Nick Schroeder

Nick Schroeder

8 Days A Week: Drone Artists, Anti-Trump Roadshows, and Donnie Darko


THIS CHARMING MAN | When I was an undergrad student in New York and performing stand-up comedy, I had a mediocre joke near the top of my routine about the weird names people call their grandparents. It wasn't the world's best joke, but it got the ball rolling, because for the punchline I'd bellow the words mamou and papou at the audience in various tongues, and it loosened everyone up. Now get this! While this week researching Sebastian Maniscalco, the far-more-successful-than-me Italian-American comedian playing the Merrill Auditorium tonight, I watched a clip of him performing the exact same joke. Of course, he plays the ending differently, because his rubbery, muscular body is more adept at physical comedy than the doughy, sleep-deprived 22-year-old unit I was operating at the time. But the experience was nonetheless uncanny. Of course, I never had anything funny to say about Chipotle, Prince, or foibles in American airports, and that's why it's Maniscalco playing the Merrill tonight. The dude's a pop comic who likes to play low, but he's lively and energetic, and his story (he was a former waiter at a comedy club in a hotel) is a good one. | $49.75-69.75 | 7 p.m. | Merrill Auditorium, 20 Myrtle St., Portland | |


OBJECT CARE | The window of time known as spring cleaning is coming near, and that is a blessing (disguised, on occasion, as an irritation). But before you celebrate, tossing half of your possessions into the cold memorylessness of the highway, you might pop into the Resilience Hub tonight. The Bayside permaculture group hosts an experimental hangout tonight they're calling the "Spring Repair Cafe," where folks help repair their neighbors damaged goods, possibly swapping out some here and there. Along with the Maine Tool Library, the event encourages folks to bring in broken and dull tools, frayed electrical cords, hole-y sweaters, and more. | FREE | 6 p.m. | Resilience Hub, 222 Anderson St., Portland | |



REMOUNT | A few months ago, the Portland pop group Leverett added an extra T at the end of their name. A minor move in the grand scheme of things (the group, led by Jesse Gertz, have been at it since their sparkling little EP, Beak, in 2013), but it seemed to indicate a grand re-opening of the band, who plan to release a new album, Wires & Tubes, later this summer. See if those songs shine for you while vibing along to gems still aglow from their first two albums, Infinity and Action at a Distance, tonight at Bayside Bowl, where they play with Million Dollar Lounge and Midwestern Medicine, the latter featuring members of Whale Oil. | FREE | 9 p.m. | Bayside Bowl, 58 Alder St., Portland | |



BASIC DEMOCRACY | Gotta rise up for this one. At 10 am this morning, a protest converges on Portland's City Hall in opposition to Trump's selection of Neil Gorsuch. Framed as a "People's Filibuster" of a Supreme Court appointment that, if you believe in anything resembling democracy, should have been Merrick Garland's. | FREE | 10 a.m. | Portland City Hall, 389 Congress St., Portland |


KEEP MOVING | Since the painter, singer, and performance artist Derek Jackson founded Hi Tiger years ago, the group has functioned nimbly. Sometimes they're a street performance group, sometimes a beautiful dance-pop band. Their presence can herald a hot house party or a fiercely political display, making the energies of desire and love visible within frames that seldom permit them. Tonight, we don't know how they're going to show up, but the present iteration - with Jackson's voice and lyrics anchoring catwalk-style physicality from dancers Nicole Antonette and Amandaconda. They finish up a residency at Studio 408, which hosts improvisational dance and other kinetic arts, and should be in top form for it. With DJs Lima and Innox.| $5 | 8 p.m. | Studio 408, 408 Broadway, South Portland | |


FALLING FORWARD | "Rapping is the only way out," speaks AFRiCAN DUNDADA, the Portland artist originally from South Sudan, in his new track "Hold Me Down." In his early twenties, and performing benefit concerts for the ACLU of Maine, South Sudan Care, Mayo Street Arts youth programs and Action Against Hunger, we're interested in what else he's got to say. He headlines a hip-hop show also featuring Portland artists Mr. Lumemo, Dequhn Lobutua, and the Acholi Traditional Dancers. Recommended. | $15 | 7 p.m. | Mayo Street Arts, 10 Mayo St., Portland | |



DRONE RIGHTS | Drone artist Ben Chasny has kept his guitar project Six Organs of Admittance alive for nearly 20 years, coursing through wistful acoustic folk, disarming noise-squall, and psyched out comet trails. His new album, a comparatively gentler affair titled Burning the Threshold, expands further on the Hexadic system, Chasny's originally constructed methodology of guitar composition. He plays with the central Maine artist Asa Irons, whose woodsy folk songs have enough heft to haunt you for years. | $10-12 | 8 p.m. | SPACE Gallery, 538 Congress St., Portland | |




BIG QUESTIONS | A few weeks ago, this paper featured the first in a series of dialogues about the role of police in the city. Titled "Policing, Protection, Community, and Trust in the 21st Century." At the first session, a panel tackled the question of what makes a criminal, which in this era of a widening and increasingly privatized carceral state, is a thorny question indeed. Tonight, they ask "What Makes a Police Officer?", focusing on what citizens want from their police force, and inquiring about the steps and accountability measures that secure their training. Produced by the Maine Humanities Council and facilitated by Samaa Abdurraqib from the Maine Coalition to End Domestic Violence, tonight's panel includes Sarah Walton, Executive Director of PE+ACE (Police Education & Active Civic Engagement) and Jamie Rooney, former Maine Assistant Attorney General and co-author of the Maine Law Enforcement Officer's Manual. Hopefully a member of the PPD will show up this time. | FREE | 6:30-8 p.m. | SPACE Gallery, 538 Congress St., Portland | |


THE RIGHT THINGS | Some mornings this past winter, it's been difficult not to stay under the covers submerged in dread, slapping that snoozer five or six times and browsing Facebook/Insties on the phone until the eyes feel like quahogs. It's unavoidable! But perhaps today's the day to commit to that morning walk instead. Then at night, you'll be psychically prepared to attend the #Earth2Trump Roadshow of Resistance at the State Theatre. Because frankly, there's no better place to be. A roster of electrifying performances and speakers headline this roving protest, including Lakota elder Cheryl Angel, hip-hop artist Lyla June, and more. No matter what color your activism's been glowing lately, there'll be plenty of opportunities to shine it here, where there'll be letter-writing stations, buying prints supporting the Lakota Peoples Law Act, listening to activists strategize the #NODAPL fight, or, you know, just showing up where you can and leaving the social media war alone. | FREE | 7-9:30 p.m. | State Theatre, 609 Congress St., Portland | |



CULT FILMS | Next week, a screening of the cult film Donnie Darko marks the re-opening of SPACE Gallery, which has gone dark for spring cleaning the last few weeks. The debut film by then-26-year-old Richard Kelly, Donnie Darko's weird sci-fi vibe and light nostalgic sorcery struck deep chords with disaffected young viewers in the early Bush era, introducing the citizens of the world to Jake and Maggie Gyllenhaal, reminding them of the brilliance of Drew Barrymore, and stretching their appreciation for Patrick Swayze. If you missed it in the theaters when it first came out, during the weeks after 9/11, you can make up for that here.  | 7:30 p.m. | Nickelodeon Cinemas, 1 Temple St., Portland | |

High & Inside: An Improbable Baseball Chat — Opening Day Edition

With major league baseball's opening day approaching this weekend and the Red Sox appearing once again like the team to beat (which surely they will be), we talked with Portland baseball guru and rogue hurler Brendan Evans about Sox nostalgia and the club's true prospects this year.

