Our Critics' Picks 

Hammertorch, The Cheeksters, Chinese New Year Dinner, Nashville Film Noir Festival, Spamalot and more



ROD PICOTT CD RELEASE SHOW Like many local Americana artists, Rod Picott seems to get more love across the country and overseas than he does at home—his latest, Summerbirds, got a five-star review in U.K. roots/country magazine Maverick. His fourth studio effort, Summerbirds features more of what he does best—moody portraits of life around the margins (“Moscow Idaho”), tales of regret (“Sinner’s Prayer”) and the redemptive power of love (“When Your Bird Won’t Fly”). Picott’s a gifted songwriter, and his mellifluous, understated voice is a pleasure to listen to. The production—a collaboration between Picott and David Henry—flatters without overwhelming, often recalling the dreaminess of Chris Isaak or the otherworldliness of Tom Waits. 8:30 p.m. at Family Wash —JACK SILVERMAN


HAMMERTORCH Sorry Penguin, sorry Cuttlefish—you’ll have to face the fact that Hammertorch may be the last great band to emerge from Murfreesboro’s waning rock revival. Falling somewhere between Ghostfinger’s instrumental virtuosity and Glossary’s Southern realist song-craft, the Torch’s 2007 EP, This Hammer Fell From The Sky, is filled with the boozy swagger and youthful energy that epitomized Bucket City’s formerly bustling music underground. Their live show is a rowdy, rockin’ affair—halfway between house party and honky-tonk—that would have been right at home during the halcyon days of the Red Rose Café. 9 p.m. at The End —SEAN L. MALONEY

Pop Warehouse

THE CHEEKSTERS Sounding like reanimated Zombies on their new Movers and Shakers, former Nashville songwriter-frontman Mark Casson and bassist-vocalist Shannon Hines Casson collapse their voluminous record collection into 10 unabashedly groovy songs whose sonic DNA tangles strands of R&B, glam, Britpop and bubblegum. Under multi-instrumentalist bandmate Brent Little’s kitchen-sink-plus production, growling Stevie Wonder clavinet duels with Burt Bacharach flugelhorn (“The Top of the Tree”), burbling “Pale Blue Eyes” guitar does the shimmy with girl-group bounce and hand claps (“Love Hearts in My Eyes”) and Mark Casson’s Ziggy-esque vocals reverberate over Peter Hyrka’s sweeping Moody Blues strings (“Waiting in the Wings”). The effect is ultimately more celebratory than derivative—how could you not love a whistled chorus, whatever its pop provenance? Now based in Asheville, N.C., the Cassons return to Nashville (where they recorded with ace engineer Jim DeMain) to re-create this well-stocked jukebox live. With Mechanical Birds and Patrick Sweany. 9 p.m. at The Basement —JIM RIDLEY

Urban Art

TASTES LIKE BURNING: AN URBAN ART EXHIBIT Concrete Magazine is the Archie & Jughead of Nashville street culture—reliable, entertaining and perfectly pocket-sized. If Concrete throws their weight behind an art exhibit, you know it’s legit—expect the freshest graffiti from the city’s best spray-can stylists. 6-9 p.m. at Rocketown —SEAN L. MALONEY


RON BLOCK W/SARA GROVES, CHARLIE PEACOCK & CHRISTOPHER WILLIAMS An all-star lineup of artists from different genres—united by the Christian themes in their music—come together to raise funds for the Young Life Capernaum organization, which ministers to disabled children and teens. A 15-year member of Alison Krauss & Union Station, singer-banjoist Block recently released a solo album—DoorWay—inspired by author C.S. Lewis. Groves, a Minnesota mother of three, owns a sweet, aching soprano and creates soul-searching acoustic pop reminiscent of Amy Grant. The Grammy-winning Peacock is a writer, producer and renowned Christian rock artist whose next project is an album of free-flowing duets with jazz saxophonist Jeff Coffin. Williams, who recently moved to Nashville from Boston, performs blues-leaning acoustic songs that explore the question of what it means to live a Christian life. 7 p.m. at Rocketown —MICHAEL MCCALL


