Described by NPR.org as “revered sludge-metal gods,” the rockers of EyeHateGod will play a special, Tuesday-night RIBCO concert on a tour that finds bandmates Jimmy Bower and Michael Williams in their 30th year with the group.

Performing from their repertoire of funk, soul, and hip-hop, the Nashville-based indie musicians of The Lonely Biscuits will perform in a Moeller Nights concert with opening sets by Okey Dokey and Hannah Aldridge.

(Author’s note: After this article was published, the opening date of the museum was changed to Thursday, August 3.)

When the Bix Beiderbecke Museum & Archive opens to the public on July 24 in the River Music Experience basement, a major draw will be seeing and being in the presence of artifacts from the legendary jazz cornetist’s life – clothes he wore, instruments he played, reproductions of letters he wrote.

As museum developer Joe Hines said: “An exhibit like this doesn’t offer explanations; it [gives] impressions.”

While that might be typical of a biographical museum, the process of collecting those impressions and putting them under one roof has required extraordinary effort over decades.

A casual listen to The Front Porch Sessions, the new album from The Reverend Peyton’s Big Damn Band, will likely prompt some confusion.

There’s that deceptive name, which purposefully disguises the Indiana-based trio as something larger. And there’s the fact that the guitarist/singer/songwriter Reverend (born Josh) is augmented ever so lightly on the record by his bandmates – wife Breezy on washboard and Maxwell Senteney on drums. The Big Damn Band sounds downright small.

And then there’s the laid-back-country-blues style, which masks the difficulty of the Rev’s playing. If you didn’t know that Peyton simultaneously plays both the bass and lead lines on his guitar, you’d swear there was at least one more member of the Big Damn Band. It doesn’t seem possible, for example, that there isn’t an upright-bass player on “Cornbread & Butterbeans.”