Pick of the Week ♦ Friday, November 14

Inspired by the FCC decision that relaxed safeguards in the relationships between media outlets and corporate America, this festival of activism, music and spoken word challenges what tour organizers see as an increasingly lax free press—namely, some journalists’ near lockstep, pro-Bush administration slant on the wars in Afghanistan and Iraq, trade policy, the environment and the disputed 2000 presidential election. The tour’s founders rightly contend that the absence of any counterpoint-of-view in the mass media has stunted public discourse. Sponsored by the Citizens Trade Campaign and the AFL-CIO (in partnership with Rock the Vote), the Tell Us the Truth bill is an exciting one. Billy Bragg, he of the heavy accent and lefty swagger, is a British songwriter whose rare love songs still carry political freight. Joining him are fellow travelers Steve Earle, Audioslave’s Tom Morello (appearing solo as “The Nightwatchman”), soul shouter Lester Chambers (of Chamber Brothers fame), Boots Riley of raptivist outfit The Coup and Mike Mills of R.E.M. Each will perform a solo set before collaborating toward the end of the show. (See “Events” picks, below, to read about the related discussion taking place Nov. 13 at Belmont Church.) Belcourt Theatre

—Jonathan Flax

Music

Thursday, 13th

Badly Drawn Boy Damon Gough should trip anybody’s bullshit detector. His nom de performance is a mite precious, as was the title of his debut (The Hour of the Bewilderbeast). But a catchy melody can mask a world of sins, and Gough appears to be a natural. On “How,” from last year’s Have You Fed the Fish?, he asks, “How can I give you the answers you need / When all I possess is a melody?”—what a joker. Thing is, the song intertwines three distinct melodies, all winners. Throw in arrangements worthy of Harry Nilsson or a more muscular Van Dyke Parks, maybe even of Love’s Forever Changes, and the usual critical pieties seem more irrelevant than usual. Of course, the in-concert trick is to translate such seemingly studio-bound strengths to the stage. According to most accounts, Gough’s Slow Bar gig a couple years back was decidedly underwhelming, but early word from his current U.S. swing has been largely enthusiastic. He returns to town with a broader musical palette (piano, bass, drums), a deeper songbook (including the estimable About a Boy soundtrack) and a handful of new compositions. Expect the loving care his melodies deserve. Belcourt Theatre

—Scott Manzler

Big Sandy & His Fly-Rite Boys w/Thad Cockrell For 16 years, Big Sandy and his band have found ways to keep their retro twang and rockabilly fresh and lively for dancing—something that few working that much-trod territory do for 16 weeks. When sheer repetition (and the demands of the blessedly brief “swing dance” fad) threatened to swamp these SoCal veterans, they took a breather, switched labels, cranked up some tube-driven amps and came up with It’s Time!, their best and most varied set in years. A key to the freshness is their focus on songwriting, not so much on standard-issue rockabilly thumpers or jump R&B, but on the more hopping side of ’50s honky-tonk. There’s room as well for new rockabilly ballads, which the amateur dress-up bands can’t and generally don’t try to handle. Opener Thad Cockrell has a taste for country the way it was too, but with an emphasis on weepers and countrypolitan crooning, plus some change-up Southern-style pub rock. Cockrell shows passion and talent for storytelling and brings striking specifics to his songs, but for adult honky-tonk, his ballads of longing and heartbreak sometimes seem to come from a youthful, untested place. With his notable vocal strength and backup from his Starlite Country Band, you may not even notice. 12th & Porter

—Barry Mazor

Friday, 14th

Bobby Rush Rush blends risqué humor with vintage blues and soul for a stage act that’s both bawdy and poignant. He’s been a star on the club circuit since the early ’70s, when his single “Chicken Heads” was a regional smash for Galaxy. Though he’s cut records for a host of companies, including ABC, Jewel, Warner Bros., Philadelphia International and Malaco, he’s never attracted much crossover attention. A flamboyant, athletic entertainer, he frequently outdistances his entourage of sexy dancers and outrageously dressed musicians. He’s also an excellent singer and harmonica player, fully capable of delivering searing blues and soul originals or classics. Rush puts as much emphasis on crowd interaction and stage antics as he does on singing and playing. But those who’ve enjoyed his new concert DVD/CD, or listened closely to his songs—even novelties like “Sue” or “I Ain’t Studdin’ You”—know Rush is a crafty singer and lyricist who’s able to make audiences laugh, recoil or think, often at the same time. B.B. King’s

—Ron Wynn

Saturday, 15th

Shelby Lynne Lynne’s recent Identity Crisis derives its title from its diversity of influences, a mixture of grooves that draw on sultry soul, dirty blues, pew-shaking gospel and countrypolitan. But it sure doesn’t describe the personality that comes through, for this long-troubled powerhouse of a singer has never sounded surer of who she is—or more at peace putting her complexities on display. Writing and recording the songs at home in Palm Springs, Lynne pricks at her own sores, alternately howling at and wallowing in her pain, then emerging on the other side with a newly determined maturity and strength. The new album is more intimate than her previous high point, I Am Shelby Lynne, yet just as convincing. She’s continuing to hone a style that keeps her stunning voice tempered yet ready to fly, and it’s just the kind of album that should gain power when brought to life in performance. Exit/In