Spooky music is coming from somewhere on the University of Michigan’s campus. You move toward the creepy, clanging sound, the bells getting louder and louder with every passing step as the sky turns dark and everything suddenly seems eerie. Finally, you arrive at the carillon in the Burton Memorial Tower and you see people going inside. You pause at the entrance and wonder whether you should go in. The thunder crackles as you cross the precipice and step into the unknown.

Welcome to The Haunted Belfry.

“It’s a really good opportunity for people to actually connect with the carillon and understand that it’s (played by) a human and not, like, a robot,” laughed Hoai An Pham, one of the family-friendly event’s organizers. “The event is very casual and really a chance for people to get to learn about the carillon and also, get in the Halloween spirit.”

The Haunted Belfry has been helping students, and the community, get in the Halloween spirit since 2015 after Tiffany Ng, University of Michigan assistant professor of carillon, spearheaded it. This year, the annual event will take place on Sunday, Oct. 29 at 3:30 pm. It’s being organized by three carillon students: Pham, Michelle Lam, and Rachael Park.

Sunday’s 40th annual Halloween concert at Hill Auditorium -- which combines the Campus Symphony Orchestra with the Campus Philharmonia Orchestra -- will mark conductor Kenneth Kiesler’s 23rd time on the podium while in costume. (What he’ll be dressed in this year is under wraps.)

But what you might not know is that he and the student musicians get one chance each year to raid the theater department’s costumes.

“They have a huge warehouse,” said Kiesler. “You could get just about anything you want.”

Redbud Productions shows are truly a family affair. My interview with Loretta Grimes -- who is directing Nice Girl at Kerrytown Concert House, Oct. 26-28 -- along with her husband and Redbud collaborator, Tim Grimes, was one of the warmest interviews I've conducted. Like the archetype of a loving married couple, Loretta and Tim -- who is the Events Manager at AADL -- finished many of each other's sentences during out chat in their rehearsal space, which is the basement of their home. It has been converted into an acting space complete with spike tape (to signify where the boundaries of the stage are), the set for their new show, and framed posters from their 19 years of previous productions.

Downloads:
➥ MP3 for "Slow Motion"
➥ 720p video

Tools Crew Live is an ongoing video series where we invite artists to perform with gear borrowed from the Ann Arbor District Library's Music Tools collection: aadl.org/musictools.

When not on tour, indie-rocker Stef Chura runs several karaoke nights in Detroit, the city where she lives. It's common for karaoke hosts to sing a few songs to set the stage and encourage the crowd, and Chura told MTV.com in a January 2017 interview that The Cranberries are one of her go-to bands to croon.

Cranberries singer Dolores O’Riordan comes up a lot in articles about Chura. Fleetwood Mac's Stevie Nicks comes up, too. So does Liz Phair and The Pretenders' Chrissie Hynde. Bettie Serveert's Carol van Dijk has also been mentioned, and so have Destroyer's Dan Bejar and Television's Tom Verlaine. There are hints of Billie Holiday, too.

The 130 miles of the Huron River have inspired everyone from poets and writers to biological researchers and naturalists. Now, it’s serving as inspiration for The River in Our City, the River in Our Veins, a processional performance at 12 noon on Friday, Oct. 27, in celebration of the University of Michigan’s bicentennial.

“Part of it was wanting to find something that impacts everybody on campus,” said Christianne Myers, associate professor of theater (costume design) and head of design and production at the University of Michigan’s School of Music, Theatre, and Dance. She’s also one of the event’s organizers. “Whether it’s actually something people are studying or doing research on, or if its just students riding inner tubes. It can be a lot of things to a lot of different people."

Grammy-nominated and Hammond-endorsed organist Brian Charette’s music encompasses a jostling, unruly mix of influences and timbres. While powered by groove-centric basslines, peppered with blistering bebop licks, and firmly grounded in the Hammond B-3 canon, Charette's sound also includes crunchy waveforms flowing from an array of analog synthesizers and custom electronics in his Circuit Bent Organ project.

Fresh off the summer release of its latest album, Kürrent -- which one reviewer described as the kind of soundscape that might result if Jimmy Smith and Kraftwerk collaborated on the score to a ‘80s video game -- two-thirds of the Circuit Bent Organ Trio returned to the Kerrytown Concert House on Monday, Oct. 23, to showcase some new tunes. The pared-down duo format left plenty of auditory space for the kind of sonic exploration and experimentation that Charette clearly thrives on, and Jordan Young’s sensitive and dynamic approach to the drums provided an impactful and grounding counterpoint.

Mary Gauthier is the perfect songwriter and performer for an intimate venue like the Green Wood Coffee House, where she plays Friday, Oct. 27.

Her voice is untutored and unassuming but deeply evocative and powerful, and her songs go straight to the heart in a way that is personal, candid, and unaffected by artifice or unnecessary frills. Every line of every song is its own entire world, its own little gem of a thought. Her straightforward and relaxed style of performance lends these songs a truthfulness which is best experienced up close.

“Small venues lend themselves to a more personal show. Small rooms suit my music and storytelling,” she says.

When the musical Cabaret opened on Broadway in 1966, memories of World War II and revelations about Nazi concentration camps were still fresh for the majority of Americans. The story of Weimar Germany’s plunge into nihilism and the rise of the Nazi Third Reich resonated with audiences as a reminder of how insidious evil can be.

Kat Walsh and Jennifer Goltz-Taylor hope their production of Cabaret for the Ann Arbor Civic Theatre is equally relevant for our troubled times.

“When Jennifer and I first proposed the show, we were looking at how polarized people are around a number of issues in our country and around the world,” said Walsh, the show’s director. “There’s a feeling of being unsettled on all sides of the political world. When we looked at the cabaret world in the 1930s, there was that same feeling of unsettledness. David Mamet said we’re here to engage with our audience and create a community, to ask what in the hell is going on it this world.”

What, exactly, is “millennial pink”?

This term is now used to identify the aesthetic of an entire generation, the often-reviled millennial. This generation is defined as being born between 1981 and 2001. Whether you love or hate millennials, the color pink, or the term “millennial pink,” this exhibition delves into many issues at the forefront of contemporary cultural discussion.

The Millennial Pink exhibition is comprised of multi-media arts and will be on display at the Ann Arbor Art Center through Nov. 4. Artists in the show explore a variety of themes, including “gender identity, pop culture, sexuality, politics, and shades of Pantone pink.”

Reading a long list of sponsors doesn’t usually prompt a standing ovation; but because celebrated New York Times op-ed columnist Charles M. Blow couldn’t hear, while backstage at Rackham Auditorium on Friday evening, what was being said while waiting to make his entrance, he gamely emerged before his official introduction had even gotten underway.

Not that the adoring, full-capacity crowd minded the miscue in the least. Presenting the keynote speech of a Humility in the Age of Self-Promotion Colloquium at U-M, Blow spoke for 40 minutes on the topic of Trump, arrogance, and democracy, and answered audience questions for an additional half hour.