HALLOWEEN

Oct. 26-27

THE ROCKY HORROR PICTURE SHOW You’d probably need a time warp to remember the last time you did the Time Warp, but never fear: a live cast brings back all the toast-throwing, paper-rumpling, sing-along high jinks of youth as THE ROCKY HORROR PICTURE SHOW returns to the Belcourt for two weekend shows. Midnight at the Belcourt Theatre —JIM RIDLEY

Oct. 26-28

HONEYSUCKLE HILL FARM If you want to turn last-minute pumpkin shopping into an event, take the drive up I-24 to Honeysuckle Hill Farm. Follow the winding road to corn mazes, hayrides, an airplane jungle gym, a two-story slide—and oh yeah, pumpkins. Leave the tots home for the hair-raising Haunted Woods. For directions, visit honeysucklehillfarm.com. 6-10 p.m. Friday; 10 a.m.-10 p.m. Saturday; noon-5 p.m. Sunday at 3029 Meadow Court, Springfield —JIM RIDLEY

Oct. 26-27 & 31MONSTER MOUNTAIN Something’s cooking in the Cannibal Kitchen, and it might be you if you don’t watch your step on Monster Mountain, the Hendersonville horror haven that’s getting a (severed) thumbs-up from fright fans. A mining town dripping with grue is the setting for chainsaw attacks and a dance with Death himself at Club Corpse. Open Fridays and Saturdays through Nov. 3 and Halloween night. Visit monstermountain.net for directions. 7 p.m. on McMurtry Road, 6.1 miles from I-65 —JIM RIDLEY

Through Nov. 3SLAUGHTERHOUSE The downtown Slaughterhouse may be the grand old cryptkeeper of Nashville haunted houses—and at $15, it’s among the most expensive—but word has it the joint has been revamped with new blast-in-your-face scares worth the extra bucks. And members of Hellyeah and 5 Finger Death were seen lost in the octagonal maze recently. Welcome to headbanger hell.  8 p.m. weekdays at 423 Sixth Ave. S. —JIM RIDLEY

Oct. 26-28

GHOULS AT GRASSMERE Bring an extra limb or two to feed the animals at Ghouls at Grassmere, the Nashville Zoo’s hugely popular scarefest. A haunted hayride, a black-light “SCARE-osel,” a large bouncy play area and numerous treat stations make up for the occasional ocelot rampage—just kidding! 5-9 p.m. at Nashville Zoo —JIM RIDLEY

Oct. 26-31

DEMONS’ DEN HAUNTED HOUSE Let Nurse Feratu demonstrate a little home surgery at Antioch’s Demons’ Den Haunted House. Admission is $10; for discount thrills, grab a coupon in the Scene or at demonsdenhauntedhouse.com. 7:30 p.m.-12:30 a.m. at 881 Bell Road —JIM RIDLEY

Friday, 26th

THE IMPROV NASHVILLE HALLOWEEN SHOW Oh, the horror! Comedians onstage with no script! You’re completely at the mercy of their spontaneous wit, and whatever cocktail of cheap vodka, street drugs and self-loathing they may have whipped up! Will their off-the-cuff shenanigans implode like a casino slated for demolition? Or will the desperate need for attention and approval caused by their tormented childhoods result in some of the funniest shit you’ve ever seen?! 8 p.m. at 12 South Arts Venue —JACK SILVERMAN

Saturday, 27th

ZOMBIE PROM Hosted by the Nashville chapter of the Turbonegro fan club, Turbojugend Nashville, the annual Zombie Prom is as good an excuse as any to dress up like a flesh-eating suitor and drink cheap PBRs. Touring thrashers Midnight and Toxic Holocaust will provide the party jams, while rock ’n’ roll DJ Tyrannosaurus Copter closes out the night. 9 p.m. at Springwater —MATT SULLIVAN

