Highly Distracted Productions presents Asperger’s: A High Functioning Musical Friday and Saturday at 8 PM and Sunday at 2 PM, August 16-18. “Back by popular demand after three sold out performances at the St. Lou Finge Festival, Asperger’s: A High Functioning Musical tells the story of six young adults with Asperger’s attending a support group as they face the problems of entering adulthood and leaving the pain of childhood behind. The songs can be rollicking and tender. Come celebrate the geek in all of us.” Performances take place in the Little Theater at Clayton High School, 1 Mark Twain Circle in Clayton. For more information: aspergermusical.brownpapertickets.com.
Moonlighting Theatre presents Charles Mee’s Big Love, based on The Suppliants by Aeschylus, Friday and Saturday at 7:30 PM and Sunday at 2 PM, August 16-18. Performances take place at the Regional Arts Commission, 6128 Delmar. For more information, visit moonlightingtheatre.org.
The Pub Theater Company presents Bye Bye Liver: The St. Louis Drinking Play, a comedic romp through the joys and pitfalls of The Gateway to the West’s favorite pastime. Performances take place on Saturdays at 9 PM at Maggie O’Brien’s, 2000 Market Street. For more information, you may call 314-827-4185, email stlouis at byebyeliver.com, or visit byebyeliver.com/stlouis.
Stages St. Louis presents Legally Blonde, the Musical through August 18. Performances take place in the Robert G. Reim Theatre at the Kirkwood Community Center, 111 South Geyer Road in Kirkwood. “Sorority sister Elle thinks she has her future all tied up with a nice, little pink ribbon, until her boyfriend suddenly dumps her for someone more “serious.” But don’t break out the tissues just yet! This is one girl who doesn’t take “no” for an answer as she sets out to prove that being true to yourself and going after “what you want” never goes out of style.” For more information, visit stagesstlouis.org or call 314-821-2407.
Encore! Theater Group presents John Logan’s two-character drama Red, about 20th Century abstract painter Mark Rothko. Performances are Friday and Saturday at 8, August 16 and 17, at the Warehouse at All Trades Supply located at 10 Kirkham Industrial Drive, Webster Groves. “Mark Rothko is at the height of his powers. His work, long rejected by critics, is suddenly hailed as some of the most important of this century. He is the new king of art in New York, and his coronation will be the flashiest commission in the history of painting: $35,000 for a series of epic murals at the Four Seasons restaurant. But…canvases this large cannot be lifted by a single man, not even a titan. So he hires an assistant (Ken). This young artist and his fiery ideas force Rothko, the surest thing in the world of modern art, to question everything. John Logan’s 90-minute intellectual thrill-ride serves as a puzzling reminder of how difficult and dangerous the climb towards an artistic vision can be, and how worthwhile. “ The cast includes 88.1 KDHX theatre critic Steve Callahan as Mark Rothko. For more information: email encoretheatergroup at gmail.com, call (314) 329-8998, or visit squareup.com/market/noxp-entertainment-corp/red-tickets.
|Photo: John Lamb|
The Theatre Lab presents Cormac McCarthy’s The Sunset Limited through August 17. “The play involves only two nameless characters, designated “White” and “Black”, their respective skin colors. Offstage, just before the play begins, Black saves White from throwing himself in front of a train. The title, The Sunset Limited, is derived from the name of a passenger train that travels from New Orleans to Los Angeles. All of the action takes place in Black’s sparse apartment, where the characters go (at the behest of Black) after their encounter on the platform. Black is an ex-convict and an evangelical Christian. White is an atheist and a professor. They debate the meaning of human suffering, the existence of God, and the propriety of White’s attempted suicide.” Performances take place at the Gaslight Theater on North Boyle in the Central West End. For more information: (314) 599-3309
Insight Theatre Company presents Time Stands Still by Donald Margulies August 15-25. Performances take place in the Heagney Theatre, 530 East Lockwood on the campus of Nerinx Hall High School in Webster Groves. For more information, call 314-556-1293 or visit insighttheatrecompany.com.
St. Louis Shakespeare presents Shakespeare’s Two Noble Kinsmen August 16-25. “During a war waged by Theseus of Athens against Thebes, two Theban cousins, Palamon and Arcite are captured and imprisoned. Their lifelong friendship is disrupted when first Palamon, then Arcite, sees and instantly falls in love with Emilia, sister to Theseus’ wife Hippolyta. Meanwhile their jailer’s daughter has fallen in love with Palamon. When Arcite is freed and exiled, she helps Palamon escape. Lost, knowing the hopelessness of her love and fearing the consequences of her actions, she goes mad. Palamon and Arcite’s conflict over Emilia is resolved by Theseus’ decree that the two will fight a public duel; the winner will receive the hand of Emilia; the loser will be executed.” Performances take place in the Washington University South Campus Theatre, 6501 Clayton Road. For more information, call 314-361-5664 or visit stlshakespeare.org.
Union Avenue Opera presents Wagner’s Die Walküre, the second of the four “Ring” operas, in a condensed and reduced version by English composer Jonathan Dove, Fridays and Saturdays at 8 PM, August 16-24. Performances take place at the Union Avenue Christian Church, 733 Union at Enright in the Central West End. The opera is sung in German with projected English text. For more information, visit unionavenueopera.org or call 314-361-2881.
When most folks think of cabaret, I expect the image that comes to mind is that of a single performer backed up by a piano, possibly augmented with bass or percussion. That’s certainly the most common arrangement but, as singer (and visual artist) Dionna Raedeke and guitarist Mike Krysl will be demonstrating this Friday, it’s by no means the only one.
A relatively new addition to the St. Louis cabaret scene, Ms. Raedeke has garnered raves for her singing and musical taste. “Dionna is one of my new favorite singers,” says actor, singer and teacher Jason Graae. “Her voice has such a haunting beauty and it comes directly from her soul.” New York-based singer, songwriter and music director Rick Jensen—who accompanied Ms. Raedeke for her 2011 show Sight – Sound—agrees, describing her as a “vocally compelling and consistently original in her performance.”
For her new show, titled Ebb and Flow, Ms. Raedeke has put together an evening in which the sound will be acoustic, the mood mellow, and the song choices rather different from the Great American Songbook standards that are so often associated with cabaret. Expect 70s rock, contemporary singer/songwriters, and even some new tunes. Ms. Raedeke, with a nod to her visual artist side (and with tongue somewhat in cheek), describes the evening as a “carefully curated” one that features “everything from Pink Floyd to PINK.”
Expect arrangements that will make you re-think familiar songs as well. An inventive musician who lists influences as diverse as Robin Trower, Django Reinhardt and Leonard Bernstein, Mike Krysl has often impressed me with both the ingenuity and virtuosity of his inventive and original takes on rock and pop standards. I remember being particularly blown away by what he and singer Shauna Sconce did with some of Pink Floyd’s Dark Side of the Moon at their recently concluded monthly sessions at The Wine Press.
“Mike Krysl’s sound is taut, deep and brilliantly soulful,” says local cabaret artist Katie McGrath. “Dionna’s voice is plaintive, joyous and straight-arrow true. My favorite musician with my favorite singer. And the angels smile.” As someone who has been both a critic and performer on the local cabaret scene for many years and who has had the pleasure of seeing both Ms. Raedeke and Mr. Krysl in action, I heartily concur.
The one and only performance of Ebb and Flow is this Friday, August 9th, at 8 PM at The Chapel, 6238 Alexander Drive at the intersection of Skinker and Wydown. A not-for-profit music venue, performance space and art gallery, The Chapel has played host to a number of cabaret shows over the last few years. It’s an attractive, unconventional space in a quiet residential neighborhood that provides its services free to local musicians as part of its mission to support the arts in St. Louis. I think that’s pretty admirable and worth supporting.
Tickets, which are available at the door and at ebbandflow.brownpapertickets.com (along with some free sample music tracks), are $20 and include two free drinks. Parking is free as well. Come on down Friday and smile with the angels.
Palm Springs-based cabaret artist Jerome Elliott is making his St. Louis solo cabaret debut this Saturday (June 29) at 8 PM at the Chapel with “My Favorite Springs,” produced by Mariposa Artists. But Mr. Elliott’s relationship with St. Louis goes back several years. He sees St. Louis, in fact, as “the birthplace of my work in cabaret” due to his participation in the St. Louis Cabaret Conference in 2007.
“Prior to the 2007 workshop,” he said in an email interview, “I had done a couple of cabaret shows in Palm Springs, going by instinct only. The first St. Louis year propelled me to dig deeper into the craft and led me to the Yale Conference in 2008. In turn, the Yale Conference made me want to investigate even more, which brought me back to St. Louis in 2009. Since then I’ve created five original shows that I have performed in Palm Springs, New York, Seattle and Los Angeles. I would not have accomplished that without the work I did in St. Louis.”
