INDY Week 7.10.19

RALEIGH July 10, 2019

TRIANGLE MUSIC ISSUE

5 Wan have viole HIT ME UP FOR AN APPOINTMENT BEFORE HITTING THE BEACH THIS YEAR. I’LL MAKE SURE YOU LEAVE WITH THE DENTAL EQUIVALENT OF WASHBOARD ABS. [217 W. MILLBROOK RD., 919-787-9894]

Visit us at www.drjodifoy.com

6 In 20 $2.4

8 Enjo nam

13 Durh area you’r

16 The Daug Saus

19 Raps she’s hip-h

19 Anci the f only

SOME UPCOMING LOCAL SHOWS PRESENTED BY...

FR JULY 12

THE LOVE LANGUAGE

ORIGINAL LINEUP/SELF-TITLED TEN YEAR SHOW

SA JULY 13 @NCMA

TIFT MERRITT

OPENING FOR ANDREW BIRD SA AUG. 31 @ NCMA MIPSO SA SEPT. 21 @ KOKA BOOTH

MANDOLIN ORANGE W / MOUNTAIN MAN SA OCT. 19 @ CAT’S CRADLE BACK ROOM

JOHN HOWIE JR AND THE ROSEWOOD BLUFF FR/SA NOV. 22/23 @ DPAC SYLVAN ESSO

FR AUG. 23 PART OF BE LOUD! ‘19

CHATHAM COUNTY LINE CATS CRAD LE.COM  919.9 67.9 053 2 | 7.10.19 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH VOL. 36 NO. 26

DEPARTMENTS

5 Want real criminal justice reform? We’re going to have to talk about sentencing—and that includes violent offenders.

6 News 8 Triangle Music Issue

6 In 2018, the Cary-based Epic Games made about $2.4 billion off of the free-to-download game Fortnite.

21 Food & Drink 22 What to Do This Week

8 Enjoy (or at least tolerate) our crash course in the big names in Triangle music in children’s verse form.

25 Music Calendar 29 Arts & Culture Calendar

13 Durham’s Ebz the Artist is empirically one of the area’s hottest acts, but you might not know it unless you’re Very Online.

16 The natural sounds of North Carolina seethe in the Daughter of Swords debut by Mountain Man’s Alexandra Sauser-Monnig.

19 Rapsody is the biggest name in the scene, but she’s far from alone among women pushing Triangle hip-hop forward.

19 Ancillary* Fermentation, a pop-up brewery from some of the folks behind Bond Brothers and Fortnight Brewing, only makes thirty barrels per release.

The Love Language’s classic lineup reunites at Cat’s Cradle on July 12 (see page 11).

On the cover

PHOTO BY NATHAN PAZSINT

DESIGN BY ANNIE MAYNARD

INDYweek.com | 7.10.19 | 3

J U LY

WE 10 THE NEW MASTERSOUNDS W/ DAVE GEORGE TRIO 7p

FR 12 PHISH AT ALPINE VALLEY

Raleigh Durham | Chapel Hill

NIGHT ONE WEBCAST 7p

SA 13 GRASS IS DEAD & SONGS FROM

THE ROAD BAND 8p SU 14 PHISH AT ALPINE VALLEY NIGHT THREE WEBCAST 7p

SU 7/14 • 7:30P

YELLOWMAN TU 16 CHARLEY CROCKETT 8p TH 18 LATE SHOW- UM AFTER PARTY. DOOM FLAMINGO 10:30p

FR 19 GREENSKY BLUEGRASS

AT KOKA BOOTH AMPHITHEATRE 5:30p

FR 19 INTERSTELLAR OVERDRIVE:

A SAUCERFUL OF PINK FLOYD W/ EYEBALL 7:30p

SA 20 LONG BEACH DUB ALLSTARS

W/ AGGROLITES / MIKE PINTO 7:30p

SU 21 AFTON MUSIC SHOWCASE

FEATURING: ELECTROMANIC, MEISTROXMUZIC, MARK DIPRIMO, AIRCRASH DETECTIVES, KEITH LEGLUE, THE GYPSY MYSTICS , THE OCEANFRONT BAND & GUEST 5:30p LO$T IN THE KOSMOS 7p

FR 26 SA 27 DIRTY LOGIC:

TRIBUTE TO STEELY DAN 8p AU G U ST

FR 2 COSMIC CHARLIE 8p SA 3 BENNY “THE BUTCHER” FR 9

W/ ADAM BOMB/CAPRI/ CEEZ PESO & THE BUFFET BOYS 8p STEPHEN MARLEY W/ DJ SHACIA PÄYNE & CONSTANCE BUBBLE 9p MOTHER’S FINEST 7p

SA 10 FR 16 WOODSTOCK AND BEYOND, FEATURING THE QUADRIVIUM PROJECT 7p 12TH PLANET 8p

SA 17 WE 21 BERES HAMMOND – NEVER ENDING

W/ HARMONY HOUSE SINGERS 7p

FR 23 JIVE MOTHER MARY

W/ BROTHER HAWK / BIGGINS / SIXTEEN PENNY 7:30p

SA 24 THE MAGNIFICENT DJ JAZZY JEFF 9:30p FR 30 WAR WITHIN A BREATH

SA 31

A TRIBUTE TO RAGE AGAINST THE MACHINE 8p METAL POLE MAYHEM 8p

CO M I N G S O O N

9/1 NIKE VS. ADIDAS PARTY

I LOVE THE 80’S / 90’S 9p 9/13 WILDER WOODS LIVE IN CONCERT 7p

BRENT COBB AND THEM 7p BLACK UHURU 8p DAVID ALLAN COE 7p DREW HOLCOMB & THE NEIGHBORS W/ BIRDTALKER 6:30p 9/29 NOAH KAHAN 7p

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PUBLISHER Susan Harper EDITORIAL

EDITOR IN CHIEF Jeffrey C. Billman ARTS+CULTURE EDITOR Brian Howe STAFF WRITERS Thomasi McDonald, Leigh Tauss ASSOCIATE ARTS+CULTURE EDITOR Sarah Edwards FOOD+DIGITAL EDITOR Andrea Rice EDITORIAL ASSISTANT Cole Villena THEATER+DANCE CRITIC Byron Woods RESTAURANT CRITIC Nick Williams VOICES COLUMNISTS T. Greg Doucette,

Alexis Pauline Gumbs, Courtney Napier, Barry Saunders, Jonathan Weiler CONTRIBUTORS Amanda Abrams, Jim Allen, Elizabeth Bracy, Timothy Bracy, Jameela F. Dallis, Khayla Deans, Michaela Dwyer, Spencer Griffith, Howard Hardee, Corbie Hill, Laura Jaramillo, Kyesha Jennings, Glenn McDonald, Josephine McRobbie, Samuel MontgomeryBlinn, Neil Morris, James Michael Nichols, Emily Pietras, Marta Nuñez Pouzols, Bryan C. Reed, Dan Ruccia, David Ford Smith, Zack Smith, Michael Venutolo-Mantovani, Chris Vitiello, Ryan Vu, Patrick Wall INTERNS Lena Geller, Thomas C. Martin, Sophia Wilhelm

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backtalk

INDY VOICES

The HigherHanging Fruit

Bear, Poked

W

e’ll begin with comments on last week’s Voices column, in which Barry Saunders wrote about an exchange with a Beyù Caffè barista who was annoyed that Saunders missed the cafe’s music programming.

“I’m a longtime patron of Beyù,” writes My Bin. “Your article sounded like it was written by an entitled sorority sister from The Valley who was told her fave boutique didn’t have the color she wanted. Thanks for nothing.”

“If you acknowledge that speaking to the owner about the topic could be annoying to him, wouldn’t you expect that another employee would be annoyed, too?” adds Kevin. “Don’t poke the bear.”

Finally, Black Raleigh: “The INDY digs up Barry Saunders to write a hit piece on one of the few brick-and-mortar businesses in the Triangle.

Shame on you, Barry! I can expect this from the INDY, but I did not expect this from you!”

Since we’re on the subject, a quick word about the rules to Voices: There are none. (OK, technically, there are two: Don’t libel anyone, and don’t say anything factually incorrect). Writers are free to say whatever they want.

Back to it. F. Marion Redd is very upset about our Best of the Triangle issue: “I was shocked (but not surprised) that the very first award went to the UNC student activists who broke the law and pulled down the statue of Silent Sam last August.

Obviously, the INDY’s staff uses these ‘awards’ for its own editorial justification. Not only is your revisionist history incorrect regarding the Civil War, but you also encourage illegal actions and reward terrorists’ behavior.

“What you ought to have mentioned was that the only legal loophole then-Chancellor Carol Folt could find was the ‘safety and security’ issue, and thus she encouraged the mob scene and even fostered events by having the police stand down.

Finally, your suggestion that those unfamiliar with history ought to pick up a history book should begin with the writers of this publication.”

Quick fact-check: Our readers, not our staff, selected winners in this and every other category.

And, hate to break it to you, but Silent Sam did, in fact, honor students who fought in a traitorous war to preserve chattel slavery; deal with it.

Want to see your name in bold? Email us at backtalk@indyweek.com, comment on indyweek.com or our Facebook page, or hit us up on Twitter: @indyweek.

ON JUSTICE REFORM, IT TOOK A WHOLE LOT OF WORK JUST TO DO THE EASY STUFF BY T. GREG DOUCETTE T. GREG DOUCETTE is a local criminal defense attorney, justice reform advocate, and host of the podcast #Fsck ’em All. Follow him on Twitter @greg_doucette.

NEXT WEEK: ALEXIS PAULINE GUMBS, a Durham-based writer, poet, public intellectual, founder of Eternal Summer of the Black Feminist Mind, and “queer black troublemaker.”

O

n June 25, Democratic voters in New York City effectively elected their next state’s attorney for Queens. In a primary night surprise, thirty-one-year-old Latina public defender Tiffany Cabán claimed victory over Queens borough president Melinda Katz.

If Cabán ultimately prevails—a recount is certain given the razor-thin margin, and shenanigans seem certain given the city—she’ll be the latest defense attorney elected chief prosecutor after campaigning on aggressive criminal justice reforms, joining Rachael Rollins in Boston, Larry Krasner in Philadelphia, and several others around the country.

That zeal for reforming our absurd “justice” system has even reached North Carolina. Last year, voters in both Mecklenburg and Wake Counties replaced incumbent sheriffs with challengers who pledged to end participation in the federal government’s ludicrous 287(g) program, where local tax money is squandered to “deputize” sheriff’s offices into ICE agents to do Washington’s work for it.

Durham’s incumbent sheriff was ousted, too, and exchanged for a career lawman who promised to end the unconstitutional practice of enforcing ICE detainers—the policy of ignoring the Fifth Amendment to instead spend your money holding people in jail for two days after a judge has ordered their release.

And like Cabán in New York, Durham County voters chose a new district attorney in Satana Deberry, who

vowed to bring about reforms faster than the incumbent she replaced.

In North Carolina, some recent reforms have even featured bipartisanship! In just the past few years, bipartisan majorities in the General Assembly have redirected resources into community corrections, raised the age for when children can be prosecuted as adults, expanded our expungement laws, and then expanded them again. All of these reforms are significant, and each will have meaningful, long-term effects on thousands of North Carolinians.

But as hard as they were to get through our legislature—the Raise the Age bill alone took over a decade, even with study after study after study recommending the changes—these reforms are also comparatively easy in the grand pantheon of fixes our system needs. Consider Raise the Age: Efforts to make that change languished for so long that, by the time it finally passed the General Assembly in June 2017, North Carolina had become the last state in the entire country still prosecuting all sixteen-year-olds as adults.

(New York was second to last, enacting its Raise the Age legislation two months before us.)

Much harder conversations lie ahead, and legislative prospects are dubious.

Take money bail. The practice of caging someone before trial unless they have money is as old as the country itself; Alexis de Tocqueville decried its inherent unfairness in Democracy in America, written in 1835. But even

though the federal government mostly abandoned money bail when Congress adopted the Bail Reform Act in 1984, our state continues to gauge whether someone should remain in jail before trial largely on whether he or she has money in the bank. This produces artificially increased guilty pleas on top of disrupting families and jobs.

And at some point, we need to reassess how we handle prison sentences.

Mention “violent offenders” and most politicians flee for the hills. But, in a four-part series on Medium, a data scientist writing under the pseudonym @xenocrypt showed how longer sentences for violent crimes coupled with short-but-numerous sentences for drug crimes created an explosion in prison populations that simply cannot go away without significant decarceration.

The end result is hundreds of millions of taxpayer dollars invested in warehousing people, long after most have “aged out” of criminal conduct— depriving policymakers of revenue to spend on more productive endeavors.

These are just two examples, with many more alongside them. The work of meaningful criminal justice reform has only started, and bigger battles are yet to come. backtalk@indyweek.com INDY Voices—a rotating weekly column featuring some of the Triangle’s most compelling writers—is made possible by contributions to the INDY Press Club. Visit KeepItINDY.com for more information.

INDYweek.com | 7.10.19 | 5

indynews

Don’t Hate the Player

A FEDERAL LAWSUIT ACCUSES THE CARY COMPANY BEHIND THE POPULAR VIDEO GAME FORTNITE OF TRICKING CHILDREN INTO SPENDING THEIR PARENTS’ CASH BY THOMAS C. MARTIN

L

ast month, the guardian of a California child filed a potential federal class-action lawsuit alleging that Epic Games, the Cary-based company behind the hugely successful video game Fortnite, takes advantage of minors by getting them to unwittingly spend gift cards and their parents’ money on in-app purchases.

If the case is successful, it could upend the multibillion-dollar gaming industry, says Mia Consalvo, a professor of game studies and design at Concordia University in Montreal.

“Obviously, it would be big,” Consalvo says. Not only would it hurt Epic Games— a company that reportedly grossed $3 billion in profits in 2018, according to the website TechCrunch, and is valued at $15 billion—but it could have ripple effects as well. “It would cause a lot of fear and concern, not just with Epic but across the game industry.”

Central to the lawsuit, first reported by the Triangle Business Journal, is this question: Who is to blame for a child’s irresponsible purchase—the parents who gave them access to their credit card, or the game-maker who allegedly suckered them into buying?

The lawsuit alleges the latter. And it says that’s how Fortnite makes its money.

“The video game Fortnite is targeted at children,” says the complaint, which was filed June 21. “Although offered for free and may be downloaded for no cost, the Fortnite game is designed to induce in-app purchases. … These games are highly addictive, designed deliberately so, and tend to compel children playing them to make purchases.”

Neither the lawyers who filed the complaint nor representatives from Epic Games responded to the INDY’s requests for comment.

Released nearly two years ago, Fortnite, which is free to download on most platforms, has become one of the most popular video games in the world. As of March, more 6 | 7.10.19 | INDYweek.com

The Rabbit Raider and Bunny Brawler skins in Fortnite’s Battle Royale mode than 250 million players have joined, and Epic made about $2.4 billion off the game in 2018, according to the lawsuit. Especially popular is Fortnite’s Battle Royale mode, in which a hundred or so players are dropped onto an island replete with guns, traps, and building materials. Players then fight in a smaller and smaller area as a storm surrounding the island closes in. The last man, or woman—or unsettlingly anthropomorphic banana—standing wins.

