Cathy Ladman is a rare comedian who doesn’t need obscenities to be funny. Like Jerry Seinfeld, Ladman (also a New York Jew) finds humor in the quirks of everyday life. “Personal relationships are the things that fascinate me most, especially the parent-child relationship,” she says. “[Blue comedy] isn’t the kind of stuff that I find the most interesting. If you took somebody’s act and took out all the expletives, you’d see there’s something less there.” Ladman got her start in the early ’80s doing open mics in New York. After an acclaimed HBO performance, her career skyrocketed, and she moved to L.A. to be closer to movie and TV gigs (she had a role in Charlie Wilson’s War and played a recurring character on Caroline in the City). Ladman — who’s working on a new stage show called Does This Show Make Me Look Fat?, about her eating disorder — says this weekend’s performances mark her first local appearances in more than a decade. She and co-headliner Diane Ford perform at Hilarities (2035 E. 4th St., 216.241.7425, pickwickandfrolic.com) at 8 p.m. Thursday, and 7:30 and 10:15 p.m. Friday and Saturday. Tickets: $20-$23. — Jeff Niesel
WEDNESDAY, MAY 6
Don Quixote
Given the state of dance in Cleveland, we don’t get to see many
stories told via classical ballet these days. If you don’t plan on
taking a trip to Russia anytime soon, you can get a fix at the Cedar
Lee Theatre, which is showing high-def video productions featuring the
Kirov Ballet. Don Quixote — with music by Ludwig Minkus
and starring Vladimir Ponomarev, Olesia Novikova and Leonid Sarafanov
— screens at 7 tonight, and 2 p.m. Sunday at the Cedar Lee (2163
Lee Rd., Cleveland Hts., 216.321.5411, clevelandcinemas.com). Tickets: $15.
— Michael Gill
THURSDAY, MAY 7
Jubilation
A festival of church choirs brings to mind a community-theater
production of Jesus Christ Superstar or some other sub-par
production with robes. But Jubilation is different. Some of the most
ambitious and refined church choirs in the region gather over the next
two nights, when WCLV-FM104.9, the Cathedral of St. John the Evangelist
and Akron’s T.S. Good Church Organ Company present the final
competitive rounds of the church-choir festival. Choirs from Avon Lake
UCC, Westlake United Methodist Church and First Church in Oberlin UCC
perform tonight. Tomorrow, St. Josaphat Ukrainian Catholic Cathedral,
St. John the Baptist Catholic Church in Canton and Epworth-Euclid
United Methodist Church present their choirs. A panel of judges will
award the winners $1,000. Performances start at 8 p.m. at St. John the
Evangelist (1007 Superior Ave., 216.771.6666, saintjohncathedral.com). It’s
free; no ticket required. — Gill
L.A. Guns
No matter what your opinion of cock-rocking bands like L.A. Guns,
you have to admire the fervor with which they indulge in
instrument-as-penis metaphors. The kind of sleazy raunch-rock
perpetrated on audiences since Steven Tyler’s hideous maw first opened
is one of the abiding glories of rock ‘n’ roll. Few art forms are as
free to revel in excess and ridiculousness as rock music, and few
things are as essential to the history and trajectory of rock as
ridiculous excess. L.A. Guns are nothing if not ridiculous and
excessive. With albums like Cocked and Loaded and a co-founder
named Tracii Guns, it’s hard to mistake this band for anything other
than a glorification of the absurd. Music like this is akin to a hot,
greasy burger from a hot, greasy diner on the bad side of town.
Everyone can appreciate a fine meal — the delicate flavors and
elegant presentation of a four-star restaurant represent one of life’s
unparalleled experiences. But every once in while, everybody needs a
sloppy pile of dripping and bloody meat shoved unceremoniously in their
face. That’s L.A. Guns. There are currently two versions of the band:
Guns’ and the one that will be at the Hi-Fi featuring singer Phil Lewis
and drummer Steve Riley from the band’s most successful incarnation.