Saturday, 27th

DIA DE LOS MUERTOS (DAY OF THE DEAD) Plowhaus hosts its sixth annual celebration of Dia de los Muertos with a day full of activities in honor of the dearly departed, including an altar-making workshop (1-5 p.m.), food and drink, live music and a themed group show. 7-11 p.m. at Plowhaus Artists’ Cooperative —JOE NOLAN

Saturday, 27th

NIGHTMARE IN MUSIC CITY Wear something chic, slutty or super-fly—or just dress up as a 6-foot-tall stalk of broccoli—at the Nightmare in Music City, thrown by the Scene and NashvilleParty.com. More than 4,000 costumed revelers are expected to take over The Gulch. 8 p.m. at BarTwenty3/City Hall —STEVE HARUCH

Saturday, 27th

GUILTY PLEASURES If there is a better holiday for guilty pleasures—and Guilty Pleasures, the beloved Nashville ’80s cover band—than Halloween, we’ve never heard of it. The costume contest winner will earn a trip to New Orleans, so try to do better than “sexy angel” this year. 6 p.m. Oct. 27 at The Wildhorse Saloon —STEVE HARUCH

Oct. 28-30

THE MYSTERIOUS DEATH OF EUNICE Belle Meade Plantation is serving up a full slate of Halloween whimsy, including this self-guided scavenger hunt offering clues to the mysterious death of Eunice Jackson Marks (6-10 p.m. Oct. 28-30). On Sunday, bring your little spawn for some community trick or treating (1-5 p.m.). For information, visit bellemeadeplantation.com. Belle Meade Plantation —LEE STABERT

Monday, 29th

HALLOWEEN 8 OFF 8TH Nothing says Halloween like a nanny hanging herself in service to the son of Satan, and that’s the theme for this celebration of Buddytown founder Michael Madrid’s birthday, inspired by the birthday party scene in The Omen. With sets from Nite Nite, Jensen Sportag, Makeup & Vanity Set and more. 9 p.m. at Mercy Lounge —TRACY MOORE

Oct. 30-31

DEAD-ALIVE Without question the goriest, yuckiest, most disreputable movie ever made by an Oscar-winning director (except for his own Meet the Feebles), Peter Jackson’s riotous splatterpalooza DEAD-ALIVE pits an army of the undead against a single man...and his lawnmower. 5, 7:30 and 10 p.m. at the Belcourt Theatre —JIM RIDLEY

Wednesday, 31st

EAST NASHVILLE HALLOWEEN PUB CRAWL Like so many zombies in search of delicious brains, costumed revelers converge on Five Points. At The 5 Spot: Harrison Hudson as Weezer, Judd and Maggie as Fleetwood Mac and Hans Condor as Easy Rider Tribute Band. 3 Crow Bar plays host to AC/DC cover band Power Load. Alley Cat features four bands. 9 p.m. at Five Points —STEVE HARUCH

Wednesday, 31st

HALLOWEENO NINTENDO PARTY Locals H-Beam will perform some of Nintendo’s greatest hits—selections from Castlevania, Super Mario Bros. and Mike Tyson’s Punch-Out—while a stage show “pays tribute to our pixelated heroes of yore with full character costumes and blocky sprites galore.” 9 p.m. at Windows on the Cumberland —STEVE HARUCH

Wednesday, 31st

THE PHANTOM OF THE OPERA It’s one of the most famous scenes in cinematic history: a young opera singer sneaks behind a mysterious organist, snatches his mask, then recoils at the sight of his hideous deformity. This Halloween, you can watch the classic 1925 silent film in style, with organist Tom Trenney’s live accompaniment. 8 p.m. at the Schermerhorn Symphony Center —

THURSDAY 10/25

Roots Rock Rebel Music

JUBAL LEE YOUNG Young’s self-titled debut proves that sometimes experience is the best teacher. Knocking around Nashville for more than a decade, Young has fronted rock bands and performed as a solo acoustic act, but he’s never sounded better than on this solid set of roots-rock Americana. His songs imply a reckless background, and when he bites into a Dylanesque rocker like “Greed Is the Creed,” he shows a fierceness that can’t be faked. The son of fabled outlaw singer-songwriter Steve Young, this longtime Music City resident is moving to Oklahoma with his wife after this record-release party. His new album is a strong parting gift—expect this fond farewell to be both triumphant and bittersweet. 9 p.m. at Douglas Corner Café —MICHAEL MCCALL