About that banana: Though players can earn it and some other cosmetic avatar options, which Fortnite calls “skins,” by playing the game frequently and well, they can only obtain others through the Fortnite item shop with the game’s virtual currency, V-Bucks, which can be purchased

IMAGE FROM GAMEPEDIA, FORTNITE WIKI

using a credit card or gift card. The current exchange rate is about 100 V-Bucks per $1, though the rate improves the more V-Bucks you purchase. (Like some skins, players can earn V-Bucks by playing the game, but the process is time-consuming.)

Then, players spend the currency on whatever they want: the dashing sushi chef skin and the creepy Valentine’s Day limited-edition pink teddy bear skin, as well as a pickaxe shaped like a bratwurst, a hangglider modeled after a great white shark with a laser pointer strapped to its back, and an extensive catalog of dance animations called “emotes.”

(These emotes are also the subject of lawsuits. Actor Alfonso Ribeiro, who played Carlton Banks in The Fresh Prince of Bel-

Air, rap artist Terrence “2 Milly” Ferguson, and others claimed that Fortnite violated copyright law by selling their dances without their permission; those lawsuits were recently put on hold to allow their copyright applications to be processed.)

These in-game purchases are at the heart of the federal lawsuit. Because the prices of items are displayed in V-Bucks rather than dollars, the suit argues, “it is difficult for players to conceptualize how much actual money they have spent.”

For minors, who may not fully understand the value relationship between V-Bucks and real money, purchases can be made “in a rush and in the heat of the moment,” the lawsuit continues, especially if a parent has previously saved credit card information in

in the Triangle year after year!

the game. Only three purchases per Fortnite account can be refunded—ever—and the game does not include built-in parental controls to prevent such purchases. (The complaint does not mention the age of the plaintiff, referred to as Johnny Doe, nor does it say how much he spent after he downloaded Fortnite in 2018. It does say that the potential class-action claim is worth more than $5 million and argues that it should apply to minors up to age seventeen.)

For those reasons, Consalvo says, Epic may bear some fault. “I think there’s shared responsibility,” she says. “I don’t think it’s all on the parents.”

This isn’t a new problem. Game designers have been confronting it since at least the early 2000s, and especially over the last decade, with the explosion of free-toplay games on smartphones. That changed the industry’s financial model. The games themselves cost nothing to download, but the in-game purchases have proven lucrative—and contentious.

In 2014, in a settlement with the Federal Trade Commission, tech giant Apple agreed to issue $32.5 million in refunds to customers whose children had made sometimes large, unwanted purchases in App Store games with stored credit card information. That same year, Google settled with the FTC as well, agreeing to at least $19 million in refunds. A class-action lawsuit against Facebook forced the company to issue refunds in 2016. Earlier this year, children’s rights groups asked the FTC to investigate the social media giant.

In May, Senator Josh Hawley, a Missouri Republican, introduced a bill that would ban “play-to-win microtransactions”—meaning, among other things, a purchase that “assists a user in accomplishing an achievement within the game that can otherwise be accomplished without the purchase”—in what Hawley’s bill calls “minor-oriented games.”

In a press release announcing the bill— which Hawley co-sponsored with Democrats Ed Markey of Massachusetts and Richard Blumenthal of Connecticut— Hawley likened these games to casinos:

“Only the addiction economy could produce a business model that relies on placing a casino in the hands of every child in America with the goal of getting them desperately hooked.” (A British behavioral specialist has likened Fortnite to heroin, telling Bloomberg last year, “Once you are hooked, it’s hard to get unhooked.”)

Consalvo worries that a bill like this could go too far and “crush indie game developers.” The baseline market price to download most games right now is free. The only way for a new company to make money is through in-app purchases. So if you crack down too hard, you could make it impossible for new competitors to break through.

“Probably some game companies have gone too far with how they’ve monetized things,” Consalvo says, “and this is really coming back to bite them. But it’s going to impact a lot more people than just the few people who might have acted unethically.”

Sometimes, game companies will refund charges when parents complain—which Consalvo says is their ethical responsibility, since they know some of their players are children.

The Johnny Doe lawsuit doesn’t specify whether the plaintiff’s parents asked for a refund, only saying that he “wanted to cancel those purchases but was not allowed to do so under Epic’s non-refundable policy,” which limits refunds to three times only.

But on two occasions last year, Epic refunded parents who filed complaints with the N.C. Department of Justice about charges their children racked up playing Fortnite.

The N.C. DOJ received thirteen complaints about the game in 2018, according to state records. (The DOJ says it has received six complaints about Fortnite this year, but it had not provided them to the INDY by press time.)

Many of these complaints concerned things like hacked accounts, unauthorized login attempts, and so on. In one case, Epic told the state that a person complaining about fraudulent charges on their account had made repeated charges from the same IP address, so it wouldn’t refund their money.

In another, Epic declined to refund $444 to a

parent whose child’s account was locked for enabling an “unauthorized modification” of the software—in other words, cheating.

But in two instances, parents of minors said their kids had made purchases without their permission.

A woman from Lenoir, North Carolina, told the state DOJ on August 4, 2018, that her child spent $1,227.06 while playing Fortnite, and that once her payment information was entered into the game, it was auto-saved, meaning future purchases did not require additional verification. According to a letter attached to her report, Epic Games refunded the charges five days later.

Erika Stecklare of West Burlington, Vermont, complained to the state DOJ on February 27, 2018, that her child had charged $134.92 on her debit card without asking, telling the agency, “I cannot afford this.”

“My son was sucked in,” Stecklare told the INDY. She says the “addictive” game encouraged her son, who was eleven at the time, to continue playing and purchasing items.

“I really don’t think he could control himself,” she says.

When Stecklare tried to request a refund from Epic Games, she says, it was like hitting a brick wall. She sent multiple emails over several days but says she received only boilerplate responses.

Once she filed a complaint with the state DOJ, however, things started moving quickly, Stecklare says. The DOJ sent a letter to Epic two days later, and Epic responded within a week saying that the charges to Stecklare’s card had been refunded.

Stecklare accepts some responsibility for making her debit card accessible to her son, but she “never thought my child would do that,” she says.

She thinks Fortnite should include stronger in-game parental controls to prevent such purchases, as well as clearer pop-up messages to let kids know they are spending real money on virtual items and more responsive customer service.

Stecklare says she misses the days when you could “buy the game and be done with it.” backtalk@indyweek.com

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“Some game developers have gone too far with how they’ve monetized things, and this is really coming back to bite them. But it’s going to impact a lot more people than just the few who have might have acted unethically.”

804 W. Peace St. • Raleigh • 834-7070

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INDYweek.com | 7.10.19 | 7

The

ABCs of Triangle Music

By Brian “Ashamed of Himself” Howe

A B C D 8 | 7.10.19 | INDYweek.com

is for Arrogance: Ere Archers were kings, Those dudes set the scene For the indie-rock thing.

is for Ben Folds, The sadboy who made ol’ Pianos okay things To play at the Cradle.

is for Shirley Caesar, And C’s for Clay Aiken, Who parlayed godly feels Into Billboard sensations.

is for Drops (See Carolina, Chocolate), Who make real country music Contra Nashville pop hits.

E F G H

is for Esso (Of course we mean Sylvan), Who poured “Coffee” into Our ear holes. It’s still in!

is for Fin Fang Foom Who were cute Whenever Eddie Would break out that flute.

is for G Yamazawa, on track To rebrand our state Evermore as North Cack.

is for Hiss Golden Messenger— Buddy, that name is so Long it ate up this whole

I J

is for Iron & Wine, Yon sepia poet, Durham-based even if You would never know it.

is for J. Cole, Dreamville purveyor, Who now owns this letter.

(Sorry, James Taylor.)

K L M

is for Mez—just Mez— Whom we still call King.

He got put on by Dre! In the shower, we sing.

is for Little Brother.

It’s not just old-schoolin’— Think of their upcoming Hopscotch reunion. is for Mandolin Orange and Mipso, Mountain Man, Mountain Goats, And Mount Moriah.

There’s just something folksy ‘Bout M, we suppose.

But whence all these mountains In central Carolina?

N O P Q R S T U

is for 9th Wonder (Yes, 9 counts as N), Who (boo!) won’t be in Raleigh With Pooh and Phonte again.

is for good old The Old Ceremony, Whom critics call “literate,” Which means they can read.

is for Porter Robinson Crusoe, Whose EDM’s stranded Around Web 1.0.

Quelle surprise! That last one Was so effing nerdy.

Oh, you’re looking for Q? Let’s move on in a hurry.

is for Rapsody, A Snow Hill phenom That you can get into With no shirt in your palm.

is for Superchunk, Who’ve somehow been crankin’ Since all the rock kids Worked at Pepper’s on Franklin.

is for Tift Merritt, Playing this Saturday With Andrew Bird At NCMA.

Um, fine, you got me.

That was just a plug.

The hate mail from “U” bands Is going to be ug.

V W X Y Z @

is for Violet Vector And the Lovely Lovelies Whose dosed indie pop Is tres bright and bubbly.

is for Wye Oak, Fine imports from Balmer, Who find life in Durham A little bit calmer.

is for Xiu Xiu Who lived here for a second And hated each minute— What else would you reckon?

is for Yaggfu Front, who got signed Before Triangle hip-hop Was a gleam in 9th’s eye.

Z is for ZenSoFly, Hip-hop-scene queen, Whom you can read more About on page nineteen.

Now you know Your ABCs. If you hate this Don’t @ me.

INDYweek.com | 7.10.19 | 9

10 | 7.10.19 | INDYweek.com

INDIE ROCK

First Language Scarred but revivified, a popular local band finds the love again

By Sarah Edwards

S

tu McLamb is nostalgic for his first album as The Love Language, released a decade ago this summer.

“It was such a time and place and excitement,” he says. “You don’t get that chance again. Turning on this little tape recorder and hearing sound back, it was the first time I’d recorded stuff on a bigger scale.”

It helps that there’s so much scrappy, sprawling mythology scaffolded around the self-titled album and the band that made it. Eleven years ago, McLamb was living with his parents in Cary following the splintering of both a band and a relationship; an opportunity to play with The Rosebuds spurred him to form his own new band with Josh Pope on bass, Kate Thompson and Missy Thang on keyboards, Jeff Chapple on guitar, Tom Simpson on drums, and percussionist and guitarist Jordan McLamb.

They recorded the album in 2009 and fractured shortly after. Now, a decade later, the original members (except Pope) are playing a July 12 reunion show at Cat’s Cradle.

Merge Records is also reissuing the debut, which has been out of print for years.

David Menconi’s 2009 SPIN review of the self-titled LP phrased the band’s beginnings efficiently (“Heartbroken North Carolina boy fashions lo-fi indie stunner at Mom and Dad’s”), although that narrative bears a second glance, as most mythologies do. McLamb still scans as boyish, but he was in his late-twenties by the release of the record, with a tangled band history already behind him (most notably with the Capulets) before he began his feature project.

Still, there was something about these songs and the band that coalesced around them that felt fresh and just worked. There was a moment when The Love Language seemed like the torch-bearers of the local indie-rock scene, flanked by The Light Pines, Ryan Gustafson, Max Indian, and other bands that sparked a propulsive energy, or what McLamb describes as “a good kind of competitiveness.”

The distorted, lo-fire register of The Love Language had genuine origins—recording sessions pinballed between basements and storage units around North Carolina—and, married with dreamy, infectious hooks, that sensibility makes for the feeling of a messy summer, of wine-rings on a picnic table and stubbed-out cigarettes in a Citronella candle. It’s a breakup album, if not exactly a heartbreak album, and the distinction feels important: Rather than honing in on regret or longing, frustration chafes against some amorphous, energetic thing—mania or joy, maybe, depending on whom you ask.

“Something that was cool about when we came around was that people were figuring stuff out and using less advanced technology to do that. I think there’s a charm to that,” McLamb says. “That was something that helped

The Love Language ten years ago

PHOTO BY NATHAN PAZSINT

make the music what it was from not being able to overthink it. Mess-ups add a lot of humanity.”

The band toured nationally before McLamb signed with Merge Records at the tail end of 2009, and things began to sour between the band.

“I think it’s a pretty open secret that it wasn’t the most amicable split,” Thompson says, “There were a lot of feelings of, ‘I thought we were all in this together,’ and then maybe it became clear that it was really Stu’s project and we all wanted a little more ownership over it. I think our personal lives started to get a little more complicated and we were all living in a house together. And just a bunch of dudes. It was magical and I appreciate it for what it was.

But it was also really stressful.”

After making 2010’s Libraries and 2013’s Ruby Red with a rotating cast of new band members, McLamb moved to LA, opting for a fresh start; last year, he put out fourth album Baby Grand, which Simpson also plays on. The rest of the band, meanwhile, lost touch. Thompson had stopped playing music altogether and moved to teach abroad for a stint before returning to head up Body Games.

And then, last year, after nearly a decade of not speaking,

a run-in at Hopscotch between Thompson and McLamb— aided by a handful of fireball shots at Slim’s—prompted talk about getting the band back together for a reunion show.

Fortuitously, this conversation came just ahead of the tenyear anniversary of the first album.

“Time heals,” Thompson says. “We were practicing in this little rehearsal space behind a Cup A Joe, and— you know that feeling when you’re watching your favorite Disney movie and you’re washed over with this very youthful, juvenile excitement and warmth? It feels like a reset, like coming home when you thought you could never come home again. I can’t speak for everyone, but it feels bigger and more emotionally healing than what it appears to be. The scabs are there, the scar tissue is there, but it’s fine.”

As an album, The Love Language rewards revisitation. Opening track “Two Rabbits,” is a warbly cinematic ballad that begins with whimsy before sweeping into a rejoinder about mistakes and wanting to die in somebody’s arms. It has all the offbeat poeticism of a Joanna Newsom song, if somewhat lacking the depth of a Newsom lyric, but courses with so much obsessive emotion and voice-cracking confidence that you’d be forgiven for forgetting to peel away the first layer in search of the next. “Lalita,” which immediately follows, is also about mistakes, although in this one, any regret has given way to a rollicking, aggrieved energy.

“The Love Language is very earnest,” Thompson says.

“But it’s earnest about somebody else’s feelings, and I feel strongly about it because it’s relatable and those songs mean a lot to me now. I was giving a performance. It was a truly felt thing. It was sincere but it wasn’t mine. But man, I loved those songs. Listening to them again, I don’t think I really fully appreciated how fucking good they were.”

By the last song, the band’s animation has placed you in the middle of an emotional capsule so full of highs and lows and wobbling uncertainties that you feel as if the key thread of some original argument has been body-surfed away in the crowd and lost altogether.