Nick Schroeder: So Brendan, who are the first three Sox to get cut/flub out of their jobs?

Brendan Evans: Carlos Quentin, Blake Swihart, David Price.

Seems hard to believe a team wouldn't give up a #4 starter for a steamy package of a frankensteined Quentin and worst-contract-of-all-time Rusney Castillo.

How much of Rusney's contract would the Sox have to eat though?

The Sox would have to take on at least $45m of dead Roc Nation assets. Or John Henry himself would have to make beats for three Jay-Z tracks and a Fat Joe single. I'd say the Sox are in a good position this year. But the reality is that May 1 will arrive and Joe Kelly will be the closer, Kyle Kendrick is the #4 starter, and a man named Steve Selsky will be playing third base.

I did draft Selsky in a fantasy league. Just in case they need Brock Holt at first because of Hanley's "shoulder issue." Maybe the second round was a bit high, but Selsky can rake. Man, Kyle Kendrick ... you think a Kendrick/Buchholz trade is out of the question? Has that ship sailed?

I take comfort that we won the prospect wars against the Yankees and Phil Hughes, I don't think anyone will miss Buchholz, no.

On the plus side, your 2017 AL MVP Sandy León had two home runs in one inning today. I think that's sustainable. What would León's BABIP need to be at the All-Star break before you see a teenager walking around the Maine Mall in a León jersey? .600?

There's a non-zero chance Sandy León is a missing Molina brother. But even Jose Molina and his .233 career batting average learned to lay off that low and inside curve.

Yeah, once the league realizes León can't hit a curveball the Sox are screwed. Maybe we should keep that out of the paper.

If Swihart had the yips this spring, and Kimbrel and his 6+ walks-per-nine will officially be diagnosed with the yips by June, who's next?

Hmm. Can a DH get the yips?

What's the everyman version of the yips?

I always get toothpaste on the top of the faucet. 37 years of irregularly brushing my teeth and I should be able to spit straight by now. But really, if you have the yips and no one notices, is it really the yips?

The important question is who's going to win the coveted Mayor's Cup, the trophy awarded to the winningest team in that greatest rivalry in sports — Red Sox/Twins spring training matchups. As of this moment, the Sox are 3-2 against the Twins and 1-0 against team USA, who obviously suck.

Yes, of course. Honoring the long history of MLB "mayors," defined as men who played for both the Boston and Minnesota. Viola's Cup; Mientkiewicz's Cup; Pat Mahomes's Cup...

Yeah! Jeff Reardon's Cup! His is a tragic tale, he was fought robbing a bank because the teller recognized him. Moral of the story: don't rob banks if you're the most famous person in town. Tom Brunansky, too, was a bicoastal star.

Didn't Gaetti sign a minor league contract with the Sox in the '90s before realizing he was no Tim Naehring and retiring?

Why can't we just turn back the clock to those halcyon days of early ’90s baseball, when I had the back of every player's Upper Deck card memorized. Earlier today, while looking at the rankings of the 1,357 players who could make a MLB roster, only got as far as number 32 before I'd never heard of a guy: Seung Hwan Oh, relief pitcher for the Cardinals. It's kind of like the first time I didn't recognize the star and the musical guest on SNL (probably 2006 or so...) Out of touch.

Oh, you don't know Oh?

No! If it happens in Saint Louis I do my best to ignore it completely. 

Did you ever read Faithful by Stephen King? I believe he refers to Albert Pujols as a "mysterious bat-wielding wizard who's rumored to play baseball in Missouri."

Yeah, that's off-base.

The WBC was something, huh? How is it that team Netherlands could put together an infield with Andrelton Simmons, Jonathan Schoop, Jurickson Profar, Didi Gregorius and Xander Bogaerts all jockeying for shortstop, but the best outfielder they could dredge up was Kalian Sams, 30-year-old journeyman from the Quebec Capitales of the Can-Am league? What's up with the Dutch?

That's an unexplored question! Is Andruw Jones a Hall of Famer in your book?

If I liked the Braves more he would be. He was basically Ken Griffey Jr. but twice as good and one one-millionth as famous. Plus I'm pretty sure he also had back-to-back jacks with his dad, Chipper Jones, but no one talks about that.

If black flag were a baseball team, who are you pitching on opening day? You're giving the ball to dez, right? I know you are!

Kira's the nimble catcher. Chuck Dukowski is basically Knoblauch. Keith Morris is the free-swinging center fielder. Chuck Biscuits is a #2 lefty, a Bruce Hurst type. Bill Stevenson is a switch-hitting high OBP third baseman. Henry is obviously Canseco. And yeah, Dez is the ace of the worst team in the league. The Wily Peralta.

Better to reign in hell than serve in heaven, at least that's what my horoscope said. 

You're right, no one up here remembers those amazing Braves teams. And I thought it was regional, except Andruw played out his career as a bit player on the yanks like a poor man's Ruben Sierra. Except whoops, the dude was Trout-level good for five years.

You mean the glove-of-Jim-Edmonds-and-the-bat-of-Jose-Canseco-level good.
Trout level good can't really be applied to anyone at this point.

Okay, let's wrap this. Who's your 2017 Sox MVP, and what date's the last meaningful game?

Well, 'Mr. East-Coast Trout' Mookie Betts is my Sox MVP and baseball's #1 two-sport star. And the Orioles superstar Robert Andino once again sinks the Sox with a walk off single against newly re-acquired Jonathan Papelbon in the ninth inning of game 162, as those who forget history are condemned to always order the wrong thing at Pom's instead of just sticking to the drunken noodles. If that doesn't happen, Sox in six.

Brendan Evans is the owner of Strange Maine.

  • Published in Sports

Foam Castles' Dark and Fluttery 'Bird Death'

Over the decade since Tyler Jackson began writing and recording as Foam Castles, his weird-ass songs and structures have evolved into something definitively his.

Of course, the 10 songs and 29 minutes of Bird Death, Jackson’s eighth full-length album, have a lineage too. A Bob Pollard vibe is inarguable; thinner traces of Robyn Hitchcock show up. Portland’s sadly dead Metal Feathers made a dent. This album’s “Inside After the Gold Rush” betrays less Neil Young gratitude than an interest in obscure, inter-referential humor — but y’know, sure. Him too. All of it.

But the most interesting element remains form and structure, not timbre or genre. As far as I can tell, Foam Castles is a meaningless term, some nice sounds strung together. There’s a sort of beachy connotation — and that’s sonically accurate — but they mean little in the world beyond the connection formed within Jackson’s brain, like two alien nodes forcibly tethered against a vast cognitive current.

This is how Jackson writes songs. Lyrics, guitar lines, structures, and harmonies are bound to one another like contorted limbs, bent to angles that make sense to the dude alone. “Infinity Episode” aborts an opening verse about “tea and whiskey” before colliding with an anxiously chill chorus of la-la-las.

As a result, Foam Castles songs offer sweet moments in songs the listener is never sure will return. Album standouts “Lyra” and “Days of Stone” offer the least guarded highs, the latter featuring the most revisitable hook on the album, but they’re still oddly assembled tracks. “The Water Moccasin Dies/Horse Divorce” are two decent ideas smooshed together for no reason, as if there’s no reason for anything.  “Rhododendrons” opens all pay-attention-to-me, its shimmering guitar and straight-shot vocals seeming to promise a hit single. But it never lifts us any higher, and when the guitar solo hits at 1:15, carrying us to the end of the song, it somehow feels like a letdown. I don’t think this is any sort of failure on Jackson’s part. I think it’s true-to-life. Doubtful he thinks of it in the same terms, but he’s been squiring awesome song parts down dark alleys and into strange beds for years now. It’s part of the glory, it’s how he writes. 

music foamcastles

Stringing these ideas together, sometimes against their own will or logic, would seem to have its own reward. While they don’t always make the most immediately listenable pop songs, Jackson’s music seems resolutely honest in a way most artists spend their lives trying to find. His songs feel like they’re almost literally making meaning from scratch, sculpting discrete fragments, memories, and feelings into odd but memorable forms. If nothing else, the dude will probably stave off Alzheimer’s awhile. On the other hand, it’s also I suppose a thoroughly postmodern style of writing, with all the obscurity, loneliness, mystery, sexiness, and meaninglessness that entails.

If this style wasn’t a conscious formula before, it’s certainly become that now. As a songwriter, Jackson plays again and again with the unfinished narrative, tweaking it, aborting it, running out on it, introducing it to another idea equally beautiful. But I don’t think that’s a cleverness; that’s how the world is, I think Jackson sees, and I think I agree with him. I think he’s just reporting it.

After 10 years, Jackson plans to park the Foam Castles vehicle for awhile and focus on other projects and styles. Bird Death, pleasant and lovely as it is, does seem to carry that weight.

“Rock for Devine,” medical benefit with Foam Castles + An Anderson + Johnny Cremains + North Atlantic | March 25, 9 pm | Empire, 575 Congress St., Portland | 

The New Sound of Portland? Prism Analog opens Vintage Recording Studio in Bayside

American life is contradictory. It’s cheaper to consume music more than any time in history, and technology has given listeners access to a truly limitless amount of recordings. Yet vinyl record sales have increased for the ninth consecutive year. It’s as if — just spitballing here — something about the mass digitization and availability of cultural commodities leaves some people with a diminished sense of meaning and connection.

According to Nick Johnson, the engineer set to launch Portland’s first non-profit studio devoted to analog recording in lower East Bayside, it’s all about getting back to tangible, authentic living.
In a landscape bursting with cultural phenomena and distraction — plus the inescapable presence of the Internet — Johnson believes the return to analog is in lockstep with slow-process trends in the food world and elsewhere. He points to the surge of local brew and coffee, plentiful resources in East Bayside, which upstart breweries Rising Tide, Lone Pine and Urban Farm Fermentory call home and which coffee shops Tandem and Coffee By Design roast their beans.

“I very much want to transport people back to a different way of doing things,” says Johnson, the 42-year-old recording engineer at the center of Prism Analog. “Just as much as a different sound.”
Prism Analog is set to begin production this spring, at a facility Johnson and friends have been building within Zero Station, the art gallery and framing studio in the neighborhood. At Prism, artists record directly to tape, a sound and process many find warmer, richer, and more resonant than digital recording, for artist and listener both. Using a range of vintage recording devices (and their own equipment), musicians record straight to tape in a single take, a process intended to get closer to a band’s authentic sound.

feat PrismAnalogfounderNickJohnson PhotobyWayneTreadwell


Photo by Wayne Treadwell. 

Johnson moved to Portland from New York City in 2007. As he tells The Phoenix, some of his favorite records are recorded in analog, and the difference is easily recognizable. He cites “Coming Home” by Leon Bridges, Daptone recording artists like Sharon Jones and Charles Bradley, “My World” by Lee Fields. “But really, every album before the mid-’90s was [recorded] to tape, so there are so many.”
The aim is for Prism to be truly rooted in community, an intention Johnson hopes to reflect in the grand opening fundraising party and open mic on Saturday, March 25, at nearby Urban Farm Fermentory. Johnson believes Prism’s foundational connection to Zero Station, a trusted bunker for off-kilter art events, will help advance the goal. He’s received plenty of community help — over 30 musicians, he says — since the end of 2016, volunteering time and resources to build and install the massive and antique recording equipment studio inside Zero Station.

“I believe in Nick and his studio,” says local musician Will Wysowski. “And after helping him build it, I feel like a part of it.”

Wysowski met Johnson a few years back when he purchased a turntable from him. “He showed me his speaker setup, including some electronic components that he had personally worked on, and I was very impressed with his knowledge. The process of analog recording will be new to me. I like analog because of the warmth of tone. Most of my favorite music was recorded in this style, and I’m certainly wanting my influences to be heard in my recordings.”

Prism Analog and Zero Station are natural fits. Johnson established a working relationship with Keith Fitzgerald, who took out a lease on the lower East Bayside space in 2002, when he moved to town 10 years ago. (“I’m his Mac guy,” Johnson says.) And the spacious room fits the precise environmental needs for Johnson’s operation. “It’s a natural live room with great reverb and a good feeling to it,” he says.
One of the oldest tenants to lease space in the area, Fitzgerald is ambivalent about the narratives Bayside’s storied “resurgence,” seeming to acknowledge that efforts like Prism are often seen as complicit in the gentrification of cities. He sees it as yet another example of age-old urban renewal tied to the whims of the so-called creative economy. “We all know the formula,” he told The Phoenix. “The artists come in, fix up a place that’s decrepit, and then everyone else follows and the rents go up.”

“The area resides exactly at sea level,” says Fitzgerald. “That’s where everything collects. We are literally on the site where everything toxic was dumped.”

But despite encouraging cultural signs and plenty of help from the community, Johnson’s ambitious undertaking represents a risk.

Prism was funded in part by a fortuitous discovery at Johnson’s old apartment at Deering Center, where he unearthed a trove of vintage beer cans underneath the floor, a bundle he sold for $15k in start-up funds. According to Johnson, Prism’s tape machine took up half of that money. Enlisting a similarly analog-obsessed friend, he flew to Los Angeles to pick it up. The unit weighed about 900 pounds. They rented a minivan and drove it back across the country, an anxious task considering the delicate condition of the machine. When they returned home, Johnson soon discovered a certain part wasn’t working, so he shipped it to a specialist in Boston, where it sat for a few weeks before being sent back to Los Angeles where the piece was finally repaired — for $700.

“I’ve sacrificed a lot of time and mental bandwidth, as well as the opportunity cost of a $15,000 investment into something profitable,” he says.

Johnson operated a recording studio at the college he worked in the 1990s in Minnesota, which is where he first developed a love for tape. Over time, he developed a knack for repairing vintage electronic recording equipment (he also refurbished PixelVision cameras for clients around the world).

