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Music

Fleet Foxes
9 p.m. Sun., Sept. 28
Howlin' Wolf, 907 S. Peters St., 522-WOLF; www.howlin-wolf.com

The baroque, full-bodied pop of Seattle's Fleet Foxes have earned the band comparisons to Brian Wilson's experiments with symphonic psychedelia and to the piercing, angelic vocal landscapes of Crosby, Stills and Nash. Its close harmonies and gentle euphoria are pastoral and lush, underscoring the many nature references in its song lyrics. The group is the antithesis of its former fellow Seattle residents and Sub Pop labelmates of the grinding grunge era. Deeply entrenched in '60s folk/pop and California psychedelia, Fleet Foxes' delicately textured sound and gorgeously entwined, haunting harmonies rush over you like a cooling breeze. The band released a self-titled debut in June. Opening the show is Frank Fairfield, a young folkie whose picking and keening sounds as old as Appalachia. Tickets $10. — Alison Fensterstock

 

 

Music

Harvest the Music at Lafayette Square
5 p.m.-7:30 p.m. Thu., Sept. 25
Lafayette Square, 602 Camp St., 729-2821

With autumn comes the harvest — even though crisp breezes are weeks away from hitting New Orleans, and any foliage messing up the yard is from recent storms. This week, Second Harvest Food Bank of Greater New Orleans and Acadiana kicks off its new fall concert series to raise awareness of the hunger crisis in south Louisiana. Over the next six weeks, artists including Bonerama, the Rebirth Brass Band and the Radiators will play free sets at cocktail hour outdoors, where it is a degree or two cooler as we inch through the calendar toward a respite from summer. Artworks and crafts from local artisans will be on display in a vendors' bazaar, and local restaurants will peddle snacks and drinks. The inaugural concert features South Carolina singer/songwriter Edwin McCain (pictured), who plays romantic, rocked-out Southern soul ballads, and Kevn Kinney, an Atlanta-based guitarist whose take on country blues is as quirky and nontraditional as the spelling of his first name. Free admission. — Fensterstock

 

 

Stage

Die! Mommy! Die!
8 p.m. Fri.-Sat., Sept 26-27; 6 p.m. Sun., Sept. 28; through Oct. 19
Le Chat Noir, 715 St. Charles Ave., 581-5812; www.cabaretlechatnoir.com

After its outrageously funny run of A Place in the Sun , Running With Scissors is playing it straight in its ongoing obsession with divas of the silver screen. Sort of. Rather than primp a classic, the crew is taking on a cult classic, in more or less its original form. Charles Busch's Die! Mommy! Die! follows aging starlet and singer Angela Arden as she tries to revive her waning career. Busch himself — in drag — played Arden in a stage production last year in New York. Here, Brian Peterson plays the diva, and Bob Edes plays Sol, her husband the movie director, who is not comfortable watching her cavort with a much younger man, Tony Parker (Leon Contavesprie). When Sol turns up dead, his children, Edith (Dorian Rush) and Lance (Dwayne Sepcich), and maid Bootsie (Jack Long) realize that something stinks, and they decide to get to the bottom of it. Opening night is a benefit for the Mystic Krewe of Satyricon (tickets $25, call 525-4498 for reservations to that show only). Tickets $26 Fridays and Saturdays, $21 Sundays (prices include $5 drink credit). — Will Coviello

 

 

Music

Cross Canadian Ragweed
9 p.m. Fri., Sept. 26
House of Blues, 225 Decatur St., 310-4999; www.hob.com

In this highly specified age of sub-sub-subgrouped taxonomy, there are nearly as many genres as actual, performing bands. Extra vocabulary words are always fun, but when it comes to figuring out what a band actually sounds like, it's easy to find oneself at a bit of a loss. Cross Canadian Ragweed is known to fans as a "red-dirt" band — a relatively new strain of alt-country or Americana music that's twangy, beery and down-home, with a touch of the folksy, jammy flavor of the Grateful Dead descendant set. (Similar, in fact, to the first group to use the acronym CCR.) Though the band scored a No. 1 country hit with the track "Free and Easy," and recorded a single with Nashville princess Lee Ann Womack (and signed to the Music City-based Universal South label), mainstream country notice seems to have so far escaped it. As an example of the extent of its hybridization, frontman Cody Canada named his son Dierks Cobain, throwing together homage to the Nashville chart-topper Bentley and grunge iconoclast Kurt. Mercifully, the rough Southern-barroom sound of this CCR, a sort of Highwaymen-meet-Phish effect, seems more concerned with honky-tonk rocking than nomenclature. Rick Brantley, a hoarse, Southern rocker from Atlanta, opens. Tickets $14. — Fensterstock

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