The final quartet on that last song, “GrayCourt,” closes with a clincher that, in the rear-view mirror of a decade, looms larger than maybe intended: “Love is built like a diamond / But breaks just like glass / You were the first / And you’ll be the last.” sedwards@indyweek.com

THE LOVE LANGUAGE July 12, 2019, 9 p.m., $14 Cat’s Cradle, Chapel Hill INDYweek.com | 7.10.19 | 11

BLUES

The Work of Their Hands The Blue Muse project and Music Maker 25 embody the living blues

By Byron Woods

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mbodiment is the bedrock of the blues. They are the chronicles— poetic, brutally frank, or both—of a broad range of experiences endured by forebears whose names were often lost over more than two U.S. centuries. Countless blues songs document the consequences of troubled love and lust or the sweat and strain of onerous physical labor. In many of these experiences, the body—working, resisting, overcoming, ecstatic—is central.

Photographer Timothy Duffy highlights this principle in Blue Muse, a collection of sixty large tintype photographs of blues musicians published recently by The University of North Carolina Press. The book is one of three initiatives in a yearlong celebration of the twenty-fifth anniversary of

Hillsborough’s Music Maker Relief Foundation, which Duffy cofounded not only to document hundreds of aging master blues, gospel, Native American, and string-band musicians in the South, but also to help alleviate their financial strains and provide opportunities to record and perform.

Duffy calls the artists collaborators and old friends, which rings true in the unvarnished, unguarded tenor of the images.

Large-format tintype photography, made with a camera weighing more than six hundred pounds, provides incredible intimacy and detail. When the faces and hands of elderly musicians fill the fourteen-by-fourteen-inch frames, the contours of their skin, the wrinkles and scars, disclose topographical maps of rich lives. Turning the pages,

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we lock eyes with Wilbur Tharpe, a pianist for the gospel group The Branchettes, and Vania Kinard, a journalist married to Carolina Chocolate Drops cofounder Dom Flemons, both of whom scrutinize us with incandescent intensity. The late, great Sharon Jones, of The Dap-Kings, demands that we bear witness in an earnest photograph taken months before she died. Though the face of Piedmont blues guitarist Algia Mae Hinton is in softer focus, the sharp foregrounding of her well-worn right hand testifies to a long life of farm work.

Duffy records different forms of spiritual communion in three faces with eyes closed: the rapture on the countenance of gospel singer Lena Mae Perry, the beatific smile of guitarist Little Freddie King, and the austere contemplation of Robert Finley.

Duffy’s lens work also captures for eternity a resolute Captain Luke, standing strong one day before his 2015 death from cancer.

The companion CD, also called Blue Muse, features a number of the artists depicted in the company of guest musicians, including Taj Mahal, Jimbo Mathus, and Cool John Ferguson. The compilation features a previously unreleased Eric Clapton track, a 1995 duet with Duffy on “Mississippi Blues.” Following an opening track that seems a joyful blues séance, with spoken-word passages from an octet including the legendary Guitar Gabriel, Taj Mahal gives a deceptively light touch to “Spike Driver Blues,” and the resonant baritone of Captain Luke plums the bemused depths of his classic tribute to a stubborn mule, “Old Black Buck.” Alabama Slim’s electric guitar in “I Got the Blues” rubs against Flemons’s string-band take on “Polly Put the Kettle On,” and John Dee Holeman’s human percussion in “Hambone” contrasts with ninety-two-year-old Eddie Tigner’s full-band take on “Route 66.” (Tigner died in April.) Willie Farmer’s “I Am the Lightnin'” heads uptown from Hinton’s country blues, “Snap Your Fingers,” and Native American singer Cary Morin’s optimistic gospel song, “Sing It Louder,” updates more traditional a capella gospel from Perry and The Branchettes.

Top: Wilbur Tharpe, Bottom: Algia Mae Hinton PHOTOS FROM BLUE MUSE BY TIMOTHY DUFFY While all this documentation is vital, the blues is a living tradition. Duke Performances helps Music Maker Relief Foundation close out its twenty-fifth year with Music Maker 25, a week-long festival in December featuring concerts and other events, including an exhibit of Duffy’s tintype photography. Among seven concerts, Flemons joins “Blind Boy” Paxton, Jake Xerxes Fussell, and Gail Caesar in “Pickers and Storytellers.” Zydeco takes the stage with Major Handy, Buckwheat Zydeco Jr., and Ils Sont Partis. A Native American musician showcase features Morin, Pura Fé, the Deer Clan Singers, and Lakota John & Kin. Duffy curates a blues revue featuring Ferguson, Alabama Slim, Pat “Mother Blues” Cohen, Fé, and Morin, and gospel concerts feature The Branchettes, Phil Cook, and The Glorifying Vines Sisters. music@indyweek.com

R&B

Ebz and Flow The Triangle's hottest new R&B artist forged her own path to virtual stardom By Eric Tullis

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wo weeks ago, Durham vocalist and producer Ebz the Artist announced via her Instagram that her song “Say It” had just hit two million views on YouTube. In response, the ever-watchful Durham personality and longtime WXDU 88.7 DJ Ross Grady tweeted about her milestone: “The difficulty of covering the sprawling Triangle music scene is highlighted by the fact that this tune by Ebz has 2 million views & yet she's had zero coverage in the Indy, the N&O, the Durham Beat, Clarion Content, etc.”

He was right. We had slept on the song and the opportunity to highlight what few upand-coming local R&B artists have achieved in the digital-streaming age, a strange time where an artist can be from somewhere but succeed on the placeless internet. Mostly by word of mouth and a few spins by some of Ebz’s overseas deejay friends, “Say It” exploded online and took on a life of its own.

“I was shocked,” says Ebz, who is twenty-two years old. “I didn’t expect for that many people to be listening to my music. I never thought music would be my first route, because I draw and paint a lot as well. It seemed surreal.”

Ebz the Artist PHOTO COURTESY OF THE ARTIST

By comparison, the viral, Durham-grown anthem “North Cack,” by rappers G. Yamazawa, J. Gunn, and Kane Smego, has leveled out at just over one million views on YouTube after two years of nationwide attention and, most recently, placement in a Nike Football commercial. And unlike Ebz, who was barely twenty when she dropped “Say It” in May last year, the stars of “North Cack” already had an established local fan base, allowing them to frequently perform the song locally and create a craze around it. When “Say It” hit the internet, Ebz was doing very little on the ground to support her self-produced single.

“I don’t know if I liked performing as much as I thought I would. So I kind of took a break from it,” she says.

Instead, during Moogfest, she found herself on the Raund Haus Stage at Parts & Labor playing her beats instead of performing her songs. Months earlier, she had met Raund Haus cofounder Nick “Gappa” Wallhauser, who encouraged her to showcase her production skills in one of Raund Haus’s experimental beat shows, which she did for the first time at a March 2018 Raun Haus Presents show at The Pinhook. She felt more comfortable in this capacity, and it would take a while before she would reconsider singing and rapping her songs in front of an audience.

Miriam Tolbert, aka WQOK 97.5 FM radio personality Mir.I.am, has been hosting the Carolina Waves Showcase and Open Mic for the past few years (see page 19). In that time span, she’s seen promising local R&B acts such as Imani Pressley, Trez Falsetto, M8alla, Will Wildfire, and Hasina matriculate from upstart amateur acts to artists with great industry potential.

While most of the artists she’s worked with have been on more of a grassroots path than Ebz, gaining local fans through frequent perfor-

mances, Tolbert sees the Ebz phenomenon as something useful as well.

“She’s very creative, talented, marketable, and she does a lot of different things.

All around, she’s dope” says Tolbert. “But there are two sides to it. Obviously, you want to be known on a national scale. Being known locally is nice, and you’ll get the opportunity to present on a more personal level, and people like venue owners get to see what traction you have. But if those same people see your online power through an ill [electronic press kit], they deal with you anyway.”

Still, how does one explain why a locally obscure R&B artist managed to rack up so many online listens for one song without any industry help or local backing or even an

EPK? “Say It” is a naturally cool, sexy jam with a downbeat energy in the same soulpop league as leading R&B ladies such as SZA, H.E.R., Khelani, and newcomer Cleo Sol. Sonically, and by association, it’s completely fathomable that listeners would naturally drift toward Ebz’s music. She may not be following the traditional local-to-national trajectory, but there’s more than one way up these days.

“I know what my lane is now,” says Ebz. “Before I was just trying to fit in with what everyone else in Durham was doing, rather than come up with my own original concepts.

I put a lot of pressure on myself. Now I’m exploring what I like to hear and what I want people to hear.” music@indyweek.com

YOUR WEEK. EVERY WEDNESDAY. MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM INDYweek.com | 7.10.19 | 13

CLASSICAL

At Home and Abroad As the universities bring in the best of New York and Europe, our homegrown classical music scene shines By Dan Ruccia

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lassical music is a tricky thing. Over the past century, its overriding sense of elitism—the notion that the only way to experience it is in a “perfect” performance by a major performer—has created a situation where the relative merits of a classical scene are often defined more by who is coming to town than who is from town. We are lucky that the Triangle does well on both fronts, from the world-class imports of the university presenters to the homegrown populism of the Raleigh Civic Symphony and Chamber Orchestra.

The out-of-town landscape continues to be dominated by Duke Performances and Carolina Performing Arts (Disclosure: The author writes program copy for Carolina Performing Arts on a freelance basis). Both organizations have existed in various forms since the 1930s and emerged in their current incarnations in the mid-2000s, with missions to bring national and international performers to Duke University and UNC-Chapel Hill, respectively.

On the classical front, the organizations have slightly different focuses: DP leans toward chamber and choral ensembles, while CPA generally works at a slightly larger scale. But both have served as anchors, presenting canonical classics alongside newer works from the cutting edge. Next season, DP features a deep dive into Beethoven string quartets, performed by ensembles from London and Paris, as well as Jeff Scott’s genre-bending Passion for Bach and Coltrane. CPA brings Sarah Cahill to explore four centuries’ worth of keyboard music by women and also presents Meredith Monk’s futuristic vocal work.

While it’s important to get a glimpse of what’s shaking things up in New York and London, Los Angeles and Berlin, the true engine of the scene is local. We have numerous ensembles covering different corners of classical music: North Carolina Opera presents fully staged classic operas; Duke’s Ciompi Quartet, newly revitalized after the addition of cellist Caroline Stinson, continues to find new things to say in the string-quartet repertory; the Mallarmé Chamber Players mix historically informed performances of medieval music with eclectic selections from across the centuries; and on and on.

The centerpiece of the local classical scene remains the North Carolina Symphony. In recent decades, it has built a reputation for strong performances of orchestral staples alongside a fascinating commissioning program focusing on works by a younger generation of composers, often with North Carolina connections. The resulting pieces by Caroline Shaw, Sarah Kirkland Snider, William Brittelle, and Andrew Norman, to name a few, have provided thrilling glimpses of where the orchestra writ large is going. The North Carolina Symphony has also been a leader in the 14 | 7.10.19 | INDYweek.com

Raleigh Civic Symphony and Chamber Orchestra

PHOTO COURTESY OF THE ORCHESTRA

orchestral world in presenting soloists, conductors, and composers who are women and people of color.

The symphony currently finds itself at a crossroads, though. Longtime conductor Grant Llewellyn is leaving the orchestra, so much of this season’s programming is dominated by the most conventional, overdetermined, largescale symphonic works. In and around these colossi, the symphony is playing ten shorter works by women. While the intentions are sincere and the selections are intriguing, it feels a bit like female composers are being given secondary status when all they get are overtures or character pieces. It would be great if, just once, the symphony would foreground one of these women instead of yet another performance of, say, a Rachmaninoff piano concerto, regardless of how compelling that performance may be.

One local organization that has no problem foregrounding a diverse range of voices is the Raleigh Civic Symphony and Chamber Orchestra. The symphony has been around since the 1970s, and the chamber orchestra was founded in 2000; in the last five years, under the direction of conductor Peter Askim, the orchestra has presented some of the most fascinating and inventive programs in the area.

Unlike the North Carolina Symphony or the Chamber Orchestra of the Triangle, the Civic’s musicians are almost entirely amateurs, an equal mix of N.C. State students (the university is a co-sponsor of the group) and community members. Each concert has its own theme, based on historical events or created with N.C. State faculty.

For instance, in April, the Raleigh Civic Symphony presented a powerful concert reflecting on the centenary of

the passage of the nineteenth amendment. Alongside earlytwentieth-century works by Ethel Smyth and Florence Price, Askim collaborated with N.C. State design professor Derek Ham and composer Aleksandra Vrebalov on an immersive work using virtual reality and avant-garde compositional techniques to tell the story of the fight for women’s suffrage in the U.S. The orchestra was scattered around Stewart Theatre, creating an ever-shifting tapestry of sounds, including riffs on “Strange Fruit” and barrages of percussion, as quotes from prominent suffrage advocates and scenes from the movement flashed on VR headsets.

Even more impressive, the Raleigh Civic Symphony has presented a world premiere in every concert in the past four years—sixteen new pieces so far. While professional orchestras will commission a few pieces a year, that concentration is really unusual, especially for an amateur ensemble. And more is on the way: The Raleigh Civic Symphony recently received a New Music USA grant to commission a piece by Allison Loggins-Hull, to be premiered in April next year.

They’ll also be collaborating with Tift Merritt on a song cycle about Raleigh’s now-closed Dorothea Dix Hospital and Cherry Hospital in Goldsboro.

“Everybody says that they’re scared of programming new music, but the new piece is always the piece that people come away talking about,” Askim says. “Why should it only be the elite groups that play new music? Normal people, community people, should have that experience of bringing a new piece to life. It shouldn’t be reserved for people in New York and LA and people who went to conservatory.” music@indyweek.com

EXPERIMENTAL

Live on Tape Local experimental labels record our life and times as no streaming algorithm ever could

By David Ford Smith

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curator in his own right. or better or worse, every Hot Releases, his personrecord label paints al label, has showcased his a portrait of a social worldview and insight into time and place. The history of the sprawling national noise music is littered with one story: underground for more than Things are happening, and a decade. Last month, he then they aren’t. Genre trends released Out of Mind, the die, friendships splinter, scenelatest transmission from glue people matriculate into underground pop linchgrad school, relationships, or pin Russian Tsarlag. Chilly, self-destruction. Eras change, tape-warped dream pop is and a lot of great music tends the name of the game, and to get buried or forgotten in Tsarlag is an expert paintthat lurch. er at his easel. His wearied It might seem kitschy yawp suggests Galaxie 500 to make the case for small, through a haze of broken homespun labels in 2019, but analog gear and sleep deprithey still provide what no vation. It is far more soothamount of algorithmic juking and less terrifying than ing can: a way to find lost or that sounds. underreported bands that Not everything happens exist beyond streaming platin UNC’s backyard, though. forms, and also a sense of Raleigh’s inventive New Body the historical context that Tapes has done an admiraspawned them. Thousands of No-NRG by Bodykit from New Body Tapes PHOTO COURTESY OF THE LABEL ble job of upholding a singuhyperlocal or internet-based lar no-trends aesthetic. Its austerity and outposts exist for the reason of putting out FrequeNC bottled some of the more extreme level of technical consistency in their friends’ music. Intentionally or otherbizarro aughties dance stuff happening in every aspect, from artwork to release curawise, they do the unsexy work of preserving the Carolinas and beyond. It was an era tion, rivals any boutique label in America. ephemeral corners of music history, which where vinyl was prohibitively expensive, No-NRG, by Raleigh duo Bodykit, poured is critical in our current flattened, contextand soulful techno and prankster-ish elecThe Fall, hardcore, the kitchen-sink din of less Spotify age. tronic music were less popular to dabble Black Dice, and its own weird inclinations Thanks in large part to a small group of in. Before the gleeful chiptune of a band into a truly compelling brutalizer—one of reverent heads in Chapel Hill, a rich history like Anamanaguchi, there was the pop-culthe finest N.C. records of the last decade. of skull-crushing, forward-thinking outsidture-poisoned “arcade glitch” of noise band Recent NBT release Peace Sign, by Oaker labels has quietly run for decades alongExtreme Animals, which released I Gotta land producer SPF, is equally smothering—a side the stranger pockets of local music.