But while he expects to turn Prism into a fully functional Portland business and employ a set of engineers, Johnson’s ultimate goal is to build community.

“For the 60-year-old Army electrical engineer who helps [me] out evenings, for the 13-year-old Vermont-based YouTube guitar sensation who convinced his dad to drive him to Portland so he could visit because he’s in love with analog, and for everyone in between. I do this because of the great vibes from the community who find something in this idea to be excited about.”

“Even Electric Lady” — the mythic New York recording studio built by Jimi Hendrix — “contacted me saying ‘feel free to get in touch with our electrician since we use the same type of machine…’”
As for the sound booth itself, Johnson says; “It’s been tough moving stuff around. Both the mixing board and console will be wedged in there, leaving very little room.”

But that’s part of the intimacy of recording straight to tape. Jenny Lou Drew, whose band Trouble Girl will be performing at the March 25 benefit, is among those who’ve been drawn back to vinyl lately. “It’s more organic,” she says. “It’s almost like having someone in the room.”

Drew doesn’t rule out recording at Prism herself someday, either with the band or her solo musical project, Raggedy. But the cost might be prohibitive. “It’s a very live process, so it would be expensive. We have a home studio; coming up with an excuse to forego that and go record analog is kinda hard to do. But we’d love to.”

If anything, Prism Analog will model for Portland musicians a careful, hands-on approach to recording. If he’s successful — basically, if he stays afloat — it could add another layer of richness and distinction, perhaps even a signature sound, to the city’s vibrant music scene. In a city where food and coffee drives the decisions, building a little culture around sound would be welcome.

This story features additional reporting by Joe Harrington.

“Prism Analog Fundraising Party,” with performances by El Grande + John Hughes Radio + Lyokha + Troubled Girl + Chris Nucci | March 25, 8 pm | Urban Farm Fermentory, 200 Anderson St., Portland |

An Interview with Martin Barre of Jethro Tull

This week, the classic rock guitarist Martin Barre, who played with the iconic classic rock band Jethro Tull for 43 years, comes to Portland. Now 75, Barre is fully focused on his solo career, after tensions between band members of Jethro Tull — most notably lead singer and flute player Ian Anderson — have splintered the group. The Phoenix spoke with him about a life in music and reckoning with history.


Hi Martin. You recently said that Back to Steel was your most important work of your career as a musician, how’d you come to feel that way?

Well, I’ve had some fantastically nice comments about them. At the time I had a lot of belief in it, that it was a good form. I’m sort of now looking to the next one, which will be in the summer I’ll start writing. We’ve just got a DVD come out that has some from the Back to Steel album and Tull songs, and that just came out this week.

I’m curious about your relationship to the guitar. I’m in my thirties, and I’ve not done anything as long as you’ve played guitar. Are there points along your career that you’ve been frustrated with it? Or has it always been something that’s been natural to express yourself through?

It’s like any relationship with a person. There’s highs and lows. Yeah, I’m always questioning myself because I’m never happy or self-satisfied with what I’m doing. But it’s very rewarding and every day I wake up and almost the first thing I do is go to the guitar. It’s never been a chore or a job, it’s been a way of life. I love playing it, and can’t imagine even now seeing it as anything but a joy. It’s a great relationship, but it’s definitely ongoing. It’s infinite in the information that it gives you, and I’m always hungry for more information, more inspiration. Always trying to write better music, and there’s a long ways to go still.

On Back to Steel, there’s a cover of “Eleanor Rigby” and two Jethro Tull songs — “Skating Away” and “Slow Marching Band” — is there a process you use to re-work old Tull songs?

Yeah. Well, obviously the Tull fan base, I want them to think of themselves as Martin Barre Band fans. I don’t want to be completely tied to playing Tull songs forever, but I always will. It’s my heritage. But I’m always wanting to make them a bit different. Playing them note-for-note like the record isn’t as satisfying as representing it a slightly different way and making it more mine. I’m always looking at the back catalogue of Tull and planning. I’ve always got some ideas; they don’t always work. There’s a lot of great songs in there, but you don’t want to bury the song by making it ridiculously different. But I also want to bring something to the table if you like. “Skating Away” was the main focus, and “Slow Marching Band” was a track we recorded about six months before the CD was made. I just kept listening to it and thinking that really deserves to be on the CD on some point. So I just made it a bonus track, give people more for their money.

And the Beatles song, I actually wrote that as an instrumental a long time ago and never did anything with it. I kind of wrote around the main melody and changed the chords, and people really like it. Now we combine “Eleanor Rigby” on stage with another Beatles song — which will be a surprise. It’s a dangerous area. You start doing other people’s material and you really have to be careful you’re not becoming a cover band.

What songs or artists do you find yourself appreciating nowadays?

I’ve always loved the great songwriters, you know? Don Henley, Stevie Winwood, Paul Carrack, Neil Young. I’m admiring songwriting more than playing. And there’s lots of great players, lots of young guns on the guitar. And I admire what they’re doing — playing well, a sort of virtuosic take on the guitar — but that’s never going to be my thing. I just like to listen and sometimes I think, Oh, that’s interesting. As I said earlier, it’s information, and no one knows everything. Even some kid playing guitar might make me go, huh, that’s different. It might be incredibly simple, but you’re still going to learn from it.

I find that there’s less that I like on radio play — particularly in England, it’s dreadful. What I don’t are the shows on TV, that highlight that sort of karaoke style that’s just about making stars. And I really despair that. It bypasses music and these kids just see that it’s about making a star. They just want to go from zero to infinity overnight and it just leaves me cold. All these kids who’ll burn out in a year, they’ll get their ten minutes of fame and then they’re on the scrap heap.

But I love classical music and bluegrass. Anything that has great playing in it, great composition and melody.

Has there been a Tull biography that has suited you?

Occasionally over the years someone wants to write a book on Tull, but nowadays I just refuse to do it. I don’t know why, but there’s a lot of bad feeling in Tull the way some of the guys were treated. So it’s a difficult book. And to have a very fair representation of everyone’s points of view would take a very talented writer. And a lot of work interviewing. There hasn’t been one, and there isn’t one. I’m not particularly interested, because that’s history and history looks after itself. I’m much more interested in what I’m going to be doing next year.

Tull was my father’s favorite band, and I was always impressed by how your albums decades ago would have these high concepts to them, like the newspaper with Thick as a Brick or the Warchild film or that claymation film “The Hare Who Lost His Spectacles” (1988). That’s very unlike so many other rock bands from that era. How did you guys come to do that sort of thing? Was it marketing or part of the fun?

It was fun. We had a look at everything that was going around us. In the ’70s it was all pomp-rock and guys in tight trousers and flowing hair and bare chests and we thought that whole thing looked absolutely ridiculous. I think people took themselves far too seriously, and we wanted to be exactly the opposite. We wanted to say, Look, we’re entertaining you. We’re a bunch of ugly guys with beards and we’re gonna have fun. We’re gonna have a laugh at ourselves and we want the audience to laugh. It’s sort of an English thing, it goes back to Monty Python and Benny Hill, where people really look at themselves and find the humor in life. And to this day I can’t go on stage and not try to crack a joke. I don’t think anything should be that serious. Nothing should be dull. Even classical music. There’s a guy in England who’s a conductor, and he does carol and classical music and he used to joke with the audience. And I was like, why wouldn’t everyone do that all the time? Same with religion. Why is it always so serious? Just make people laugh. God gave us the gift of humor — use it. And win more people over. It’s there to be used.

