In Up & Coming:

Endfest: Blink-182, Weezer, Taking Back Sunday, Great Northern, Chester French, Billy Boy on Poison

(White River Amphitheatre) Blink-182 belong among the ranks of Bud Light Lime, CBS's Big Brother, and Chelsea Handler—in the lower tiers of Western culture. We're talking about grown men singing pop-punk songs about high school. But, like citrus-infused domestic beer, voyeuristic competitive reality television, and snarky celebrity bashing, their low-grade products have provided me with countless hours of enjoyment. This is not the B-movie "so bad it's good" scenario. It's more of a "so bad you can't possibly take it seriously" situation. Then you realize Travis Barker is a phenomenal drummer, and then admit Blink-182's melodies are catchy. Next thing you know, it's no longer just a guilty pleasure. You find yourself contemplating driving to White River and hoping they sell Bud Light Lime. BRIAN COOK

Sneaker Pimps, Clipse, Slick Rick, They Live!, GMK, Thee Satisfaction, Them Team, DJ Sean Cee, Dave Jeff, Jaunted, Dkae

(Showbox at the Market) A quick search on Stuff White People Like doesn't turn up anything for "Clipse" or "coke rap," but surely that's just an oversight. The Virginia Beach duo of Malice and Pusha T have long been darlings of critic and cracker alike for their terrifically overextended drug-war metaphors (best served over the Neptunes' cooler than ice cold productions), while still walking the tightrope between commercial success and "street" credibility. Their long-awaited third album, Till the Casket Drops, the sequel to 2006's outstanding Hell Hath No Fury, is due out next month, and its lead tracks include a breezy, high-gloss celebration of affluence untroubled by trap talk ("I'm Good"); a snarling, guitar-fried "we're back" boast ("Kinda Like a Big Deal"); and a (strip-)club anthem ("All Eyes on Me"). ERIC GRANDY

Skee-Lo, Orbitron, Suede, Cato, Island Trybe

(Studio Seven) Of all the questions the hugely popular 1995 rap single "I Wish" left me with, the most pressing was this: What in the blue hell did L.A.-based rapper Skee-Lo want with "a rabbit in a hat with a bat?" I know from experience that Crenshaw was no Mayberry, but why would he need this cuddly combatant to do his dirty work? Or was there some kind of grimy, underground armed-animal fighting scene in Mid-City? Maybe some ill-conceived reference to Harvey or concepts later used in Donnie Darko? Think about it. Just how far down the rabbit hole are you willing to go, man? LARRY MIZELL JR.

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