Manifest Destiny

KENNETH JACKSON Of all the histories of the American suburbs, Kenneth T. Jackson’s Crabgrass Frontier (1985) is the classic. This primer on how and why we sprawl—government subsidies, transportation technology, cheap oil and racial politics—was recently reissued. Jackson also authored The Encyclopedia of New York City (1995), where he lives and works as a distinguished professor at Columbia University. And he co-authored, with Hilary Ballon and Robert Moses, The Modern City: the Transformation of New York (2007), which offers a kinder, gentler perspective on the master builder whom Jane Jacobs and Robert Caro loved to hate. Now Jackson returns to the Sunbelt—he grew up in Memphis—with “A Tale of Four Cities: New Orleans, Memphis, Nashville and Houston in the 20th Century.” This free public lecture will focus on the waxing and waning of these cities due to planning, race and political and economic leadership. 6 p.m. (5 p.m. reception) in Blair School of Music’s Ingram Hall —CHRISTINE KREYLING

Music

WIDESPREAD PANIC If you were creating an RIYL file on Widespread Panic, it would read like a who’s who of Southern rock and jam bands. Grateful Dead, the Allman Brothers Band, Lynyrd Skynyrd, Phish, Blues Traveler and Big Head Todd and the Monsters would all have to make the list. Indeed, Panic combine the pop-infused blues of Blues Traveler with the Dead’s freewheeling vibe, Skynyrd’s heavy guitar licks and the jazzy feel of the Allman Brothers. In the band’s nearly 25 years, they have taken up the mantle of the ultimate road band and survived the rise and demise of many music industry trends. Fans and newbies alike should expect sweeping Southern grooves, edgy riffs and spellbinding, dry vocals to wind their way through the band’s three-night stand at the Ryman. 7:30 p.m. Oct. 24-26 at the Ryman Auditorium; all three shows are sold out. —TRACY M. ROGERS

Critical Eye

ARTHUR DANTO An emeritus professor of philosophy at Columbia University and longtime art critic for The Nation, Danto is the best sort of humanist—well-informed and insightful, but adept at communicating with audiences outside academic symposia. His writing is like a conversation with a particularly intelligent friend who doesn’t think you are an idiot. He is well known for the argument that Andy Warhol and his Brillo boxes constituted an end of history in art, making it apparent that any object can be art and exploding the possibility of a “master narrative” to govern artistic style. At Vanderbilt he will speak on the restoration of the Sistine Chapel, which inspired fierce controversies about the techniques used and the resulting state of Michelangelo’s fresco. 4:10 p.m. in Vanderbilt’s Wilson Hall, Room 205 —DAVID MADDOX

FRIDAY 10/26

Music

THE PONYS Despite relentless comparisons to other bands, Chicago’s The Ponys have managed to kidney-punch indie rockers hell-bent on keeping them in a headlock. Likened early on to Richard Hell and Television—and later to The Cure, The Jesus and Mary Chain and Joy Division—they continue to perplex, touring incessantly and recording three diverse albums since forming in late 2000. Their latest, Turn the Lights Out, released on Matador in March, is filled with nuances that slowly reveal themselves. New guitarist Brian Case hides catchy guitar riffs behind a wall of reverb and delay, while lead singer Jared Gummere barks sweet melodies. Live, the guitar will stick with you, and Gummere’s towering presence (6-foot-5) will keep your eyes on the stage. Should be worth getting to the Spoon show early. 9 p.m. at the Cannery —JEREMY RUSH

