Kele, Aimee Mann, Muja Messiah, and more


Billy Bragg

Cedar Cultural Center

Though his Old Left politics, Essex accent, and tenderly scrappy guitar have obscured the fact, Billy Bragg would probably be Daryl Hall if he could be. The romance of his more enduring songs—"A New England," "Between the Wars," "Greetings to the New Brunette," "The Passion," "Sexuality," and the live-acoustic version of "England, Half-English"—has something to do with soul, if only because the tunes require considerable vocal strength (try singing one) and conspicuous feeling, whatever their good humor or folk aspirations. His '00s albums have seemed less vital, but anyone doubting his optimism on the recent "2moro" wasn't paying attention: Bragg has stayed active in every sense, playing for American labor unions across the river from the Republican Convention in St. Paul; founding Jail Guitar Doors, a UK prisoner rehabilitation program based around music (and named for the Clash song); writing a book (The Progressive Patriot); and starring in this year's London play Pressure Drop, for which he wrote and performed songs that he has also made available for free on his website. He's one of the good guys, and in peak form. $25/$28 at the door. 7 p.m. 416 Cedar Ave. S., Minneapolis; 612.338.2674. —Peter S. Scholtes


Muja Messiah Mixtape Release

Welsh songstress Marina and the Diamonds stops by the Triple Rock
Welsh songstress Marina and the Diamonds stops by the Triple Rock

Location Info


The Cedar Cultural Center

416 Cedar Ave. S.
Minneapolis, MN 55454

Category: Bars and Clubs

Region: Minneapolis (Downtown)

7th St. Entry

Has the era of no money and free music liberated something in local rap? Muja Messiah has never sounded funnier, looser, or more sandpapery-clear than on M-16's, a kitchen-sink mixtape that's all highlights, hosted by DJ Turtleneck and Peter Parker. True to his conflicted Minneapolis instincts, Mu can shake neither his irresponsible streak nor his motormouth social conscience—and loves rhyming too much either way to care. So we get the local-reference-clogged "Leech Lake," the X-rated LOL "Pussy Galore," a hustler's free association titled "Sara Jane Olson," the best Christmas rap since Snoop, a blazing hook sung by M.anifest ("Live 2 Die Another Day"), and memorable appearances by P.O.S., Real Spit Ric, Maria Isa, and others over beats ranging from MGMT to Nas. Live, his cross-section runs as deep: DJ Turtleneck, I Self Devine, Black Blondie, Dodi Phy, and DJ Benzilla will join his for his mixtape release show. 18+. $6. 8 p.m. 701 1st Ave. N., Minneapolis; 612.332.1775. —Peter S. Scholtes

Cowboy Mouth

Varsity Theater

The New Orleans quartet Cowboy Mouth claims lofty origins, proclaiming that the term adopted for its name was used by Shakespeare (Will presumably, although Robbie is a possibility), Bob Dylan, Patti Smith, and Sam Shepard. The Mouthqueteers themselves come from more humble roots: Crescent City rock bands such as the Back Beats, Dash Rip Rock, and the Red Rockers (which did have a national hit with "China"). And their music is endearingly proletarian, mostly tapping '70s and '80s mainstream rock elements, while Fred LeBlanc, the drummer/lead singer who writes most of the band's originals, sticks with easy hooks and gut sentiments: "Tell the Girl Ur Sorry," "I love your belly," "Kelly Ripa, if she were a lollipop I'd lick her." Delivered with nary a hint of irony but ample, full-throttle rock 'n' roll spirit, such is the stuff that has earned Cowboy Mouth a cult following even in these frigid climes. The band has also made a habit of singing the national anthem for various teams around the country, allegedly including the Vikings at one point. And there is a sports connection at this gig—when CM finishes its regular set, the Saints-Vikings game, which will be in progress, will be shown on a big screen TV. The band may follow the game with another set "if the crowd is into it," according to CM's manager. 18+. $21/$23 at the door. 7 p.m. 1308 4th St. SE, Minneapolis; 612.604.0222. —Rick Mason


Marina and the Diamonds

Triple Rock Social Club

It's another one of those pop paradoxes. The Thompson Twins weren't siblings at all, and there was no Marshall Tucker in the Marshall Tucker Band. Similarly, the "Diamonds" in Marina and the Diamonds are not the Welsh singer's backing band. But they do exist. It's the fans, you see, who are the Diamonds. Derived from Marina's last name, Diamandis, which is Greek for "diamonds," it just came together rather naturally. "It wasn't very calculated," she says. "When I made it up about four or five years ago . . . I didn't want to be perceived as a solo artist like a big pop star. I wanted to create something that involved people and didn't make anyone feel excluded." Her debut album, The Family Jewels, was top-five in the U.K. this past spring, and contained the top-20 hit "Hollywood," a catchy but sort of odd song. "It was written two and a half years ago, way before I got signed," she explains. "It's funny because I wouldn't describe my relationship with America as love or hate. Anything that has an element of illusion naturally fascinates people. I absolutely love America. The Diamonds there are the best!" With openers Young the Giant. 18+. $13/$15 at the door. 8 p.m. 629 Cedar Ave. S., Minneapolis; 612.333.7399. —P.F. Wilson



First Avenue

Evan Mast (programming/various instruments) and Mike Stroud (guitar) make up Ratatat, a Brooklyn duo that shades the shape in the middle of the Venn diagram of dance, arena rock, hip-hop, and dub with nuanced and witty instrumental pop. With a sound musical footing, good songwriting, and a sly sense of humor, they construct playful, evocative instrumental pieces that are real songs with real catchiness, the perfect soundtrack for a drunken fog, acid trip, or even bill-paying. (Stoners, lushes, and people just high on America rack up hundreds of thousands of YouTube hits on their hilariously disturbing video clips.) Their wondrously eclectic new release, LP4, runs the gamut from the Perrey-and-Kingsley-in-Bombay tinged Bob Gandhi, to the chillout-talkbox funk of Mandy, to the chunky, jubilant Neckbrace, with its thick beats, clip-clopping wordless vocals, and sound bite by the incomparable Linda Manz. Onstage, they're low key but digging the music as much as the audience does, with live keyboards, guitar, and bass punching up the loops and samples. With Dom and Bobby Birdman. 18+. $20/$23 at the door. 6 p.m. 701 1st Ave. N., Minneapolis; 612.332.1775. —Cecile Cloutier


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