Our Critics Picks 

Our Pick of the WeekThe Book of JobWhy do bad things happen to good people? It’s a question humankind has asked ever since, and surely before, the Book of Job in the Hebrew Bible. Numerous scholarly exegeses have attempted to reconcile the co-existence of evil and God, as expressed through this story of a righteous and prosperous man who suffers endless calamities, yet responds with equanimity, even in the face of friends who assume he’s being punished for his sins and a wife who urges him to curse what can only be a capricious God. Job exhibits legendary patience, and his largesse is eventually restored many times over. Yet the essential question lingers: is misfortune always a divine punishment for something? For this visually powerful production mounted by John Holleman and Company at Christ Church Cathedral, director Holleman utilizes a 1956 script adapted by Orlin Corey from the King James version of the Bible. “This is as serious and as tough a piece of high art as I’ve ever touched,” he says, “with an effect that lies somewhere between Greek tragedy and religious ritual. It’s tougher than Shakespeare in deciphering the difficult bits of poetry, yet it’s as sublimely beautiful.” Holleman and Company have also managed a re-creation of designer Irene Corey’s original costumes from a production that toured internationally some 40 years ago. Josh Childs is cast in the role of Job, supported by a chorus and various voices from on high. There are four performances, Sept. 21 and Sept. 23-25. For information, phone 255-7729. —Martin Brady

MUSICThursday, 22ndSON VOLT Jay Farrar has returned to his initial post-Uncle Tupelo band, perhaps to try and connect with the audience that he’s shook during his meandering solo career. The recent Okemah and the Melody of Riot recaptures some of the ragged glory of Trace, his first album with Son Volt and still his best since he abandoned Uncle Tupelo. Like his hero Neil Young, Farrar plays fuzzed-out, guitar-driven roots-rock set to cryptic, imagistic lyrics, even if his arrangements aren’t as melodic and his words rarely resonate the way Young’s do. That said, Okemah features some passionate moments with which listeners likely will connect. City Hall —Michael McCallFriday, 25thTHE POSIES Over the years, the Posies have given the world more than their share of good, sometimes great pop songs (“Song #1” from 1996’s Amazing Disgrace, for instance). But you know a band are getting old when they start off an album bemoaning the state of contemporary music with lines like, “Order up! This one’s for the kiddies / They don’t care now and they never Diddy.” Every Kind of Light is a misnomer for a record as dull as their new one is, but still, they are The Posies, and one album doesn’t a career make. Their bag of tricks is deep and diverse, so they should be engaging as ever onstage. Exit/In —Steve HaruchSWORDS Portland’s Swords have a new album out called Entertainment Is Over if You Want It. If you missed them back when they were opening for Stephen Malkmus on his first solo tour, when they were known as The Swords Project, then this would be a good time to rectify that. The group’s songs have gotten more compact since that tour, and their compositional sprawl has given way to a more cohesive, though still open-ended, sound reminiscent of Chicago post-rock bands like Tortoise. Twirling electronics share space along with jazzy riffs and airy vocals that make for a cool, erudite sound. Exit/In —Steve HaruchSUFJAN STEVENS This Michigan native is a 21st century eccentric who draws on a staggering array of musical antecedents, from troubadour folk to the Beach Boys. His latest album, Illinois, is his second state-centered work in a series that promises 50. With tunes alternating between symphonic craftiness and spare, direct emotionalism, it’s head-spinning stuff. (See the story on p. 45.) Mercy Lounge —Michael McCallTOM HOUSE It’s a fitting coincidence that House would be playing this record release show the same night that Sufjan Stevens hits town. Like Stevens, House is a singer-songwriter with an abundance of vision and a singular way of expressing it—in House’s case, through sprung rhythms and a melodicism that drinks as deeply of the plaintive lyricism of Appalachia as of the lilting, brooding folk-blues of East Texas. House’s take on humanity is fairly bleak; it seems that the best people can hope for is not to hurt each other too badly. Nevertheless, moments of transcendence part the gloom, if just for the moment. House’s new album is called The Last Desperate Man, and from “Crawling With Creeps” and “Death’s the Dark Sleep” to its Peckinpah-inspired art and graphics, the record is as bracing as its title suggests. Working again with co-producer Robb Earls and the loose cast of locals who often accompany him, House achieves a sound that verges on indie-rock in spots, something in keeping with the creakier titles in the Drag City catalog, albeit with typically more to say. The 5 Spot —Bill Friskics-WarrenSHOOTER JENNINGS Earlier this year, Waylon’s youngest son released an audacious debut, Put the ‘O’ Back in Country, that aimed to upset the conventions of Music Row. Shifting from unruly roots-rock to cosmic balladry, his songs blaze with uncompromising force and a willingness to go out on a limb and then some. Leading his band The .357s, Jennings sounds like Ronnie Van Zant might have, had he grown up loving Guns N’ Roses and Hank Jr. instead of the Stones and Merle Haggard. City Hall —Michael McCallSaturday, 24thNASHVILLE SCENE MUSIC FESTIVAL This weekend the Scene pays tribute to the breadth and depth of the city’s musical community by programming an all-day and all-night festival that makes room for a dozen performers in a variety of genres—all voted on by readers. The music starts early in the afternoon with the Dynamic Dixie Travelers, the gospel music powerhouse who recorded for the vibrant Nashboro label decades ago and are still going strong. From there, the offerings extend to singer-songwriter Jeff Black, country singer Bobby Pinson, blues guitarist Crystal Armentrout, jazz saxophonist Jeff Coffin, the great singer-songwriter-producer Cowboy Jack Clement, bluegrasser Melonie Cannon and R&B singer Krystel. The festival closes with a varied slate of rock and electronica acts: Mile 8 work the jammy end of the spectrum; punk-pop outfit The Pink Spiders are preparing to release their major-label debut; the Sin City Social Club look back to the Stones and Gram Parsons for inspiration; and Jensen Sportag make playful post-techno music designed to get hips moving and heads cocked with curiosity. We’re guessing it’s the first time some, if not most, of these artists have shared the same stage. Together, they represent much of what we love about Music City. For more info, see p. 26. City Hall; Jensen Sportag perform at Bar Twenty3. —Jonathan MarxLOS HOMBRES CALIENTES Trumpeter Irvin Mayfield and percussionist Bill Summers have led this collective since its formation in 1998. They take the indigenous music of New Orleans as their starting point but move east into the Caribbean and farther on to Africa for their explorations of dance rhythms and other ritualistic forms of music, including voodoo and carnival settings. So wide-ranging are their interests that they often need to cram brief “preludes” or “interludes” onto their albums, which give a taste of some traditional groove before launching into one of their fuller dialogues between then and now or here and there. Los Hombres display the highest mastery of whatever music they’ve chosen, and their performances reflect an empathy that grows out of their visits to locales where the world’s “party music” is still produced. Imagine ethnomusicologists who can handle polyrhythms or pull together staggered horn charts, and you’ve grasped the essence of the group. Coming to the aid of the city whose musical legacy Los Hombres perpetuate, Vanderbilt’s Great Performances series will donate $2 from every ticket sold to the Red Cross Relief Fund for victims of Hurricane Katrina. Ingram Hall —Bill LevineMARCIA BALL One of the best talents to come out of the East Texas-Western Louisiana border area, “long tall” Marcia Ball isn’t Janis Joplin or Johnny Winter, but she’s been immersed in swamp pop, Gulf R&B and other Bluesiana traditions for over 30 years. Everything she plays, even her originals, sounds familiar, but that’s the point. A typical set will have a combination of brash challenges to her man, ballads with a “last dance” feel, songs that derive from New Orleans favorites and tons of her boogie-woogie pounding. Crowds have to dance, but Ball’s combos rise much higher and pull so many more tricks out of their bag than any mere party band. Remarkably, her new CD is her first live album ever, and she’s in great form, bolstered by a muscular horn section and Red Young’s zealous B-3 runs. B.B. King’s —Bill LevineMonday, 26thJOHN MAYER TRIO Lately, the creator of anatomical pop hits like “Your Body Is a Wonderland” and “Bigger Than My Body” is making his mark as a guitarist, having performed with Herbie Hancock at Bonnaroo and appeared on the jazz pianist’s