By LA Weekly
By Henry Rollins
By Weekly Photographers
By Shea Serrano
By Nate "Igor" Smith
By Dan Weiss
By Erica E. Phillips
By Kai Flanders
5515 Wilshire Blvd.
Los Angeles, CA 90036
Region: Mid-Wilshire/ Hancock Park
316 W. Second St.
Los Angeles, CA 90012
3787 Cahuenga Blvd. W.
Studio City, CA 91604
Region: San Fernando Valley
111 S. Grand Ave.
Los Angeles, CA 90012
Category: Music Venues
Region: Out of Town
Dengue Fever, Secret Chiefs 3
EL REY THEATRE
First, the bad news: Last time I saw L.A.'s Dengue Fever at El Rey, in 2008, these Cambodian-American popsters seemed overwhelmed by the space — they were a deeply lovable party band cruelly stripped of a party. But that show came before last year's Cannibal Courtship, on which Dengue Fever beefed up their sound with bigger guitars and pricklier rhythms (not to mention luscious backing vocals by the Living Sisters). Perhaps frontwoman Chhom Nimol and her mates will have better luck tonight raising El Rey's art deco roof. They share the bill with Secret Chiefs 3, the eclectic (and enigmatic) Bay Area instrumental crew led by Trey Spruance of Mr. Bungle. —Mikael Wood
Symbol 6, RF7
REDWOOD BAR & GRILL
When you sift through the ashy dust of time, it turns out that West L.A.'s Symbol 6 and Simi Valley's RF7 were two of the better punk bands of the early 1980s. Each was a major force in the cultural and geographical shift from the late-'70s Hollywood punk nexus to the louder, faster and more violent suburban hardcore scene of the '80s. Both groups dropped out of sight for years, and now they're enjoying considerably productive second lives by cranking out hard-charging new songs instead of just relying on the early classics. Powerful new Symbol 6 tunes like "Go" and "Napalm Love" are even fiercer and more sinister than their ancient Rodney on the Roq hits. RF7 leader Felix Alanis was an unusual and underrated presence in the old days, howling unsentimental rants from a Christian working man's perspective and releasing on his Smoke Seven label some of the first recordings by Redd Kross, Sin 34 and Bad Religion. —Falling James
Lucinda Williams tends to serve up something special for her adopted hometown. At her 2007 five-night, guest-studded El Rey stint, she re-created one of her albums each evening. Last year started with a Valentine's Day set at Bardot and ended with a November show incorporating covers of Dylan, the Allman Brothers, Skip James and Marvin Gaye songs. Tonight, Williams — whose Blessed ranked among the Weekly's top 2011 local records — returns to Royce Hall, the site of a memorable 2006 concert with her father, poet Miller Williams. She's supposed to start solo and then team up with the opening act, the up-and-coming singer-songwriter Blake Mills, before wrapping things up with a full band ... although you never know what Lu will decide to do. —Michael Berick
Scott Henderson Nomad Quartet
THE BAKED POTATO
Guitarist Scott Henderson is seen by many of his peers as one of the world's finest, working with Chick Corea and Joe Zawinul while developing the '90s fusion supergroup Tribal Tech (slated to release their first album in more than a decade this spring). Henderson has been off touring the world with various superbands for much of the last year, and tonight he plays his first 2012 show in L.A. The group known as Nomad includes drummer Andy Sanesi (Black Baptista), British bassist Rufus Philpot (Planet X) and keyboard wiz Mitchel Forman (Stan Getz/Mahavishnu/Andy Summers). The Nomad mix includes songs from Wayne Shorter, Weather Report and jazz standards Henderson fuses with his particular style to create something often quite distinct from the originals. —Tom Meek
RINDE ECKERT at REDCAT; JAMES McCARTNEY at Viper Room; WILCO at Los Angeles Theater; BRIAN CHARETTE ORGAN SEXTET at the Blue Whale; LOU REED & BOB EZRIN at the Carpenter Center; DIRT DRESS, HOLY ROLLER, GORGON ZOLOFT at the Smell.
X, The Avengers, The Dead Kennedys
GEFFEN CONTEMPORARY AT MOCA
The idea of a presumably dignified museum (as part of the sprawling Pacific Standard Time art festival) hosting these three once-blacklisted punk bands reminds me of one of those old Flipside cartoons warning that the Germs might sell out someday and end up playing football stadiums. The joke was funny because, at the time, there was little chance that major labels or radio stations like KMET and K-EARTH would ever give a punk band a chance. In recent years, though, punk has become so respectable that it has been classified, codified, exhumed, dissected, defanged, analyzed, sentimentalized and turned into crappy Broadway musicals. The question is, can something that was intended to be subversive and ephemeral ever truly fit in within a museum setting? L.A. heroes X (whose 1982 album title, Under the Big Black Sun, was lifted as the name of MOCA's semirelated art survey) and S.F. firebrand Penelope Houston and the Avengers still retain much of their old passion, but be aware that this version of the Dead Kennedys does not include lead gadfly Jello Biafra. —Falling James
As part of the L.A. Phil's ongoing Mahler Project offerings, conductor Gustavo Dudamel's pride and joy, the Simón Bolívar Symphony Orchestra of Venezuela, struts its stuff. It's an inspiring story, to say the least: A group of young musicians ranging in age from 18 to 28, and mostly from impoverished backgrounds, has proved its prowess in performances on worldwide stages and in the recording studio, too — the orchestra's Deutsche Grammophon albums under Dudamel's baton include sensational performances of Beethoven, Tchaikovsky and Mahler. This 11 a.m. performance is a family event ideal for kids ages 5-11. A separate 8 p.m. performance of Mahler's First and 10th symphonies also is slated. —John Payne
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