SIXTEEN HORSEPOWER/SYCOPHANT/CORY LARSON
(Showbox) Cory Larson is a rather intense local songwriter who picks his steel-string guitar fast enough to make everyone around him really nervous. He's opening for Sixteen Horsepower, a Colorado trio that mixes alternative rock with country shtick, and both acts should remind us that folk music doesn't necessarily have to be comforting in order to build a following. -- Nathan Thornburgh
LAURIE LEWIS
(Tractor Tavern) Give Laurie Lewis credit for trying to break down gender barriers in bluegrass and Western swing music. After all, it must have been tough for her to roll into towns like Turlock, California 20 years ago and explain what she was getting at with an all-woman band named Good Ol' Persons. But she sang and fiddled through all the distractions, became a bluegrass star, and now answers to no one, except for maybe God and Merle Haggard. -- Nathan Thornburgh
DAMIEN JURADO
(Sit & Spin) It's not every day you get to see local guy-with-guitar Damien Jurado -- oh wait! Yes it is! Well, no matter. If you missed him last week, catch him this week. (For more on Damien Jurado, see Up and Coming for Tuesday 12/7.) -- Erin Franzman
EASY BIG FELLA/MEAN JOLLY GREEN
(Crocodile) The third wave of ska is well-represented by local skanking powerhouse Easy Big Fella -- more complex and eclectic than the earliest ska, but still danceable and laced with hooks and horn lines to reel you in. But Easy Big Fella have been doing this for some time now, as have all the third wave folks, and all I want to know is, when are we getting the fourth wave? -- Nathan Thornburgh
SLEEPY LA BEEF
(Tractor Tavern) Being big-boned and standing 6' 7" has shaped this Arkansas billyrocker's career in a handful of ways. For one, it helped him launch a brief movie career playing swamp monsters. His fat eyelids also gave him the name Sleepy, although I won't speculate where "La Beef" comes from. But most of all, his size makes him a memorable performer who seems like he could be Andre the Giant's smaller, more musical cousin: Large but friendly, with a deep voice, a broken heart, and a heavy Gibson guitar. -- Nathan Thornburgh
FIGHTING MACHINISTS
(Ok Hotel) The Fighting Machinists are the only band to have ever destroyed my ex-roommate's will to live for an evening. Their frat-friendly, sing-along ditties and schtick-heavy banter sure went over well with the khaki-and-polo-shirt-wearing crowd of rabid devotees, though -- and provided some insight into the heretofore unexplained phenomenon of Hootie and the Blowfish-style "regular guy rock." Put 'em on a bill with Willis, blow the place up, and I guarantee the Gap would notice a significant decrease in local sales. -- Barbara Mitchell
SAMHAIN/NEW AMERICAN SHAME
(Roseland Theater, Portland) Long before Jesus lived, the Celts were celebrating Samhain: The cow-slaying, blood-drinking, kilt-pissing precursor to Halloween. So when Jersey deathrocker Glenn Danzig wanted an evil band name in the '80s, Samhain was a good fit. Unfortunately, it all went to hell when a guy named John Christ came on to play guitar in 1987. Good and evil battled, and Samhain died, waiting until this month to make its diabolical return to rock us with more of its gory, morbid thrash. -- Nathan Thornburgh
BRADEN BLAKE
(Sit & Spin) Last year seemed to be a rough one for local pop bands, with bands like the Posies, Super Deluxe, Tube Top, and Micro Mini calling it quits. Thankfully, most of those folks have regrouped and reemerged -- and it's a relief to see Super Deluxe's Braden Blake back among us. While there are persistent rumors of SD reuniting, I'd heartily encourage you to take this opportunity to experience the essential essence of what made that band so good: Blake's voice and songwriting, in a more stripped down setting. -- Barbara Mitchell
DANZIG/SAMHAIN
(Moore Theater) Danzig ex-guitarist Jeff Chambers must have screwed something up recently, because he's got devil-lovin' Glenn Danzig sounding like middle management: Danzig had to "let Jeff go" for an unspecified reason, but wants the world to know that it was very "amicable" and Jeff's a "great guy." So what was the problem? My guess is Danzig is just pissed because a recent European tour revealed that not even the Swedes give a damn about old school death metal anymore. -- Nathan Thornburgh
MOUNT ANALOG/MILLENNIUM BUG REVUE/BILL HORIST
(Rainbow) Led by the multi-talented Tucker Martine (Wayne Horvitz 4+1 Ensemble) on drums and processing, Mount Analog is pioneering a cool new style best described as ambient Americana. Fans of Bill Frisell's countrified frontiers are sure to dig their similarly altered roots and unique instrumentals. But that's not all: An early arrival is a must, as the slinky, solo-deconstructo guitar show of Bill Horist is bound to open your eyes. Likewise for the Millennium Bug Revue, a spirited groove-collective starring Dara Quinn (Rockin' Teenage Combo) and James Whiton, the best Seattle-based bassist you've never heard. -- James Kirchmer
