For proof that the trance-inducing blues of North Mississippi has a power that transcends boundaries, look no further than Carlos Elliot Jr. The singer-guitarist was playing prog- and blues-rock in his native Colombia until a pilgrimage to the Magnolia State hipped him to the hardcore sounds of folks like Big Jack Johnson, Junior Kimbrough, R.L. Burnside and Jessie Mae Hemphill. The music gripped him like a fever, and he’s been caught in its paroxysms ever since, retooling his own trick bag to the mesmeric specifications of its droning, expansive magic. Now a full-blown griot of the style, Elliot divides his time gigging between his native country Chicago and Mississippi’s Delta and hills. He’s making his Nashville debut en route to the Delta, where he’ll play Clarksdale’s Juke Joint Festival this weekend in support of his debut album, the aptly titled Mystic Juke Joint Blues. —TED DROZDOWSKI
Goes down from 7 until 8 p.m., and there's no cover. And now, freelancer Saby Reyes-Kulkarni's two cents on The Dear Hunter:
Although The Dear Hunter arrives in town just one week after the release of their new album, Migrant, fans are in for a career-spanning set list thanks to bandleader Casey Crescenzo’s recent decision to forego the usual protocol of stacking the deck with new songs. Although Crescenzo seems to have chosen a peculiar moment to do so, it’s yet another move that demonstrates his penchant for curve balls. Migrant — the first Dear Hunter full-length to fall outside of the epic six-album storyline the band is halfway through to date — originated from Crescenzo’s conscious effort to write songs based on just one instrument and his voice. But even if the new material leans more heavily toward stripped-down pop, The Dear Hunter’s brand of “stripped down” is nothing if not ornate. And there’s plenty of the band’s prog-ish back catalog in store to balance Crescenzo’s newfound knack for hooks. —SABY REYES-KULKARNI
Doors are at 8 p.m., Naive Thieves open, and it will run you $15.