Music

JONATHA BROOKE Jonatha Brooke’s music is simple and subtle—winding its way around you and entering your bloodstream, forcing you to succumb to its lilting intimacy. Brooke’s childlike vocals belie a lyrical sophistication and introspection that’s been present throughout her 12-year solo career. Her siren song is tinged with soul, folk and pop, and is at once sweeping and reflective. Fans of Patty Griffin’s quieter ballads, Shawn Colvin’s radio-friendly folk reminiscences and Sarah McLachlan’s stirring poetic reflections shouldn’t miss her. 8 p.m. at the Belcourt Theatre —TRACY M. ROGERS

Men Behind Bars

STALAG 17 The recent broadcast of the widely discussed Ken Burns PBS documentary The War provides appropriate linkage to the staging of this noted 1951 play by Donald Bevan and Edmund Trzcinski, which, after a successful Broadway run, was later made into an equally notable Billy Wilder film starring William Holden. Allied soldiers in a German P.O.W. camp can’t figure out why their captors seem to know everything about their escape schemes. Their frustration leads to a lynch-mob mentality, with focus on a square peg named Sefton. It’s an entertaining story, both humorous and harrowing, with lots of great feature roles. Prior to the run, there’s an Oct. 25 panel discussion entitled “Stalag 17: Ex-POWs on 55 Years of Fact and Fiction,” which includes appearances by former prisoners from the actual World War II German Stalag-XVII-B. Beth Woodruff directs the production, with key roles enacted by Wade Woodruff, Parker Boase and Philip Murrell. Oct. 26-Nov. 10 at Pull-Tight Players Theatre, Franklin —MARTIN BRADY

Music

PAOLO NUTINI The 20-year-old Scottish import with the Italian name is working as hard as he can to win over American ears. His 2006 Atlantic debut These Streets found the fetching young man sporting a new, old-fashioned sound. Anybody who grew up on the ballads of Rod Stewart or the mellow acoustic ways of James Taylor will find shelter in Nutini’s white-soul approach. Everything is built around his voice, a gentle burr that conveys warmth and heart. He’s just released an iTunes-only EP, Live at the Isle of Wight, that’s only available in the United States. That’s right, America, he only has eyes for you. 6 p.m. at Wildhorse Saloon —WERNER TRIESCHMANN

Music

LUCERO The highlight of this year’s Mucklewain Festival was watching Lucero under the bright moon as the temperature dipped below 50 and steam rose off frontman Ben Nichols’ sinewy, tattooed arms. One of the most invigorating live bands around (when they’re sober enough to stand), this foursome from Memphis continue to nudge their raw, Southern-tinged rock in new directions. Their 2006 album Rebels, Rogues, and Sworn Brothers saw them channeling The Boss—adding layers of bombastic piano to guitarist Brian Venable’s angular, melodic guitar lines, drummer Roy Barry’s wily beats and Nichols’ love-it-or-leave-it sandpaper growl. The frontman’s heartache and earnestness remain as palpable as ever—he closed out their set at Mucklewain, with only part-time pianist Rick Steff at his side. Launching into “Fistful of Tears,” he served a reminder that beauty can sometimes be difficult to qualify—his rough-hewn voice and the spare piano filled up the whole darn world. Local boy Bobby Bare Jr. opens. 9 p.m. at Mercy Lounge —LEE STABERT

SATURDAY 10/27

Tales of Mystery and Imagination

ALAN PARSONS SEMINAR & WORKSHOP Nothing to see here, folks. No need to pick up any recording tips from, oh, the guy who engineered two obscure little albums called Abbey Road and The Dark Side of the Moon. No reason to listen to musical samples from the man behind The Alan Parsons Project of “Games People Play” and “Time” renown, or who gave Al Stewart’s “Year of the Cat” its irresistibly liquid groove. But in the event you think this newbie could teach you something about the biz, call 244-5848 or email e.burrows@sae.edu for tickets to his two talks Saturday, which are $35 and open to the public. (His studio master class at SAE Audio Institute is for students only.) 10 a.m. & 2 p.m. Oct. 27 at Musicians Hall of Fame —JIM RIDLEY