Ground Zero open at 7 p.m. at the HiFi Club (11729 Detroit Ave.,
216.221.4747, thehificoncertclub.com). Tickets:
$10. — Nicholas Hall
Robin McKelle
With only two CDs under her belt, Berklee grad and Thelonious Monk
Vocal Jazz Competition finalist Robin McKelle has already generated
buzz among critics and fans. The aptly named 2008 release, Modern
Antique, finds McKelle exploring Great American Songbook fare with
the smoldering angst and desperate exuberance of Etta James and the
cooler confidence of Nancy Wilson. She also turns Steve Miller’s
“Abracadabra” into a big-band swinger, lays down a faithfully soulful
version of Nina Simone’s social protest “Go to Hell” and closes with a
wistful, if somewhat pedestrian, self-penned weeper called “Remember.”
But McKelle’s true calling card is her singing, and, unlike some of her
jazzy contemporaries, she avoids slipping into soft rock. Equipped with
a can’t-miss sense of timing, McKelle sends her wise, smoky voice over
the trickiest big-band hurdles and lands with a gymnast’s grace. She’ll
step out from the din for this show, performing in an intimate trio
setting that’ll no doubt give her voice more room to stretch and
experiment. That’s good news for fans of jazz singing. The show starts
at 8 p.m. at Nighttown (12387 Cedar Rd., 216.795.0550, nighttown.com). Tickets: $20. —
Matt Marshall
Gavin Rossdale
Ah, 1994, how full of promise you were. With music fans gravitating
toward anyone in flannel wielding a crunchy guitar, the mid-’90s were
kind to Bush’s Gavin Rossdale and his rugged good looks and vaguely
dark, superficially edgy grunge. Then everyone seemed to figure out
that Nirvana was the exception, not the rule, and that most of the
imitators weren’t very good. The grunge bubble burst, and frontmen like
Rossdale were left foundering in search of a new direction. Rossdale’s
next band, Institute, bore a striking resemblance to his old one.
Though short-lived, Institute did foster one spark in Rossdale that had
been buried: In all the grit and gravel of Bush, it was hard to notice
that Rossdale was a pretty good singer. Now that he’s on his own, he
makes it clear on his debut solo album, Wanderlust, delivering
songs with clean production and simple melodies that showcase his
vocals. If he can shed the last remaining trappings of his grunge
shadow, Rossdale just might have a fine career ahead of him. Endless
Hallway open at 8 p.m. at House of Blues (308 Euclid Ave.,
216.523.2583, hob.com). Tickets: $24.50
advance, $28 day of show. — Hall
FRIDAY, MAY 8
Electric Six
Electric Six may be best known for goofy songs like “Gay Bar” and “I
Buy the Drugs.” But over the course of five albums, they’ve proved
their durability with raucous sex-soaked tunes that latch onto new
wave, disco-punk and bar-rock before tearing them all to shreds. Singer
Dick Valentine initially comes off like the sort of guy at the bar who
women avoid and men mock, but his over-the-top showmanship reveals
itself as a throwback to the days when rock ‘n’ roll was gloriously
excessive. This is music with an ironic wink that works surprisingly
well, thanks to choruses big enough for stadiums and Guitar
Hero-worthy riffs. Living Things and Hot Cha Cha open at 9 p.m. at
the Grog Shop (2785 Euclid Heights Blvd., Cleveland Hts., 216.321.5588,
grogshop.gs). Tickets: $10 advance,
$12 day of show. — Matt Whelihan
Evil Dead: The Musical
Sam Raimi’s Evil Dead films revel in the sort of campy zombie
vibe that makes so many horror flicks from the ’70s such a kick to
watch. That playful spirit is front and center in the stage version of
this musical amalgamation by George Reinblatt, made with the
Spider-Man director’s blessing. Beck Center artistic director
Scott Spence has a keen eye for theatrical hits, especially musicals
based on cult films. In Evil Dead: The Musical, five college
students break into an abandoned cabin and unwittingly unleash evil.
Before long, they’re singing “All the Men in My Life Keep Getting
Killed by Candarian Demons.” It opens at 8 p.m. in Beck Center’s Studio
Theatre (17801 Detroit Ave., Lakewood, 216.521.2540, beckcenter.org) and runs through June 14.