Growing up, there were a lot of Tull songs played around the house. You had a very lyrical guitar style and as an adult I have a lot of guitar lines that you’ve written from decades ago that go through my head. Like that song “Jack-a-Lynn” from Broadsword and the Beast, I don’t know why it’s that one. I’m wondering, are there any that get stuck in your head? Either your own or from other musicians?

Well, I love melody, and that’s why I love classical music. It’s born of melody. And classical music was obviously from a time when there was no record of it. You went to hear a piece of music and you remembered it. It had to have a huge impact on the ear, and the melody needed to be strong and hummable, so people could carry them in their brain. So I’m a big fan of melody in guitar solos that’s strong. Hendrix did it; a lot of people do it as well. I don’t analyze it. Just play where your ear takes you, and that’s what I’ve always loved about music.

March 28 (acoustic) and March 29 (electric), 8 pm | Martin Barre of Jethro Tull | $40 | One Longfellow Square, 181 State St., Portland |

8 Days: Soul Icons, Maple Syrup Breakfasts, and Heavy Metal Skates



LASTING ACHIEVEMENT | There’s just simply not a ton of chances left in this life to see an authentic ‘60s soul singer from the deep south. But we’ve got one here. Betty Harris, who produced three Billboard R&B hits in the songs “Cry to Me” (1963), “His Kiss” (1964), and “Nearer to You” (1967), has made indelible contributions to the genre, and appears tonight in little old Portland. The label Soul Jazz compiled a collection of Harris’s work last summer, titled Betty Harris: The Lost Queen of New Orleans Soul. We should be honored. | $25 | 8 p.m. | Portland House of Music and Events, 25 Temple St., Portland |


SICC | Listen, brah, the psychedelic, post-prog, and frankly kinda goofy electronic fusion act Supersillyus hits up Empire tonight, totally tweaked on its new album Charade. If you appreciate the like, sonic journeys of Tool and the mind-trapezoids of artists like Squarepusher, you might as well take a dip. | $20 | 8 p.m. | Empire, 575 Congress St., Portland |



TRANSFERENCE | We don’t exactly know how a festival that literally celebrates men’s facial hair made it 10 years. But that’s because the person writing this is of mostly Irish-German descent and can’t grow anything on his upper lip fluffier than a penguin’s pubis. Several men (and non-men) compete for affections and attentions at the 10th Annual Stache Pag tonight, in a program that allows for probably as much public ogling at his natural endowments as a dude could reasonably hope for. No shame in that! Tonight’s program is broken into three parts. One is Facial Hair-aoke. Two is the Stache Pag Kung Fu Challenge. And the third is the Rapid Fire 5-Second Statue. Winners in several categories will be chosen from among the 15 contestants, and it seems there’s still time to join. | $25 to be a contestant; $10 to attend | 7:30 p.m. | Portland House of Music and Events, 25 Temple St., Portland |


KEEP PUSHING | Last weekend, Maine Senator Susan Collins made a public statement that Donald Trump “owes us” an explanation for his claims that he was wiretapped by the Obama administration, which were roundly debunked by the FBI and the justice department. That made national news — though she did stop short of saying he should apologize, even though everyone in the world knows the dude made it up. She means Trump should provide “the basis for his assertion” — evidence, essentially — if she expects people to believe him. On the one hand, it kind of sounds like she’s enabling him to save face. On the other, it’s arguably more critical of Trump than any other GOP member of Congress has been. Is she responding to pressure from her constituency? Maybe. Regardless, you can take the opportunity to attend a “Senator Collins Drop-In” hosted by the upstart group Mainers for Accountable Leadership today, when they meet at (or outside) Collins’ Portland office. | FREE | 1 p.m. | 1 City Center, Portland



MORNING SWEETNESS | The folk holidays, you’ve got to love them. Could be it’s the so-called ides of spring that gets Mainers jacked on Maine Maple Weekend. Perhaps it’s the fact it’s the cultural antithesis of St. Patrick’s Day, ergo wholesome folksy types hope that shepherding their kids to local farms will atone for any foamy binge-drinking the week prior. Maybe it’s a tip of the cap to pancakes, which powered many of us through the cold, cruel-ass winter. No way to know. But what we’ve observed is that Mainers rally around sap season like they’re on some ancestral plane otherwise invisible to them other months. If you wish to eat syrup among them, as them, here’s what to do: Go to Chase Farms in Wells (1488 N Berwick Road), where you can play with your phone in the back of a horse-drawn wagon, or an orderly can paint maple leaves on your face. Or go to Merrifield Farm in Gorham (195 North Gorham Road), where you can nibble on maple-smoked cheese and a real-life blacksmith will help you recall that Game of Thrones Season 7 is nearly here. Or drive to Hilltop Boilers in Newfield (157 Elm St.) and play the simple yet rewarding game they call “Name the Calf”. Of course, all these locales have maple candies and tasty treats to share and sell, and the post-transactional glow you’ll get here is one of the best in the state.


LITTLE JENIUSES | We live in an era where the President misspells the word “rediculous,” the state department releases official documents identifying “attakers” from around the globe, and even the tightest prescriptivists among us have taken to texting “u awake?” instead of typing the whole pronoun out. So why do we still have Spelling Bees? Because, for one reason anyway, they’re weirdly exciting to watch. See what we mean today at the Maine State Spelling Bee, with contestants in the fifth through eighth grades battling it out for participation at the state level. | FREE | 2-5 p.m. | Hannaford Hall, University of Southern Maine, Portland



AUTH BRUNCH | Returning now to the subject of the maples, the thing to do this a.m. is wake unreasonably early and drive the hour or so to Turner, where you can go to the Nezinscot Farm Store Sunday morning and order the “maple sampler” on their Maple Sunday brunch menu. That includes, in their words: “pancake, French toast, crepe, croissant, sausage, bacon, and granola.” A little light on the eggums for our tastes, but it’ll do. | $15 if you order that brunch mentioned above | 10 a.m.-3 p.m. | Nezinscot Farm Store, 284 Turner Ctr Rd, Turner |


CREATIVE FEEDBACK | The Theater Ensemble of Color produced a smashing debut performance titled “The Others in January”, which focused on the running theme of other-ness in Shakespeare villains. If you caught that, you’ll want to poke in on their March Community Showcase, a collection of original works produced by individuals within the company, open for peer review. This month’s work is from the talented playwright and performer Joshua Hughes. The Theater Ensemble of Color, and its corresponding movement, is one of the highlights of the Portland theater scene right now. And incidentally, a finalist for this paper’s Best Theater Organization category. | $5 suggested donation | noon-2 p.m. | Mayo Street Arts, 10 Mayo St., Portland |