Horse D’Oeuvre

NASHVILLE FILM NOIR FESTIVAL: THE KILLING A heavyweight contender for the best caper movie ever made—and an early template for the Crash/Babel school of chronologically scrambled storytelling—this dynamite 1956 adaptation of a Lionel White pulp novel died at the box office but secured the career of its 28-year-old screenwriter-director, Stanley Kubrick. His coolly sardonic thriller opens in the moments before a racetrack robbery, then winds back and forth in time to show how it all goes kablooey. Kubrick’s cast is a B-movie hall of fame—Sterling Hayden as the mastermind, Elisha Cook Jr. as a weaselly accomplice, Marie Windsor as his shrewish wife, and that ticking thespian time bomb Timothy Carey as a leering racist sniper. For them, brilliant pulp novelist Jim Thompson supplied dialogue as tough as a boiled shoe. Go opening night for an introduction by a tongue-tied idiot. Feb. 8-10 at the Belcourt —JIM RIDLEY


NASHVILLE BALLET This Winter Series performance features the company premiere of Twyla Tharp’s Octet, a sleek and contemporary ballet set to music by Edgar Meyer. The program will also feature the company premiere of James Canfield’s Trois Gnossiennes and artistic director Paul Vasterling’s newly created Orpheus, based on the Greek myth of Orpheus and Eurydice. The evening concludes with Salvatore Aiello’s sensual interpretation of Stravinsky’s Rite of Spring, a Nashville Ballet favorite that was mounted two seasons ago. Feb. 8-10 & 14-16 in TPAC’s Polk Theater —MARTIN BRADY

Dinner Is Served

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET A dinner theater production of Sweeney Todd? Well, OK, so long as no one mixes up the meat pies with the meat pies. (Maybe just go vegetarian at the buffet.) Director Kaine Riggan promises a lighter approach to his version of the gruesome Stephen Sondheim musical, along with glitzy accoutrements such as lasers, concert lighting and surround-sound. Dan McGeachy has the title role, and Mrs. Lovett is played by big-voiced Jewel Lucien. Mercy Patawi, Nancy Hawthorne, Ron Cushman, Ben Gregory and Markus McClain have the major supporting roles. Jeff Hall is the musical director. Feb. 8-24 at Nashville Dinner Theatre —MARTIN BRADY


MARSHALL CHAPMAN & THE LOVE SLAVES Always sly, smart and subversive, Chapman never rocked harder than when fronting the first incarnation of her quintet The Love Slaves. The three-guitar attack blended Chapman’s Stones-derived chords with the rockabilly kick of Eddie Angel (now of Los Straitjackets) and the jazzy notes of James Hollihan. With a solid rhythm section of bassist Jackie Street and drummer Lynn Williams, the band stuck to Chapman’s strong suit of compact, clever roots rock songs—and solos were kept as short and sharp as Chapman’s punch lines. The Dorothy Parker of Nashville songwriters, Chapman is at her best when surrounded by equally snappy compatriots. She reunites the original Love Slaves for a special one-off appearance. 9:30 p.m. at the Bluebird Café —MICHAEL MCCALL


GLORIOUS ISAMU BENEFIT When it comes to thrashing, feel-good party rock, East Nashville’s 5 Spot is ground zero and drunken Southern rockers Totally Snake are the poster boys. Their songs are jam-packed with fierce, sloppy riffs and self-indulgent gang vocals about partying as a lifestyle. Tongue-in-cheek and completely self-aware, Totally Snake marry comedy with breakneck energy, barking out gems like “If The Good Die Young, We’ll Live Forever” through a wall of distortion. Proceeds from the show go toward bringing former Totally Snake guitarist Isamu Fukushima and his new bride back from Japan. Fellow masters of irreverence The Alcohol Stuntband open, along with the Admirals Club, Monsters on Television, Symptoms and TNFNR. Expect chaotic drunken revelry and possibly a few black eyes. 9 p.m. at The 5 Spot —D. PATRICK RODGERS