latest recording, Possibilities. Mayer’s trio, in which he handles all of the guitar duties, includes drummer Steve Jordan and bassist Pino Palladino, two of Manhattan’s more gifted and versatile sidemen. Yet what really boosted Mayer’s instrumental cred was a recent performance with Eric Clapton televised by CNN. In honor of the victims of Hurricane Katrina, the duo performed Clapton’s “Broken Hearted,” during which Mayer, at least in matters of taste, outshone his legendary partner. Ryman Auditorium —Paul V. GriffithMAC GAYDEN BAND As the “Night Train to Nashville” exhibition and its monthly performance showcases end their runs, figures like Gayden warrant increasing attention. One of the key R&B acts who emerged from the ranks of Ernie’s Record Mart, Gayden worked on several music fronts and effected the type of rapprochement among local genres that was unique to Nashville in the ’60s and ’70s. With Buzz Cason, he wrote “Everlasting Love,” which was a hit first in 1967 for local R&B singer Robert Knight and has proven to be a pop evergreen. Later, Gayden, who played on Blonde on Blonde, cultivated his “slide wah” guitar technique as a member of first-gen country-rock bands like Barefoot Jerry and Area Code 615. B.B. King’s —Bill LevineTuesday, 27thJON NICHOLSON Nashville’s rock scene is enjoying maybe its biggest surge in national attention ever, yet Nicholson rarely gets mentioned among the local rock brigade. That should change with the release of A Lil Sump’m Sump’m, a confident, fully developed work that’s due on Warner Bros. this week. Nicholson has a distinctive style that moves easily from laid-back soul to garage rock to funky piano ballads that have more in common with Norah Jones than Five for Fighting. A native of Wisconsin and founder of the homegrown MuzikMafia movement, Nicholson initially displayed his freewheeling style fronting the band Stroller, and he’s grown since then. He builds most tunes around his analog keyboards, many of which have a sweet, soulful tone reminiscent of Stevie Wonder’s when he was still living for the city. Nicholson’s eclecticism is refreshing, as is his ability to open up and sing in a voice devoid of irony or detachment. Mercy Lounge; also, 6 p.m. at Tower Records-West End —Michael McCallLUCINDA WILLIAMS After the breakthrough success of her 1998 album Car Wheels on a Gravel Road, Williams took an unexpected turn; she relaxed. On 2001’s Essence and 2003’s World Without Tears, she let go of the minutely crafted precision of Car Wheels in favor of a more emotional, sensual approach. Images that would have been segregated before were now allowed to bleed and discolor one another, while the music sounded more like something coming from an actual band. The result reflects less how the mind works and more how the heart works: conflicting emotions taking up the same moment, in a flash of unbidden heat. This most recent phase of Williams’ work is summed up on her first-ever concert album, Live @ the Fillmore, a record that stubbornly skips the oldies (some of which you’ll find on a new download-only EP of the same name) in favor of presenting a snapshot of the artist in a passionate moment, her muse pushing righteously forward. Donations will be accepted for the Red Cross and Habitat for Humanity. Ryman Auditorium —Chris NealWednesday, 28thANTIGONE RISING These hard-rocking New York women have found quite the front woman in single-named Cassidy, whose vehement, Janis-inspired vocals are well suited to their meat-and-potatoes arrangements. Their latest album tills the overworked soil of heartache, but always incisively and with abundant self-awareness. One track, “Don’t Look Back,” a duet featuring Cassidy and Rob Thomas of Matchbox 20, practically gets by on wit alone. As talk of their breakup ensues, Thomas, who initiates the move, mourns Cassidy’s lack of tears, only for her to gibe that she’s already cried, before delivering the payoff: “I took off my pity party dress, and I don’t dance no more.” Exit/In —Elisabeth DawsonHIT AND RUN BLUEGRASS Colorado’s Hit and Run Bluegrass have gotten off to a running start, thanks to victories at band competitions both eastern (SPBGMA) and western (Rockygrass, Telluride). And the group’s new album, Without Maps or Charts, which they produced with Kenny and Amanda Smith, shows why they’ve won. Eschewing both hard neo-traditionalism and flabby jamgrass, they belong squarely in the contemporary mainstream, with strong original material and nicely contrasting lead vocals from a trio of singers, including guitarist Rebecca Hoggan, who supplies both