wah Wah feels like a neighborhood salon. Sun through the front windows, unhurried service, and a soundboard team that knows when to let voices breathe. The club keeps matinees un-fussy and attentive, with a crowd that came to listen. Easy parking nearby and a central Canal Street location make it a low-stress daytime hang.

Short Term 2 flips Gasa Gasa into a fast-moving hip-hop and R&B showcase Sunday at 9:30 pm. Jake Jones threads PluggnB croons over glossy beats, Tye Chris brings smooth melodic trap, and Kash Rogers leans into left-field ideas with a 504 stamp. Major Teeto's gritty Gentilly cadence cuts through, while Patrick Bolden-Smith bridges R&B and soft-rock textures. Short sets, sharp turns, and a crowd ready for new voices.

Gasa Gasa on Freret is a small, art-forward room with a low riser and a punchy sound system that flatters bass-heavy sets. It is a hang for late-night showcases and adventurous bills, with murals outside, a bar that moves fast, and standing-room sightlines that keep the energy tight. The booking tilts indie, rap, and experimental, and weeknights often stretch past midnight.

John Pizzarelli returns with his trio Friday at 7 pm, a masterclass in swing, bossa touch, and urbane vocals. The guitarist's clean time feel and wry delivery make standards sound newly minted, while the trio's interplay gives solos room to bloom. Son of the late Bucky Pizzarelli, he has spent decades refining the Great American Songbook with taste and charm, always landing solos with a smile in the notes.

The New Orleans Jazz Market on Oretha Castle Haley is a purpose-built home for jazz, with raked seating, a broad stage, and warm, wood-forward acoustics. It hosts community programs and touring artists in equal measure, and the room rewards dynamics from hush to shout. The lobby bar keeps service smooth, and the sightlines make even balcony seats feel connected to the bandstand.

Dr. Michael White leads the Original Liberty Jazz Band in the classic New Orleans repertoire he has championed for decades. His clarinet sings with Creole nuance, carrying parade beats and dance-hall grace into a concert setting. Expect tight ensemble counterpoint, a few rarities, and that warm storytelling between tunes. Two seatings, 7:30 and 9:30, keep the room focused and the music close.

Snug Harbor on Frenchmen is the city's gold-standard intimate jazz club, split between a cozy music room and a separate restaurant next door. The sound is clear and unhurried, with table service limited to keep attention on the bandstand. Two nightly seatings keep turnover smooth, and the listening crowd helps solos and ensemble passages land with real detail.

Chewbacchus Eve turns into a rolling brass circus at the Den, starting at 8 pm. Seattle's 8-Bit Brass Band, Atlanta's Black Sheep Ensemble, Boston's Emperor Norton's, Austin's Dead Music Capital Band, and local Brass Hearts trade hour-long blasts of costumed chaos. It is street-parade energy indoors, with sousaphones up front, drums loud, and party tunes charging into punky second lines.

The Den's tight footprint suits a night like this. The bar is a few strides from the pit, the PA can take a battering, and there is room along the walls for the horn lines to snake through. It is a spot that embraces costumes and noise, sitting inside the larger Howlin' Wolf complex in the Warehouse District, so the after-show spillover feels like one big block party.

Luke Winslow-King closes the weekend at 8 pm with slide guitar glow and songwriter finesse. A longtime New Orleans hand with deep Detroit roots, he folds Delta blues, ragtime, and Crescent City R&B into tunes that feel lived-in and unhurried. His band moves from shuffle to ballad with ease, leaving room for Luke's tasteful guitar breaks and warm, road-worn voice.

Sunday nights at Chickie Wah Wah carry a relaxed hum. The stage sits close to the front tables, the mix leaves air around the vocals, and regulars settle in for a set that stretches without fuss. It is a natural home for roots players, with staff that knows the room and a layout that keeps the music the focal point.

Rene Vaca hits Joy Theater on Friday at 8 pm with an energetic, story-forward stand-up set. He works quick pivots between family bits and cultural observations, leaning into self-deprecation and crowd rapport without losing punch. Vaca has been building a national audience on the road and online, and his club-tested timing scales well to a theater.

The Joy Theater anchors Canal Street with an art deco shell and a flexible room that toggles between seated and standing configurations. It hosts touring comics, podcasts, and music acts, with a clear PA and lines of sight from the floor up to the balcony. Bars along the walls keep the flow moving, and being downtown makes post-show options easy.