Metal up Your Ass

SKELETONWITCH Do you like bitchin’ guitar harmonies and lightning-fast drums? What about songs about Satan, fire, ice and a smidge of mutilation? If you said yes to any of those, then Skeletonwitch are the band for you. Running the gamut of all things metal, the Witch revel in the extreme ends of the genre, with furious fast thrash, black-metal atmospherics and just the right amount of death-metal Cookie Monster vocals. Within the relentless bludgeoning is a knack for memorable hooks reminiscent of New Wave of British Heavy Metal acts like Iron Maiden or Judas Priest. The Witch open for death metal Myspace-elites Job for a Cowboy and shred-happy Massachusetts group The Red Chord, whose vocalist, Guy Kozowyk, owns and operates Black Market Activities, the label responsible for recent releases by Destroy Destroy Destroy and Tony Danza Tapdance Extravaganza. 6 p.m. at Rocketown —MATT SULLIVAN


DAN BAIRD & HOMEMADE SIN FEAT. WARNER HODGES Putting Baird and Hodges in the same lineup is like pairing Tom Brady and Randy Moss, or Keith Richards and Ron Wood—the possibilities promise to be exciting and explosive. The bard of the Georgia Satellites, Baird follows the Chuck Berry tenet of slipping poetic lines and bright observational detail into three-chord songs that put that honky-tonk roll into loud, aggressive rock. Hodges, of course, is the legendary guitar slinger who put the fiery recklessness into the rockin’ country soul of Jason & the Scorchers. Need more incentive? They’ll be backed by the original Satellites rhythm section of bassist Keith Christopher and drummer Mauro Magellan. The quartet blasted through a few buzzed-about shows in Europe last year, but this is their one-and-only performance before going into the studio to record an album. Hips will shimmy and shake. 9 p.m. at Exit/In —MICHAEL MCCALL

Vengeance Is Mine

DEATH AND THE MAIDEN This work by Chilean playwright Ariel Dorfman, first published in 1991, melds intellectual, political and highly charged emotional issues in an intense examination of justice and vengeance. The setting is an unnamed post-totalitarian country. When her husband receives a ride home from a stranger, a woman recognizes the Good Samaritan as the same man who tortured her years before. With gun in hand, she exacts her revenge. Sigourney Weaver and Ben Kingsley starred in Roman Polanski’s 1994 film version. The new People’s Branch Theatre production features Erin Whited, Chip Arnold and Buddy Raper. Ross Brooks directs. Recommended for mature audiences. Feb. 7-16 at the Belcourt Theatre —MARTIN BRADY

Dark Inquiry

THE PILLOWMAN Martin McDonagh’s dark, gritty play debuted in London in 2003, won the 2004 Olivier Award, then had a 2005 Broadway run starring Billy Crudup and Jeff Goldblum. A man living in a totalitarian state comes under suspicion after a series of local child-murders bear resemblance to the content of his short stories. Interrogators attempt to link the writer to the crimes, but grimmer complications await him as he pleads his innocence. Megan Murphy, making her directorial debut with GroundWorks Theatre, is at the helm for this Nashville premiere. The cast features Nate Eppler, Jack E. Chambers, J. Dietz Osborne and Alex Vernon. Feb. 8-16 at Darkhorse Theater —MARTIN BRADY


GABRIEL ALEGRIA AFRO-PERUVIAN JAZZ SEXTET Peru may not be the first country that comes to mind when you think of jazz, but trumpeter Gabriel Alegria is here to change that. The grandson of a prominent Peruvian journalist, politician and novelist and son of one of Peru’s most acclaimed playwrights, Alegria combines the traditional music of black coastal Peru with a modern jazz approach, for a sound not unlike contemporary Afro-Cuban jazz, but with its own distinct polyrhythms. He’s also become a musical ambassador, founding cultural exchange organization Jazz Peru Internacional and producing the annual Festival Internacional Jazz Peru. His just-released CD Neuvo Mundo features guest appearances by some of the top names in jazz, including Bill Watrous, Bobby Shew, Tierney Sutton and Russell Ferrante. 8 p.m. at Nashville Jazz Workshop’s Jazz Cave —JACK SILVERMAN

Bruised Fruit

BLUE/ORANGE Actors Bridge Ensemble’s first ever production at Belmont’s Patrice and Richard Schroeder Black Box Theater is also a Nashville premiere. Joe Penhall’s award-winning play is set in a London psychiatric hospital, where a young patient is being held for observation and treatment. He insists that he is the son of late Ugandan dictator Idi Amin—and also that oranges are blue. This incendiary tale of race, mental illness and issues in contemporary British life, including the National Health, is under the direction of Kate Al-Shamma, Belmont’s newest addition to its theater department faculty. The cast includes Jon Royal, Brandon Boyd and Bill Feehely. Feb. 8-17 in Belmont’s Black Box Theater —MARTIN BRADY



