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Jan. 31 at 9:30 p.m. at Joe’s Pub, 425 Lafayette Street, Manhattan; publictheater.org.
As part of her residency at Joe’s Pub, the comedian Margaret Cho has been presenting artists whom she finds inspirational. Next in Cho’s lineup is a show featuring her latest unofficial adoptees, the comedians Dylan Adler and Sam Oh, who will each have a half-hour to present their own jokes and songs this Friday.
Recently, Adler and Cho were panelists on the CBS game show “After Midnight,” where Adler, a former writer and performer on “The Late Late Show With James Corden,” also appeared with his fall tour mate and dance partner, Atsuko Okatsuka, in September. Around that same time, Cho performed with Oh’s alter ego, Gay Virgin, on a NSFW hyperpop tune. Oh is set to release an EP featuring that song and others soon. He also has a role in Greg Daniels’s upcoming follow-up to “The Office,” which is centered on a failing Midwestern newspaper attempting to save itself.
Tickets are $25 on the Public Theater’s website. SEAN L. McCARTHY
070 Shake is a haunting presence, her bruised, plaintive voice a reliable source of emotional heft. Many first heard it in her soaring guest turn on Kanye West’s 2018 track “Ghost Town”; even more were introduced to Shake via “Escapism,” the 2022 hit in which her verse is a sobering interlude in the British singer Raye’s epic of heartbreak-fueled hedonism.
In her own music, Shake is similarly drawn to melodrama, often returning to stories about tortured romance, late-night breakdowns and self-medication. Her third album, “Petrichor,” also reveals a growing experimental instinct. The record, which was released in November, stitches together hip-hop, arena rock and orchestral pop in an unpredictable patchwork that reflects the erratic nature of love.
Tickets for Shake’s show in Brooklyn on Saturday start at $55 on Kings Theater’s website. OLIVIA HORN
Haydn, Mozart, Beethoven — these are the giants of the Classical era, from roughly 1750 to 1825, which was known for massive compositional outputs, outsize personalities and musical works on a grand scale. But in the ivory-miniature world of the art song, their names don’t loom quite as large.
This Sunday at Roulette, Brooklyn Art Song Society re-examines the smaller works of these classical titans, tracing the development of the lieder form into the 19th-century Romantic era. The concert begins with characteristically elegant and slightly cheeky pieces from a mature Mozart, sung by the soprano Maggie Finnegan, before turning to English works by Haydn, sung by the soprano Ashley Emerson. Haydn’s compositions are dramatic showcases for singer and pianist alike, especially his intense “The Spirit’s Song.” The concert closes with Beethoven’s “An die ferne Geliebte,” the composer’s only song cycle, which served as inspiration for lat…
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