Art

JOHN GELDERSMA AND PINKNEY HERBERT Currently residing in Santa Fe, N.M., Geldersma is a New Orleans native whose colorful, charred wooden sculptures range from figurative representations of animals and people to abstract objects of seemingly magical utility. Geldersma’s show will include some of the tall, freestanding Spirit Pole sculptures for which he is best known. Memphis’ Pinkney Herbert is a painter whose work is the result of intuitive investigations into the essential qualities of his natural subject matter. Nearing abstraction, Herbert's colorful canvases and works on paper don't capture the external beauty of the fire, water and flowers that inspire him, so much as take a lunge at the underlying archetypes that evoke natural forms. Opening reception, 6-8p.m. at Zeitgeist; runs through Dec. 1. —JOE NOLAN

Art

SUZANNE BOCANEGRA, KURT DOMINICK, ERIN CUNNINGHAM AND LETICIA BAJUYO Curated by Mel Ziegler, the new chair of the studio art program at Vanderbilt, this latest exhibit in the Ingram Studio Art Center Gallery features two shows in two galleries. In Gallery I, Leticia Bajuyo looks into the eye of the storm with “Forces of Nature: Hurricanes and Slinkys.” Inspired by artificial materials, the physics of the famous Slinky toy and computer model’s of burgeoning hurricanes, Bajuyo’s curious, whimsical installation paradoxically evokes sensations of calm and safety. On display in Gallery II is “Parts of the Puzzle, Please,” featuring works by a group of Texas artists. Suzanne Bocanegra’s delicate drawings take on a more substantial texture when obsessively displayed in large numbers, creating an illusion of near-sculpture. Erin Cunningham routinely encourages viewers to interact with her body-based, bronze sculptures, while Kurt Dominick’s conceptual projects are often quite poignant. Through Dec. 10 in Ingram Studio Art Center Gallery 204 —JOE NOLAN

SUNDAY 10/28

Art

MONDAY 10/29

Music

AGNOSTIC FRONT By this point, very few hardcore fans are unaware of the key role that NYHC/metal crossover institution Agnostic Front played in the music’s history. Certainly Agnostic Front, whose lineup still includes the central tandem of Roger Miret and Vinnie Stigma, is a band whose very mention often triggers lengthy discussion and a trip down memory lane. But the band itself seems to have little interest in nostalgia. Miret does little on their new album Warriors—produced by younger brother and Madball frontman Freddy Cricien—to steer away from the usual preoccupations about which hardcore bands have been beating the proverbial drum for ages. Though choruses like “DON’T! fuck up your LIFE!” make for great sing-alongs, the music once again raises the question of how hardcore is supposed to unify people when it’s so persistently preoccupied with self. But, right from the start, the riffs and playing sound energetic, which, for a hardcore band at this veteran stage, is an Olympian feat and a damn welcome surprise—and bodes well for what Agnostic Front can deliver live. 7 p.m. at The Muse —SABY REYES-KULKARNI

Music

WEEDEATER Making their second visit to Music City in six months, Weedeater arrive in town with a brand new album in tow—God Luck and Good Speed. Formed by onetime Buzzov-en bassist Dave “Dixie” Collins, Weedeater trudge through the same substance-fueled sludge as Collins’ former band, while worshiping at the altar of such stoner metal legends as Sleep, Black Sabbath and Saint Vitus. Employing the same genre conventions as their peers—namely monolithic, mid-tempo riffs and droning feedback—Weedeater break from the pack courtesy of Collins, who delivers some of the most blood-curdling vocals found in this particular school of metal. On their most recent full-length, their third in 10 years, the North Carolina trio further exercise their Southern roots, even covering Lynyrd Skynyrd’s “Gimme Back My Bullets.” 9 p.m. at The End —MATT SULLIVAN

