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Music Picks: Eagle Rock Festival, New Order, Madonna
fri 10/5
PHOTO BY JUSTIN BROADBENT
Metric: See Tuesday.
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Ariel Pink and Dam-Funk
HENRY FONDA THEATER
Dam-Funk and Nite Jewel's 2009 team-up, Nite Funk, turned out to be such a natural match that the world wondered aloud, or at least in retro-future fever dreams, How long must we wait for the ultimate collaboration of Pink Funk? Both Ariel and Dam are in absolute command of their alternate-world aesthetics, with sound and songs from a planet where R. Stevie Moore replaced R.E.M. and Steve Arrington's Slave got to be in charge of Saturday Night Fever. And now Pink Funk are here — both live and on record! In fact, on their collab on Ariel's new album — a cover of Donnie and Joe's "Baby" — Ariel and Dam find their perfect overlap. The original is an idiosyncratic left-field labor of love that deserves to be a hit. You know what? That's true for Ariel and Dam, too. —Chris Ziegler
The San Fernando Valley has spawned countless bands, but few have celebrated their other-side-of-the-hill pride with the cinematic craft that She Wants Revenge summoned for last year's album, Valleyheart (even having "Valley Girl" actress Deborah Foreman star in the video for the U2-ish "Must Be the One"). That makes what are being billed as the darkwave duo's final L.A. shows (following an "indefinite hiatus" announcement in July) all the more poignant. SWR's marriage of numb new wave and bass-heavy post-punk to deceptively butt-shaking beats on their android-sexy 2006 debut, Perfect Kiss, has been much mimicked but seldom bettered. Though never recapturing that album's commercial clout, She Wants' two subsequent releases grew increasingly intriguing and eclectic, while Warfield's sinewy presence and visceral, brooding stagecraft shames posturing pretenders. Also Saturday. —Paul Rogers
sat 10/6
Eagle Rock Music Fest
CENTER FOR THE ARTS, EAGLE ROCK
Eagle Rock's entry into the world of neighborhood music festivals always turns out to be particularly adorable. It's got that community street-fair feel everybody wants on a balmy Saturday afternoon while pushing their stroller down what's basically Main Street U.S.A., even though it's really Colorado Boulevard. And it's got a comprehensively diverse overview of local music from northwest L.A., balancing such Low End Theory stalwarts as Thundercat and Daedelus with Zevon/Westerberg rockers The Henry Clay People, Latin soul-fun stormers The Boogaloo Assassins and an all-day Stones Throw Records stage, bouncing from roots reggae band The Lions to post-punk wildman Vex Ruffin and polymath label head Peanut Butter Wolf. A $10 donation gets you in and reveals the other 60-some bands that we didn't have space to mention here. —Chris Ziegler
Anthony Wilson, Larry Goldings & Jim Keltner
REDCAT
Rhythm-section sidemen can stitch together a healthy career without ever needing to become the star of the show. But when the stars you play for are people like Diana Krall (guitarist Anthony Wilson), James Taylor (organist Larry Goldings), and Lennon, Clapton, Dylan and everyone else (drummer Jim Keltner, of course), your own light gets pulled into a new nebula. This organ trio has enough gravitas to create a black hole in downtown L.A. To many musicians these are the real stars that shine underneath the fireworks — much like their venue, a secret, black-box theater buried in the bowels of a hall named after Walt Disney, himself no stranger to fireworks or stars. This show is part of the excellent Angel City Jazz Festival, and just might be the highlight. —Gary Fukushima
sun 10/7
Laura Marling might be young, but the 22-year-old English singer-guitarist is very much a part of a long tradition of folk singers whose music sounds curiously timeless and unaffected by ephemeral pop trends. Yet there's nothing fussy or dustily academic about her songs. Tracks like "Sophia," from her 2011 album, A Creature I Don't Know, have breezy pop hooks and are pushed along by a full rock band, but they're also suffused with smart lyrics. "God's work is planned/I stand here with a man that talked to me so candidly, more than I'd choose," Marling says on the uptempo shuffle "The Muse," as elegant strains of piano and violin wrap around her. "My lips once rouged/I feel again the blues of longing, ever longing, to be confused." On this "working holiday tour," the restless singer flies solo, keeping things simple and stripped down. —Falling James
New Order
GREEK THEATRE
Following 2011's Live at the London Troxy, living legends New Order reunite and return to North America for a short tour. (The current lineup is missing bassist Peter Hook but features original keyboard player Gillian Gilbert.) Other than a one-off appearance at this year's Ultra Music Festival in Miami, the group hasn't performed on these shores in seven years. Their groundbreaking electro-pop sound, exemplified by the seminal track "Blue Monday," has been the blueprint for every dance-synth band since 1980. With the high production level of today's dance-act shows, New Order's pared-down presentation and vocalist Bernard Sumner's deadpan, static delivery is a welcome return to bare-bones EDM basics. —Lily Moayeri
Angel City Jazz Festival
JOHN Anson FORD AMPHITHEATRE
Promoter Rocco Somazzi's Angel City Jazz Festival returns for its fifth year, with events scheduled both this weekend and next. The festival's signature event is Sunday's show at Hollywood's John Anson Ford Amphitheatre. The evening opens with drummer Peter Erskine's New Trio, including nephew/bassist Damian Erskine and pianist Vardan Ovsepian. Next up is bassist Mark Dresser's Quintet, followed by the highly regarded young trumpeter Ambrose Akinmusire (a USC grad who's now joined the faculty). Akinmusire also will guest with the evening's closing band, led by saxophonist Archie Shepp, who's making his first L.A. appearance in more than 20 years. Shepp's free-jazz explorations are respected enough to earn him collaborations with the likes of John Coltrane, Horace Parlan and Cecil Taylor. —Tom Meek
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