Concert Highlights for the Week of August 22 - 28

Stacy's mom has got it goin' on
Courtesy of the Bangles


Hilary Duff
Target Center

She may be all of 19 now, but it still seems wrong that our little Hilary Duff is acting so grown up. Hilary recently released a new album, Dignity, and the name seems ironic when watching the video for her hit dance single, "With Love." With Hilary and some GQ boy alluding to very adult activities in an elevator, the clip promises Duff has grown into a woman both erotic and mysterious. Besides her newly marketed sex appeal, the video also happens to promote her perfume; a clip was even used for the TV commercial. Ms. Duff is great at selling her name, and her ever-slimming body can only help build her bank account. Her music is maturing as well, changing from her innocent "Let the Rain Fall Down" into a more Lohan-like dance pop. On stage, lip-syncing seems to be her game, and she sways around like a drunken freshman at a frat party. But the little girls you're babysitting won't notice anything amiss, so do 'em a favor: Keep your lips sealed. They probably already know about Santa. $36.25-$46.25. 7:30 p.m. 600 1st Ave. N., Minneapolis; 612.673.0900. —Amber Schadewald




The Bangles
First Avenue

With ringing guitars, wonderful vocal harmonies, and hook-laden songs, the all-female Bangles were the power-pop queens of the 1980s. The hits came fast and furious: "Walk Like an Egyptian," Prince's "Manic Monday," "Eternal Flame," the Brian Wilson-like "In Your Room," and Kimberly Rew's paean to Beatlemania, "Going Down to Liverpool." Although the band split acrimoniously late in the decade, it reunited a little over a decade later with original members Susannah Hoffs, Debbie and Vicki Peterson, and Michael Steele releasing Doll Revolution in 2003. A just-released DVD, Return to Bangleonia (Shout Factory), recorded shortly after the reunion in 2000 at Hollywood's House of the Blues, captures the quartet at an effervescent peak, running through all its nuggets. Bassist Steele subsequently retired, and her bass/vocal duties are currently being handled by Abby Travis, an L.A. singer-songwriter who will do double duty as the opening act. Her recent album, GlitterMouth, has been described as a mix of glam rock, trip-hop, soul, and cabaret. 18+. $25. 6:00 p.m. 701 First Ave. N., Minneapolis; 612.332.1775.—Rick Mason

Friday 8.24

Kevin Saunderson

When Kevin Saunderson gave up his dreams of a pro football career to become a DJ, he could hardly have expected fame to come knocking on his door as soon as it did. Trading his helmet for headphones, Saunderson joined his high school friends Juan Atkins and Derrick May in their Deep Space collective, where he helped shape the emerging Detroit techno sound. A stint on May's Street Beat radio show in the mid '80s honed Saunderson's producing skills, and within a short time he had started up his own KMS label and begun cranking out records under a variety of pseudonyms. Moving beyond the confines of techno's underground sound, Saunderson formed the more pop-oriented group Inner City, and (after adding singer Paris Grey) found himself atop the U.K. and U.S. dance charts with dance floor staples "Big Fun" and "Good Life." Saunderson has continued his explorations into techno's outer limits, and brings his Elevator tour to the Foundation. $5; $8 after midnight. 10:00 p.m. 10 S. 5th St., Minneapolis; 612.332.3931. —Scott Watson

Carbon Carousel
7th St. Entry

To most music fans, the phrase "rap-rock" leaves such a stink in the mouth it is assumed anything associated with it qualifies as repugnant and mindless commercial carrion. With that in mind, let me clarify one thing—Carbon Carousel is a rock band. Yeah, Michael Larsen (known to the world as Eyedea from Rhymesayers) is the voice, but even when his delivery picks up to a machine-gun pace, as on the Nirvana-esque "Always Better Sorry," the man is singing. Born as an improvisational ensemble featuring the deft stickwork of J.T. Bates and the fat-ribbed bass grappling of Casey O'Brien, the group has since added some ultra-violent noise by way of guitarist Jeremy Ylvisaker and evolved into an entity tight as a surgical glove, yet free as an Amazonian spider monkey hopped up on coca leaves. With Abzorbr, the band responsible for the more rap-inclined side of last spring's split EP, and Cepia. 18+. $6. 8:00 p.m. 701 1st Ave. N., Minneapolis; 612.332.1775. —Christopher Matthew Jensen


Triple Rock Social Club

In 1983, a band of British, mono-named, anarchy-loving punks calling themselves Subhumans released The Day the Country Died. With provocative song titles like "Killing," "Zyklon B-Movie," and "Mickey Mouse Is Dead," an instant, if unlikely, punk rock classic was born (surprising, given its release so late in the game). By '83, new-wave acts like the Cars and the Cure were more in vogue, and punk was on life support, but there were still enough people listening for it to have a lasting impact. Slowly, they became a major influence on a slew of bands who, while not necessarily embracing their anarchy (in a political sense, anyway), embraced their DIY ethos—and the notion that a punk band should have actual hooks, song structure, and an idea of how to play their instruments. Any self-respecting mohawk-sporting punk couldn't call himself such without a Subhumans T-shirt, its spindly logo and pierced, spiky-haired stick-like figures on the front instantly recognizable to those in the know. So break out the petroleum jelly to spike up your hair, throw on your combat boots, and head on down to see Subhumans on tour in support of their first new album of fresh studio material in more than 20 years, Internal Riot. With Smoke or Fire; Witch Hunt. All ages. $12. 5:00 p.m. 629 Cedar Ave. S., Minneapolis, 612.333.7399. —Pat O'Brien

Queens of the Stone Age
First Avenue  

Is Queens of the Stone Age's Josh Homme human? Not in a corny "rock god" way, but seriously, what does it take to stop this guy? Events like the departure of a founding band member, marriage, or fatherhood derail many puny mortal musicians. Homme experienced all these recently, but he keeps going, Terminator-like, and the rock gets better. Tight but loose, snide and sly, the new Era Vulgaris jumps forward by hearkening back to the blasé, jammy vibe of the killer Queens' eponymous debut. Era rawks hard on riff-heavy "Sick, Sick, Sick" and "3's & 7's" (which could be outtakes from Songs for the Deaf), but also gets reflective and topical on "I'm a Designer," which laments "My generation's for sale/It's a steady job." Some song ideas are half-baked, like the band's target audience, but who cares? The tunes will be even more fun live, when the mercurial Homme can burn (or crash) musically and snarl insults at hecklers—and that's just the first song. With Cage the Elephant. This show was relocated to First Avenue from Myth Nightclub, and all tickets from Myth Nightclub will be honored. $30. All Ages. 6:30 p.m. 701 1st Ave. N., Minneapolis; 612.332.1775. — Catherine Clements

Minnesota State Fair Grandstand

Don't be confused—fried things + health-depreciating items on sticks = delicious. Fancified girl from the ghetto + addicting pop hooks = fergalicious. Fergie at the fair is a perfect way to get your fill of guilty pleasures all in a matter of hours. The token hot chick from the Black Eyed Peas, Fergie is out on her own, playing songs everyone loves (but won't admit to loving). Since releasing her album, Dutchess, Stacy "Fergie" Ferguson has topped pop charts with a unique blend of hip hop and sass, skanking up her tomboy image while managing to stay "glamorous." Live on the mic, Fergie actually sounds like her recorded self, contrary to fellow ladies in her genre. She's not much of a dancer, but she'll most likely bring along some pals who can shake their humps and lumps efficiently. Prepare to watch your language around the swarms of little ones who are sure to buy up most of the spendy tickets with daddy's money. With Rooney. $32-$52. 7:30 p.m. 1265 Snelling Ave. N., St. Paul; 651.642.2262. —Amber Shadewald


Fountains of Wayne/Suicide Commandos
Minnesota State Fair Grandstand

It's certainly hard to imagine the Minneapolis music scene without bands like Hüsker Dü and the 'Mats, but the Minneapolis punk scene would have been impossible without Suicide Commandos coming along first. The hooks, riffs, and melody are generally obscured by a prison yard-thick wall of noise and distortion, but they're there and they're sharp—once you suss them out. Listen even closer and you can hear their echoes in all the Minneapolis bands that followed in their wake. Years ago—way back in the mid-'90s—New York City's Fountains of Wayne seemed to be everywhere with "Radiation Vibe," from the self-titled debut album that made them seem invincible. Afterward, they proceeded to drop off the face of the planet. In 2003, they came roaring back with the ode to MILFs, "Stacy's Mom," and suddenly they really were everywhere, with an album full of monster hooks and big, pop-rock guitar anthems. They're back with more of the same on Traffic and Weather, and even if the lyrics are a bit of a stretch (Sorry, but "We belong together/Like traffic and weather" isn't going to convince a girl to come back to you) and they get knocked for being too sugary at times, there's just enough dour discontent to balance it out. Strange pairing? Strange venue for said pairing? Well, yes, on both counts, in a social experiment sort of way, really. Free. 7:30 p.m. 1265 Snelling Ave. N., St. Paul; 651.642.2262. —Pat O'Brien

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