Tickets: $17-$28. — Gill
Tres Versing the Panda
Bree Bodnar’s Tres Versing the Panda poetry festival gathers a bunch
of old-school Cleveland poets for a weekend celebration of mouth-music
subtitled “Three Days of Poetry Soiree in May.” Bodnar’s connections
run deep in the poetry publishing world, so she snagged a wide group of
poets to perform. It all begins at 6 tonight at the Barking Spider
(11310 Juniper Rd., 216.421.2863, barkingspidertavern.com). Ben
Gulyas, Jim Lang and Wesley Eisold are among the readers who’ll be
accompanied by musicians Travis Catsull and Dirk Michener. A series of
poets (including Alex Gildzen, Jeremy Gaulke and Jack McGuane) will pay
tribute to the late Cuyahoga County Poet Laureate Daniel Thompson at 1
p.m. tomorrow at his memorial plaque (75 Public Square). Visit greenpandapress.blogspot.com for more info on the fest. — Gill
Urban Bright
There aren’t many neighborhood-centered arts organizations as
well-connected to Cleveland’s working artists as Art House. Kids from a
half-dozen Cleveland Metropolitan Schools were paired with well-known
local artists and performers (including Kristen Cliffel, Liz Maugans
and Shelly DiCello) in Art House’s after-school program. Urban
Bright features the work that came out of their time together. It’s
on display from 4-6 p.m. at Art House (3119 Denison Ave., 216.398.8556,
arthouseinc.org). —
Gill
SATURDAY, MAY 9
Dr. Sketchy
The original Dr. Sketchy is New Yorker Molly Crabapple, who posed
the question “Why can’t drawing naked people be sexy?” in 2005 and
answered it with cabaret-meets-life-drawing outings. At the time, she
was 22 and working as an artists’ model. These days, the Dr. Sketchy
concept has spread around the country, while Crabapple has landed
illustrations in The New York Times, Wall Street Journal and even some Marvel comics. Local disciples Jason Tilk and Aaron Erb
host Dr. Sketchy’s Drink and Draw sessions around town, typically at
bars, where models sit for three rounds spanning a minute to 10
minutes. You can’t take pictures, and you can’t paw the models, but at
that pace, you’ll likely get some drawing practice. Tonight’s session
features model Fantastic Fred, a girl who wears superhero costumes.
Appropriately, it takes place from 7-11 p.m. at Carol and John’s Comic
Book Shop (17448 Lorain, 216.252.0606, cnjcomics.com). Fee is $10. — Gill
Eulogies
The word “eulogies” has bad connotations — heartbreaking
speeches, funerals, dead people — evoking feelings contrary to
the ones a new band might want to impress upon potential fans. Yet, the
L.A.-based indie-rock group Eulogies isn’t all gloom and doom. Peter
Walker’s lyrics can get weighty at times, but the rest of the band
keeps the toe-tapping tunes pretty sunny. Simple bass lines, melodic
guitar and spacious drumming lighten up the mood. Walker says that his
songs allow him to say things folks usually save for, um, eulogies.
“How to Be Alone” begins sparsely with four chords, but as the guitar
expands into a rip-roaring feast of sound, Walker gets serious about
getting through life all by himself. Like most of Eulogies’ songs, it
grows to a swelling point and contracts just in time for the ending.
The foursome recently released Here Anonymous, so expect to hear
plenty of new material at this show. The Dears and Great Northern are
also on the 8 p.m. at the Grog Shop (2785 Euclid Heights Blvd.,
Cleveland Hts., 216.321.5588, grogshop.gs). Tickets: $10, advance, $12 day
of show. — Danielle Sills
Mayhem Poets
Kyle Sutton, Scott Raven and Manson Granger trace their roots as a
poetry performance company to an open mic called Verbal Mayhem started
by Sutton and another student at New Jersey’s Rutgers University in
2000. The Mayhem Poets’ mix of social awareness and verbal virtuosity
led to gigs on The Today Show as well as a steady touring
schedule. They perform at 11 a.m. at the Ohio Theatre (1501 Euclid
Ave., 216.241.6000, playhousesquare.com). Tickets:
$10-$20. — Gill
Works in Progress
Since the end of last summer, Zygote Press’s monthly Works in
Progress sessions have given artists on-the-spot feedback from other
artists and critics — the sort of conversation that’s routine in
graduate school but hard to find after that. Today, the Akron Art
Museum’s director of curatorial affairs Barbara Tannenbaum —
who’s organized more than 50 exhibitions, including A History
of Women Photographers — critiques work by local artists. It
starts at 1 p.m. at Zygote Press (1410 East 30th St., 216.621.2900,
zygotepress.com), and it’s free.