PARACHUTE MUSICAL Josh Foster, lead singer of local piano-driven indie balladeers Parachute Musical, manages to match talent with ambition—writing catchy pop tunes that appeal equally to music composition majors and MTV-era pop fans. These D.C. transplants let the piano do the talking, often letting tunes end up miles away from the Stevie Wonder-inspired soul where they began. On their upcoming album (due out later this year), the group employs a 19-man orchestra section, adding to their already impressive musical palette. 9 p.m. at Exit/In —MURRAY SHARP


EEF BARZELAY For almost 15 years, Eef Barzelay expressed himself through various incarnations of Clem Snide, forging ringing, tuneful pop with a touch of twang and a liberal dose of his playful wit. It’s been a couple years since he decamped to Nashville, and Clem Snide fell apart under the weight of recording Hungry Bird. Described by Barzelay in interviews as a personal and somewhat epic concept album, it remains unreleased—and very much in limbo. Barzelay intends to release his second solo album—recorded in the immediate wake of finishing Hungry Bird—later this year. His solo work tends towards the quiet and understated, matching well the quaking, aching, slightly nasal croon he employs in the service of his tattered, frequently lovestruck characters. 9 p.m. at The Basement —CHRIS PARKER


YUNDI LI & THE NASHVILLE SYMPHONY ORCHESTRA Although his fellow 25-year-old Chinese compatriot Lang Lang gets more media attention, pianist Yundi Li is a more unpredictable and emotionally colored interpreter of classical pieces. At 18, he was the youngest winner of the Frederick Chopin Piano Competition—and, at the time, the first participant to be given the coveted First Prize honor in 15 years. Now in his fifth year of stateside performances, Li is steadily earning the reputation he deserves, thanks to a handful of recordings for the Deutsche Grammophon label that are a marvel of spare drama and flashes of blistering passion. His 2003 gem, simply titled Liszt, was named classical album of the year by The New York Times. For his appearance with the Nashville Symphony Orchestra, he’ll take on Maurice Ravel’s moody, jazz-inspired Concerto for Piano in G major. The program also features the orchestra on compositions by Joseph Haydn, Richard Strauss and Paul Creston. 8 p.m. at Schermerhorn Symphony Center —MICHAEL MCCALL

Sounds Sketchy

DR. SKETCHY’S ANTI-ART SCHOOL: MY BLOODY VALENTINE FEAT. THE NASHVILLE ROLLERGIRLS Dr. Sketchy is not a real doctor, and his Anti-Art School is not an accredited educational institution. The Nashville chapter of the good Doctor’s practice is the twisted love child of Nashville burlesque entrepreneurs Miss Lolly Pop & Larry the Panty Boy. Class meets at The 5 Spot, but don’t expect much theory, history or technical guidance. Do expect drinks, games, good tunes, good folks and the Nashville Rollergirls, taking a break from preparing for their upcoming season to strike a pose as the class’s figure models. Bring plenty of black and blue paint. Proceeds benefit The United Way; for information, visit drsketchy.com. 3-6 p.m. at The 5 Spot —JOE NOLAN


TRACI MOLLOY, JOSE X & JOON SUNG AT RUBY GREEN For the month of February, Ruby Green exhibits new work by three artists in a variety of media, making a strong statement in a new art year that has already seen its share of outstanding shows. In her multimedia “White Dandelions” series, Traci Molloy explores death and silence, while her “Kids That Kill Kids” tackles the elusive cost of homicide in the world of media sensationalism. “El Is for Love” is Jose X’s postcard diary of an unrealized love—one the artist imagined with a woman he admired on a busy Chicago train in 1967. The Gallery’s Black Box Theatre hosts Joon Sung, a new-media artist showing his latest digital animations. Opening reception 6-9 p.m.; through March 22 at Ruby Green. —JOE NOLAN