B Me in 2005 on the label. Hearon now gorgeous, pounding collection of razor-wire For leftfield electronic music, a currently runs the label Tone Log in partnership with industrial pop that sounds wholly distincvital scene in N.C., it helps to look back to All Day Records (which he also runs with tive, an impossible feat for the genre in 2019. the constellation of mid-2000s area dance Clauset), continuing to slide out essential “Outsider” labels serve another imporlabels, like J.T. Stewart’s (aka $tinkworx) leftfield releases like multi-instrumentaltant function, proving to budding fringe electro label, Down Low. And there’s Freist Patrick Gallagher’s decomposing synth/ musicians proof that their off-trend, antiqueNC, the Clone-distributed freeform guitar masterclass, Eye Teeth. narrative idiosyncrasies aren’t evil or vinyl label founded by Jon Terrell and On a similar wavelength, but further unacceptable; in fact, they have a rich and Charlie Hearon. The latter is a mainstay into the beat-less and outré, Ryan Marinstructive lineage. And for fans, it’s a word of the area’s weird-music ecosystem who tin is best known as the operator behind to explore beyond the margins of Spotify. now presides (with Ethan Clauset) over the Nightlight’s annual experimental festival music@indyweek.com eclectic Rosemary Street venue Nightlight.

Savage Weekend. He’s also a deft label INDYweek.com | 7.10.19 | 15

FOLK

New Dawn Mountain Man’s Alexandra Sauser-Monnig embarks on a solo adventure as Daughter of Swords

By Ryan Jarrell

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he harmonizing folk trio Mountain Man—Amelia Meath, Molly Sarlé, and Alexandra Sauser-Monnig— spun songs they made up on the front porch of their house near Bennington College into national success, going on to support such indie icons as Feist and The Decemberists and releasing their second album, Magic Ship, on the distinguished label Nonesuch Records last year.

In the eight years between the first and second Mountain Man albums, as Meath set about blowing up with Sylvan Esso, SauserMonnig graduated from college and “decided to explore other ways of being human on planet Earth.” She moved to North Carolina and worked at goat dairies and flower farms, spent some time in Asheville living with peo- Alexandra Sauser-Monnig PHOTO COURTESY OF THE ARTIST ple who were starting a weaving business, and then moved to the Triangle music in college. My mom’s an amazing to work at a library, pouring all that nature flute player, and my dad’s a guitar player. and thinking time into Dawnbreaker, her They started a music store when they were debut solo album as Daughter of Swords. twenty-one, and that’s where I spent most Released by Nonesuch and produced by of my time growing up.

Meath’s Sylvan Esso costar, Nick Sanborn, Dawnbreaker is a sleek ten-song collection.

Why Daughter of Swords and not It has the affable minimalist glow that fans Alexandra Sauser-Monnig? associate with Mountain Man, paired with I kind of think of it as a comfortable disSauser-Monnig’s particularly deep lyrics tinction from myself. Also, imagine telling and impressive vocalism, representing a everyone how to pronounce your name chapter in local folk music that isn’t afraid all the time. It’s just the curse of having of the occasional electronic flourish. a weird Northern European last name. It Just after the album’s release, we caught comes from a tarot card. Number one, the up with Sauser-Monnig to discuss her card really resonates with me, and numsolo writing process, the ups and downs of ber two, I think it’s just a stone-cold-awenames, and how North Carolina influenced some name. this batch of songs.

How did living in this area inflect your INDY: How did you start singing? Did you writing process?

“Long Leaf Pines” is a really great examgo to church? ple. I wrote that song right when I moved ALEXANDRA SAUSER-MONNIG: I did to North Carolina and was trying to go to church. I grew up in a very musiunderstand the climate and the plants cal family. Both of my parents majored in 16 | 7.10.19 | INDYweek.com

and the air and the sunshine.

North Carolina is overflowing with life constantly because it’s so damned hot. There’s more bugs than anywhere else I’ve ever lived, and I feel like that roly-poly waterfall of greenery and life and humidity is a part of the feeling of the record. And Nick Sanborn and I were pretty intentional about capturing room sound, and the room had very thin walls. There are things you can hear from outside on the record. I think that process was receptive to the life of the place it was recorded in.

How was working with Nick?

It was so fun. We’ve known each other for years through Amelia. But I would say that making Dawnbreaker kind of transformed our relationship into a friendship. It was a joyful, exploratory experience of following the thread of whatever felt like fun in that particular moment. I feel like you can hear that in the record, like a lot of playful choices were made.

Can you tell me more about your songwriting process?

I am a fiend for melody. Songwriting can look a lot of different ways. The most magical is when you have a feeling that you might write a song and it comes out quickly, lyrics and melody, pretty fully formed. Other times, it’s like you’ll sing a fragment of a line or melodic idea and then really have to work at it, and I feel like it can unfold in funny ways where you’ll come up with the chorus and then try to write the verses and have to throw them out several times. The shifting of focus whenever you run into a brick wall, trying to come at it from a different angle, can help me break through, which is true for a lot of things people do in life. music@indyweek.com

ELECTRONIC

Safety Dance What does it mean for a party to be safe and inclusive?

By Brian Howe

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ne thing we love about the electronic dance scene here is its emphasis on safety and inclusion. Our favorite venues and parties all foreground credos that aim to make it safe for women, people of color, and LGBTQ+ people to cut loose without being assaulted or marginalized. But the meaning of “safe” is more complex than the simple word lets on. As we run down a few of our favorite inclusive dance parties and spots, we thought we’d ask how they think about and handle their conduct policies.

Durham’s long-running Party Illegal, often found at The Pinhook, has been at the forefront. They have a written policy prioritizing the safety of “non-white people, queer people, trans people, nonbinary people, disabled people, and our trusted friends and regular attendees first.” It appears on their Facebook events and is posted at the door alongside posters about consent. Illegal prioritizes “lots of communication with security, event staff, the venue, and partner groups about our goals and methods and whether they’re effective,” they told the INDY. “If people can’t respect the rules of the space and each other, they get kicked out.”

According to Illegal’s proprietors, they’re also exploring new ideas, such as having a number you can text to report harassment.

“True ‘safety’ is an unattainable platonic ideal, since it’s impossible to predict or prevent all aggressive or harassing behavior, but it’s something we aim for,” Illegal says. “We are constantly assessing what works and what doesn’t, and we are always looking for feedback about experiences people have so that we can learn and do better.”

Arcana, one of our favorite basements to dance in, hosts the monthly Super Secret Dance Party, among others. At Super Secret last Friday, a new safety-policy sign designed by bartender Heather Davis had appeared. It made explicit rules that had long been implicit in the bar. It was inspired, according to Arcana’s Lindsey Andrews, by a conversation about insufficient posted policies that was started on Facebook by Laura Friederich, aka Queen Plz of Party Illegal.

“Laura was focusing on party culture and organizers, but we felt that the things she

was suggesting were a great idea for bar culture in general, especially one that hosts dance parties,” Andrews says. “We knew that several places, including Ruby Deluxe, already had signage that we liked, and Laura posted several examples. Our staff worked together to come up with language that we thought would have helped us more firmly address problematic situations in the past.”

Raleigh’s Ruby Deluxe makes our list, and owner Timothy Lemuel affirms that safety is a moving target.

“Communication is a huge priority,” Lemuel says. “We keep a floating staff member on busy nights that walks around checking in. The secret weapon is that my entire staff actually cares about the community they are serving and wants to be involved in change.”

This is far from all of the Triangle’s inclusive dance scene, which also includes the femme-focused Mamis & the Papis, who call the dance floor “a sacred space for community to gather and release,” and The Conjure. There’s no such thing as perfect safety, but we’ll always spend our dancing time in places that center it in their intentions. bhowe@indyweek.com

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JAZZ

In a Sentimental Mood The Museum of Durham History highlights the city’s storied place in pre-war jazz

By Lucas Hubbard

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RECYCLE THIS PAPER

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working theory: Research any historical figure long enough and eventually you’ll find your way back to Durham tobacco.

Take Duke Ellington. The jazz great has many connections to the area, most notably through his longtime collaborator Billy Strayhorn, who spent much of his childhood in Hillsborough.

But Ellington’s first tie to Triangle lore was knotted in 1935, when he performed in Durham that March. The legend goes that Ellington composed his standard “In a Sentimental Mood” to ease tensions at a North Carolina Mutual Life Insurance Company party.

Laura Windley, curator of Durham’s Early Jazz and Swing, the new community exhibit at the Museum of Durham History, combed through archival material to compile an overview of the city’s role in the swing era. That year, she found that Ellington was only in town to play at Roycroft Warehouse; at the Mutual afterparty, he wrote the standard on the spot. It’s not crazy to think, then, that the song of choice for nine different radio shows and infinite first dances might never have existed without an initial show at that tobacco auction spot on Rigsbee Avenue.

Windley, a member of the Triangle Swing Dance Society, began her research in anticipation of the Society’s upcoming Bull City Swingout, a dance workshop from July 12 to 14, but also with an eye towards one certain venue.

“Everyone talks about, ‘Oh, the [Durham] Armory’s where all the big bands played,’” says Windley. With the aid of peers in the swing dance community, she aimed to answer the follow-up: “Well, who played there?”

It’s an extensive list, from the Count Basie Orchestra to Ella Fitzgerald to Andy Kirk and his Clouds of Joy, featuring pianist (and future Duke jazz professor) Mary Lou Williams. The exhibit, which opened Friday and runs through July, touches on Durham’s contributions to the Piedmont Blues scene in the mid-1920s, the development of jazz at Duke, as well as the city’s place on the national circuit during the big band heyday.

The exhibit doesn’t explore beyond World War II, but to make a long story short: While much has changed in nearly eighty years, jazz is still very much alive here. Glenn Miller isn’t around to serenade Duke as he did in 1940 (though the orchestra bearing his name visits Meymandi Concert Hall on July 15); fortunately, the school’s Mary Lou Williams Center for Black Culture boasts torrid combo sets each Wednesday that are open to the public. While N.C. Central didn’t have a jazz studies program until the ‘70s, over the past two-plus decades its genre-specific radio station (WNCU) has made the I-40 slog bearable. Swing music faded from the zeitgeist faster than Brightleaf Tobacco, but if you keep your ear to the ground in the right places—be they throwback speakeasies like Raleigh’s C. Grace Cocktail Bar or modern, minimalist lounges like Durham’s Sharp 9 Gallery—you can find it on a regular basis.

Windley envisions the Bull City Swingout event as a bridge between past generations and future Lindy Hoppers. The weekend

Mary Lou Williams PHOTO: PUBLIC DOMAIN will culminate with Piedmont Blues legend John Dee Holeman’s July 14 performance at the Blue Note Grill, but the biggest buzz simply surrounds the revival of swing music in the place where so many greats have played.

“People are excited to have this knowledge,” says Windley, “and I think it did the job of getting people excited about dancing at the Durham Armory again.” music@indyweek.com

HIP HOP

Women to the Front Fifteen movers and shakers to follow on the local hip-hop scene

By Kyesha Jennings

W

hen hip-hop enthusiasts think of cities that contribute to the culture, large urban areas such as New York, Los Angeles, Atlanta, and Houston come to mind. North Carolina is often overlooked, and when it’s not, attention usually goes to men: Da Baby, Stunna 4 Vegas, Lute, Mez, Deniro Farrar, G Yamazawa, J. Gunn, and others have all achieved some form of success in recent years. Before them, it was Petey Pablo—the “first to put it down for North Carolina” on his national hit, “Raise Up”—and Little Brother, the hip-hop trio that met in Durham and proved that Southern MCs could soulfully match the boom-bap aesthetic of their Northern peers.

Although their tenure was short, Little Brother’s impact on hip-hop culture still looms large. They’ve influenced the likes of Kooley High, J. Gunn, King Draft, and up-and-coming producers Professor X and Grade A Beats. Big Pooh comanages Dreamville Records signee Lute, who’s based in Charlotte, and 9th Wonder is the visionary behind Jamla/ RocNation artist Rapsody.

Rapsody, who is from Snow Hill but attended N.C. State, came up as a member of Raleigh rap group Kooley High before she was featured on Kendrick Lamar’s To Pimp a Butterfly and nominated for a Grammy for 2017’s Laila’s Wisdom. She might seem like the exception to the maledominated rule, but she’s far from alone among women holding down Triangle hip-hop.

Though the relationship between hip-hop and women has always been complicated, women have been rising to the forefront in recent years, whether as artists, producers, or music-industry movers. Here in the Triangle, they’re on the radio. They’re curating festivals, shows, and unique cultural spaces. They’re doing public relations and digital marketing. They’re capturing dope visuals, spitting fire lyrics, and crafting catchy trap hooks. Most important, some of them are doing it while mothering. This is our salute to fifteen talented women in the Triangle hip-hop scene to follow on Instagram.

Ashia Skye (@ashiaskye) K97.5’s newest radio personality started off as an intern and worked her way on-air within two years. She also hosts YouTube series, #TheComeUp, where she interviews artists like Da Baby and Stunna 4 Vegas.

Asha David (@Ashadaviid) David’s innovative curaHoleman’s torial skills have allowed her to create unique spaces with gest buzz a hip-hop ethos in the Triangle, such as Henny and Head where so Shots, a creative networking event, and Durag Fest, a festival that celebrates all things Black culture. dley, “and ing at the Amanda + Olivia (@_wondatwins) The dynamic bestfriend photography duo known as the Wonda Twins gracefulweek.com ly capture N.C.’s favorite artists in concert, promo shots, and

Gemynii (@gemynii) A talented visual artist who has the ability to paint your favorite rapper, Gemynii is a “creator, connector, conjuror, curator, and sound spinna.” Whether as an artist or a DJ, her talents have been seen from The Nasher to The Pinhook, from Moogfest to Hopscotch.

Jaszie (@iam_jaszie) Fairly new to the Triangle scene, rapper Jaszie has released a number of freestyles and videos that showcase her hardcore lyrical abilities.

