Red Headed Stranger No More

Wednesday, August 13 and Thursday, August 14

Willie Nelson & Family at Northern Lights Theater, Potawatomi Bingo Casino

Technically both shows are sold out, though brokers might have some tickets and there’s a chance the venue will kick more seats loose at the last minute. Either way, not mentioning Willie Nelson the week he passes through Milwaukee would be a nearly unforgivable omission.

That is especially true in 2014, when Nelson has (a) turned 81, (b) earned a fifth-degree black belt in the Gongkwon Yusul martial art and (c) issued Band of Brothers, his latest album and the first to feature more originals than covers since 1996.

The long wait for new Nelson songs is and is not a big deal: it is because Nelson counts all-time classics like Patsy Cline’s “Crazy” and Faron Young’s “Hello Walls” among his writing credits; it is not because some of his finest records—such as 1975’s Red Headed Stranger and 1978’s Stardust—relied heavily or entirely on compositions not his own.

Plus, Nelson wrote all nine of the 14 songs on Band of Brothers with his current producer, Buddy Cannon. For the other five he does not eschew (re)visiting the work of others, including Vince Gill and Billy Joe Shaver.

Nevertheless, even Nelson’s most ardent admirers occasionally ignore his latest studio output because of the dearth of fresh material. Band of Brothers is a potent reminder of the man’s talent with both a truly grown-up song like “The Wall” and a truly incorrigible song like “Wives and Girlfriends.”

In the grooves of the album we also find a reminder that Nelson is mortal: if age and growing old were eliminated as country-music subjects, the entire genre would be 20 percent smaller. Fortunately, Nelson is enjoying life while admitting his ultimate bill will soon come due.

Thursday, August 14

Ana Popovic at Shank Hall

I once had a friendly argument with a comely blues singer about the sexualized way in which Ana Popovic has presented herself, whether concealing not much with a guitar on the sleeve of 2011’s Unconditional (http://www.americanbluesscene.com/2011/07/ana-popovic-cover-story/) or standing on red “do-me” heels in the video for her cover of Hendrix’s “Can You See Me” (see below).

The comely singer ran off with some Stevie Ray Vaughan wannabe before resolving the argument, but Popovic, born and raised in Belgrade, has proven she’s got real blues chops, and her latest disc, 2013’s Can You Stand the Heat, is soulfully seductive with or without her physicality in view.

Thursday, August 14

Rodrigo y Gabriela at Riverside Theater

Spanish guitar has traveled widely beyond its homeland and changed just as much from the journeys: woe unto those who assume that the style remains the same in Brazil, the Dominican Republic and Mexico. The latter of which is where Rodrigo Sanchez and Gabriela Quintero became Rodrigo y Gabriela.

Fond of heavy metal but committed to acoustic dexterity, the two had their first taste of popularity in Europe (especially Ireland) and, for the last decade and some change, taken their musical knowledge all ‘round the globe. Their fifth studio LP, this year’s 9 Dead Alive, reinforces bonds with the Old World and the New World.

Flying fingers:

https://www.youtube.com/watch?v=8cxwEgJckFQ

Sunday, August 17

The Polyphonic Spree at Turner Hall Ballroom

Currently sporting 22 members, the Polyphonic Spree has often, contrary to the general rule and cliché, found quality in its very quantity. The spirituality and wonder that Spree founder Tim DeLaughter was lurching toward with his indie-rock band Tripping Daisy gained greater tangibility when broadcast through more channels.

Not unlike the Flaming Lips, the Dallas collective has carried its cheerfulness to nearly ridiculous heights as a live unit (drawing the attention of David Bowie as a result), but its latest album, 2013’s Yes, It’s True. [sic], and a recent remix of the same, Psychphonic, manage and focus the positivity toward a greater mission. It’s no longer just a Spree.

Monday, August 18

Strand of Oaks at Turner Hall Ballroom

Timothy Showalter has learned something quite important on Heal, his fourth album under the Strand of Oaks moniker: some of the most specific and personal details of his songs belong in the titles, where they can be mysterious, rather than in the songs themselves, where they can be alienating.

Two examples, “Goshen ‘97” and “JM,” refer to his adolescence and one of his favorite songwriters (the late Jason Molina of Songs: Ohia), respectively, yet the music and words are all punk gratitude and rock catharsis, as is most of the rest of the disc and as should be most of this ten-dollar show.

For a double shot of oddities transformed into resonance, here’s a number from Showalter and another from his opener, Christopher Denny: