During a career that’s spanned nearly four decades, singer-songwriter Loudon Wainwright III has produced some of the most idiosyncratically moving songs of his time. (Johnny Cash famously included a live cover of “The Man Who Couldn’t Cry” on his major comeback album American Recordings, to the delight of a hip crowd at LA’s Viper Room.) While most probably know him from his novelty hit “Dead Skunk” off of 1972’s Album III, or from his occasional appearances as the “singing surgeon” on the TV series “M*A*S*H,” Wainwright’s talents as a writer and entertainer run much deeper. Born the son of LIFE magazine editor Loudon Wainwright, Jr., he rebelled against his privileged Westchester County roots, and at the age of 20 he found himself getting bailed out of jail in Oklahoma on a marijuana charge by his Dad, who flew in from London for the proud occasion. In recent years the 1960’s rebel has been increasingly recognized as the father of Canadian-American singer-songwriter Rufus Wainwright, whose mother is musician Kate McGarrigle. Just this summer, Loudon Wainwright III released Strange Weirdos (Concord), which serves as the soundtrack for the movie Knocked Up. It’s a great record that proves his ongoing skill as a lyrical tunesmith and singer with an acute eye focused on life’s funny, sad and profound moments. And if this preview doesn’t include enough info about his family tree, let’s also mention that the show-opener is daughter Lucy (Wainright) Roche, whose Mom is Suzzy Roche, of famous folk-sisters the Roches.

Phillipino-born percussionist and composer Susie Ibarra makes her home in New York City, where she works with a number of artistic projects. The classically trained musician has studied with some of the greats and has taught across the country with residencies at prestigious universities and institutions like Juillard, the New School and the Manhattan School of Music. Add to her resume nominations for “Best Drummer” by the Village Voice, Downbeat, Jazziz and The Wire and this puts Ibarra up there in a league with mentors Danongan Kalanduyan and Buster Smith, as well as her self-proclaimed inspiration, Sun-Ra. Acclaimed for incorporating diverse styles such as blues, gamelan, and kulintang, she performs in a variety of genres and with an amazing number of different projects: Mephista, a collective electro-acoustic trio with Sylvie Couvoisier and Ikue Mori; Shapechanger, with poet Yusef Komunyakaa; Mundo Ninos Children’s Music; Filipino trance music and electric Kulintang with husband Roberto Rodriguez; the Mark Dresser and Susie Ibarra Duo; and the Susie Ibarro Trio with Jennifer Choi and Craig Taborn. This week in Buffalo she’ll be flying solo, performing Drum Sketches from her solo CD of the same name.

Athens, Georgia trio the Whigs really have it down. One listen through to their stellar debut Give ‘Em All A Big Fat Lip (ATO) confirms it, with just enough power-poppy shine. They pack the ‘60s Brit jangle and ‘90s Anglo swirl and seem to harvest some boozey punk cool, with a little indie rock slacker charm to factor in. This combination couldn’t be fenced in to the artsy Georgia college town forever. The song “Technology” is a spry one that chugs with earnest tunefulnes and a devil may care holler, while the strummy hypnosis and tight construct and harmonies of “Say Hello” reach a twitchy pop perfection. You think they’re good on record? Their second gig in Buffalo in only a couple months follows a string of high profile 2007 gigs, including noteworthy appearances at SXSW and Bonnaroo, where their power as a live act tested the mettle. So the question beckons: How long can the Whigs stay below the surface? Not long, we hope. Also on the bill are Chicago’s Redwalls—ably treading prime 1960s territory somewhere between the Sonics and Dylan’s thin wild mercury sound—along with Johnathan Rice, an emerging troubadour and recent tourmate of Rilo Kiley. Buffalo’s Handsome Jack opens the show.

The brothers Hanson certainly have come a long way since “MMMBop.” Consistently sold-out tours, alt-rock albums and philanthropic work have proven the band much more than the one-hit-wonder they once seemed doomed to be. After a dispute with their label inspired them to release their 2004 album Underneath independently, the band decided to abandon the challenge of recording contracts once and for all to found 3CG Records and release the documentary Strong Enough To Break, touring college campuses and lecturing about their experiences in the music industry. In July, the group released The Walk on 3CG, an album deserving of far more commercial success than it has actually achieved in the US. Much of the disc was recorded in South Africa, where Hanson has frequently traveled to participate in charity work and to bring attention to the cause of the most disadvantaged African nations. The Walk is undoubtedly one of the most listenable releases of the past summer, creatively peppered with the sounds of African children’s choirs and full of powerful ballads and the funky pop/rock reminiscent of Hanson’s origins. —brad deck