MELISSA ETHERIDGE
(Mercer Arena) The woman who made a cuckold of Lou Diamond Phillips for a -- (gasp!) -- chick will take her female-friendly show to the Mercer Arena tonight. Actually, I think Etheridge has been pretty cool about being a famous lesbian musician -- a hard thing to do. (Remember Madonna's awkward dyke phase? Or Ani DiFranco's whole career?) Whether or not her brand of acoustic adult contemporary music is your bag, she hasn't tried to use her sexual preference to sell records, and you've got to respect her for that. -- Erin Franzman
KARL DENSON'S TINY UNIVERSE
(OK Hotel) The use of funk-this and funk-that marketing catch phrases by seemingly every James Brown-inspired band in the land has gotten out of control. What a relief, then, to come across Karl Denson (Greyboy Allstars), a sax/flute phenom bent on putting funk back on the you-gotta-earn-it pedestal where it belongs. Simply put, this boogaloo-drenched sextet is THE funkiest act Seattle's seen since Pucho & the Latin Soul Brothers came around. -- James Kirchmer
THE KNITTERS
(Crocodile) In 1999, the idea of punk rockers going country doesn't seem so strange -- but it was pretty revolutionary when members of X and the Blasters formed the Knitters and released Poor Little Critter on the Road almost 15 years ago. (Imagine, if you will, contemporary reaction if members of Jawbreaker and Sunny Day Real Estate formed an '80s metal side project....) With a line-up featuring John Doe, Exene Cervenka, DJ Bonebrake, and Dave Alvin, you can be sure that the Knitters are back because they want to be, and not for nostalgic purposes -- which means that this should be one heck of a show. -- Barbara Mitchell
BETTE MIDLER
(KeyArena) Anyone who saw Beaches can appreciate the irony of Bette Midler flailing as she tried to play a successful, talented singer. After all, why the hell is Midler famous? Her greatest hit was a nostalgia cover of "The Boogie Woogie Bugle Boy," and when she tried to play real-life USO diva Martha Raye on the silver screen, Raye sued her. If you really need to go to KeyArena for your entertainment, go Wednesday and see the Supersonics play Minnesota with star forward Kevin Garnett, who, like Bette Midler, could probably sing if he had to, but really shouldn't. -- Nathan Thornburgh
HOT TUNA
(Ballard Firehouse) A gig by the Artists Formerly Known as Hot Shit (RCA made them change it) is the biggest thing to happen to Ballard since Fred Meyer opened up last month. Started by two members of Jefferson Airplane as a mellower side project, Hot Tuna are now, 20 years later, industry leaders in the folk jam genre. Unlike Grace Slick, who would probably still be running naked around her Seacliff mansion with a shotgun and a bag of drugs if it weren't for law enforcement, Jorma and Jack have let the music of psychedelia guide them more than the psychedelia itself. -- Nathan Thornburgh
RICHARD BONA SEXTET
(Jazz Alley, through Sunday) Originally from Cameroon, this vocalist/bassist/bandleader has been called an "African Jaco." Deservingly so, as he's a player capable of turning anyone's head, whether in New York or Paris -- his two favorite haunts. With this band, however, the emphasis isn't on shreddin'. Instead, he focuses on his elegant voice, the beautiful world-fusions within his band, and the soulful sincerity of the traditional melodies that pepper his tunes. This particular project is definitely on the buttery side, but it's not smooth music by any means. He's got real stories to tell, and a genuinely sublime, romantic feel. -- James Kirchmer
DAMIEN JURADO/ ROSE THOMAS
(Tractor Tavern) Golly, it's been just ages since we've had an opportunity to see the elusive Damien Jurado. What has he been doing since Thursday, December 2, 1999, devoted fans might ask? What indeed! Jurado's well-deserved 4-night hiatus finally ends at the Trac tonight, along with the rumors that this singer/songwriter has been slacking off since last week. (For more on Damien Jurado, see Up and Coming for Thursday 12/2.) -- Erin Franzman
NEUROSIS
(Graceland) I feel kind of sorry for Neurosis. They've been working the dark/aggressive angle for years now -- only to watch cartoon versions of their bad vibe music (Korn, Limp Bizkit, etc.) go multi-platinum and move up to arenas -- while they continue to pack 'em in at the clubs. Truth be told, Neurosis are smarter, more interesting, and considerably more powerful -- and I'd be a million times more frightened if America's teenagers were going to school wearing Neurosis T-shirts instead of advertising lightweights like Marilyn Manson, the Bizkit, etc. -- Barbara Mitchell
BUILT TO SPILL
(Showbox) See Stranger Suggests.
NO. 13 BABY
(Crocodile) Cover bands usually make my flesh crawl. There's something so suspect about riding someone else's train. (Not to mention the crowds of weekend-warrior types who tend to gravitate to cover band shows, waiting to hoot and sing along.) No. 13 Baby are an exception. This all-star Pixies tribute band is a blast, partly because they deliver your favorite Pixies songs better than the actual band ever did, but mostly because they're obviously having such a great time doing it. Guilt-free, guaranteed to please, AND a limited Dockers contingent. Could you ask for anything more? -- Barbara Mitchell
HELLACOPTERS/SUPERSUCKERS
(Graceland) The Hellacopters are what Seattle needs: Two-dimensional cut-outs in an overly textured indie universe. The indie shoegazers have a message, too, but they can get so distracted by vibe issues and ironic self-reflection that their shows never take flight. The Hellacopters, on the other hand, know exactly what chords to play and exactly when to bang their Swedish heads. Self-doubt, or any other higher form of thought, never comes into the equation: The Hellacopters are literally rock machines. -- Nathan Thornburgh
JANE SIBERRY
(Century Ballroom) Mislabeled folkie Jane Siberry's fans fall into two pretty distinct categories -- those who are passionate about her effective storytelling from her days as a coffeehouse chanteuse, and those who were seduced by her "Calling All Angels" duet with k.d. lang for Wim Wenders' Until the End of the World. (Siberry reappeared on the soundtrack to the director's weird Wings of Desire sequel, Far Away, So Close.) Then again, there's a whole other fan contingent that came along with Siberry's inclusion in the 1997 compilation Women Like Us: Lesbian Favorites -- and with that she's guaranteed continued celebration, as we know that audience is nothing if not devoted. -- Kathleen Wilson
AIRTO MOREIRA & FLORA PURIM
(New Orleans, through Saturday) After arriving on our shores from his native Brazil in 1968, Airto Moreira proceeded to revolutionize percussion. His anything-goes, Brazilian street-beat innovations were filled with new sounds, and Airto soon found himself jammin' with stars such as Miles Davis, Herbie Hancock, and Joe Zawinul. Sure, he got a bit too syrupy in the late '70s (along with his vocalist/wife Flora Purim), but so did everyone else. These days, their passionate world-jazz is once again relevant. Like Santana (whom he's played with), Airto's joyful virtuosity is filled with a loving spirit and a desire to heal, informed by ancient traditions. -- James Kirchmer
OFFSPRING
(Mercer Arena) It's strange to me that this band should be so popular, and I can only attribute it to one thing: There's a line in their "oh-way-oh" song ("Self Esteem," but who remembers that title?) from their 1994 CD, Smash, that goes, "When she's saying that she wants only me/Then I wonder why she sleeps with my friends?" I'm fairly certain that it's because of that line, a human insight of Shakespearean proportions, that they're so popular. Their attempts at race politics ("Keep Em Separated" and "Pretty Fly (For a White Guy)") don't resonate with your average upper-middle class punks, but the inability to understand chicks is a male universal. Anyway, the Offspring are the proto-Limp Bizkit, which either makes them more original than Limp Bizkit or responsible for Limp Bizkit. -- Erin Franzman