Live TV Taping

FLIPSIDE HIGHWAY: THE ROAD TO THE AMERICANA FOLK FESTIVAL If the folks developing the TV documentary series Flipside Highway: The Road to the Americana Folk Festival can come close to delivering on their ambitious slogan—“It’s Austin City Limits on the rocks…with a splash of Sundance”—it could be quite the boon for the event (not to be confused with the Americana Music Festival, taking place next week) and the Americana scene. Each episode of Flipside Highway—a co-production of Anandataranga (Circle Back Music’s production company) and Happen-Stance Productions—will highlight one artist slated to perform at the next AFF (taking place May 3, 2008), and will include live performances, interviews and backstage footage. This show at the Belcourt, featuring Julie Lee, Steven Delopolous and K.S. Rhoads, will be filmed for three pilot episodes. Arrive early, sit up front and make your best “OMG! This is awesome!” face, and your big, honkin’ high-def mug might just get plastered on millions of 42-inch plasmas around the world. (Of course, real Americana fans will watch on 15-inch black-and-whites, with rabbit ears.) 7:30 p.m. at the Belcourt Theatre —JACK SILVERMAN

Music

MATT POND PA W/JESCA HOOP Their cover of “In the Aeroplane Over the Sea” didn’t add much of anything to the pop canon, but Matt Pond PA’s thoughtful, orchestral pop, spanning eight full-length albums, is certainly worthwhile—despite their recent stint as the go-to band to record covers for The O.C. If you like Death Cab but think they’ve gotten a bit too slick, or if you like Neutral Milk Hotel but find them a bit too unkempt, this New York by way of Pennsylvania (hence the PA) outfit might tickle your fancy. Opener Jesca Hoop is a quirky chanteuse who employs odd imagery and a range of musical textures—from spidery guitars reminiscent of Rain Dogs-era Tom Waits to string bass to engaging vocals that fall somewhere between Björk invoking the forest sprites and a witchier Amy LaVere. 8 p.m. at Exit/In —STEVE HARUCH

TUESDAY 10/30

Music

THE WHIGS So, what happens when a young, spry rock band with an engagingly raw, self-produced debut signs a record deal and heads into the studio to record their follow up? We’re about to find out. The Whigs will release their ATO debut in January. Here’s hoping their spontaneous energy and dynamic pop sensibility survive a little monetary aid. If “Like a Vibration,” available on their MySpace page, is any indication, then The Whigs are doing just fine. Frontman Parker Gispert’s angsty howl remains intact and Julian Dorio’s enthusiastic thwacking still shines—overall, it’s still thoroughly garage-tastic. 9 p.m. at Exit/In —LEE STABERT

Music

THE BROKEN WEST The Broken West hit the sweet spot of the power pop target more often than not. The band’s Merge debut, I Can’t Go On, I’ll Go On, quotes from existential playwright Samuel Beckett’s Waiting for Godot in the title and channels Teenage Fanclub and The Kinks in the sound. Songs such as “Down in the Valley” and “On the Bubble” are marvelously catchy blasts of pure fun. Opening for The Whigs. 8 p.m. at Exit/In —WERNER TRIESCHMANN

SOCIÉTÉ ANONYME At the beginning of the last century, New York was a cultural outpost, awash with money but off-the-map when it came to the innovative art issuing from Paris, Zurich and elsewhere in Europe. In 1920, Katherine Dreier, Man Ray and Marcel Duchamp formed the Société Anonyme, which served as a beachhead for avant-garde art in the city. Over the next two decades, the group staged exhibits, presented lectures and released publications that introduced major figures in modern art to an American audience. The group also collected over 1,000 pieces reflecting the era’s main movements—Cubism, Dadaism and Constructivism—and figures, such as Louis Michel Eilshemius, an eccentric American poet and painter. The collection’s diversity paints a picture of an avant-garde scene in its moment, before subsequent generations applied filters of style, school and theory. Through Jan. 27 at the Frist Center —DAVE MADDOX