— Gill
Link Wray Tribute
My older brother was in high school when Link Wray’s “Rumble” hit
the airwaves in 1958. He told me, “Man, when you hear that guitar, you
just wanna rumble!” Chalk it up to the moral corruption for
which rock ‘n’ roll was famous. Or maybe there was something extra in
those distorted chords and that sleaze-drenched drumbeat that scored a
dead-center hit to the teenage zeitgeist. In any case, the D.C.-based
axeman scored a hit on both sides of the Atlantic. The tune’s menacing
noir overtones got it banned on many radio stations. “Rumble” is also
widely regarded as the song that gave birth to the power chord. Wray,
decidedly edgier than contemporaries like the Ventures and Duane Eddy,
would inspire generations of punks, headbangers and psychobillies up to
his death in 2005. There’s hardly a guitarist in the rock universe who
doesn’t credit him as an influence. Highlighting this tribute are
Wray’s longstanding backups the Raymen (led by Ed Cynar, Wray’s bass
man from the early ’60s) and gonzo Southern roots-rocker Webb Wilder,
whose just-released album More Like Me shows its share of
lineage to Link. Stuck in Gear, Wraygun and Topcats also play 7 p.m.
show at the Beachland Ballroom (15711 Waterloo Rd., 216.383.1124,
beachlandballroom.com).
Tickets: $20. — Duane Verh
Samantha Crain and
the Midnight Shivers
Oklahoma native Samantha Crain made her recording debut in 2007 with
the EP The Confiscation. It was billed as “A Musical Novella,”
flashing some premature preciousness. It also carried weighty song
titles like “In Smithereens, the Search for Affinity,” even as its five
tracks were melodically slight. All of this early and seemingly
misplaced self-confidence makes far more sense with just one listen to
Crain’s full-length debut, Songs in the Night. The 22-year-old
Crain and her band give far more life to her songs this time around,
tearing through the Americana-tinged “Long Division” and “Get the Fever
Out” with Uncle Tupelo-like fervor. Crain’s singing continues to stand
out on cuts like “Devils in Boston,” a nifty hellhound-on-my-trail
trick that Crain pulls off with aplomb. The progression from the
over-reaching EP to a streamlined and punchier album provides plenty of
evidence that Crain’s learning curve is steep. She opens for Thao and
the Get Down Stay Down and Sister Suvi at 8:30 p.m. at the Beachland
Tavern (15711 Waterloo Rd., 216.383.1124, beachlandballroom.com). Tickets: $8
advance, $10 day of show.
— Chris Drabick
MONDAY, MAY 11
The Crystal Method
The Crystal Method, pioneers of the big-beat electronic-dance scene
in the 1990s, kicked off their first tour in five years with a
thrilling performance at last month’s Coachella festival. In the past,
they were likely to share the stage with other genre heavyweights like
the Prodigy and Fatboy Slim. This year, they played alongside the Yeah
Yeah Yeahs and M.I.A. Their latest album, Divided by Night, features a wide array of collaborators — including
Matisyahu, New Order’s Peter Hook and Meiko. “Drown in the Now,” the
first single, sounds more contemporary than most of their big-beat
oldies, which they’re sure to slip into the mix at this show. It starts
at 8 p.m. with Danger opening at House of Blues (308 Euclid Ave.,
216.523.2583, hob.com). Tickets: $22
advance, $25 day of show. — Lois Elswick
TUESDAY, MAY 12
The Hot Seats
When the Hot Seats travel outside the U.S., they’re often asked “Are
you hillbillies?” and “Do you ever shave?” But they don’t mind. The
Virginia-based quintet is too busy spreading bluegrass cheer to worry
about such questions. With a sense of humor that might outweigh the
number of instruments they play, the members of the Hot Seats don’t
take anything too seriously. (They used to be called Special Ed &
the Shortbus.) The guys furiously strum high-speed fiddle, mandolin,
washboard, banjo and guitar for some great old-timey music with
bluegrass and vaudeville influences. The zany Zappa-style jokes are a
bonus. “Sleepover Party” exemplifies the Hot Seats’ fun-loving mockery.