THE PROMISED LAND | Don’t tell us roller-skating to classic metal isn’t something you’ve fantasized about since the time of the ancients. Because, friendly one, that time has arrived. A clutch of local musicians and metal dogs have grown up and befriended those within the circles of power — aka people who do programming at the skating rink — and manifested this bewitching night, where the children within us can become born again, summoning the gods and demons of the wheel while aural hellfire clashes overhead. If that isn't clear, come to Happy Wheels and skate to metal songs, tonight only. Savage. | $8 | 4:30 p.m. – 6:30 p.m. | Happy Wheels, 331 Warren Ave., Portland |




HEALTH CARE IS A HUMAN RIGHT | Trump’s proposed health care bill is not good. If passed, it will insure 24 million fewer Americans, while transferring costs onto the elderly and sick. It would remove federal standards for coverage and leave that definition up to the states, and employers would have less incentive to offer health care coverage to workers. And Mainers, it was reported by the Press Herald, would be hit even harder, as Republicans would no longer adjust the size of insurance tax credits by region, and Governor LePage has proposed to cut 20,000 additional people from MaineCare. Organizing around this issue, one that endangers so many Americans regardless of their politics, is proving to be key to resisting Trump. And the Southern Maine Workers’ Center, diligently working on this issue and others for years, is the place to start. They host a People’s Forum on Health Care at the First Parish Church this evening, where citizens can share their health care stories with invited representatives from state and city government. | FREE | 6 p.m. | First Parish Church, 425 Congress St., Portland |



STORY SHARE | The nationally recognized Young Writers and Leaders program of the youth literacy organization The Telling Room is ready for another showcase. Portland and South Portland high school students from around the globe have been hard at work writing original pieces with local mentors, and the fruits of their labors are collected in a showcase this week. What to expect: “You’ll hear stories of a 10-year-old girl living in Iraq who becomes determined to master Tae Kwon Do; a fight that breaks out at a refugee camp when a young boy tells his friends that he’s leaving Kenya for the U.S.; and the story of a young Syrian boy fostering three snails after accidentally stepping on their mother.” | FREE | 4-6 p.m. | Portland Museum of Art, 7 Congress Sq., Portland |

8days Waxahatchee (Michael Rubenstein)

FEELING IT | Heard of, Waxahatchee? It’s the performance vehicle of Alabama recording artist Katie Crutchfield, whom I suppose you wouldn’t otherwise know (making this a riddle). But if you don’t, you easily could. Crutchfield’s songs infuse personal integrity, honesty, and intimacy into the same fuzzy highs as late ’90s indie-rock bands like Built to Spill. Her songs, like those on 2015’s Ivy Tripp, are instantly resonant, and she keeps a pretty relentless touring schedule. Adds up to an evening where you’re in capable hands. Additional appearances from L.A.-based harpist Mary Lattimore and songwriter Kevin Morby, the latter of whom plays some songs along with Crutchfield. Recommended. | $16-18 | 8 p.m. | Port City Music Hall, 504 Congress St., Portland |



SKATING AWAY | It’s a sad thing when bands who have been around for decades split up and don’t talk to each other anymore. That’s true of the amazing pop band New Order, whose principle members Bernard Sumner and Peter Hook have been deadlocked in litigation and character-smearing for a few years now. Things aren’t quite that bad with Ian Anderson and Martin Barre, the main dudes from legendary classic rock band Jethro Tull, but a rift is a rift, and it’s arguably even stranger when it’s between people in their seventies. Tull — that’s right, the band with the flute — evolved from a baroque and peculiar British folk act to an adventurous prog group that wrote rock-operas to an eclectic hard-rock band inspired by the American blues, encompassing dozens of albums over 43 years. But lead guitarist Martin Barre, writing and releasing solo albums since 2011, is more excited than ever (read my interview with him on page 18). He plays at One Longfellow Square Tuesday and Wednesday, the first acoustic and the second electric. | $40 | 8 p.m. | One Longfellow Square, 181 State St., Portland |



PATCH THAT | Next week, it’s time for Lez Zeppelin, probably the best-named tribute band in the business, who prove that the pioneering U.K. rock band can be decoupled from its maleness (that’s at Port City Music Hall, $18-20). Or if you’re feeling a little less outrageous, start spring cleaning season early with an event in Bayside, where the Resilience Hub and Maine Tool Library host a repair café, a hangout where volunteer workers (including you) help fix broken tools and jewelry, patch up sweaters and socks, and frayed electric cords. | 6 p.m. | Resilience Hub, 224 Anderson St., Portland |

8 Days a Week: Tribute Shows, Native Dance Music, and Cooking Spag 4 Your Luv


 Martha Miller

ART IN SPADES | In this unconventional and attractive pairing, the Maine artist Martha Miller shows her stunning self-portrait paintings and textile pieces — which she says are inspired by dream images, spiritual connections to the outer world, and "dark inner realms" — in an exhibition alongside performers of Portland's Theater Ensemble of Color, who model on a floor stylized in the day's political parlance as the Pussycat Walk. Miller's exhibition runs through April 29, but this one-night-only affair is a fundraiser for Planned Parenthood of Northern New England.

| by donation | 7 p.m. | Mayo Street Arts, 10 Mayo St., Portland |

ELEVATED | Deep night, chill with Portland synthwave collective Lyokha, who's on some other shit lately, as they bless the Jewel Box with lush and wispy beats. An excellent backdrop for your frank feelings, part of the bar's Thursday night SYNTH series.

| FREE | 10 p.m. | The Bearded Lady's Jewel Box, 644 Congress St., Portland




WAREHOUSE DRAMA | A cadre of local actors storm Urban Farm Fermentory tonight to host Love's Labour's Lost, an inspired original production of a Shakespearean play you likely haven't seen, with some of the city's finest and bravest young actors. Stamped by the new dramatic troupe Sound and Fury Productions. Playing tonight and Saturday in Bayside, and on the cheap.

| pay-what-you-can | 7:30 pm | Urban Farm Fermentory, 200 Anderson St. |




RISE UP | The 2017 Empower the Immigrant Woman conference is an all-day event that shares the stories and experiences of New Mainers and migrant women who have emerged as leaders in their communities, through social organizing, entrepreneurial efforts, or character. The conference is a brainchild of Mufalo Chitam, who came to Portland in 2000 by way of her home country of Zambia after doing work for Child Fund International, an American-based organization, outside her capital city of Lusaka. Selected by a committee of social stakeholders from throughout the Portland community, the Empower the Immigrant Woman conference features a panel of "trailblazers," who discuss workplace needs, resources, advocacy and accountability in the Portland work landscape, the challenges they face in getting their entrepreneurial efforts off the ground, and the leadership qualities they've accrued in their lives both abroad and in Maine. This year's five trailblazers are inspiring. There's Edith Flores from San Luis Potosi, Mexico, a former migrant farmworker who emigrated to the U.S. when she was nine and started the nonprofit outreach organization Mano en Mano. Somalia's Fowsia Musse came to Maine in 2003, where she's been an advocate for victims of abuse in Lewiston and served on their City Council's Immigrant and Refugee Integration and Policy Development Working Group. Burundi's Claudette Ndayininahaze came to Maine four years ago and founded In Her Presence, a group for young immigrant women. Lewiston's Parivash Rohani, originally from Iran, organized against hate groups attacking the Lewiston-Auburn's Somali community in 2003, is a member of Welcoming Maine and helped organize Portland's World Refugee Day. And Bakhita Saabino came to the States from war-torn South Sudan in 2000, and keeps community with the groups Azande Community of Maine and Boston's My Sister's Keeper. The day conference is free — though donations are accepted — while an evening gala at Congregation Bet Ha'am allows attendees to hang with the trailblazers.