stout rhythm and engaging leads. Station Inn —Jon WeisbergerWed., 28th-Thurs., 29thB.B. KING This icon’s image has been used to sell diabetes supplies and the Republican Party. His trademark guitar tone and gravel-and-molasses voice have been abused on ill-advised collaborations such as Midnight Believer (with The Crusaders) and Love Me Tender (with Nashville session pros). Still, the King of the Blues remains a regal presence. Despite the above-mentioned diversions, his playing has changed little since he recorded his first hit, “Three O’Clock Blues,” in 1951. Along with Bobby Bland’s Two Steps From the Blues, King’s Live at the Regal, recorded in 1964, is arguably the greatest urban blues album ever recorded. Last week, he celebrated his 80th birthday and shows no signs of slowing down. Those who bemoan the fact that they never saw Ray Charles, take note: this week, the most important soul-blues performer alive today is playing a 400-seat club right down the street from you. B.B. King’s —Paul V. GriffithCLASSICALIAN BOSTRIDGE Like Mozart, Schubert had what are considered Austrian virtues: a graceful, light touch that kept the music’s dramatic material from becoming ponderous. His style suited art songs, which are by nature more intimate—a singer and pianist alone, delivering poetry. Schubert’s large number of individual songs and several important cycles form the core of the 19th century song repertoire. English tenor Ian Bostridge has emerged over the last 12 years as one of the world’s leading contemporary interpreters of this body of work, widely recorded with a reputation for an intense performance style. He and accompanist Julius Drake will perform an all-Schubert program that includes key works like “The Trout,” Sept. 27 at Blair School of Music. —David MaddoxTHEATERTHE BLUE WINDOW In its previous productions—most recently Larry Kramer’s AIDS drama The Normal Heart—Julie Alexander’s Rhubarb Theatre Company has staged works that address issues largely of interest to gay and lesbian audiences. But as Rhubarb’s current play, opening Thursday at Darkhorse Theatre, suggests, the company always chooses subject matter that speaks to fundamentally human questions. A New York City dinner party in 1984 is the setting for Craig Lucas’ play, in which six guests converge on host Libby’s apartment, each bringing his or her own distinct tastes and hang-ups. The resulting dialogue promises to be incisive and funny, peppered with a whole range of cultural references appropriate to a talky group of educated urban denizens. But at the core of the play lies something keener: a sense of disconnection, perhaps, or alienation. Lucas’ previous work includes 2004’s OBIE-winning Small Tragedy and the script for director Alan Rudolph’s film The Secret Lives of Dentists, and this production marks the Nashville premiere of The Blue Window. Alexander’s cast includes Stacey Shaffer, Trish Moalla, Carey Kotsionis and four other local actors. The play runs through Oct. 1 at Darkhorse Theater; call 386-3551 for tickets. —Jonathan MarxBLOOD WEDDING Written in 1932 and premiered in Madrid in 1933, Federico Garcia Lorca’s tragicomic tale was based on his own reading of a newspaper story concerning a young bride who left her fiancé standing at the altar so that she could run off with her childhood sweetheart. Lorca renders his drama in a surrealistic poetic technique that aims to convey explicit ideas on forbidden love and the individual’s sense of freedom in the face of social convention. Performers at Belmont University’s Little Theatre present the play under the direction of Matt Chiorini, who will infuse the production with some of the experimental staging ideas he has brought to his own People’s Branch Theatre. Blood Wedding opens Sept. 22 and runs through Oct. 2. For reservations, phone 460-6199. —Martin BradyTHE SHADOW BOX Michael Cristofer is a stage actor who became a playwright and eventually a screenwriter (The Witches of Eastwick, The Bonfire of the Vanities) and film director (Gia, Original Sin). His first major dramatic work, The Shadow Box, which won the Pulitzer Prize for Best Drama and the Tony Award in 1977, takes place on the grounds of a hospital, where three separate families visit terminally ill loved ones. A daring piece in its time, it still retains an effectively frank approach to life-and-death and familial issues, all scattered with surprising humor. Murfreesboro’s Out Front Productions will present six performances Sept. 22-Oct. 1 at the Center for the Arts. For tickets, phone 904-ARTS. —Martin BradyTOE ROASTER Bryan Kennedy