Music

ANNIE LENNOX For 25 years now, Annie Lennox has been one of the few pop artists to successfully fuse artistic ambition and long-term mass appeal. A glorious voice is her ace-in-the-hole, but she’s never pandered with melodramatic power ballads—songs that might show off her vocal talents but not her intellectual and emotional reservoir. Over the years, she’s proven adroit at following her muse and challenging herself, while at the same time tapping into the tenor of the times. Her new album, Songs of Mass Destruction, is another consistently entertaining and surprising collection. The spiritual testifying of “Ghosts in My Machine” and the aggressively honest and neurotic beauty of “Love Is Blind,” in which she again combines old-school R&B vocals with contemporary dance rhythms, show the veteran still has plenty of fire inside. 7:30 p.m. at the Ryman Auditorium —MICHAEL MCCALL

Cultural Festival

5TH ANNUAL BLACK GLBT FILM & CULTURAL FEST The filmed play The Truth (About the Down Low), Steven A. Butler Jr.’s drama with music about a high-school football star with more than cleats in the closet, highlights the city’s yearly celebration of the African American GLBT community with documentaries, live performances and films. The Truth producer Courtney Baker-Oliver, artistic director of the Restoration Stage troupe, will discuss the production at a post-film Q&A. Also on the bill: episodes of Here!’s The DL Chronicles, filmmaker Amber Sharp’s acclaimed short “Triple Minority” and new TV pilot Don’t Go and the stage presentation “Womyn with Wings—A Chorepoem.” Tickets are $8; for show times and more information, visit belcourt.org. 1-8 p.m. at the Belcourt Theatre —JIM RIDLEY

MONDAY 10/29

Music

AGNOSTIC FRONT By this point, very few hardcore fans are unaware of the key role that NYHC/metal crossover institution Agnostic Front played in the music’s history. Certainly Agnostic Front, whose lineup still includes the central tandem of Roger Miret and Vinnie Stigma, is a band whose very mention often triggers lengthy discussion and a trip down memory lane. But the band itself seems to have little interest in nostalgia. Miret does little on their new album Warriors—produced by younger brother and Madball frontman Freddy Cricien—to steer away from the usual preoccupations about which hardcore bands have been beating the proverbial drum for ages. Though choruses like “DON’T! fuck up your LIFE!” make for great sing-alongs, the music once again raises the question of how hardcore is supposed to unify people when it’s so persistently preoccupied with self. But, right from the start, the riffs and playing sound energetic, which, for a hardcore band at this veteran stage, is an Olympian feat and a damn welcome surprise—and bodes well for what Agnostic Front can deliver live. 7 p.m. at The Muse —SABY REYES-KULKARNI

Music

WEEDEATER Making their second visit to Music City in six months, Weedeater arrive in town with a brand new album in tow—God Luck and Good Speed. Formed by onetime Buzzov-en bassist Dave “Dixie” Collins, Weedeater trudge through the same substance-fueled sludge as Collins’ former band, while worshiping at the altar of such stoner metal legends as Sleep, Black Sabbath and Saint Vitus. Employing the same genre conventions as their peers—namely monolithic, mid-tempo riffs and droning feedback—Weedeater break from the pack courtesy of Collins, who delivers some of the most blood-curdling vocals found in this particular school of metal. On their most recent full-length, their third in 10 years, the North Carolina trio further exercise their Southern roots, even covering Lynyrd Skynyrd’s “Gimme Back My Bullets.” 9 p.m. at The End —MATT SULLIVAN

Live TV Taping

FLIPSIDE HIGHWAY: THE ROAD TO THE AMERICANA FOLK FESTIVAL If the folks developing the TV documentary series Flipside Highway: The Road to the Americana Folk Festival can come close to delivering on their ambitious slogan—“It’s Austin City Limits on the rocks…with a splash of Sundance”—it could be quite the boon for the event (not to be confused with the Americana Music Festival, taking place next week) and the Americana scene. Each episode of Flipside Highway—a co-production of Anandataranga (Circle Back Music’s production company) and Happen-Stance Productions—will highlight one artist slated to perform at the next AFF (taking place May 3, 2008), and will include live performances, interviews and backstage footage. This show at the Belcourt, featuring Julie Lee, Steven Delopolous and K.S. Rhoads, will be filmed for three pilot episodes. Arrive early, sit up front and make your best “OMG! This is awesome!” face, and your big, honkin’ high-def mug might just get plastered on millions of 42-inch plasmas around the world. (Of course, real Americana fans will watch on 15-inch black-and-whites, with rabbit ears.) 7:30 p.m. at the Belcourt Theatre —JACK SILVERMAN