| by donation | 9 a.m-1 p.m. | University of Southern Maine, Wishcamper Center, Portland |


WORDS ABOUT WORDS | Celebrate the deep literary virtues (or the fact that you once used to read books) tonight in the center of town, as the Maine Writers and Publishers Alliance presents a reading of three distinguished writers from the Maine Literary Awards. They include fiction writer Douglas W. Milliken, poet David Sloan, and essayist Penny Guisinger, an editor at the literary nonfiction magazine Brevity. Tonight's reading, titled "Short & Sweet," should get your imagination going. You'll need it in the months to come.

| 6 p.m. | Longfellow Books, 1 Monumen Way, Portland |


HOT TIP | According to a cult movement on Twitter, if a dude texts a woman the first line of the third verse of Notorious B.I.G.'s "Juicy" — apropos of nothing, mind you — and she texts him back the second line, then you know the love is for real. Not making that shit up, dude! Try it as part of your research for tonight's "Tribute to Notorious B.I.G." at Empire, performed live by Dray Sr. and DJ Steady.

$10 | 9 p.m. | Empire, 575 Congress St., Portland |




FLIPPIN' | A solid zine festival is generally pudding-ready proof that a city's art scene is healthy and nourished. Portland still could use a little more meat on its bones, but efforts like this weekend's Zine Market Flea Fair, put together by some truly smokin' folks, is a good place to find out. This is a two-day thang, so if you can't make it 11 to 5 Saturday, then may the great gods of FOMO carry you here this afternoon.

| FREE | 2-7 p.m. | you're gonna have to look up this address online |





REPRESENTING | From Canada, the trio A Tribe Called Red has been making heavy, politically engaged electronic music, blending modern beats, hip hop, and traditional indigenous pow wow drumming and vocals. They began this in 2011, and almost immediately gained power among native youth movements and smart people. Today, they represent the sound of a new voice for aboriginal rights and visibility. Their album, We Are the Halluci Nation, comes recommended with their show tonight at Port City Music Hall.

| $15-18 | 8 p.m. | Port City Music Hall, 504 Congress St., Portland |




POWERFUL STUFF | The rise and fall of Amy Winehouse remains one of the more powerful mythologies in modern music. The star London singer passed in her prime suggests that tributes to her work, like tonight's at Portland House of Music, won't go away anytime soon. A Night of Amy Winehouse features local musicians Gina Alibrio, Owen Conforte, Colin Winsor, Jon Truman, Fred Copeman, Susanne Gerry, Jenny Guiggey, Andrew Doody, James Hebert, Matt Day, and Amanda Tubbs. Yeh.

| FREE | 7 pm | Portland House of Music and Events, 25 Temple St., Portland |



EXODUS | Imagine a world where every musician is an introspective, soul-searching white dad. Terrible! Thankfully, that's not the world we're in — that's only roughly 60 percent of recorded music — so we can therefore appreciate the lifelong stars of the genre without risk of oversaturation. Tonight, local emulators perform the music of Peter Gabriel and Phil Collins, two former prog artists whose egos were too large to be contained in a single group (Genesis) and so instead split off into separate cosmos. Tonight's Clash of the Titans is worth it to see if someone takes on "Invisible Touch."

| $6 | 10 pm | Empire, 575 Congress St., Portland |


DO YOUR WORK | If you haven't sat in on a meeting with the Greater Portland chapter of SURJ (Showing Up for Racial Justice), tonight's a good opportunity. At the Maine Irish Heritage Center, the group hosts a primer and community discussion on the topic and necessity of direct action in political protest, with a reminder that Maine allies — namely, white people — need to bear the responsiblity for confronting injustice, even when it's difficult, awkward, or controversial. "Direct Action is Never Popular," the community event, runs from 6 to 8 p.m and is free.

| 8 pm | Maine Irish Heritage Center, 34 Gray St., Portland |




ICAL UP | The State Theatre just announced a slew of big ticket shows this summer, including Ween, Wilco, Pixies, Mary Chapin Carpenter, Elvis Costello, My Morning Jacket (with Jaw Gems), Fleet Foxes, and the Shins. Spend tonight making yourself and a loved one spaghetti so that you can save up for those tickets.

8 Days a Week: Aging Hippies, ACLU Bennies, and Weird Michael Keaton



HER AGAIN | Regina Spektor has aged well. Well, as a lyricist, performer, song writer — I don't know how what she's like as a person. She hasn't drifted into adult contemporary (like Tori did at this point in her career). Years pass between albums, a sign of confidence and care, and yet she doesn't seem to share Fiona's painstaking, blood-ripped-from-a-stone catharsis. And while the disconfigurations of love clearly serve as her primary muse, she never gets half as abstruse or esoteric as Joanna can. Sure, some of last September's full-length, Remember Us To Life, sound like they're lifted off the Titanic soundtrack. Buuuuuut! The majority of it is just as quirky, rhapsodic, and heart-achingly direct as it's ever been. On tracks like "Grand Hotel," the 37-year-old New Yorker sounds like our generation's Billy Joel, but from a woman's perspective. And better.

| $40 adv, $42 day of | 7 p.m. | State Theatre, 609 Congress St., Portland |


THE FIRST ART | After countless hours in front of computer screens and participating in innumerable Facebook comment threads gone horribly wrong, folks today discover the inevitable appreciation for the art of storytelling, with the realization that participating in that medium can often be a humanizing, radical act. Tonight, Mainers can opt in to such a realization by heading up to a spot most agree they should visit more often. At Guthrie's (sometimes styled as She Doesn't Like Guthrie's), Bates professor Michael Sargent hosts another edition of his program The Corner, a terrific engine within the cultural life of Lewiston. Tellers include Ekhlas Ismail Ahmed, a teacher at Casco Bay High School (who recently appeared on the TV show Ellen); Maine Women Magazine's Shannon Bryan; former Onion staffer Chet Clem; SMCC instructor Rosemarie De Angelis; Albanian coffee entrepreneur Mateo Hodo; and Lewiston celebrity ZamZam Mohamud, a certified nursing assistant and member of the Lewiston Public Library board of trustees. Go up for dinner and soak it up.

| $7 | 7 p.m. | Guthries, 115 Middle St., Lewiston |




COOL CIVIL RIGHTS PARTY | In the last month, the ACLU of Maine has spoken out against the budget proposed by Governor LePage (for the unconstitutionality inherent in singling out certain groups who receive general assistance, which the governor proposes to cut). They've issued statements about the distressingly brutal shoot-to-kill approach given Chance David Baker, the 22-year-old who died at the hands of Portland police after reportedly waving a pellet gun around the parking lot of the store he bought it in. And they've opposed two Maine bills, LD 121 and LD 155, which would implement additional hurdles in the process of voting — one requiring Mainers to present photo IDs at the polls and another requiring students to pay additional fees and taxes in order to vote. In Maine and nationally, theirs is some of the most vital work being done right now. Help steer energy their way at a massive Portland-based concert, where wise-ass rapper Spose is the frosting on a wonderful layer cake of local music tonight, one that includes psych-rock duder Jeff Beam, R&B singer Bright Boy, pop-punk trio Weakened Friends, jazz magicians Amarantos Quartet, singer-songwriter Anna Lombard, and synth-pop group Sunset Hearts.