KAREN PARKS On her new collection Nobody Knows: Songs of Harry T. Burleigh, Karen Parks applies her classically trained soprano to African American spirituals and art songs by this important figure in 20th century American music. Born in Pennsylvania in 1866, Henry (“Harry“)Thacker Burleigh gained renown as a baritone singer, composer and arranger. He conducted George Walker and Bert Williams’ 1898 opera The Senegambian Carnival and arranged spirituals for voice and piano. During his lifetime, Paul Robeson and Marian Anderson performed his compositions. Tonight’s performance will feature Parks—a South Carolina native who has performed with the San Francisco Opera and on the London Broadway stage—as she interprets Burleigh’s groundbreaking music. Nobody Knows includes well-known songs such as “My Lord, What a Mornin’ ” and the complex, knotty “His Helmet’s Blaze.” Parks is first-rate; the performance should illustrate the intersection of vernacular music and high art. 8 p.m. at Vanderbilt’s Turner Hall —EDD HURT


INGRID MICHAELSON This time last year, Ingrid Michaelson was living with her parents teaching in an after-school theater program. Another MySpace success story, Michaelson caught the attention of an artist management company with her song “Breakable.” Before you could say Lisa Loeb, the bespectacled singer was being featured in Old Navy ads and on ABC’s Grey’s Anatomy. Like the similarly bespectacled ’90s singer, Michaelson has a tender, girlish voice, which drifts over gentle, mildly quirky Adult Contemporary pop. Though last year’s breakthrough Girls & Boys was only her second release, it’s well-crafted and showcases Michaelson’s skill at dissecting the heart’s fragility. While not as idiosyncratic (or self-conscious) as Regina Spektor, she’s cut from similar cloth, playing both piano and guitar in lilting, swooning arrangements of soft-focus angst. 9 p.m. at 3rd & Lindsley —CHRIS PARKER


PODCAMP NASHVILLE So, the Internet is getting pretty big these days—seems like it might be a good time to get on board. This Saturday, The Cannery hosts a free “un-conference” focused on blogging, podcasting, social networking and new media. The event is aimed at experienced bloggers and podcasters as well as casual readers, MySpace aficionados and anyone else interested in new forms of digital media. For information, visit podcampnashville.com. 9 a.m.-6 p.m. at Cannery Ballroom —LEE STABERT

Real Chinese Food

CHINESE NEW YEAR DINNER If you are intelligent, quick-witted, hardworking, ambitious, family-oriented and a little insecure, chances are you were born under the Chinese zodiac sign of the rat, or so the conventional Chinese wisdom goes. What better way to celebrate your rodent-like tendencies (obviously, we’re talking about your intelligence, wit, ambition, etc.) than a 10-course Chinese New Year dinner? The Chinese Arts Alliance of Nashville will host evenings of traditional Chinese cuisine at Golden Coast restaurant (1722 West End Ave.) at 6 p.m. Feb. 9 and 5 p.m. Feb. 10. CAAN’s Chinese Lion Dance Team will provide entertainment—as well as good luck and fortune. Tables seat 10, and guests can organize their own groups or try their luck by letting CAAN match them with a bunch of other rats—or tigers, rabbits, dragons and snakes. For reservations, email jojo_chinesearts@comcast.net or call 292-6204. Feb. 9 & 10 at Golden Coast Restaurant —CARRINGTON FOX


101 Damnations

RICHARD JAMES & THE SPECIAL RIDERS Few recent CD titles more aptly describe the music enclosed than Music for People Who Been Wrong(ed), the latest audio nightmare from Richard James & the Special Riders. Equal parts blues, rockabilly and punk, the album sounds like a Tarantino soundtrack collaboration between Exile-era Stones and the Sex Pistols. (And with his thick Long Island brogue and Don-Juan-meets-hit-man looks, James could be cast in a supporting role.) Highlights include the primal “Falling Down Blues,” the surf-punk rave-up “It’s a Fast Life” and “Be Ready When He Comes,” a Judgment Day shout-out that suggests it might be later than you think. Fixtures on the Nashville scene for many years, James and the Riders (including James’ wife Anne Schorr on bass) return to town from their new Memphis home. Their no-souls-left-undamned live performances never disappoint—be ready to be wrong(ed). 9 p.m. at FooBar —JACK SILVERMAN