They giggle and gossip about Mel Gibson as if they were preteens at
their first sleepover. Not everything is a joke — the music is
first-rate, and it’ll have you spinning your partner ’round and ’round
in no time. And be sure to check out multi-instrumentalist Aaron
“Admiral Admirable” Lewis’ humongous beard, which answers that whole
shaving question. One Dollar Hat open at 9 p.m. at the Beachland
Ballroom (15711 Waterloo Rd., 216.383.1124, beachlandballroom.com). Tickets:
$8. — Danielle Sills
Lady Sovereign
There’s no doubt hip-hop is a male-dominated genre. In recent years,
it seemed like the only female rappers who broke into the mainstream
were the ones who showed some skin: Lil’ Kim, Trina, Foxy Brown. It’s
been a while since Queen Latifah and Salt-N- Pepa displayed a more
positive female image. Luckily, Lady Sovereign — a 23-year-old
British rhymer — has made a name for herself without compromising
her morals or style. In 2005, after some success in the U.K. grime
scene, she scored the unlikely chance to freestyle for then-Def Jam CEO
Jay-Z. He signed her on the spot. Sov’s 2006 single, “Love Me or Hate
Me,” proudly proclaimed her refusal to play into rap’s stereotypes. Her
new album, Jigsaw, is more electro than hip-hop, and her vocals
are often sung, rather than rapped. Even if you don’t dig her tunes,
she’s proof that not only can girls rap, they can do so on their own
terms. Chester French and Hollywood Holt open at 8 p.m. at the Grog
Shop (2785 Euclid Heights Blvd., Cleveland Hts., 216.321.5588, grogshop.gs). Tickets: $15. — Eddie
Fleisher
WEDNESDAY, MAY 13
Bonnie “Prince” Billy
Like some old Appalachian folk tale, Will Oldham continues to creep
out of the woods nearly every year with a new album of eerie and
autumnal country rock. He hasn’t lost a step over the past two decades,
penning poignant folk songs (more than 15 albums’ worth) under
pseudonyms like Palace Music, Palace Brothers and his current Bonnie
“Prince” Billy moniker. His latest album, Beware, continues
where 2006’s The Letting Go started anew, with large
instrumentation, big backing harmonies and epic-sounding songs —
a contrast to his past cannon of skeletal, low-fi, gothic country
records. Beware is big and beautiful, but it’s also slow as
hell. Oldham sings and actually looks like an ancient tortoise (his
grizzled, bald head adorns the album cover). Plus, it sounds just like
every other Oldham album. But it still includes mesmeric and haunting
material, with upbeat tunes like “Beware Your Only Friend” melding
seamlessly with somber anthems like “Death Final,” making it perfect
for rainy day ruminations or a lazy sunny afternoon. Lighting Dust
opens at 9 p.m. at the Beachland Ballroom (15711 Waterloo Rd.,
216.383.1124, beachlandballroom.com). Tickets:
$16 advance, $18 day of show. — Keith Gribbins
Das Rheingold
Street theater has birthed some magnificent things over the past few
years, including La Fura dels Baus. Coming off the streets of
Barcelona, the company is best known for mega-shows that mix music,
dance, acrobatics and technology. They typically draw crowds of 25,000
in their hometown. Shortly after the turn of the millennium, La Fura
dels Baus began to dabble in opera and technology: They were the first
company to use video teleconferencing as an element of art. Their
production of Wagner’s Das Rheingold screens in high-def video
at the Cedar Lee Theatre (2163 Lee Rd., Cleveland Hts., 216.321.5411,
clevelandcinemas.com) at 7
p.m. Tickets: $20. — Gill
Kings of Leon
Before they became boozing, drugging and model-boinking cover boys,
Kings of Leon were backwoods preacher’s kids (and a cousin) who didn’t
hear a Rolling Stones song until they were 18. Or so the story goes. As
more and more details of their supposedly secluded upbringing emerge,
the more suspicious they become. We believe that the siblings’
childhoods were governed by a maniacal man of God who stressed that
rock ‘n’ roll was the devil’s music. And we believe that the boys were
home-schooled and raised on old-fashioned (and kinda hillbilly) values.
But the Kings record for the same label that tried to give Kelly
Clarkson a makeover a couple years ago. So how much of their back story
is fabricated? It’s hard to believe that the Stones-y struts all over
their fourth album, last year’s Only by the Night, weren’t even
on the guys’ radars seven or so years ago. Either way, it’s a
persuasive record, their best since their 2003 debut Youth and Young
Manhood and the first where Caleb Followill doesn’t mumble the
lyrics. Praise the Lord! Kings of Leon play Time Warner Cable
Amphitheater at Tower City (1887 W. 3rd St., 877.522.4822, livenation.com) at 7:30 p.m. Tickets: $42.
— Michael Gallucci
Richard Lloyd
If talent recognizes genius, then even the best will go
unappreciated by many. Guitarist Richard Lloyd knew Jimi Hendrix
through his friend Velvert Turner, whom Hendrix was teaching guitar.
That musical spark would propel Lloyd through a musical career that’s
yielded the proto-punk band Television and five solo albums. His
distinctive guitar style (sleek, sonorous and wiry) offered a fine
counterpoint to former bandmate Tom Verlaine’s more florid playing.
With just two albums, Television produced a guitar vocabulary that
would influence many subsequent artists — from the Pixies and
Sonic Youth to the Strokes. Lloyd has played with many other artists,
including Matthew Sweet, John Doe and Cleveland’s Rocket From the
Tombs, whose last album he produced. Perhaps fired by that old-school
punk sound, he followed up the jazzier guitar pop of 2001’s The
Cover Doesn’t Matter with last year’s The Radiant Monkey, on
which he played every instrument but drums. It’s his most hearty,
fibrous rock effort since his Television days, and he’s never sounded
better vocally. Television drummer Billy Ficca is part of his
Sufi-Monkey Trio (along with Keith Hartel on bass) that will be with
him at Now That’s Class (11213 Detroit Ave., 216.221.8576, myspace.com/nowthatsclass). Home
and Garden and the Exploding Lies open at 9 p.m. Tickets: $7. —
Chris Parker
Speak From the Heart
“When I first heard alumni of the Women’s Voices Project speak, I
was awed by their powerful poetry, compelling stories and willingness
to speak from the heart about their personal experiences,” says David
T. Hill, pastor of First Church in Oberlin. “These voices need to be
heard again and again, for they speak not only of pain and loss, but of
resistance, empowerment and transformation.” That’s right up Cleveland
Public Theatre’s alley. For years, CPT has made art out of the
struggles of at-risk children and men living in transitional housing.
Tonight, CPT presents Speak From the Heart, readings of new work
by the Women’s Voices Project in collaboration with the Elyria YWCA.
Under the guidance of CPT education director Chris Seibert, the ladies
worked with actors to improvise and tell stories based on their own
circumstances. Showtime is 7 p.m. at First Church (106 N. Main St.,
Oberlin, 216.631.2727, cptonline.org). It’s free. — Gill
Vast
Remember the industrial-goth band Vast? What about the
electro-garage-rock band Vast? Did you hear the acoustic indie-rock
band Vast? Or what about John Crosby’s folk and country records?
Whatever name or genre this Austin-based multi-instrumentalist plays
under, you can pretty much expect delicate, haunting melodies with
dark, melancholy atmospherics. Over the past 11 years, Crosby has moved
from major label to his own indie company. His masculine yet vulnerable
vocals have opened up to a range of styles and inflections, but every
song is still about the same thing: love. In this sense, Crosby is a
singer-songwriter, using every color of the palette to reveal hidden
hues and seductive shades. Music — like love, life and pretty
much everything else — is cyclical, so it’s no surprise to hear
him returning to electronics on Bang Band SiXXX, Vast’s latest
EP. The band’s live show is as eclectic as the music — sometimes
there are DATs and a load of musicians; sometimes it’s just Crosby with
an acoustic guitar and a couple of friends. Into the Presence,
Chloroform and Cleveland’s alt-rockers Townhouse Suite kick things off
at 7:30 p.m. at the Agora Theater (5000 Euclid Ave., 216.881.6700,
clevelandagora.com). Tickets:
$15. — Nick DeMarino
This article appears in May 6-12, 2009.
