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CL previews upcoming shows



Liz Durrett The Athens songwriter took a leap forward with this year's Outside Our Gates by handing the production reigns to Eric Bachman of Archers of Loaf fame. He fleshed out Durrett's compelling Southern gothic processionals with some horns here and some sonic-noise pixie dust there, all without ceding the central tenet that made her debut Husk and 2006's Mezzanine so promising – Durrett's haunting voice. With Bain Mattox Band at the late show. The Evening Muse (John Schacht)

Between The Buried and Me And if you've ever wondered what happened to all those old high school Phys. Ed. shirts of old, this would be a good night to come out. Between The Buried And Me – supposedly the band takes its name from a Counting Crows lyric – effectively mix lacy guitar textures with a heady dose of with stomp-a-mudhole hardcore, all shot through with some death-metal-lite vocals that'll singe you from five paces. This band doesn't play emo, they play chemo. Check out their 2K7 release, Colors, for a dreamcoat palette of heavy hues: metal, prog, hardcore, even folk influences show up in some of the darnedest places. With He is Legend, Advent, and Nightbear. Amos' Southend (Timothy C. Davis)


Eyes of the Elders While it's technically Eyes of the Elders with Stump Dickens –they're gonna get that pirate ship rockin' regardless of the name. If you haven't seen the Eyes/Stump combo before, it's basically Eyes of the Elders with a live band backing the duo up, including violin, guitar and drums. Not to say Eyes of the Elders isn't strong on its own, but when they get a live band to join them, it's like going from rabbit ears to satellite TV. With Lou Ford. Snug Harbor (Jeff Hahne)

Richie Havens Seeing Richie Havens act (and sing and pick a number) in director Todd Haynes' schizo-Dylan biopic I'm Not There caused Your Humble Host here to go on a (legal!) downloading jag, most notable copping the stirring folk-fuled wake-up call Alarm Clock. The first man to go on at Woodstock, Havens, whether because of his penchant for of-the-moment covers, Beatlesiana, or sick-fast strumming, hasn't necessarily been afforded the adoration another look (like, say the one I gave him) might suggest he deserves. No, Havens will never have the depth, the arc, of a Bob Dylan. Then again, not a lot of new Babe Ruths or Louis Armstrongs around, either. McGlohon Theatre (Davis)


Tyler Ramsey For a while there, the lanky Ramsey was merely a promising indie-folkie from Asheville with a nice voice and John Fahey-like finger-picking chops. Then he found himself opening for Band of Horses just as that act's career arc took off, and shortly after that he wound up in the lead guitar chair touring the world and basking in Ben Bridwell's big-bearded beneficence. All that doesn't change the fact that this year's A Long Dream About Swimming Across the Sea is a fine example of new space-folk. Late show at The Evening Muse (Schacht)


Scott H. Biram With a banged-up guitar belching out tangled mess of blues, rock, hillbilly, punk and Texas country, Biram shows all you need sometimes is a blazing guitar, booze and raggedy amplifiers to stir up a ruckus. He's a one-man rocker, cranking a raw and dusty sound with occasional assist from harmonica and foot-stompin' percussion. Also on the bill: Trouble Walkers, Biggy Stardust and His Wretched Hive. Snug Harbor (Samir Shukla)

Jubal Kane A straight up harmonica-fronted, guitars-fueled blues band that understands the genre, both the gin joint partying blues as well as slow-burning jams. The NC band's blues boogie rockers are balanced with crying guitar slow numbers reminiscent of classic 70s outfits. Their slower numbers like "Buckwheats Blues" are rather sinewy, served up with just a hint of psychedelic touch. Double Door Inn (Shukla)


Shinedown Singer Brent Smith wails and croons on Shinedown's post-grunge groove that tips hats to Soundgarden and, to a smaller extent, Creed. On its third recording, The Sound of Madness, the Florida band isn't afraid to blast out of the gates with full-on rockers and then hit the brakes and slow it down with moody, somber ballads. Not exactly groundbreaking, but they've evolved nicely over the course of three recordings and touring. With Red Jumpsuit Apparatus. Amos' Southend (Shukla)

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