Mr. Elliott also appreciates the vitality of the St. Louis cabaret scene. “I look at the St. Louis cabaret community,” he notes, “as a model for keeping this art form moving forward. As a direct result of the annual workshops, you have created a very supportive and nurturing environment for cabaret. Through social media, I’ve kept up with many of the friends I met during my two visits and I admire how many of you have continued to study and grow. I am amazed at the breadth and frequency of cabaret activity that goes on in St. Louis.” Indeed, he asked Katie McGrath (of Women Under the Influence) to do an opening set for his show here precisely “because she exemplifies what I like to call the Spirit of St. Louis.”
Based on an earlier Palm Springs show, “My Favorite Springs” pays homage both to the season spring and to the famous hot springs of his hometown in the California desert. The eclectic song list spans eight decades and includes works by Noel Coward, Lerner and Loewe, Rodgers and Hart, Harry Chapin, William Finn, Amanda McBroom, Gordon Lightfoot, Steve Marzullo, Mark Campbell and Jerry Herman. There’s even a number (Coachella Valley Blues) with lyrics by Mr. Elliott himself.
Music director and pianist for the show is Jasmine co-founder and Webster University faculty member Carol Schmidt, whose work is frequently scene on local cabaret stages. Carol is also the music director for The Cabaret Project’s monthly open mic series at Tavern of Fine Arts
Mixing a rich baritone with a sly wit, Elliott has received accolades for his performances in New York (The Duplex), Los Angeles (M Bar), Seattle (Julia’s and Egan’s), as well as at many cabaret venues in the Palm Springs area. His work in Southern California music and theater has garnered seven nominations for the Desert Theatre League’s annual Desert Star Awards.
Mr. Elliot, though, says he thinks of himself primarily as “an actor who sings” rather than a singer per se. “I’ve learned that one of my natural abilities is story-telling. I like to give myself leeway to improvise within the patter. I love to write patter and a good third of my show consists of talk.”
“My Favorite Springs” bounces on to the stage at The Chapel, 6238 Alexander Drive in Clayton, on Saturday, June 29, at 8 PM. As its name implies, The Chapel is a converted chapel that now serves as both a performing arts venue and a gallery space, which makes for a very friendly and mellow vibe. For more information: brownpapertickets.com; look for event 365191.
|The view from the stage|
If the rest of the League of American Orchestras conference here goes as well as the special St. Louis Symphony Orchestra concert they saw tonight did, it will certainly be a week to remember. Maestro David Robertson conducted a very full program (two and one-half hours with intermission) that showed off the orchestra’s versatility: arias and overtures by Mozart and Wagner (with powerful performances by bass-baritone Eric Owens) along with Sibelius’s 7th symphony (which still sounds strikingly original nearly 90 years later) and John Adams’s flashy but (to my ears) rather empty “Doctor Atomic” symphony.
There was heroic work by the brass and percussion in the Adams and fine playing all around. The string sound in the Sibelius was particularly striking.
After a week in Fort Worth for the Cliburn Competition and another week in Boston for the Boston Early Music Festival, it was nice to settle back with the home town band at Powell Hall—even if I am more aware of its acoustic shortcomings as a result of my travels over the last twelve months. It’s still a lovely space and, to quote a Tom Lehrer lyric, “what the hell, it’s home.”
The biennial Boston Early Music Festival (BEMF), which ran June 9 through 16 this year, is an annual cavalcade of Medieval, Renaissance, and Baroque music featuring top early music performers and ensembles from around the world. I covered it along with a raft of other critics from the Music Critics Association of North America (MCANA), which had its annual conference this in conjunction with BEMF.
Day three (Saturday, June 15) involved less dashing about than the previous day, which gave me a chance to wander about the exhibition rooms at the Revere Hotel. As you can see by the picture gallery at the end of this article, makers of a wide variety of historical instruments were well represented: viols, recorders, harps, Baroque flutes and violins (along with appropriate bows), and (of course) many varieties of harpsichord, clavichord, and organ—even old-style fortepianos of the sort Mozart and Beethoven used. All were clearly the work of master craftsmen (and women)—with appropriate price tags.