On “BBWA,” she raps over Nas’s infamous “Oochie Wally,” remaining true to her Southern Mississippi upbringing while also paying homage to a boom-bap tempo.

ZenSoFly PHOTO BY BEN McKEOWN album artwork, on the local festival scene and elsewhere, with Dreamville’s “Never Had Shit” tour and Ari Lennox.

Autumn Joi (@autumnjoilive) Autumn Joi is no rookie to radio and entertainment: She is currently a regular correspondent for TMZ and has been a featured panelist for NewsOne Now with Roland Martin on TV One. The Autumn Joi Live Show airs on K97.5 Monday through Saturday.

Casha Dees (@cashcollective) Known for her illuminating black-and-white photography, Casha has shot Triangle artists like J. Gunn and King Draft. Currently, she is a studio assistant and content creator at Kompleks Studio in Durham.

Chelsey Bentley Holts (@carolinabluebentley) Holts, the founder of Nakoma Marketing + PR and the Student Affairs Director of Marketing and Communications at NCCU, has worked for Art of Cool, Beats n Bars and, most notably, the inaugural Dreamville Fest; she’s currently on assignment at the 2019 Essence Festival.

Crystal Taylor (@TheQueenCurator) Since 2012, Taylor has been developing a reputation as the queen of underground N.C. hip-hop, curating spaces at events like Beats n Bars Festival, Yo NC Raps, The Underground Collective Beat Battle series, The Fresh Effect Panel, and That’s The Joint Open Mic. In 2016, aiming to expand visibility for Triangle artists and producers, she released the online web series Real Raps Only, followed by Respect the Producer the next year.

Chyna Vonne (@chynavonnemusic) A Fayetteville resident, Vonne has made a name for herself in the Triangle hip-hop scene as a dope lyricist with an aggressive flow.

Gimmick-free and a real pit bull in a skirt, she is ready to go bar for bar with any MC, male or female.

Kelly Kale (@_kellykale) The Triangle is full of female heavy spitters, and Kale is one of them. Her cadence is reminiscent of New York in the nineties, with a sprinkle of Lauryn Hill circa the Fugees.

Lena Jackson (@Ljackpower) If you love Jean Grae, you’ll love Lena Jackson. Remaining true to the foundations of hip-hop, Jackson effortlessly approaches soulsampling backdrops with intention, wisdom, and grace.

Miriam Tolbert (@MirsEmpire) K97.5 radio personality and the creator of 919 Radio, Tolbert is one of the hardest-working people in the Triangle, curating hip-hop showcases such as Carolina Waves Open Mic (winner of the INDY’s 2018 and 2019 Best Open Mic In the Triangle), a brand she has parlayed into a presence at Art of Cool, Hopscotch, and A3C Festival, one of the largest hip-hop festivals in the world. She also manages Raleigh artists Jooselord and 3AM. Sarah the !llstrumentalist (@sarah2ill) Representing Raleigh, with more than twenty-thousand subscribers to her YouTube channel (Sarah2ill), a lifestyle brand that caters to producers (No Quantize), and a deal with Epidemic Sound, Sarah the !llstrumentalist is one of the most innovative producers in the whole industry. After deciding her passion wasn’t making beats for artists, this legend in the making sought other ways to be a creative and earn income. Her channel includes beat tutorials, product reviews, and live performances.

ZenSoFly (@Zensofly) An eclectic spirit who exudes star quality, ZenSoFly has many talents. One of Choice FM’s (92.1) newest radio personalities, this punky, femme rap artist is also a DJ whose music blends hip-hop with an upbeat trap-pop vibe. music@indyweek.com INDYweek.com | 7.10.19 | 19

METAL

Five Lightning Rods for Metal in the Triangle Bryan C. Reed

S

cenes need more than bands to thrive, and the enduring heavy music scenes in the Triangle have a strong, experienced support network of venues, labels, promoters, and media to help build an audience for louder sounds.

These are a few of the major places and players who have kept the volume cranked up for years and are keeping the Triangle heavy now.

Your Week.

Every Wednesday.

PLASTIC FLAME PRESS screenprinting g i g p o s t e r s illustration album design

plasticflame.com 20 | 7.10.19 | INDYweek.com

THE MAYWOOD

Venues in the Triangle are generally welcoming to heavy music, but only Raleigh’s The Maywood has made housing local and touring metal bands its core mission. The venue’s summer calendar includes visits from touring death metal bands Tomb Mold, Superstition, and Innumerable Forms; melodic doom icons Khemmis and death-doom dealers Bog Body; and local-driven showcases like the annual Thrashitorium Throwdown and the Medium Well in Hell black metal barbecue.

SORRY STATE RECORDS

Downtown Raleigh vinyl shop Sorry State Records opened its storefront in 2013 after operating since 2005 as a label and mail order outlet. In those fourteen years, Sorry State has been a conduit for N.C. punk bands, helping the likes of Essex Muro, Mind Dweller, and No Love reach beyond hometown crowds; introducing local fans to the wide world of punk with Sorry-State-imprinted releases as well as those stocked online and in-store. While other labels (To Live a Lie, Bunker Punks, etc.) and other shops (Bull City Records, Schoolkids Records, etc.) have served similar niches, Sorry State has been a linchpin in the ever-evolving hardcore scene.

THE BUNKER

Hardcore has long lived mostly in the underground, and the Triangle’s ever-shifting confederation of bands and off-the-grid venues has, for the past several years, made The Bunker its epicenter. Hosting local and touring bands covering sounds from punk and hardcore to doom metal, this DIY spot is an all-ages, inclusive outlet for bands and fans to connect. But it’s more than just a

Laura Lee Greenwood PHOTO BY JEREMY M. LANGE basement venue. (You’ll have to hang out on the scene to hear where it is.) With Bunker Punks Discs & Tapes, the collective has started releasing strong demos from upstart local hardcore bands like Vittna and Scarecrow.

WKNC’S CHAINSAW ROCK

A fixture of NC State student radio’s programming, Chainsaw Rock continues to put louder sounds on local airwaves. And while its broad playlists haven’t always been as deep into the various subgenres and niches as other local players have been, current DJ The Saw has shown herself to be interested and energetic in reaching into the local scene via her website and interview podcast.

PRIMITIVE WAYS

Laura Lee Greenwood has been a champion of heavy music in the Triangle for years, and with her long-running promotions outfit (and occasional record label), Primitive Ways, she consistently provides platforms for local bands across the full spectrum of heavy rock music, while attracting touring bands to the area. Along with fellow promoters like Deconstruct Booking, Thrashitorium Presents, and Crank It Loud, Primitive Ways has made the Triangle a reliable destination for metal tours. music@indyweek.com

indyfood

Beer Without Buildings

THE TRIANGLE’S MOST INTERESTING BREWERY MIGHT ALSO BE ITS MOST ELUSIVE

BY ANDREA RICE

“I

don’t even know how I ended up here,” says Wesley Mickler, as I make my way around a stand of rare zines on the second floor of a brick Victorian-era townhouse on Raleigh’s Hillsborough Street.

It was June 30, and a crowd of about 250 had gathered for Ancillary* Fermentation’s (the asterisk is part of the title) eighth pop-up and the release of the traveling conceptual brewery’s new beer, DIY, an IPA blended with cashmere, mosaic, and El Dorado hops. The free event—called “House Party”—had taken over a long-vacant former single-family home next to the remains of the now-shuttered Allen’s Automotive. Built in 1875, it’s now listed as commercial real estate with an estimated value of $1.3 million.

Like other partygoers, Mickler had found out about the event on social media. He’s as bemused as I am by our opulent surroundings—an ultra-cool vibe that’s more Brooklyn than Raleigh.

Each Ancillary* pop-up has a theme that corresponds with a beer release. There’s been a sixties party, “Altered Perception,” at a church that featured a magic show, a VR headset, and a metal band; another at an abandoned gas station near a Char-Grill called “Second Hand,” which Father & Son decorated like a used auto lot.

With “House Party” launching a beer called DIY, tonight has a roll-up-your-sleeves kind of attitude. The air conditioning is broken in the room where local bands—Jenny Besetzt, Dim Delights, and Black Surfer—are playing. There’s a room with house plants for sale; another is covered with vintage rugs. There are visual art installations on old TV sets that scramble the Ancillary* logo. Pony kegs flow, a DJ spins, an eclectic mix of Triangle artists and professionals spill out into the courtyard—and by the end of the night, several men and women strip naked and dance with wild abandon.

Ancillary* Fermentation’s June 30 “House Party” PHOTO BY ADAM CHAPIN PHOTOGRAPHY

Andy Schnitzer and Whit Baker outside of the forthcoming Standard Beer and Foods These almost-but-not-quite-monthly parties, usually on Sundays, started as opportunities for service industry types to let loose after long weekends—and beer lovers to try something unique while braving a possible Monday hangover.

“Beer brings people together,” Ancillary* co-founder Andy Schnitzer tells me a week later. He’s inside Standard Beer and Foods in Raleigh’s Person Street district, which he’ll open this fall with business partner and head brewer Whit Baker. Schnitzer and Baker are two of the four coowners of Bond Brothers Beer Company in Cary, one of the best-regarded breweries in the Triangle.

They started Ancillary* a year and a half ago, Schnitzer says, because they wanted to “diversify and try something ancillary to what we were doing.” They partnered with Stuart Arnold and David Wilkinson, the president and vice president, respectively, of Fortnight Brewing in Cary, where Ancillary* is brewed, as well as Topher Fulton, a former bar manager at Bond Brothers, and Sean McKinney, who does sour blending there.

Ancillary*’s concept is “not really being done anywhere,” says Baker, who is studying for his master Cicerone certification. Everything brewed at Ancillary* is a co-fermen-

PHOTO BY JADE WILSON

tation, meaning he’s using two or more yeast strains at a time—something “almost no one in beer is experimenting with,” he says.

At Standard, Schnitzer and Baker say, the focus will be pairing beer with food.

“The places you’re typically seeing are production breweries with a food component in mind,” Baker says. “Here, we are brewing beer onsite to pair better with the food.

That gives us a lot more freedom to dial in a specific dish or ingredient with food.”

There’s a good chance that Standard will offer some of Ancillary*’s notoriously hard-to-find juicy IPAs and stainless sour beers. Ancillary* produces only thirty barrels for each release. The pop-ups get some, as do a few local bottle shops and restaurants.

There’s no set frequency for Ancillary’s pop-ups, either; the next one is tentatively sometime in August. Meanwhile, you can catch the brewery’s next co-release, Boats, a lime IPA made in collaboration with Flying Machine Brewing Company in Wilmington, on July 13, for a fundraiser benefitting the Cape Fear River Watch on, you guessed it, a boat. arice@indyweek.com INDYweek.com | 7.10.19 | 21

7.10–7.17

WHAT TO DO THIS WEEK

SATURDAY, JULY 13

TRAIN & GOO GOO DOLLS

In 1917, the composer Erik Satie notoriously coined a style he called “furniture music”— which is to say, liminal public-space music, purposefully engineered as audio wallpaper, not to be consciously analyzed or even acknowledged. Second only to the Rob Thomas songbook (see page 26), the Goo Goo Dolls and Train are like this to American life: bands that permeate every public speaker system, beloved by millions and loathed or ignored by everyone else. Finding meaning in Muzak can be tough, but the struggle is an interesting one. Singles like “Black Balloon,” from GGD’s landmark Dizzy Up the Girl are closer to the soaring melancholy of shoegaze than any algorithm could indicate. Train has its share of nauseating retail ballads, but “Drops of Jupiter” stands out as a gem of freeassociative lyrical slush. Corporate product thrives for a reason, and it is certainly possible to glean insight and beauty from a McDonald’s sandwich. Same with obvious tours like this. —David Ford Smith WALNUT CREEK AMPITHEATRE, RALEIGH 7 p.m., $55+, www.walnutcreekamphitheatre.com

FRIDAY, JULY 12– SUNDAY, JULY 14

WOMEN’S THEATRE FESTIVAL

WEDNESDAY, JULY 10 & THURSDAY, JULY 11

RENNIE HARRIS PUREMOVEMENT: FUNKEDIFIED

Rennie Harris Puremovement PHOTO

BY BRIAN MENGINI

“Concert dance basically has appropriated everything under the sun,” Rennie Harris told Dance Magazine when asked how hip-hop has influenced the form. “So I think you have to ask, ‘How has hip-hop not affected concert dance?’” Harris, a pioneer in bringing street dance to the stage, would know; if it’s no longer surprising to see Memphis jookin virtuoso Lil Buck on academic seasons alongside all the string quartets, Harris is a big part of why. Since founding the mold-setting hip-hop dance company Rennie Harris Puremovement in 1992, he has mastered redrawing the lines of street and modern dance however he sees fit, placing his vision on prominent ballets, Alvin Ailey American Dance Theater, and of course, his own ensemble. At The Carolina Theatre as a part of the American Dance Festival, the company performs Funkedified, a multimedia celebration of 1970s funk music and dance against a backdrop of political and economic strife, with Harris’s group rounded out by period experts The Hood Lockers and live band Invincible. —Brian Howe THE CAROLINA THEATRE, DURHAM 2 p.m. & 8 p.m. Weds./8 p.m. Thurs., $12–$51, www.americandancefestival.org 22 | 7.10.19 | INDYweek.com

Three years ago, a couple hundred women and allies demanding gender equity on and off stage got out and pushed—and in five short months, the state’s first Women’s Theatre Festival was born. Each year since, it’s taken a major leap forward, dreaming up new ways to put women and women’s works on stage, provide access to tools and training in technical theater and design, and host workshops pertinent to emerging women artists. This year, focusing its efforts on a single weekend in downtown Raleigh, the festival has added three quantum leaps: a two-day master class in intimacy choreography; workshops and panels for aspiring parent artists, emerging playwrights, and LGBTQ+ artists; and a WTF Fringe Festival with a lineup of edgy, fully staged productions from New York, Virginia, Tennessee—oh, and North Carolina. Look for the contemporary parenthood comedy Cry It Out, PlayMakers Rep’s first showing at the fest; Red Hot Patriot, a solo show about Texas political reporter Molly Ivins; and A Woman, a feminist religious drama with an all-star cast. Among the out-of-towners, check out the risqué late-night showing of Oh Righteous God and Sinful Me and the woman-in-Paris story She Made Space. —Byron Woods VARIOUS VENUES, RALEIGH Various times, $5–$150, www.womenstheatrefestival.com

Bill Callahan

PHOTO COURTESY OF CAT’S CRADLE

CAMPAIGN JOBS TO PROTECT CIVIL LIBERTIES

TUESDAY, JULY 16

BILL CALLAHAN

Bill Callahan’s voice is instantly recognizable and, frankly, peerless. Comparable in style to moody 1960s folk singer Fred Neil, it’s an instrument that is dark, tender, and resonant. On Callahan’s wonderfully discordant 1990s albums (made under the moniker Smog), the stark and menacing qualities of his voice were highlighted. Even in recent years, as a relatively mellow writer of lush folk songs, his singing remains complex, drifting eerily through vocal scales and tweaking repeated phrases until their meaning is obviated. On Callahan’s latest album, Shepherd in a Sheepskin Vest, he turns his attention to his life as a new husband and father, two roles he’s discussed with great delight in interviews. He unpacks the impact of these commitments by exploring unknowable systems of nature and his vulnerable state as a sleep-deprived and awed new parent, meditating on lines like “Morning is my godmother / loving me like no other.”

—Josephine McRobbie

Work with Grassroots Campaigns to Fight for LGBT Rights, Protect a Woman’s right to Choose, and Fight Discrimination.

Full-time & Career Opportunities Earn $360-$535 per Week Call (984) 260-8217 Go to: GrassrootsCampaigns.com/ general-app

CAT’S CRADLE, CHAPEL HILL 8 p.m., $22–$25, www.catscradle.com

THURSDAY, JULY 11–SUNDAY, JULY 14

10 BY 10

10 by 10, that perennial festival of ten ten-minute plays, became a tale of two cities—with a week of shows in Carrboro and a week in Cary—after Odyssey Stage and Cary Playwrights Forum began sharing production duties last year. This year’s theme is “fortune,” a term that can refer to either riches or chance. As might be expected, the ten shows careen off the topic in different directions. The clues, as always, are in the titles: Playwright Susan Steadman’s (Anti-)Material(ism) opens the evening, followed by Mike Brannon’s Bestway Suites. Andy Rassler airs some Dirty Laundry, before Henry VIII’s Gender Reveal Party by Clinton Festa. Don Quixote and Sancho Panza find themselves in a different century in Eric Weil’s Impossible Dream, Cont’d, and Mary Turner takes us way out West in La Fortuna del Destino. Major Tom and Ground Control have a bonding moment in Jack Berry’s RTFM, and Steffi Rubin’s Upright and Blameless seems like a retake on the Book of Job. Actors Joanna Herath and David Klionsky should spark Shelley Segal’s Wannabe before a trickster genie complicates T.J. Silverio’s The Wish.—Byron Woods THE ARTSCENTER, CARRBORO 8 p.m. Thurs.–Sat./3 p.m. Sun., $10-$20, www.artscenterlive.org

WHAT ELSE SHOULD I DO? A LEAGUE OF THEIR OWN AT THE CAROLINA THEATRE (P. 32), ANDREW BIRD AT NCMA (P. 25), JIMMIE BANKS RETROSPECTIVE AT THE RUBY (P. 29), THE LOVE LANGUAGE AT CAT’S CRADLE (P. 11), MALAPSO DANCE COMPANY AT PAGE AUDITORIUM (P. 31), SCALAWAG RELEASE PARTY AT ARCANA (P. 30) INDYweek.com | 7.10.19 | 23

MO 9/30 JONAH TOLCHIN TUE 10/1 THAT 1 GUY

Chocolate Lounge & Juice Bar

Sat 7/13 Carol Parker Schafer Fri 7/19 Dianna Dennis Sat 7/27 Dackel Fri 8/2 Alice Orborn Sat 8/3 Fri 8/16

Michael Daughtry Neville’s Quarter

Music Performed from 6pm to 9pm Beer & Wine Served Daily Timberlyne Shopping Center, Chapel Hill 1129 Weaver Dairy Rd • specialtreatsnc.com

RECENTLY ANNOUNCED: Com Truise, Street Corner Symphony FRI

7/12

SAT

7/13

TUE

7/16

MYSTERY SKULLSMYSTERY SKULLS Phangs / Snowblood Phangs / Snowblood as part of IndependentasVenue part ofWeek Independent Venue Week Girls Rock NC Summer Camp #3 Showcase Cat’s Cradle presents HOP ALONG Cat’s Cradle presents Kississippi

HOP ALONG Kississippi

WE 10/2 B BOYS TH10/3 BLANCO WHITE FR 7/12 THE

LOVE LANGUAGE

ORIGINAL LINEUP/ SELF-TITLED TEN YEAR SHOW

CELEBRATING THE 10TH ANNIVERSARY OF THEIR SELF TITLED DEBUT. FEATURING THE ORIGINAL LINEUP W/ SKYLAR GUDASZ AND REESE MCHENRY ($14/$16) MO 7/15 ATERCIOPELADOS

W/ ANCESTOR PIRATAS

TU 7/16 BILL CALLAHAN W/ NATHAN BOWLES TRIO ($22/$25)

CHRIS WEBBY Jarren Benton / Locksmith / Ekoh

CHRIS WEBBY

FRI

7/19 SAT

7/20 SUN

7/21 TUE

7/23 WED

7/24 SUN

7/28

Jarren Benton / Locksmith / Ekoh Motorco and Cat’s Cradle present SUMMER SALT Dante Elephant / Motel Radio Girls Rock NC Summer Camp #4 Showcase DAN BAIRD & HOMEMADE SIN Lemon Sparks NC Modernist Houses, AIA Triangle Present A Talk by McMansion Hell’s Kate Wagner MRG30 Opening Night Party with Rock*a*Teens / Escape-ism Deb Aronin Presents MYQ KAPLAN Minori Hinds

COMING SOON: We Were Promised Jetpacks, OVERSTREET, Cowboy Mouth, Tessa Violet, Junior Brown, Mac Sabbath, Okilly Dokilly, Oso Oso, Kindo, Supersuckers, Sophomore Slump Fest, BoDeans, Subhumans, Sinkane, Bleached, flor, Boy Harsher, This Wild Life, River Whyless,The Regrettes, Genrationals,The Way Down Wanderers, Sheer Mag, Kero Kero Bonito,Team Dresch,White Denim, Blackalicious,Warbringer, Sonata Artica, Russian Circles, Nile, Chastity Belt, Fruit Bats, Mikal Cronin, Amigo The Devil, Jen Kirkman, Black Atlantic

Also co-presenting at The Carolina Theatre of Durham: Criminal LIVE SHOW (on Oct 5th)

24 | 7.10.19 | INDYweek.com

SA 10/5 TYRONE WELLS W/ DAN RODRIGUEZ ($17/$20) WE 10/9 ELDER ISLAND TH 10/10 CHARLIE PARR ($15) TU 10/15 MIKE WATT & THE MISSINGMEN ($15) SA 10/12 O'BROTHER W/ THE END OF THE OCEAN AND HOLY FAWN

TU 7/16 @ MOTORCO

HOP ALONG WE 10/30 WIZARD FEST

SA 10/19 JOHN HOWIE JR & ROSEWOOD BLUFF W/DYLAN EARL AND SEVERED FINGERS WE 10/23 CITY OF THE SUN W/ OLD SEA BRIGADE

FR/SA 11/1 & 2 BILLY STRINGS

SA 10/26 CAT CLYDE ($12/$15)

SU 7/21 THE GET UP KIDS W/ GREAT GRANDPA ($22/$26)

FR 11/8 THE DIP ($15/ $18)

FR 11/15 BLACK MIDI ($13)

WE 7/24-SA 7/27 MERGE RECORDS 30 YEAR CELEBRATION

SA 11/9 INFAMOUS

STRINGDUSTERS W/ KITCHEN DWELLERS

SA 11/16 THE BLAZERS ‘HOW TO ROCK’ REUNION

TH 8/1 DONAVON FRANKENREITER ($20/$24)

TU 11/12 CURSIVE / CLOUD NOTHINGS / THE APPLESEED CAST

WE 8/7 MENZINGERS W/ THE SIDEKICKS, QUEEN OF JEANS

WE 11/13 KIKAGAKU MOYO W/ MINAMI DEUTSCH ($15/$17)

TH 8/8 NEUROSIS W/ BELL WITCH AND DEAF KIDS

SA 11/16 GAELIC STORM

SA 8/10 STEVIE, SCOTT YODER, PERSONALITY CULT ($8/ $10) SU 8/11 BLACK JOE LEWIS & THE HONEYBEARS ($15/17) MO 8/19 PEDRO THE LION / MEWITHOUTYOU ($25/$27) TU 8/20 THE BIRD AND THE BEE

W/ SAMANTHA SIDLEY & ALEX LILLY ($15/$18) FR 8/23 BE LOUD '19: CHATHAM COUNTY LINE, THE OLD CEREMONY, TAN & SOBER GENTLEMEN

SA 8/24 BE LOUD ‘19: THE JACKSON FOUR, GREG HUMPHREYS TRIO, THE CHORUS PROJECT MO 8/26 WHY? W/ BARRIE

TU 8/27 ELECTRIC HOT TUNA W/ ROB ICKES & TREY HENSLEY ($45/$50) FR 9/13 WHO’S BAD

W/ CAROLINE SPENCE

THU

ATERCIOPELADOS

FR 7/12 THE LOVE LANGUAGE:

SU 9/15 PENNY & SPARROW

7/18

MO 7/15

MO 9/16 CAT POWER WANDERER TOUR 2019”

SU 11/17 ADHOC PRESENTS: CRUMB W/ DIVINO NIÑO, SHORMEY ($20) FR 12/6 OUR LAST NIGHT TH 7/11 FLESH TUXEDO, KID ADVAY, MADAM MADAM, PEOPLE OF EARTH, SONIC AFTERNOON ($5/$7) FR 7/12 LITTLE HUSTLE, GRAY YOUNG, HEAT PREACHER, HARRISON FORD MUSTANG SA 7/13 COLD CREAM, D(E)T, SNEAKERS AWARD MO 7/15 NIGHT GLITTER, LACY JAGS FR 7/19 REGATTA 69, THE SPECTACLES, ASHLEY LARUE BAND ($7) SA 7/20 SOME ANTICS, BLUE FREQUENCY AND MELLOW SWELLS SU 7/21 TIJUANA PANTHERS AND TOGETHER PANGEA W/ ULTRA Q MO 7/22 PRINCE DADDY & THE HYENA W/RETIREMENT PARTY, OBSESSIVES

WE 11/20 KING BUFFALO ($10) ARTSCENTER (CARRBORO) TU 9/24 BOB MOULD (SOLO) W/ WILL JOHNSON WE 9/25 HOLLY BOWLING TH 11/14 ROBYN HITCHCOCK (SOLO) WE 11/20 SAN FERMIN KOKA BOOTH AMPHITHEATRE (CARY) SA 9/21 MANDOLIN ORANGE W/MOUNTAIN MAN WE 10/16 WILCO LOCAL 506 (CHAPEL HILL) SU 7/21 COVET W/ VASUDEVA AND HOLY FAWN CAROLINA THEATRE (DUR) TH 9/26 JOSH RITTER & THE ROYAL CITY BAND W/ SPECIAL GUEST AMANDA SHIRES MOTORCO (DUR) TU 7/16 HOP ALONG W/ KISSISSIPPI ($17/$20)

MO 7/29 WE WERE PROMISED JETPACKS ‘THESE FOUR WALLS’ 10TH ANNIVERSARY W/ CATHOLIC ACTION ($16/$18) SU 9/15 BLEACHED ($15/$17) SU 9/29 THE REGRETTES ($15) MO 9/30 GENERATIONALS

WE 9/18 TINARIWEN ($30/$33) TH 9/19 SNOW THA PRODUCT

TH8/1SCHOOL OF ROCK ALLSTARS

SA 9/21 WHITNEY W/ HAND HABITS

SA 8/3 DELHI 2 DUBLIN

TU 7/23 BRUCE HORNSBY AND THE NOISEMAKERS/AMOS LEE

TH 9/26 THE MOTET W/ EXMAG

MO 8/5 KYLE CRAFT & SHOWBOAT HONEY

SA 7/27 JOHN BUTLER TRIO+ W/ TREVOR HALL

TH 8/8 ANDREW BELLE W/ WILLIAM WILD ($15/ $17)

WE 8/7 AN EVENING WITH LYLE LOVETT AND HIS LARGE BAND

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SATURDAY, JULY 13

ANDREW BIRD Andrew Bird’s lilting, fragile folk music embodies an operatic tension that makes you feel as if the world could fall apart or be remade in an instant. I heard him perform at NCMA once before, years ago, on a sweaty summer evening with an overcast sky that quickly corkscrewed into a downpour, soaking the crowd. He kept playing, though, and the indelible combination of whistling and rain had so thoroughly worked the crowd into a spiritual fervor that during the last song, a stranger grasped my hand—a gesture either totally misguided or totally in keeping with the kind of rapture that Bird’s soulful, classically crafted songs inspire. He splits this NCMA bill with a special guest, Raleigh’s Tift Merritt, whose raw, eager vocals stake the rare emotional ground of an artist who is at once rooted and searching.

—Sarah Edwards NORTH CAROLINA MUSEUM OF ART, RALEIGH 8 p.m., $30–$46, www.ncartmuseum.org

Andrew Bird

WED, JUL 10 THE CAVE: Love and Valor; $5 suggested. 9 p.m.

DUKE’S SARAH P. DUKE GARDENS: Jake Xerxes Fussell; $10. 7 p.m.

KOKA BOOTH AMPHITHEATRE: Yes, Asia, John Lodge, Carl Palmer’s ELP Legacy; $25+.

6 p.m.

THE KRAKEN: Anne McCue, Jonathan Byrd; 7 p.m.

LINCOLN THEATRE: The New Mastersounds; $17. 8 p.m.

LOCAL 506: Torche; $15. 8 p.m.

POUR HOUSE: Bumpin Uglies, Treehouse!; $12-$15. 9 p.m.

SLIM’S: Oculum Dei, Cadaver Creator, Antenora; $7 suggested. 9 p.m.

THU, JUL 11 ARCANA: Ann; 8 p.m.

CAT’S CRADLE BACK ROOM: Sonic Afternoon, People of Earth, Madam Madam, Kid Advay, Flesh Tuxedo; $5-$7. 7:30 p.m.

THE CAVE: Matt Southern and Lost Gold, Rachel Keil, Sun Studies; $5 suggested. 9 p.m.

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK: Dierks Bentley, Jon Pardi, Tenille Townes; $39+. 7 p.m.

LOCAL 506: Vale; $8-$10. 9 p.m.

BLUE NOTE GRILL: The Quebe Sisters; $25 -$20. 8 p.m.

PHOTO COURTESY OF RIGHTEOUS BABE RECORDS

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RISSI PALMER W/ XOXOK

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RECYCLE THIS PAPER Amyl and the Sniffers perform at Kings on Monday, July 15. PHOTO COURTESY OF KINGS NEPTUNES PARLOUR: Lady Moon & The Eclipse, Tha Materials; $10. 10 p.m.

POUR HOUSE: Local Band Local Beer: The New Aquarium, Julian CreechPritchett, Stranded Bandits; $5. 9 p.m.

RED HAT AMPHITHEATER:

Rob Thomas [$26+, 7 P.M.]