conceived this original play, which finds three modern-day cowboys seated around a campfire, swapping stories and songs and trying to make sense of the world. Kennedy, writer of the Garth Brooks hits “The Beaches of Cheyenne” and “Honky Tonk Bar Association,” is joined in his venture by two other Nashville tunesmiths, Wynn Varble and Troy Jones. This reworking of the writers-in-the-round setup settles into Bongo After Hours Theatre for a series of preview dates, Sept. 22, 30 and Oct. 1, after which it will play successive Thursdays in October. Show time is 7:30 p.m. For tickets, phone 385-1188. —MARTIN BRADYARTJOEL-PETER WITKIN For his haunting explorations of sex, death and physical deformation, internationally acclaimed photographer Witkin finds subject matter for his art in morgues, medical schools and asylums; his portraits of people on the margins of society feature amputees, hermaphrodites and corpses in costumes and masks. The photographer, whose black-and-white images give air to the dark side of the imagination, will be giving a slide lecture 7 p.m. Monday, Sept. 26, in Gentry Auditorium at Austin Peay State University. The drive to APSU in Clarksville takes about 45 minutes, but will be well worth the opportunity to hear this artist talk about his work. —Nicole Pietrantoni“HUDSON RIVER SCHOOL: MASTER-WORKS FROM THE WADSWORTH ATHENEUM MUSEUM OF ART” The Frist Center’s fall season features paintings from the Hudson River School, loosely classified as artists painting between 1825 and 1875 who “convey immense reverence for nature in all its grandeur.” Many viewers will be familiar with the lush, dramatic scenes of waterfalls and hillsides in the Catskill Mountains and Hudson River Valley of upstate New York. The 55 paintings in this show are quintessential landscape paintings in all their bucolic glory and include works by Thomas Cole, the father of the movement, along with Asher Durand, Frederic Edwin Church, Martin Johnson Heade, Jasper Cropsey and others. The exhibition comes from the Wadsworth Atheneum Museum of Art in Connecticut and will be on display Sept. 23 through Jan. 8. —Nicole Pietrantoni“VIEW SKEWED” After kicking off the fall with a great show of prints and posters from around the country, TAG brings together six young sculptors and photographers to present their strange, unique and beautiful visions of reality. Chris Scarborough manipulates his digital portraits in subtle ways—slightly enlarging the eyes, for instance—creating a sense of unease, whimsy or bemusement. Scarborough is also an accomplished painter who explores similar subjects in his moody portraits on canvas. Chad Poovey, who earned a master’s degree in creative writing from North Carolina State University, combines his love of the written word with his lifelong practice of carving. “I think I’m always trying to tell a story,” Poovey says of the images he discovers in wood. The show also features the work of sculptors Tom Haney and Brendan Monroe and photographers Kevin Garrett and Julie McFadden, co-owner of TAG with her husband Jerry Dale. Her work seeks to reveal the beauty in the banal and the startling in the everyday. The gallery holds a reception 6-8 p.m. Saturday, Sept. 24, and the show runs through Oct. 8. —Joe NolanVAN BANKSTON, CHRIS ECKERT, KIEL JOHNSON & ADAM NORMANDIN Finer Things Gallery presents an exhibit of painting and sculpture that explores objects, patterns and relationships that we’re all familiar with, challenging us to view the ordinary with new eyes. Van Bankston’s acrylic paintings make use of a muted palette and elicit in the viewer an “unhurried moment for one to think about oneself”; his geometric compositions can be seen as iconic images of meditative devotion. Chris Eckert’s hyper-realistic sculptures fool the eye; the artist’s surreal “Glove With Fish”—in which the thumb and forefinger of a white gloved hand dangle a scarlet goldfish with slippery uncertainty—transforms the viewer into the somnambulist in a waking dream. Along with Eckert, painters Normandin and Johnson both hail from California. Finer Things will host a public reception 6-8 p.m. Saturday, Sept. 24, and the show runs through Nov. 5. —Joe Nolan“ONE WALL ONE ARTIST” Six artists each get 25 feet of wall space in Plowhaus’ gallery to exhibit their work. A staff photographer for The Tennessean, John Partipilo will show photojournalistic images that bring home the realities of the Iraq War, while Wendy Alexander’s photographs concentrate on landscapes and moments captured from the everyday. Danielle Duer and Jack Coggins both contribute paintings full of emotional resonance. The single-named Harry’s paintings on wood distill the appeal of folk art with their plainspoken images and colorful palette, while Tiffany Dyer’s fiber art has a similar directness, even if it shares none of the same stylistic hallmarks. The opening is 7-11 p.m. Sept. 24. —Jonathan MarxEVENTSWATKINS FALL FESTIVAL With school back in session, Watkins College of Art & Design holds a fall festival designed to spotlight its facilities and the full range of creative activities that take place within. Student artwork will be on the walls and for sale in a trunk show; film students will screen their work in the Watkins Theatre; and a DJ, face painting for kids and food from the school’s fine café will offer further enticement for families and the curious alike to tour the school. The event starts at 6 p.m. Friday, and the film screening will be at 8 p.m. —Jonathan MarxFILMTHE LEOPARD You won’t see a better movie in theaters this weekend than Luchino Visconti’s 1963 film. A study of aristocracy in twilight, directed by a Marxist of noble descent, the ravishing epic focuses on the aging Don Fabrizio, Prince of Salina, a lion in autumn among opportunistic jackals amid the shifting politics and class upheaval of 19th century Italy. To the role of the prince, a worldly sensualist facing the slow fade of life’s riches, Burt Lancaster brings impeccable bearing and physical grace; the movie culminates in a justly renowned 45-minute ballroom sequence, where Don Fabrizio is haunted by the pleasures of his past and the emptiness of his future. The movie screens Saturday through Wednesday at the Belcourt, concluding its superb “Masters of World Cinema” series co-sponsored by the Frist Center; film historian David Hinton introduces the 7:30 p.m. show Saturday. —Jim RidleySYMPATHY FOR MR. VENGEANCE Depending on whichever critical camp has your ear, Park Chan-wook is either a supremely gifted choreographer of grisly mayhem (i.e., the next Quentin Tarantino) or a sadistic show-off (i.e., the next Quentin Tarantino). Screw ’em both and decide for yourself, as the Belcourt opens the first film in the South Korean director’s highly touted “revenge trilogy,” which screened to a dumbstruck full house at this year’s Nashville Film Festival. —Jim RidleyPORCO ROSSO In this little-seen 1992 fantasy by Japanese animator Hayao Miyazaki (Spirited Away), a swashbuckling pilot with a pig’s features defies sky pirates in the air over 1930s Italy. The movie shows Tuesday night at Vanderbilt’s Sarratt Cinema; since there’s no indication whether there are subtitles, this may be the fine dubbed version featuring the voices of Michael Keaton and Brad Garrett. —Jim RidleyMANHATTAN SHORT FILM FESTIVAL A ’50s-style instructional film about dating, a comic whodunit and an eerie mood piece inspired by Eraserhead are among the 12 finalists in this traveling festival of shorts from the U.S., Spain, Australia, Israel and the U.K. Audience members select the winner, which will be announced in New York’s Union Square Park. The Nashville screening takes place 7 p.m. Thursday at the Belcourt; for information, see www.msfilmfest.com. —Jim RidleyBELL WITCH: THE MOVIE You heard about the new Bell Witch movie with Donald Sutherland and Sissy Spacek, right? Of course not—in the interest of historical accuracy, the thing was shot in Romania. Not so with Shane Marr’s retelling of the terrifying Bell family legend, shot in Tennessee with a cast led by Betsy Palmer (best known as the killer mom in Friday the 13th). The movie gets its world premiere Saturday at the Ryman, preceded by a red-carpet event. For more info, see www.bellwitchthemovie.com. —Jim RidleyROLL BOUNCE There’s no way director Malcolm D. Lee’s throwback to the Dumb Donald of  ’70s movie genres—the roller-disco musical—could be as ebullient as its liquid-sunshine trailer. Here’s hoping, though, as Bow Wow whiles away the Chicago summer of 1978 with his flashy crew of fellow “jam skaters.” Co-starring Chi McBride, Nick Cannon and a veritable K-Tel commercial of skating-rink soul singles, the movie opens Friday. —Jim RidleyCORPSE BRIDE A sallow groom gets literally the bride from hell when he  places a wedding ring on a lovelorn cadaver’s bony finger. Returning to the stop-motion puppetry of his The Nightmare Before Christmas, Tim Burton co-directed (with Mike Johnson) this macabre salute to the fixed-frame fantasies of George Pal and Ray Harryhausen, featuring the voices of Johnny Depp and Helena Bonham Carter. Opening Friday. —Jim Ridley


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