My first concert (2:30 PM at Jordan Hall) was one I’d been looking forward to: Jordi Savall and Hespèrion XXI (a group whose makeup, according to a fellow critic, consists of “whoever Jordi Savall is working with at the moment”) with “Istanbul: Dimitrie Cantemir’s ‘The Book of the Science of Music’ and the Ottoman, Sephardic, Greek, and Armenian Traditions”. Cantimir (1673-1723) was a noted virtuoso on a long-necked lute-like instrument called the tanbur as well as a composer and scholar. “The Science of Music” is both a treatise on music theory and a collection of 355 compositions which, according to Mr. Savall’s notes, “constitutes the most important collection of sixteenth- and seventeenth-century Ottoman instrumental music to have survived to the present day.”
About this genre (to quote Tom Lehrer in a different context) “I am knowing from nothing.” But it didn’t require an expert ear to appreciate the virtuosity of Mr. Savall (playing vielle and lyre) and his fellow musicians, who were: Hakan Güngör on kanun (a zither-like instrument played with metal finger picks), Yurdal Tokcan and Driss el Maloumi on oud (essentially a Persian lute), Haïg Sarikouyoumdjian on ney and duduk (recorder-esque woodwinds), Dimitri Sonis on tanbur and santur (relative to the hammered dulcimer), and David Mayoral on percussion.
[Mr. Mayoral’s battery included a dumbek, a hourglass-shaped metal drum that I’ve been playing around with myself, so I was watching him especially closely in hopes of picking up some tips. I wasn’t disappointed.]
This iteration of Hespèrion XXI produced an array of exotic sounds that brought ancient Istanbul to vivid life in the hart of contemporary Boston. You could almost smell the spices, feel the hot sun, and taste the thick, black coffee. This was music that was sensuous and joyful, and the BEMF audience—which seems to be less uncritically enthusiastic than most American classical music audiences—awarded them with a standing ovation rivaling the one that greeted “Almira” Friday night. The group responded with an encore consisting of three different versions of the same tune: Greek, Sephardic, and Ottoman. As an illustration of the rich multicultural stew brewing in Istanbul at the end of the 17th century, it couldn’t have been more perfect.
Seven PM found me back at Jordan for a double bill of chamber operas written for the court of Louis XIV’s unmarried cousin, Marie de Lorraine, by Marc Antoine Charpentier (1643-1704): “Le Descente d’Orpheé aux Enfers” (“Orpheus’s Descent into Hades”) and “La Couronne de Fleurs” (“The Crown of Flowers”). The score for “Orpheé” is incomplete—only two of the presumed three acts survive—so director Gilbert Blin created a kind of “Charpentier sandwich”, placing “Orpheé” between the second and final scenes of “Couronne.”
That’s not as odd as it sounds. The plot of “Couronne” (such as it is) has a chorus of shepherds and shepherdesses engaging in a contest to see who can come up with the most poetically beautiful paean to the magnificence of King Louis (Charpentier knew what to kiss and when, as they say). The judge is the goddess Flore and the prize is the titular crown.
The Orpheus story, in this context, is performed by the rustics as a way to demonstrate that even the ancient stories of the gods pale in comparison to Le Roi-Soleil. When the company gets to the end of Charpentier’s score, Mr. Blin has Louis XIV’s notoriously dictatorial court composer, Jean Baptiste Lully, walk on stage and invoke his royal privilege of restricting public performance of operas to his own works (which, historically, he did). The company then concludes by deciding that, since no mortal can adequately praise the king, the only solution is to divide the crown among all the contestants, wish Louis eternal life, and call it a day.
Charpentier’s score is, without a doubt, finely wrought and beautiful stuff. It was all magnificently sung and, like “Almira,” acted and danced in historically appropriate style. But even the remarkable Mr. Blin and his music directors Paul O’Dette and Stephen Stubbs—the team that scored such a hit with “Almira”—could not, in my view, overcome the dramatic inertia of this material. I also found it hard to stomach all the fawning praise of a particularly wretched monarch, but that’s just me.
That said, the audience appeared to love it all to bits and gave it a standing ovation.
Saturday’s late-night concert (11 PM at the Jordan) took us to an entirely different world. The early music ensemble Tragicomedia “and friends”, directed by Mr. Stubbs, brought us “Singen, Spielen, Trinken, Tanzen: Hamburg in Handel’s Time.” As the title indicates, this was a neat tie-in with “Almira” (which Handel composed for Hamburg) and, in fact, the program included a couple of scenes from the opera for which Handel was conducting the band from the harpsichord when he got the “Almira” commission: Johann Matteson’s “Cleopatra.” They were pretty silly stuff and went a long way towards explaining why the opera has fallen into obscurity.
