When beloved indie chanteuse Leslie Feist breezed through Nashville in November, it was on the heels of a last-minute announcement that she’d be playing Jack White’s modestly sized Third Man Records. Scores of Canadian-imported-folk-pop fans found themselves shit out of luck, as they say, when tickets to the TMR gig sold out in a flash. But Feist makes it up to Nashville this go-round, playing the Mother Church — the capacity of which is about 10 times that of Third Man — in support of last year’s generally acclaimed Metals. As on 2004’s Let It Die and 2007’s The Reminder, Feist’s milky croon remains the centerpiece of Metals, but here she’s melded a future-folk/jazz/baroque-pop alloy that is more nuanced, more moody and certainly less cute than anything we’ve ever heard from her. And indeed, the complex pastiche of strings, horns, backing vocals and percussion that billows around Feist pulls her distinctive vocals sharply into focus. Opening for Feist will be fellow Canadian folkies Timber Timbre, whose most recent release — the riotously titled Creep on Creepin’ On — is a twisted, obsessed, slow-crawling, elegiac slab of minimalism that lands somewhere between the self-aware darkness of Nick Cave’s Bad Seeds and the balladic elegance of trad-pop greats like Roy Orbison.