Stereolab and more

Jamming with Broken Social Scene
Norman Wong



Silver Jews

Triple Rock Social Club

Watching lead Silver Jew David Berman cycle through phases over the past 10-plus years—from who-cares, post-grad, smart-ass nonchalance to drug-addled walking-wounded to reflective, recovering-addict husband—has been fascinating. That his curdled alt-country has improved with his health and humor is a nice bonus, as is the fact that the Jews—Berman, wife/guitarist/co-vocalist Cassie, and whichever Nashville hands are around to hit the studio—have been touring regularly for the last few years. Dynamite-if-brusque new album Lookout Mountain, Lookout Sea arrives swaddled in referential hypertext and poetic rumination; "Strange Victory, Strange Defeat," for example, manages to be about Teddy Roosevelt, a young generation thrown to the wolves, and the deathless overvaluing of rock bands with pretty-boy frontmen. Onstage, Berman's a bit stiff—owing to lingering discomfort from long-ago surgeries and injuries—but the rest of the band keeps the music flowing like gravy. With the Mattoid. 18+. $14. 9 p.m. 629 Cedar Ave. S, Minneapolis; 612.333.7399. —Ray Cummings



Tina Turner

Target Center

Tina Turner never, ever takes anything nice and easy. Including retirement. Apparently off the road for good at the turn of the century, she popped up on the Grammys last February, performing "Proud Mary" in a feverish duet with Beyoncé. Now she arrives in town as part of an ambitious tour that will extend into 2009 with a slew of European dates. And she promises to be in prime, incomparable Tina form, which means an abundance of frenetic energy and vocals electrified with soulful power. Which may be a lot to ask of the average 68-year-old. But not Tina, who said in a press release that she and "her girls" have been hoofing it eight to ten hours (!) daily in preparation for the tour. In addition to a "spectacular" new stage show, expect a full slate of hits ranging from her Ike and Tina Turner Revue days through recent solo nuggets. Many can be found on the new compilation Tina! (Capitol), including several live versions of tunes (like Al Green's "Let's Stay Together") and a pair of new, appropriately sweaty, mid-tempo rock ballads ("It Would Be a Crime," "I'm Ready"). Word is the Queen will be back in all her acidic glory. $59.50-$152. 6:30 p.m. 600 First Ave. N., Minneapolis; 612.673.0900. —Rick Mason

The Tisdales

Turf Club

Rich Mattson has a reputation. After playing in bands for more than 20 years, including most notably the Glenrustles and Ol' Yeller, he's known for his blue-collar approach to his music. If anything, he's earned the right to say, "Fuck it, I can play whatever the hell I want." Beholden to no genre or scene, the Iron Range rocker is back with the Tisdales. The band has more in common with '70s pop rock than with the alt-country that Mattson's old bands were known for. But Mattson's songwriting chops are second to none, and his simple but majestic guitar solos are the stuff of Neil Young-garage-rock fantasies. His songs come with a layer of dirt already crusted in the space between notes—the way a bar band should sound. Joining Mattson in the Tisdales are former members of the Duluth psych-rock band the Hotel Coral Essex. With Patches and Gretchen, for whom the evening is a CD-release party, and Starfolk. 21+. 9 p.m. 1601 University Ave. W., St. Paul; 651.647.0486. —Robert Longmore



Fleet Foxes

Cedar Cultural Center

In case you've been too busy catching up on old episodes of The Nanny or protesting the timber industry by living in one of those big trees again, you need to know that while you were away, Fleet Foxes stormed the music world like gangbusters. They have ascended from being merely popular on MySpace to being scooped up by Sub Pop Records, releasing an EP and LP in quick succession—to breathless reviews—and launching an international tour, all in under a year. They're, like, touring with Wilco now. Pitchfork awarded their self-titled debut a 9.0 out of 10. Robin Pecknold, the self-effacing 22-year-old lead vocalist who looks like he was plucked straight from a cabin in the middle of the North Woods—disheveled hair, rumpled flannel and all—sounds at times like Neil Young and My Morning Jacket. The echoey beauty of the music and deeply earthy lyrics allow them to pass as different genres. It's music you could share just as easily with your high school age brother or sister as with your dad. With Frank Fairfield, a California street busker. All ages. $15. 5 p.m. and 9 p.m. 416 Cedar Ave., S., Minneapolis; 612.338.2674. —Jessica Chapman