But then, “silly stuff” characterizes most of what went on in this concert. This was nothing if not good-humored music-making and a reminder that guys like Telemann, Lully and (especially) Heinrich Schütz liked to have a good time a much as anyone. There was, for example, a slightly rude madrigal “Scherschliep! Messerschliep!” (“O shear-grinder! Knife-grinder!”) by Sebastian Knüpfer (performed with gusto by Jason McStoots, Zachary Wilder, and Christian Immler); a rudely rebuffed seduction scene played out with songs by Telemann; and a performance of Monteverdi’s lively “Chiome d’oro, bel Tesoro” (“Hair of gold, beautiful treasure”) from 1619 followed by Schütz’s satirical German translation from around 1650. It’s a reminder that parody lyrics didn’t start with Weird Al Yankovic.
Throughout the evening Harlequin, danced by Caroline Copeland, provided comic bridges between numbers and silently led everyone in a Knüpfer drinking song at the end. If there were any doubt that early music can be great fun, this would have dispelled it. I took the Green Line subway back to the hotel in a very cheerful state of mind.
Photo gallery: BEMF exhibition rooms. Not too bad for iPhone snaps.
|Amy Willard Top|
I’m not a big fan of the “This is My Life” school of cabaret that ties everything back to the performer’s biography. That’s not an artistic judgment, just a personal preference; some very good cabaret acts have come out of that approach.
Amy Willard Top’s cabaret debut “Back to Then” (performed at The Kranzberg Center on April 19 and 20, 2013) was definitely autobiographical, charting her course from musical theatre professional in New York and on the cruise line circuit to St. Louis mom. The fact that, my personal preferences not withstanding, I found it mostly quite entertaining and engaging is an indication of what a good job Ms. Willard Top, music director Greg Schweizer, and director Tim Schall did here.
The song selection was nicely varied, including both old and new numbers from the Great American Songbook and the musical stage as well as some pop standards. Mr. Schweizer’s arrangements fit like a glove and some of them (his jazzy “But Not for Me” comes immediately to mind) shed interesting new light on familiar material. Pacing and the overall emotional arc of the evening were quite satisfying.
The show did, in short, what a cabaret show should do: provide a showcase for the performer’s talents and present that performer in the most flattering possible light. Ms. Willard Top came across as a charming performer with a good sense of theatre and a clear, focused voice.
On the technical side, the lighting made good use of the Kranzberg’s limited space and the sound mix was very clean.
Were there some things I would have done differently? Probably, but most of them are more personal preferences than artistic decisions. The bottom line is that Back to Before was a very solid cabaret debut by a skilled musical theatre performer. Whether she goes on to do more cabaret or not, she can take some justifiable pride in this one.
Upstream Theater presented a flawed but nevertheless interesting new production through January 27th of Café Chanson, a new musical written and directed by Ken Page. The score consists of one new song by Mr. Page and his music director Henry Palkes. The rest of it is made up of (mostly) French popular songs from the 1920s through the early 1970s.
This is the second (and last) installment of a complete song list along with some background and random thoughts on some of the numbers. In cases where I had nothing intelligent to add about a particular song, I just listed it and left it alone.
The names in parentheses are the songwriters. In the few cases where the titles in the program were incorrect or misspelled, I’ve corrected them here. If there’s anything in here that I’ve gotten wrong, please let me know.
|Mistinguett, circa 1927|
“Mam’selle Josephine et Mistinguette” (Ken Page / Henry Palkes) In the show this is sung by The Man, the gay cross-dressing waiter at the Café, decked out in a flashy sequined Folies Bergère-style outfit. The Josephine of the title is, of course, Napoleon’s empress. Mistinguett (the final version of her stage name) was a celebrated French singer and actress of the early 20th century. Born Jeanne Bourgeois in 1875, she began her showbiz career at the age of 10, was appearing at the Casino de Paris by the age of 20, and went on to international celebrity. Her signature song, “Mon Homme” (1916) was not only a big hit for her but, in English translation (“My Man”) for Fanny Brice as well. She died in 1956.
“What Makes a Man (Comme ils dissent)” (Charles Aznavour) The great French singer/songwriter stirred up some controversy in 1972 with this sympathetic and tragic portrayal of a gay female impersonator.