JUNIOR BROWN Austin, Texas, is as much a sensibility as a town, so it’s no surprise that when Junior Brown left his teaching post at the Hank Thompson School of Country Music during the late ’80s, Austin was his destination. Brown blends traditional country and honky-tonk with Western swing and Bakersfield shit-kick, abetted by his custom cherry double-necked guitar “Big Red.” Melding a lap steel to a six-string, it allows Brown to switch quickly from slide to electric guitar, easily satisfying his genre-hopping wanderlust. While he makes his home in country, Brown’s eclectic tastes span the spectrum from jump blues to rockabilly to rock. Brown also boasts a sweet, resonant bass voice, and his frequently lighthearted lyrics are as nimble as his fingers, whether contemplating “Joe the Singing Janitor” or how “Two Rons Don’t Make It Right.” 9 p.m. at the Station Inn —CHRIS PARKER


Extra! Private Dick Pursues Pandora’s Box!

NASHVILLE FILM NOIR FESTIVAL: KISS ME DEADLY Any movie that opens with the young Cloris Leachman naked and screaming on a midnight highway seems destined to coast downhill from there—but not this tawdry 1955 psycho-noir masterpiece, much admired by the Nouvelle Vague and referenced in movies as diverse as Repo Man and Pulp Fiction. The credits run backward and the earth dies screaming when Mickey Spillane’s meathead private eye Mike Hammer (Ralph Meeker) follows the trail of a “whatsit” that contains nothing less than the apocalypse. That means Hammer must bust heads, crush hands and manhandle dames—and in his line of work, those are benefits. Robert Aldrich directed, in the manner of an interrogator who doesn’t care much whether he gets the info, as long as he gets to use the pliers. Monday’s 7 p.m. screening will be hosted by critic Jason Shawhan. Feb. 11-13 at The Belcourt Theater —JIM RIDLEY

TUESDAY 2/12Spoof-a-Lot

SPAMALOT This 2005 Tony Award winner for best musical is a reworking of the popular motion picture Monty Python and the Holy Grail. Originally directed on Broadway by Mike Nichols, Spamalot has a book by Eric Idle, based on the screenplay by Monty Python creators Graham Chapman, John Cleese, Terry Gilliam, Terry Jones, Michael Palin and Idle. The spoofy retelling of the legend of King Arthur and the Knights of the Round Table features flatulent Frenchmen, killer rabbits, one legless knight and a chorus line of dancing divas. The music and lyrics are by Idle and John Du Prez. InsideOut, a TPAC Education program, will host a pre-show “Arts Appetizer” in the lobby at 6:15 p.m. on Feb. 13. The event is open to the public and will include appearances by members of the show’s cast. Feb. 12-17 in TPAC’s Jackson Hall —MARTIN BRADY

Movie Preview

BOOKENDS Ever had one of those birthday parties where your friends spend the night poaching each others’ dates, betraying their significant others and baring their hearts? Local actor-filmmaker Matt Riddlehoover lights the candles in the follow-up to his self-distributed feature To a Tee, which got a huge push from MySpace in 2006. Shot over six days in Nashville, the ensemble comedy-drama stars Riddlehoover (soon to play the lead in Firecracker director Steve Balderson’s new film), Jonas Brandon, Jacob York, Lindsey Hancock, Sam Williamson, Tia Shearer and Thashana McQuiston. The actor-director will host a sneak preview and party to celebrate, free and open to the public. And don’t even think of macking on his date. 8 p.m. at Tribe —JIM RIDLEY

Gone, Bogie, Gone

NASHVILLE FILM NOIR FESTIVAL: IN A LONELY PLACE Any week you get to see The Killing, The Taking of Pelham One Two Three, Kiss Me Deadly and this—in real 35mm prints, in a real movie theater—in the space of six days means one of two things has happened: either the Belcourt has something cooking, or the world really is a figment of Quentin Tarantino’s imagination. One of the grimmest of all Hollywood noirs, Nicholas Ray’s devastating 1950 character study gave Humphrey Bogart his bleakest role as a bilious screenwriter doomed to destroy his chance at love (with Gloria Grahame, one of my favorite ’50s stars, who’s strongly represented in this series). Miss this—or anything else in the festival—and spend the rest of the year kicking yourself in the ass. Vanderbilt Ph.D. candidate Sarah Childress introduces the 7 p.m. show on Feb. 12. Feb. 12-14 at the Belcourt —JIM RIDLEY


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