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On the song “Early in the Morning” from Rob Thomas’ latest solo LP Chip Tooth Smile, the Grammy-winning Matchbox Twenty alum pulls off a fascinatingly underwhelming impersonation of Phil Collins’ “In the Air Tonight” mood. Although a prolific songwriter, these days, Thomas dials his vocals back and doesn’t quite curl his voice in as squirrelly a way as he did in his “Push” and “3AM” lead singer days. He still writes as strongly and squarely as he did for other artists, but just without the discretion to let his peers handle the songs’ delivery to a post-Matchbox listenership. —Eric Tullis THE WICKED WITCH: Reese McHenry, Outer Spaces, Lonnie Walker; 9 p.m.

FRI, JUL 12 BLUE NOTE GRILL: Anne McCue; $10. 9 p.m.

BYNUM FRONT PORCH: Chatham Rabbits; 7 p.m.

THE CARY THEATER: Claire Holley; $20-$25. 8 p.m.

CAT’S CRADLE: The Love Language, Skylar Gudasz, Reese McHenry; $14-$16. 9 p.m.

CAT’S CRADLE BACK ROOM: Heat Preacher, Little Hustle, Gray Young, Harrison Ford Mustang; $6-$7. 8:30 p.m.

THE CAVE: The Eyebrows, Night Creature, The Business People; $5 suggested. 9 p.m.

DURHAM CENTRAL PARK:

Van Hunt [FREE, 7 P.M.]

Van Hunt’s third record, Popular, was so unlike its time that Blue Note could only do one thing with it: shelve it when the Ohioborn, Atlanta-bred R&B musician delivered it to the jazz vanguard in 2007.

Popular is a daring meld of funk, punk, hip-hop and neo-soul that was light years ahead of its time, presaging the latter-day genrebending experimentations of Boulevards and D’Angelo’s comeback, Black Messiah, by a decade. So flush is Popular, which Blue Note eventually released in 2017, with ideas and angry guitar solos and

pungent, hypersexed grooves that it really could have only come from one other source —at heart, Popular is a Prince record, maybe the best one the Purple One never made.

—Patrick Wall KINGS: Hundreds Thousands, Sonny Miles; $10. 7:30 p.m.

KINGS: Drake Nite; $5+. 10 p.m.

KOKA BOOTH AMPHITHEATRE: NC Symphony: The Music of Chicago with Brass Transit; $35. 7:30 p.m.

LINCOLN THEATRE: Grass Is Dead & Songs From The Road Band; $12. 9 p.m.

LOCAL 506: Sanctuary, Ghost Ship, Octavius; $18-$20. 6:30 p.m.

THE MAYWOOD: Echonest, Discoveries, Gray Henry; $10. 9:30 p.m.

MOTORCO: Mystery Skulls, Phangs, Snowblood; $15-$35. 8 p.m.

POUR HOUSE: Of Good Nature, Little Stranger, Badcameo; $10-$12.

9 p.m.

RHYTHMS LIVE: Crystal Gayle; 8 p.m.

THE RITZ: Genessa & The Selena Experience; $15+. 7 p.m.

SLIM’S: Sportsmanship, Henbrain, Nathan Arizona and the New Mexicans; $5. 9 p.m.

THE STATION: Alone Again Or; 8 p.m.

SAT, JUL 13 BLUE NOTE GRILL: Good Rocking Sam Album Release; $8. 8:30 p.m.

CAT’S CRADLE BACK ROOM: Cold Cream, DE()T, Sneakers Award; $9. 9:30 p.m.

THE CAVE: Eyeball, Stray Owls, Anchor Detail; $5 suggested. 9 p.m.

COASTAL CREDIT UNION MUSIC PARK AT WALNUT CREEK: Train, Goo Goo Dolls, Allen Stone; $30. 7 p.m.

FLETCHER OPERA THEATER: Together is Better Than One with Andre Tavares’ Band; $27+.

8:30 p.m.

HILLCREST CONVALESCENT CENTER: Dave Nachmanoff; Donations. 7 p.m.

KINGS: Jenny Besetzt, Konvoi, Ray Gun; $8. 9 p.m.

KOKA BOOTH AMPHITHEATRE: Weird Al Yankovic; $30+. 8:30 p.m.

LOCAL 506: Intercourse, Fever Strike, End of Your Rope, Incident, Sleep Torture; $8. 8:30 p.m.

THE MAYWOOD: Violent Opposition, Snide, Sunday Girl; $8. 9 p.m.

MOTORCO:

Girls Rock NC Summer Camp Showcase

[$10 SUGGESTED, 2 P.M.]

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

Girls Rock NC, a community music camp for girls and

children of marginalized genders, puts on a hell of a concert. At this culminating showcase, one of several at Motorco this summer, families and friends cheer on the rising 2nd-4th grade campers as they perform original songs about everything from monsters to friendship to favorite pets. What else is there, really?

—Josephine McRobbie NC MUSEUM OF ART: Andrew Bird, Tift Merritt; $33-$46. 8 p.m.

POUR HOUSE: NC Local Music’s 12 Anniversary & Benefit For Interact; $10-$15. 12 p.m.

POUR HOUSE: Andy Wood, Seth Rosenbloom, Infinite Eve; $10-$12. 9 p.m.

THE RITZ: Anberlin, I the Mighty; $28+. 8 p.m.

SERTOMA AMPHITHEATRE: Al Strong and the 99 Brass Band; 7 p.m.

SLIM’S: Thick Modine, Hoaries, Moon Pussy; $5. 9 p.m.

THE STATION: NobFest: 8:59s, Lester Coalbanks and the Seven Sorrows, Chixie Dicks; 8 p.m.

SUN, JUL 14 ARCANA: Eugene Chadbourne, Annalise Stalls, Casey Toll, & Joe Westerlund; $10 suggested. 8 p.m.

KINGS:

Jackie Venson [$15-$20, 6:30 P.M.]

There are probably more Tracy Chapman-meets-Kelis moments on Austin singersongwriter’s Jackie Venson’s recent Joy album than she would like to admit. It’s more obvious on the reggae-tinted “Keep On” than it is on the unyielding “Never Say Die,” meaning that she has the perfect combination it takes to have the happy, unheard of, nerve to play an acoustic guitar set at a roller skating rink and actually not manage to stink up the party. She’s an 80s baby at heart with a soul built from every other decade in music. —Eric Tullis LINCOLN THEATRE: Yellowman; $20-$44. 8:30 p.m.

POUR HOUSE: Day Party: Karl Cope & The Headlights, Currie Clayton; $5. 2 p.m.

POUR HOUSE: Quiet Hollers, The Gone Ghosts; $8-$10. 8 p.m.

RHYTHMS LIVE: Rumours; $20. 7 p.m.

Cedric Burnside performs at Duke Gardens on Wednesday, July 17. PHOTO COURTESY OF DUKE PERFORMANCES.

MON, JUL 15 CAROLINA THEATRE:

Leela James [$30, 8 P.M.]

The looping, blobby font on the cover of Leela James’s new EP Are You Ready makes it clear that this album is a throwback. Each of its four songs has an amped up 60s Motown vibe, with deep grooves and bluesy guitar solos all in service of James’s powerful voice. That voice lets her toggle between hiphop-infused R&B and soulful rockers with ease.

—Dan Ruccia CAT’S CRADLE: Aterciopelados; $26-$30. 8:30 p.m.

CAT’S CRADLE BACK ROOM: Night Glitter, Lacy Jags; $10$12. 9 p.m.

THE CAVE: Jesse Black; 9 p.m.

KINGS:

Amyl and the Sniffers [$12-$14, 8 P.M.]

Australia’s proud tradition of exporting its absolute craziest rock bands (see The Vines and Angus from Liars; pay no attention to the Silverchair behind the curtain) continues with the international ascent of Amyl and the Sniffers, a young band that comes on in

a storm of peroxide mullets and oblivious barre chords, with Amy Taylor’s terse, melodic snarl rocketing on proto-punk rails and oozing dirty glamour. With No Love and DE()T. —Brian Howe THE MAYWOOD: Tomb Mold, Superstition, Pathogenesis, Malediction; $10-$13. 8 p.m.

MEYMANDI CONCERT HALL: Glenn Miller Orchestra; $51+. 7 p.m.

THE NIGHT RIDER: Darren and the Buttered Toast, Kleptokrat, Charlie Paso; $5. 8 p.m.

THE PINHOOK:

Harriet Brown [$10, 9 P.M.]

The moniker for the California artist Harriet Brown might sound like a 72nd-tier Beverly Cleary character, but you should give him more credit than that. The latest in the genrewave pipeline of people making disco-flecked outsider R&B, he steeps his candy rain in classic space race psychedelia, siphoning inspiration from the writings of popular science titans like Carl Sagan. Raleigh producer/Raund Haus affiliate Footrocket, who falls somewhere between easybreezy Japanese city pop and Thomas Bangalter, opens.

—David Ford Smith

POUR HOUSE: Casey Clark, Kaleb Cecil, Elliott Humphries; $10-$12. 8 p.m.

TUE, JUL 16 CAT’S CRADLE: Bill Callahan, Nathan Bowles Trio; $22-$25. 8 p.m.

LINCOLN THEATRE: Charley Crockett; $15. 9 p.m.

THE MAYWOOD: Khemmis, Cloak, Bvnnies; $13-$15. 8 p.m.

MOTORCO: Hop Along, Kississippi; $17-$20. 8 p.m.

THE PINHOOK: Stef Chura, French Vanilla; $10-$12. 8 p.m.

POUR HOUSE: Foggy May, Joint Operation, Sound System Seven; $5-$8. 8 p.m.

RED HAT AMPHITHEATER:

Young the Giant [$28+, 6:30 P.M.]

SoCal indie-adjacent bands Young the Giant and Fitz and the Tantrums made their biggest marks in the first half of the decade: the former in 2011, when it landed two platinum singles (the moody rockers “My Body” and “Cough Syrup”) from its self-titled debut; the latter in 2013, when it twice topped Billboard’s U.S. alt-rock charts (the effervescent “Out of My League” and “The Walker”).

This week, in the final summer before the turn of another decade, each band still makes slick, earworming AAA pop

perfect for primetime network sitcoms and suburban summer socializing. —Patrick Wall SLIM’S: Lily Konigsberg, Brittle Brain; $5. 9 p.m.

WED, JUL 17 THE CAVE: Washer, Sonic Afternoon, Black Surfer; $5 suggested.

9 p.m.

DUKE GARDENS:

Cedric Burnside [$10, 8 P.M.]

It feels unfair to talk about Cedric Burnside in relation to his grandfather, the great bluesman R.L. Burnside.

Thankfully, Cedric is more than up to the challenge. His brand of singing blues feels just as primeval as R.L.’s, full of greasy licks, buzzy guitar tones, and a driving stomp that the Black Keys wish they could match.

—Dan Ruccia LOCAL 506: The Minks; $8. 8 p.m.

NIGHTLIGHT: 2 Dogs 1 Glove, Secret Boyfriend, de_Plata, Wild Actions; $8. 9:30 p.m.

POUR HOUSE: Magic Beans, The Fat Catz; $10-$12. 9 p.m.

RED HAT AMPHITHEATER: Godsmack; $29+. 7:30 p.m.

SLIM’S: Ghost of Saturday Nite, Some Kind of Nightmare, Midnite Sun; $5. 9 p.m.

INDYweek.com | 7.10.19 | 27

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YOUR WEEK. EVERY WEDNESDAY.

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Noah Saterstrom: Faces: Paintings. Jul 10-Sep 29.

Horse & Buggy Press and Friends, Durham. horseandbuggypress.com.

ONGOING 150 Faces of Durham: Photos. Thru Sep 3. Museum of Durham History, Durham.

AfterSchool Arts Immersion: Internet Abracadabra: Student art.

Thru Jul 31. Reception: Jul 12, 6-8 p.m. The ArtsCenter, Carrboro artscenterlive.org.

Elise Alexander & Sharon Hardin: Thru Jul 12. Chapel Hill Town Hall, Chapel Hill.

Ancestry of Necessity: Group show. Curator, April Childers. Thru Aug 24. Reed Bldg, Durham.

Paolo Arao, Sam King, Jason Osborne: Like Mercury in the Wind: Paintings. Thru Jul 20. Oneoneone, Chapel Hill. oneoneone.gallery.

Wim Botha: Stil Life with Discontent: Mixed media.

Additional work on view at 21c Museum Hotel. Thru Aug 4.

NC Museum of Art, Raleigh. ncartmuseum.org.

THURSDAY, JULY 11–MONDAY, SEPTEMBER 9

JIMMIE BANKS RETROSPECTIVE If the artist’s job is to bring light to the unseen, then Jimmie Banks is an artist two times over: Once, in his twenty-two-year tenure as an electrician at Duke, and again, in his long practice of daily sketching and painting. Though you’ll find the occasional landscape in his work, Banks is most interested in people, from family and friends to celebrities and athletes; his canvases have something of the social documentary of Romare Bearden and something of the stark portraiture of Barkley L. Hendricks.

This retrospective at one of the places where Banks helps keep the lights on, The Rubenstein Arts Center’s Gallery 235, reaches from his early works to the present to catch the span of a life and the growth of a patient, persistent lunch-break artist, building on glimpses of Banks’s work you might have caught at places like the Durham Public Library or Cup A Joe in Raleigh in past exhibits. —Brian Howe

THE RUBENSTEIN ARTS CENTER, DURHAM Various times, free, www.artscenter.duke.edu

“Jackson 5” by Jimmie Banks

PHOTO COURTESY OF THE RUBENSTEIN ARTS CENTER

OPENING Tony Alderman: Waterline: Paintings. Jul 13-Aug 24. Reception: Jul 13, 5-7 p.m. Craven Allen Gallery, Durham. cravenallengallery.com.

Golden Expressions: Golden Belt resident artists show. Jul 11-Aug 25. Reception: Jul 11, 5:30-8 p.m. Grand Gallery at the Golden Belt Campus, Durham. goldenbeltarts.com.

Shawhan Lynch: Light Fusion: Glass. Jul 13-Aug 24. Reception: Jul 13, 5-7 p.m. Craven Allen Gallery, Durham.

Linda Carmel, Ellie Reinhold, Jason Smith: Full Circle: Paintings and sculpture.

Thru Jul 21. Hillsborough Gallery of Arts, Hillsborough.

HillsboroughGallery.com.

Cary Gallery of Artists: Color Your World: Thru Jul 23.

Cary Gallery of Artists, Cary. carygalleryofartists.org.

Kennedi Carter: Godchild: Photos. Thru Jan. 21c Museum Hotel, Durham.

21cmuseumhotels.com.

Avery Danziger: In the Shadow of the Moon: Photos. Thru Jul. 31. Through This Lens, Durham.

Empirical Evidence: Group show. Thru Sep 30. Reception: July 12, 6-9 p.m. Carrboro Town Hall, Carrboro.

Evee Erb & Sydney Sogol:

A Force of Nature: Textiles and sculptures. Thru Aug 3. Reception: Jul 14, 6 p.m.

Durham Art Guild, Durham.

Berkeley Grimball, Jim Lux, Jim Oleson, Mary Stone Lamb, Phillip Welch: Group show. Thru Aug 3. FRANK Gallery, Chapel Hill.

Hurray for the Red White & Blue: Paintings. Thru Jul 27. V L Rees Gallery, Raleigh. vlrees.com.