SUNDAY 10.12


First Avenue

A tremendous live band with a songbook to match, London's Stereolab draw crowds even as their albums feel less like the cultural events they once were—though am I wrong to hear their airy influence in Estelle's Top-40 candy "American Boy"? Still, anyone tuning out after 1997's Dots and Loops has missed at least a couple of enduring surprises per disc amid endless modulations in ornate retro-groovy easy-listening, while 2004's Margerine Eclipse is playable from front to disco back. The thoroughly Stereolab-y new Chemical Chords (Duophonic/4AD) isn't quite a return to groundbreaking form, but contains some of their best songs yet for the melancholic radical, including the typically sad-sounding revolutionary anthem "Fractal Dream of a Thing": "As long as man will exploit man.... There will be no normality and no peace." With Monade and Le Loup. 18+. $15. 7:30 p.m. 701 First Ave. N., Minneapolis; 612.332.1775. —Peter S. Scholtes

The Blind Boys of Alabama and the Preservation Hall Jazz Band

Orchestra Hall

This joint tour by an outstanding pair of iconic and incredibly venerable bands (the Blind Boys have been around nearly seven decades; the PHJB nearly five) was precipitated by the Blind Boys' latest CD, Down in New Orleans (Time Life). It was the first time the gospel institution recorded in the Crescent City, whose distinctive flair was added to the Boys' scintillating vocal harmonies by the likes of Allen Toussaint, the Hot 8 Brass Band, and the Preservation Hall crew. The latter, of course, is renowned for preserving traditional New Orleans jazz, but the old hall on St. Peter Street has loosened up in recent years under the leadership of Ben Jaffe, flirting with more contemporary sounds. The PHJB's recent Hurricane Sessions compilation, for instance, includes a luminous version of the Kinks' "Complicated Life" sung by former punker Clint Maedgen over the band's rousing trad ensemble work. By the way, both bands will have notable absences. Longtime Blind Boy Clarence Fountain has retired due to complications from diabetes, although founding member Jimmy Carter continues to lead and Ben Moore has assumed Fountain's role. And PHJB leader and trumpeter John Brunious died last February. Filling his sizable chair will be his 35-year-old nephew John Braud. This show's format will feature sets by each band, including periodic collaborations. $22-$48. 2 p.m. 1111 Nicollet Mall, Minneapolis; 612.371.5656. —Rick Mason


Monday 10.13

Broken Social Scene

First Avenue

Broken Social Scene might be responsible for bringing the handclap back. Who can forget it on "Stars and Sons," from 2003's award-winning You Forgot It in People album? The Toronto supergroup is also responsible for lots of other things, like helping launch former-slash-sometime bandmember Leslie Feist to fame and for generously giving yet another dynamite Canadian band to the world. Fresh off their summer festival junket, roughly half of the collective is on tour, powered by band co-founders Brendan Canning and Kevin Drew. Broken Social Scene proper hasn't released an album in three years, but since then Canning and Drew have each released pseudo-solo albums under the name "Broken Social Scene Presents...," so expect to hear less ensemble-y tunes from the BSS days of yore and more of the tunes engineered by the two men. With Quebecois indie trio Land of Talk, who just released their first album. 18+. $20. 8 p.m. 701 First Ave. N., Minneapolis; 612.332.1775. —Jessica Chapman



David Byrne

State Theatre

Though it opens up in your mind gradually, David Byrne's new album with Brian Eno might well be his deepest and best since the two collaborated in the late '70s and early '80s on three classic Talking Heads albums, Byrne's own The Catherine Wheel, and the duo's proto-sampling funk mosaic My Life in the Bush of Ghosts, the 2006 reissue of which (on Nonesuch) rekindled the partnership. A couple of months after its online-only release, the catchy and ebullient Everything That Happens Will Happen Today still emerges as music and meaning, its lullaby title track sounding more and more like a prayer for Iraqi life during wartime, while "The River" turns out to be one of the more touching tributes ever written to the participatory communion of popular music and punk. The one tune that seems to be about music explicitly, "Strange Overtones," might instead describe a more intimate collaboration. Byrne has never sung with more gentle feeling, and Eno, who composed the pop-simple yet characteristically atmospheric backing tracks, appears to bring out the best in him. The tour features Byrne but not Eno, playing songs from many of the above releases with a backing band and choreographed dancers, the kind of production Everything That Happens deserves. $43-$53. 7:30 p.m. 805 Hennepin Ave., Minneapolis; 612.339.7007. —Peter S. Scholtes

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