“I’m Not Afraid” (Rod McKuen / Jacques Brel) The original title of the song was “Fils de” (“Sons of”). McKuen’s lyrics are completely different. Both English versions have had their share of recordings over the years; I remember the Judy Collins version of “Sons of” with considerable affection. In Café Chanson, the McKuen version is sung by The Young Soldier and The Mademoiselle as they try to deal with the disintegration of their relationship.
“If You Go Away (Ne Me Quitte Pas)” (Jacques Brel) The version of this used in the show has lyrics by Rod McKuen. The original is more properly translated as “Don’t Leave Me.” Brel originally released the song on his 1959 LP “La Valse à Mille Temps”. The song has been amazingly popular, with versions in nearly two dozen languages.
“La Fanette” (Jacques Brel) Another story of love and betrayal, a recurring Brel theme. A 1965 performance by Brel is heartbreaking in its intensity.
|Charles Aznavour in 1978|
“Yesterday When I Was Young ” (Charles Aznavour) Original French title: “Heir Encore” (“Only Yesterday”); the English version is by Herbert Kretzmer. This lament for the lost opportunities of youth is especially affecting for those of us who have reached a certain stage in our lives. It’s kind of the yang to the yin of songs like “It Was a Very Good Year”. Roy Clark had great success with it in the USA, as have many other big-name vocalists.
Here’s a weekend plus edition — the plus covering a big festival that runs through Monday.
Saturday March, 9
It’s the second night of South by South City (aka SXSCity) – a local fest doing a small-scale riff on Austin’s South by Southwest mega-one – at Off Broadway (3509 Lemp).
The shows are a bargain at $5/night (3 more for 20-under, all-ages). Smoke-free.
Tonight’s lineup (with a 7:00 door):
- a blend of country, folk and bluegrass from the Hobosexuals at 7:30,
- unknown sounds from the still-not-seen-by-me Last To Show First To Go at 8:25,
- rock with ’60s pop influences from Jedi Nighties at 9:20,
- wicked, whipped up funk from The Jungle Fire at 10:15,
- a mix of soul, blues and funk from Superhero Killer at 11:10.
- a raucous rockabilly/blues/rock stew from Columbia, MO’s Hooten Hallers at 12:05.
The Gramophone (4243 Manchester) hosts a show offering roots-y solo sets by Johnny Hickman (of Cracker) and Ed Anderson (of Backyard Tire Fire).
Door at 8/show at 9, with a $10 advance/13 door cover (21+ only). Smoke-free.
Miss Jubilee and the Humdingers
Schlafly Bottleworks 7260 Southwest 9 start Free (all ages – minors only with an adult) Smoke-free
High-energy swing/rockabilly/jump-blues sounds from Miss Jubilee.
The late show at Mangia Italiano (3145 S. Grand) is supposed to be catchy pop-rockers FIREDOG, but I can’t confirm this anywhere but on the KDHX calendar. I assume there are other acts, but like I said…
This starts after 11 and is free (21+ only) and smoke-free.
Sunday, March 10
Night 3 of South by South City at Off Broadway.
Tonight’s lineup (with a 6:30 door):
- country and twangy folk from Jack Grelle & The Johnson Family at 7:15.
- smooth soul from Ransom Note at 8:10.
- smart, Crowded House-esque pop-rock from Brotherfather at 9:05.
- I couldn’t find any music online for Lewis Dubbs and The Missouri Flyguys, who play at 10:15.
- gritty, passionate rock from Bob Reuter’s Alley Ghost at 11:10.
Reggae/ska riddems abound at Old Rock House (1200 S. 7th), courtesy of LA’s The Aggrolites, Cincy’s The Pinstripes and Unifyah.
Doors at 7/show at 8, with a $15 cover (all-ages). Smoke-free.
Blank Space (2847 Cherokee) hosts a show by Chicago’s Summer Girlfriends, who mix a bunch of old-school rock styles with punk and pop sounds.
The punk-ish rock of Bruiser Queen - and possibly another act TBA – provide support.
This starts at 9, with a $5 cover (21+ only). Smoke-free.
Monday, March 11
The festival proper wrapped up Sunday, but an after-party for South by South City at Off Broadway offers raw duo blues-rock from The Maness Brothers, rockabilly sounds from The Bible Belt Sinners and blues-/country-tinged rock from Carriage House.
Door at 8:30/show at 9, with a $5 cover (3 more for 20-under, all-ages).
Your humble servant,