John James Audubon: The Birds of America: Ornithological engravings. Thru Dec 31. NC Museum of Art, Raleigh. ncartmuseum.org.

Kaleidoscope: Art of the Triangle: Work from Duke Children’s Hospital pediatric patients. Thru Jul 27. Reception: Jul 12, 6-8 p.m. FRANK’s Outreach Gallery, Chapel Hill. frankisart.com.

Kapow: Group show. Thru Jul 27. Local Color Gallery, Raleigh. localcoloraleigh.com.

Jim Kellough: Vine Paintings: Thru Oct 10. Durham Convention Center, Durham. durhamarts.org.

Stacey L. Kirby: The Department of Reflection: Multimedia. Thru Aug 4.

Ackland Art Museum, Chapel Hill. ackland.org.

Michael Klauke: In So Many Words: Paintings, work on paper, and video. Thru Aug 18. CAM Raleigh, Raleigh. michaelklauke.com.

Justin LeBlanc: Probable Normal Hearing: Thru Aug 18. CAM Raleigh, Raleigh. jleblancdesign.com.

Mac McCusker: Gendered Clay: Works in clay. Thru Jul 31.

Claymakers, Durham.

Christian Marclay: Surround Sounds: Synchronized silent video installation. Thru Sep 8. Nasher Museum of Art, Durham. nasher.duke.edu.

Our House: Durham Arts Council student-instructor exhibit. Thru Jul 6. Durham Arts Council, Durham.

INDYweek.com | 7.10.19 | 29

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CONT’D

Outsider Art in the Visitors Center: Group show. Works for sale. Thru Aug 30. Alexander Dickson House, Hillsborough.

Susan Harbage Page: Borderlands: Documentary photos and found objects from the US-Mexico border. Thru Jul 28. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

Paperhand Puppet Intervention: We Are Here: Puppetry. Thru Jul 31. Reception: Jul 12, 6-8 p.m. The ArtsCenter, Carrboro artscenterlive.org.

Pop América, 1965-1975: Latin American pop art.

Thru Jul 21. Nasher Museum of Art, Durham. nasher.duke.edu.

Portraying Power and Identity: A Global Perspective: Thru Jan 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com. reNautilus: Thru Jul 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com.

Southern Oracle: We Will Tear the Roof Off: Interactive sculptures. Thru Oct 31. NC Museum of Art, Raleigh. ncartmuseum.org.

Kirsten Stoltmann: I am Sorry: Thru Jul 31.

Lump, Raleigh. lumpprojects.org.

Tilden Stone: Southern Surreal: Furniture.

Thru Sep 8. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

Dennis Szerszen: Unstill Waters: Photos. Thru Aug 27. Reception: Jul 14, 12:30-2 p.m. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill. szerszen.photo.

Emily Hobgood Thomas: Thru Jul 12. UNC’s Hanes Art Center, Chapel Hill. art.unc.edu.

Literary Trivia Night with Redbud Writing Project 7pm

7.12-7.14 7.17

Way Out West: Celebrating the Gift of the Hugh A. McAllister Jr. Collection: Thru Aug 25. Ackland Art Museum, Chapel Hill. ackland.org.

Emily Weinstein: Under a Full Moon: Paintings. Thru Jul 17. Bull City Art & Frame Co, Durham.

Christina Lorena Weisner: Explorations: Science sculptures. Thru Jul 28. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

Marthanna Yater: Growing Together: Photos. Thru Aug 18. Reception: Jul 14, 2-4 p.m.

Horace Williams House, Chapel Hill. preservationchapelhill.org.

READINGS & SIGNINGS Steve Epstein: Murder on Birchleaf Drive. Sat, Jul 13, 2 p.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Ruth Moose: Short story collection Going to Graceland.

Sat, Jul 13, 3 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

Matt Myers: Children’s story time. Fri, Jul 12, 10:30 a.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Regina Porter: Debut novel The Travelers. Sat, Jul 13, 11 a.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Christopher Ruocchio: Novel Howling Dark. Wed, Jul 17, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Second Sundays Poetry Series & Open Mic: With Bill Griffin and Erika Howsare. Sun, Jul 14, 3 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

Stony the Road: NAACP community reading and discussion. Wed, Jul 10, 7 p.m.

Flyleaf Books, Chapel Hill. flyleafbooks.com.

LECTURES ETC. 150 Years of Gardening in America: How Does Your Garden Grow?: With Craig LeHoullier. Sat, Jul 13, 1 p.m. NC Museum of History, Raleigh. ncmuseumofhistory.org.

Durham Comics Fest: Full schedule online. Sat, Jul 13, 11 a.m. Southwest Regional Library, Durham. durhamcomicsfest.org.

Summer Indie Noir Series: With Eryk Pruitt, David Nemeth, Dana King, & Steve Weddle. Thu, Jul 11, 7 p.m.

Regulator Bookshop, Durham. regulatorbookshop.com.

William Paul Thomas: Disrupting Homogeny: Portraits. Thru Jul 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com.

Announcing the 2019 Arts and Lecture Series with Ann Patchett, Karl Marlantes w/ Wiley Cash, and Sarah Rose Etter! VIP subscriptions available.

Please see our website for more details!

7.10

Truth to Power: Juried art show on issues of social justice.

Thru Jul 28. Pleiades Gallery, Durham.

Intensive Three-Day Fiction Workshop with the Redbud Writing Project 12pm (signups available on our website as space permits) Christopher Ruocchio Howling Dark 7pm

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FRIDAY, JULY 12

SCALAWAG RELEASE PARTY Sustainable new journalism is a tall order anywhere, let alone in the South, but Scalawag has stayed true to its tagline, “Reckoning with the South,” since its 2015 founding, and that mission pays off. Sterling reporting on issues like voter suppression and climate change, as well as a vibrant poetry and arts section and a commitment to spotlighting progressive organizations and marginalized voices, has made the quarterly nonprofit grow and continue to reach new audiences. This summer, Scalawag is throwing down with three Jubilee celebrations across the South; one takes place at Arcana with a performance installation by Durham artist Monèt Noelle Marshall, live visuals by Chance Murray, field notes from nonprofit Down Home North Carolina, and music by Geymnii.

Drop by for a beer and a copy of the summer issue, which is hot off the presses. Stay around for the dance party, too. —Sarah Edwards

ARCANA, DURHAM 7 p.m., $10 suggested, www.scalawagmagazine.org

Monèt Noelle Marshall PHOTO BY ALEX BOERNER

stage NC 10 by 10: OdysseyStage Theatre and Cary Playwrights’ Forum. Ten minute play festival. $10-$20. Jul 11-14.

Thu-Sat: 8 p.m. Sun: 2 p.m. and 8 p.m. The ArtsCenter, Carrboro. artscenterlive.org.

Rennie Harris Puremovement: American Dance Festival. $12$51. Jul 10-11. Carolina Theatre, Durham. americandancefestival.org.

OPENING A.I.M by Kyle Abraham: American Dance Festival. $12$43. Jul 16-18. Duke’s Reynolds Industries Theater, Durham. americandancefestival.org.

Deon Cole: Comedy. Jul 12-14. Fri: 7:30 p.m. & 9:45 p.m. Sat: 7 p.m. & 9:30 p.m.

Sun: 7 p.m. Raleigh Improv, Cary. improv.com/raleigh.

DC Curry: Comedy. Jul 11-13.

Thu: 8 p.m. Fri-Sat: 7:30 p.m. & 10 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com

FRIDAY, JULY 12 & SATURDAY, JULY 13

MALPASO DANCE COMPANY As it turns out, it wasn’t a misstep—the translation of the Spanish word “malpaso”—for a small band of Cuban dancemakers to break away from the traditional, state-supported mix of Spanish and African folk dance and ballet to pursue something more innovative. Local audiences caught their first glimpse of this innovative island dance troupe when Duke Performances hosted them as artists-in-residence while they worked on Dreaming of Lions, their evening-length 2017 dance adaptation of Hemingway’s The Old Man and the Sea. Their American Dance Festival debut also features the debut of noted Canadian choreographer Aszure Barton, whose clever Indomitable Waltz veers between the romantic musings of Alexander Balanescu and the stringent strings of minimalist composer Michael Nyman. After founding choreographer Osnel Delgado explores an interpersonal crisis in Ocaso, the evening closes with a real workout: the roiling group psychodrama of Gaga dance meister Ohad Naharin’s Tabula Rasa.—Byron Woods

DUKE’S PAGE AUDITORIUM, DURHAM 8 p.m. Fri. & 7 p.m. Sat., $10-$54, www.americandancefestival.org

Malapso Dance Company PHOTO BY ROSE EICHENBAUM

Deck the Hallmark Podcast: Live podcast recording. $15.

Wed, Jul 10, 7 p.m. Raleigh Improv, Cary. thepit-chapelhill.com Kevin James Doyle: Comedy. $10. Wed, Jul 10, 8 p.m. The People’s Improv Theater, Chapel Hill. thepit-chapelhill.com.

I Am My Own Wife: Theatre Raleigh. Play. Jul 10-21. Wed-Sat: 8 p.m.

Sat: 2 p.m. Sun: 3 p.m.

Kennedy Theatre, Raleigh. dukeenergycenterraleigh.com Lady Day at Emerson’s Bar & Grill: Play. Jul 12-28. North Raleigh Arts & Creative Theatre, Raleigh. nract.org.

Women’s Theatre Festival: Jul 12-14. $5+.

Ruby Deluxe, Raleigh. rubydeluxeraleigh.com.

ONGOING Eiko: The Duet Project: American Dance Festival. $33. Thru Jul 10. Rubenstein Arts Center, Durham. americandancefestival.org..

Improv Grad Show: Comedy. $10. Sat, Jul 13, 2 p.m. The People’s Improv Theater, Chapel Hill. thepit-chapelhill.com.

The Miss Firecracker Contest: Chatham Community Players.

Thru Jul 14. Play. $12. Fri: 7 p.m. Sat: 2 & 7 p.m. Sun: 4 p.m. Sweet Bee Theater & Center for the Arts, Pittsboro.

NC’s Funniest Person: Comedy competition. $10. Jul 9-10, Jul 16: 8 p.m.

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Six Pack Standup Show: Comedy. $5. Wed, Jul 17, 7:45 p.m. North Street Beer Station, Raleigh. northstreetbeerstation.com.

The Sunday Show: Comedy.

Free. Sun, Jul 14, 7 p.m.

Yonder, Hillsborough.

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

INDYweek.com | 7.10.19 | 31

screen SPECIAL SHOWINGS Between Me & My Mind: Wed, Jul 17, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh. — $10. Wed, Jul 17, 7:30 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Daughters of the Dust: Sat, Jul 13, 5 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Equity: $3-$6. Thu, Jul 11, 9:30 p.m. The Cary Theater, Cary. thecarytheater.com.

Game Night: Jul 12, 7:30 p.m.

Koka Booth Amphitheater, Cary. boothamphitheatre.com.

Latinx Superheroes in Mainstream Comics: Q&A with Frederick Luis Aldama to follow. Sun, Jul 14, 3 p.m. Southwest Regional Library, Durham. durhamcountylibrary.org.

A League of Their Own: $7. Thu, Jul 11, 7 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Mary Poppins Returns: Free.

Thu, Jul 11, 8:30 p.m. Raleigh Little Theatre, Raleigh. raleighlittletheatre.org.

Parents: Tue, Jul 16, 9 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Piranha: Fri, Jul 12, 10 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

RetroArthouse & Epics Film Series: Full schedule online.

Jul 12-14. Carolina Theatre, Durham. carolinatheatre.org.

Spanish Voices: Documentary.

Free. Thu, Jul 11, 5:30 p.m. UNC’s FedEx Global Education Center, Chapel Hill. global.unc.edu.

Targets: $7. Wed, Jul 17, 7 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

To Live and Die in LA: Mon, Jul 15, 9 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Vampire’s Kiss: Wed, Jul 17, 9 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Whale Rider: $3-$6. Thu, Jul 11, 2 p.m. The Cary Theater, Cary. thecarytheater.com.

32 | 7.10.19 | INDYweek.com

When Harry Met Sally: Sun, Jul 14, 2 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Wild Kratts Alaska: Hero’s Journey: Sat, Jul 13, 10 a.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

OPENING Stuber—Summer 2019 is hot with nightmares of the gig economy: in this one, Kumail Nanjiani is an Uber driver whose five-star rating (and also, uh, life) is jeopardized by a high-speed chase. Rated R. Crawl—Quick on the heels of late capitalism’s horrors is Crawl, a movie about a woman trapped by a Category 5 hurricane in a flooded house that is also , full of alligators. Rated R.

The Fall of the American Empire— Money is the root of all evil in this Denys Arcand crime-thriller-farce (also, in life) about an overeducated society in flames. Rated R.

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com. ½ John Wick: Chapter 3 – Parabellum— A bloody, Buster Keaton-esque ballet meets Sam Peckinpah. Rated R.  Men in Black: International— What if Men in Black, but Morocco and Chris Hemsworth’s torso? Rated PG-13. ½ Non-Fiction—This French sex comedy by director Olivier Assayas feels ripped from decade-old thinkpieces about new media. Rated R.

THURSDAY, JULY 11

A LEAGUE OF THEIR OWN Everyone—OK, almost everyone—is stoked on the U.S. Women’s soccer team’s World Cup win, but support for women’s sports wasn’t as pervasive in 1992, when A League of Their Own was released, much less in the mid-twentieth century, when the film is set. A highlight of the late Penny Marshall’s directorial career, the movie a critic nicknamed “Belle Durham” is the heavily fictionalized true story of the All-American Girls Professional Baseball League, which maintained Major League Baseball during World War II, when many male players and fans were off fighting.

Although no one in the truly eclectic cast—Geena Davis, Rosie O’Donnell, Lori Petty, Madonna, Jon Lovitz, and a crabby Tom Hanks (“There’s no crying in baseball!”)—portray real members of the Rockford Peaches, many AAGPBL players praised the film’s accuracy, and it’s proven to be a major influence for athletes of all genders ever since. This screening is part of the MovieDiva series curated and hosted by Laura Boyes; it features special guest Elizabeth Weitzman, who’ll be signing copies of her book, Renegade Women in Film and TV, afterward. —Zack Smith

THE CAROLINA THEATRE, DURHAM 7 p.m., $7, www.carolinatheatre.org

A League of Their Own PHOTO COURTESY OF PARAMOUNT

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deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming July 24:

NORTH HILLS/NORTH RALEIGH

For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 7.10.19 | 33

crossword If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “puzzle pages” at the bottom of our webpage.

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HISTORY TRIVIA: • The Carolina Power & Light Company (CP&L) was chartered on July 13, 1908. Owning companies that operated electric streetcar systems, CP&L contributed to the development of suburban neighborhoods in Raleigh in the early 20th century.

• Painter and professional football player Ernie Barnes was born in Durham on July 15, 1938.

Barnes was captain of the Hillside High football team and studied art at NCCU.

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