Critics' Picks: Robert Plant, Cut Copy, My Chemical Romance, and more

Robert Plant & the Band of Joy

State Theatre ∑ Tuesday 4.12

Once upon a time Robert Plant's siren howl climbed to heaven in front of Led Zeppelin, the quintessential rock band of 1970s. Given Zeppelin's blues lineage and penchant for referencing folk and global music, it probably shouldn't be that surprising that 30 years on Plant has immersed himself in roots music. Last fall, Plant followed up his phenomenal 2007 collaboration with bluegrass singer Alison Krauss (the T Bone Burnett-produced Raising Sand) with Band of Joy, co-produced by Sand band member Buddy Miller and rambling on from Appalachia to Texas to East L.A., covering Los Lobos, Richard Thompson, Townes Van Zandt, and Barbara Lynn. There's also an unlikely two-tune stopover in Duluth for Low's "Silver Rider" and "Monkey." Miller leads the smart string-band-with-a-twist, while Patty Griffin offers potent vocal harmonies. Expect a few dramatically reworked Zep classics. A substantial bonus will be the North Mississippi Allstars' opening set. All ages. $55-$95. 7:30 p.m. 805 Hennepin Ave., Minneapolis; 612.339.7007. —Rick Mason

Philip Glass

Robert Plant brings his Band of Joy to the State
Robert Plant brings his Band of Joy to the State

Dakota Jazz Club ∑ Wednesday 4.6

One of the most prominent contemporary classical composers, Philip Glass is closely associated with minimalism and the avant-garde, but has also worked with pop artists ranging from Paul Simon and David Byrne to Patti Smith. Perhaps best known for the 1970s five-hour opera Einstein on the Beach, the extraordinarily prolific Glass also has written symphonies, chamber music, film scores, theater pieces, and for his own Philip Glass Ensemble, as well as collaborated with choreographers, writers, and visual artists. Glass prefers "music with repetitive structures" to the term minimalism, and, in fact, his music often progresses via the reiteration and subtle manipulation of rhythms and melodies. His later work tends to be more lyrical. His profound influence stretches from classical to rock. In this rare, intimate solo performance, Glass will focus on his Etudes for Piano and a few of his classics. $50. 8:30 p.m. 1010 Nicollet Mall, Minneapolis; 612.332.1010. —Rick Mason

The Raveonettes

Fine Line Music Café ∑ Thursday 4.7

Just like those unnerving old girl-group tunes glorifying a lover's abuse, the Raveonettes underline the "harm" in "harmony," scuffing up a Spector-referencing Wall of Sound production scheme with sordid distortion and emotional damage. Sounding like a ripped prom dress, simultaneously shimmering and dark, the Danish duo haven't changed much about the feel of their music since the band's inception, and with their fifth album (titled Raven in the Grave, naturally), it doesn't seem like they ever will. No matter, really; the band has a fan base as unmovable as their aesthetic. If nothing's broken (except your heart), don't fix it. With Tamaryn. 18+. $15. 8 p.m. 318 First Ave. N., Minneapolis; 612.338.8100. Ian Traas

Dom

7th St Entry on Thursday 4.7

For a band that seems to take every musical trend to ever have the term "hipster" slapped on it, throw it in a blender, and spit the resulting concoction from a straw, Dom sound oddly vital—probably because they're having tons of fun screwing with you. Reverb, lo-fi rawness, and scrappy dance elements are all present, but while you're rolling your eyes, the band is using these genre bites in service of some surprisingly springy songs that hide bloodshot eyes (sobbing or smoking, your call) with an enthusiastic middle finger. When the results are this electric, sincerity starts to look tragically boring. With Heavy Hawaii and Fort Wilson Riot. 18+. $9/$10 at the door. 8 p.m. 701 First Ave. N., Minneapolis; 612.332.1775. —Ian Traas

Voytek

Hexagon Bar ∑ Friday 4.8

Tonight's gig was initially billed as a 7-inch release show for Voytek's first record, but pressing-plant issues have delayed the physical release, giving the party punk band an excuse to rock the stage without any wax to hawk. Instead of those serious-faced musicians who are seemingly more concerned about obscure time signatures and viral marketing plans than with getting on stage and letting their hair down, Voytek are set to entertain, record release or not. The band draws from a punk sensibility with a juvenile sense of humor, a strong sing-along element, a touch of sloppy nihilism, and a lot of stage chatter. Teenage Moods, Cozy, and Hot Rash round out the bill. 21+. Free. 9 p.m. 2600 27th Ave. S., Minneapolis, 612.722.3454. Loren Green

Cut Copy

First Avenue ∑ Saturday 4.9

Nick Cave's Birthday Party may have earned international recognition in the '80s, but for most of the '90s and '00s, middling Australian acts like Powderfinger and You Am I were justifiably ignored by almost everyone outside their home country. Cut Copy aren't exactly international chart-toppers, but they're arguably the most important group to emerge from Australia in recent memory. Their kaleidoscopically ambitious 2008 album, In Ghost Colours, has brought much-deserved attention to the vibrant and varied indie scene Down Under—from the hard-charging post-punk of Eddy Current Suppression Ring to the hedonistic acid-house of Canyons. Zonoscope, as a whole, may not qualify as an improvement on Colours, but from the sound of singles like "Take Me Over" and "Need You Now," Australia won't be ceding the spotlight anytime soon. With Holy Ghost! 18+. $20/$22 at the door. 6 p.m. 701 First Ave. N., Minneapolis; 612.332.1775. Jonathan Garrett

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