pbroderick343243.jpg
Peter Broderick, courtesy Hanne Hvattum

Quite a lot happening for a Wednesday night, folks!

Tiny Vipers, Peter Broderick, Balmorhea at Nectar, 8 p.m., $8


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Tonight's Show Suggestions

pbroderick343243.jpg
Peter Broderick, courtesy Hanne Hvattum

Quite a lot happening for a Wednesday night, folks!

Tiny Vipers, Peter Broderick, Balmorhea at Nectar, 8 p.m., $8


It is possible -- although there is no way to confirm this -- that Peter

Broderick has sold his soul to the devil. How else can you explain the

22-year-old's musical mastery of pretty much every instrument ever

made? In the past three years, he's shown off his violin, mandolin and

musical saw skills with countless bands: At 19, Broderick was part of

Portland's Horse Feathers, where his classically-inspired violin added

emotional depth to the band's music. In 2007, he dropped everything and

moved to Copenhagen to join Danish ensemble Efterklang. He also served

as a studio musician on She & Him's debut Volume One. Now, it looks

like the devil is making good on his side of the bargain, because last

year Broderick released a solo album of all-original work. Honest and

listing, the songs on Home demonstrate a musical wisdom well-beyond

Broderick's years -- all the more proof that his talent might be

supernatural. PAIGE RICHMOND

Balmorhea in-store at Wall of Sound, 5 p.m., all ages, free

Balmorhea's woodwinds-and-strings approach works well in alternative

venues, given the transportive power of its acoustic drones. If that

seems like a surprising assertion, you may be thinking of Baltimora,

the flamboyant Italians behind "Tarzan Boy." Hailing from Austin, this

duo (with occasional accompanists on piano, violin and cello) plays a

more serene version of the lush, ebbing-and-flowing post-rock favored

by fellow Texans Explosions in the Sky and This Will Destroy You.

Imagine the gorgeous melodic passages from those groups' dynamic

compositions contrasted not by high-volume sonic avalanches, but

instead by even quieter reflections. Perhaps too subtle to fully

register on the recordings, at least with listeners who aren't

completely committed to the experience, Balmorhea's instrumentals prove

thoroughly immersing live, inspiring closed-eye bliss. ANDREW MILLER

Department of Eagles, Cave Singers at Neumos, 8 p.m., $13

Upon hearing The Cave Singers for the first time, with their candescent

warmth sprawling from gently plucked acoustic guitars and faithfully

plodding bass pedals, it's hard to figure out how this

spring-in-your-step folk trio ever constructed themselves from the

ashes of Pretty Girls Make Graves. But take a closer listen, and you'll

notice that the same dramatic, arching themes and melodies that carried

much of PGMG's boisterous art-rock are reincarnated with The Cave

Singers--just under much more calm pretenses. Joining The Cave Singers

will be Department of Eagles, who are making their way down the West Coast from a lengthy date list back East. Not to be outdone by the most

recent wave of counterparts, the original dorm rock duo is still

creating an expansive, collective sound that only grows wiser with

time. In Ear Park, their second, full-length album, will move you in

unexpected ways with its combination of quirk, honesty and heartache. RAECHEL SIMS

Etta James at the Paramount Theatre, 7:30 p.m., $35-$65, all ages


"I don't think she looks like me." That's what Etta James told the press last year, when Beyoncé Knowles portrayed her in Cadillac Records. The ingénue told Elle,

upon the film's release, that she seemed to have James' approval in the

end, even though the film takes liberties with large chunks of the

songstress' life story. Her tumultuous past had already been chronicled

in the autobiography Rage to Survive, and her star has studded

Hollywood and La Brea since 2003. After many years of battling health

issues, the 71-year-old James is once again able to sing standing up at

her concerts. For devoted fans and those who've recently come to know

her (perhaps by Beyoncé's moving performance of the 1960 ballad "All I

Could Do Is Cry"), James' Seattle appearance is cause for celebration.

Her most recent album, All the Way (2006), is a collection of

covers of songs by R. Kelly, John Lennon, Prince, and others. Her

40-year canon includes such relentless classics as Barack and

Michelle's Inaugural Ball favorite "At Last." James' luscious contralto

conveys better than nearly anyone else's the joy, grief, and all

emotions in between of a life thoroughly lived. RACHEL SHIMP

Loch Lomond, Carrie Biell, Husbands Love Your Wives at Tractor Tavern, 8 p.m., $12


And folks, because I know a lot of you are like me and can't help but

be fashionably late (or just late), keep in mind that 8 p.m. is

probably the start time, not the door time.  I found this out the hard way at the Knitters

show last week. 


Too often the phrase "orchestral pop" is tossed around without full

cognizance of what it truly means, let alone as a descriptor for

anything nearly as righteous as seeing Loch Lomond live on stage.

Melding a symphonic mix of mandolins, clarinets, vibraphones and

varying percussion, the self-described "chamber folk" outfit's gorgeous

four-part vocal harmonies lend balance to what could otherwise be

overwhelming instrumentation. Very much a thriving example of a band

greater than the sum of its parts, Loch Lomond's live performance

instills a sense of wonderment and awe not usually garnered from music

so delicate. Jamie Anne Spiess' haunting voice will serve as support

with Husbands, Love Your Wives, and Carrie Biell will round out the

ticket from behind a swell of steel guitars. RAECHEL SIMS 

 
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