Music

MATT POND PA W/JESCA HOOP Their cover of “In the Aeroplane Over the Sea” didn’t add much of anything to the pop canon, but Matt Pond PA’s thoughtful, orchestral pop, spanning eight full-length albums, is certainly worthwhile—despite their recent stint as the go-to band to record covers for The O.C. If you like Death Cab but think they’ve gotten a bit too slick, or if you like Neutral Milk Hotel but find them a bit too unkempt, this New York by way of Pennsylvania (hence the PA) outfit might tickle your fancy. Opener Jesca Hoop is a quirky chanteuse who employs odd imagery and a range of musical textures—from spidery guitars reminiscent of Rain Dogs-era Tom Waits to string bass to engaging vocals that fall somewhere between Björk invoking the forest sprites and a witchier Amy LaVere. 8 p.m. at Exit/In —STEVE HARUCH

TUESDAY 10/30

Music

THE WHIGS So, what happens when a young, spry rock band with an engagingly raw, self-produced debut signs a record deal and heads into the studio to record their follow up? We’re about to find out. The Whigs will release their ATO debut in January. Here’s hoping their spontaneous energy and dynamic pop sensibility survive a little monetary aid. If “Like a Vibration,” available on their MySpace page, is any indication, then The Whigs are doing just fine. Frontman Parker Gispert’s angsty howl remains intact and Julian Dorio’s enthusiastic thwacking still shines—overall, it’s still thoroughly garage-tastic. 9 p.m. at Exit/In —LEE STABERT

Music

THE BROKEN WEST The Broken West hit the sweet spot of the power pop target more often than not. The band’s Merge debut, I Can’t Go On, I’ll Go On, quotes from existential playwright Samuel Beckett’s Waiting for Godot in the title and channels Teenage Fanclub and The Kinks in the sound. Songs such as “Down in the Valley” and “On the Bubble” are marvelously catchy blasts of pure fun. Opening for The Whigs. 8 p.m. at Exit/In —WERNER TRIESCHMANN

WEDNESDAY 10/31

Music

JOSÉ LIMÓN DANCE COMPANY The third event in the 2007-8 Great Performances at Vanderbilt series offers yet another opportunity for locals to experience world-class modern dance. The 60-year-old Limón Company has a strong international reputation for high drama and masterly technique. They will dance to the music of Zoltán Kodály’s World War II-inspired Missa Brevis. The two performances are supplemented by related campus events; details can be found at vanderbilt.edu/greatperformances/limon. Oct. 31-Nov. 1 at Blair School of Music’s Ingram Hall —MARTIN BRADY

DON CABALLERO The term “martial art” is as fitting as any to describe the music of Don Caballero. Even if they often get tagged as the original “math rock” band, this is not the kind of math you can do in your head—it’s a visceral, perspiring thing, and never more so than when drummer Damon Che’s takes the stage. Che plays his drums like they owe him money, and views his audience as potential accomplices. Newly re-formed after the sturm und drang of creative differences (with former guitarist Ian Williams going on to form Battles), Don Cab are back on the map, and play Nashville in support of Menomena on one of the best rock bills to hit town in a while. 9 p.m. at Exit/In —STEVE HARUCH

Dance Fever

JOSÉ LIMÓN DANCE COMPANY The third event in the 2007-8 Great Performances at Vanderbilt series offers yet another opportunity for locals to experience world-class modern dance. The 60-year-old Limón Company has a strong international reputation for high drama and masterly technique. They will dance to the music of Zoltán Kodály’s World War II-inspired Missa Brevis. The two performances are supplemented by related campus events; details can be found at vanderbilt.edu/greatperformances/limon. Oct. 31-Nov. 1 at Blair School of Music’s Ingram Hall —MARTIN BRADY