| $10 adv, $15 day of | 8 pm | Port City Music Hall, 504 Congress St., Portland |


FRIENDSHIP IS MAGIC | File under "only in Portland," the old-time jazz group the Fogcutters play with doom-welcoming heavy rock group Eldemur Krimm, who woke fully revived from their harsh slumber a couple years ago. More dissonant local concert pairings like this please.

| $12 adv, $15 day of | 8 pm | Portland House of Music and Events, Portland |




MR. MOM? | One of the dumbest, most bizarre, and worst-best kids movies (of the generation presently entering deep adulthood) remains Beetlejuice, which taught many Americans the wonders of Winona Ryder (and I guess Michael Keaton), light horror mythology, and the versatility of Harry Belafonte songs. Each are easily revisitable tonight at Allagash Brewery on Industrial Way, which wraps up their winter series of film screenings with Tim Burton's 1988 film.

| $10 ($5 youth 21 & under) | 6 p.m. | Allagash Brewing Company, 50 Industrial Way, Portland |


ASK FOR THE WEIRD GANSETT | One of the upsides(?) of being so engrossed in politics all winter is you didn't even realize it's over. Just kidding — it's nowhere near over. But now's the time of the season you can start using that as a conversation starter, and who knows where that road can lead. Often, it's food. (Many roads lead to food.) And Salvage (presently in the running for Best Barbecue on our 100 Best of Portland ballot), has many piles of that worth investigating. What makes tonight special is that they've also got a cluster of men who answer to Tail Light Rebellion, and who play music they describe as "high energy Rust Belt folk-punk." Aiyii.

| FREE | 8 pm | Salvage BBQ, 919 Congress St., Portland |


STOCK UP TO GET DOWN | Just a reminder, folks: Fork Food Lab is here. It's like a five-minute walk from your favorite restaurant, and it hosts 27 different foodmakers under its roof. This morning they kick open the gates to host a spring market, and they do it, rightfully, proudly. Attend, and you're promised to get caught-up on the mechanics of the facility, the progress that co-founders Neil Spillane and Eric Holstein have made over the winter, and the many local purveyors within. Try it for lunch, and sip on some of the St. Paddy's beers rumored to make an appearance.

| 11 a.m.–3 p.m. | Fork Food Lab, 72 Parris St., Portland |

MUST BE NICE | Nearly 20 years since first peddling their trade, the Tarbox Ramblers and their swanky, sinewy Appalachian-inspired blues-folk still betray hints of their humble Yankee beginnings as a Cambridge-area bar band. They're nothing rowdy, but they're good, capable students of the form.

| $15 adv, $20 day of | 8 pm | One Longfellow Square, 181 State St., Portland |


HUNKY LITTLE BUNNY | Very little overtly freaky about today's iteration of Devendra Banhart, which is meant less as a dig than a reminder that 2002, when he sounded like a psychotic street singer from a Jodorowsky film, is a long time ago. Today he's chill Nick Drake.

| $25 | 8 pm | Port City Music Hall, 504 Congress St., Portland |




GOGOGO BOXCAR | Assuming you're reading this mid-week, there's still time for you to rummage the hallways of your apartment building, or maybe behind the fridge, for enough materials to participate in the 5th Annual Cardboard Box Derby. The early morning race awards prizes for the Fastest Box (three places), but if you're more the bumbling type, you could still take home gold for Best Costume, Most Creative, and Most [People] in a Box. At the very fun Camden Snow Bowl.

| $25 | 8:30 a.m. | 20 Barnestown Rd., Camden |



DO YOUR HOMEWORK | Reviewed in full by Megan Grumbling in last week's issue, today's order is to see Raoul Peck's I Am Not Your Negro, a film that marries insights and wisdom from the indispensible American writer James Baldwin to images of black America's fight for equality and civil rights today. Screening twice Friday and three times today at Portland Museum of Art, and more to come in April.

| $8 | 11:30 a.m., 2 & 5 p.m. | Portland Museum of Art, 7 Congress Sq., Portland |




COMMON PRACTICE | Hey there, fans of life! Tonight's delicious creamsicle of entertainment comes to us in the form of Boxed Wine? — that's how they style their name, not some oblique commentary on my part. An offshoot of the every-Monday-night comedy program that goes on here called "Worst Night of the Week," Boxed Wine? are a gang of Portland people who similarly perform improv and stand-up comedy, enduringly some of the most difficult and affirming acts of all the human acts. You'll recall your inner musings to the effect of getting away from the computer screen, of radically not participating in the toxic Facebook comment thread. This follows that. With the freed headspace, you're prepared to watch these folks work. If you need me to spoil tonight's episode of The Bachelor to make this work, slide into my DMs.

| $5-10 | 8 p.m. | Blue, 650A Congress St., Portland |




ALMOST RHYMES WITH HOW BIZARRE | If you've made progress on that stack of books this winter, take yourself out to tonight's Pecha Kucha (pronounced peh-cha-koocha), a longstanding Maine program where artists, thinkers, and designers present slide-shows and fast-paced stories of the work they do, or the things they're amazed by, in their field. Tonight's theme is "Provoked: Inspired, Moved, Motivated," and we don't know what to expect.

| FREE | 7 pm | Portland House of Music and Events, 25 Temple St., Portland |




TAKE YOURSELF DOWN | A real slice of heaven for those who love hell, four different avant, black metal and noise bands put their heads together tonight in an effort to build a better society. Spoiler alert: they come up short. New York's out-group Opening Bell; black metal band Apollyon and noise unit Nycterent, both from Maine; and New Hampshire's Northern Curse put a dark little boogie in it.

| $8 | 10 pm | Empire, 575 Congress St., Portland |



BECOME TICKLED | Speaking of Billy Joel, as I was two thousand words ago, Portland musicians whip up a tribute to that old maestro tonight at Empire. Too soon to tell who's playing, but educated guesses could steer you toward a belief that local ivory-wiggler Kris Rodgers is involved. But that is unsubstantiated info.

| $8 day of | 10 p.m. | Empire, 575 Congress St., Portland |

The Year of the Snaex: Teret and Sutherland's Holy Times

More than ever, even last year's lovely album In the Heart of the City, Christopher Teret and Chriss Sutherland have stretched their individual personas into true foils. As musicians whose prior vessels had more to do with escape and exploration — Sutherland with the amorphous, freak-folk carnival act Cerberus Shoal from 1995 to 2007, and Teret, who hails from Baltimore, with his post-punk group Company — the barebones earnestness of Snaex is one of the group's principle appeals.

It's the musical equivalent of radical honesty. And just like living a radically honest life, it can be fantastic — provided you have the proper dosage and setting. On Holy Times, the two conspire toward a humility, understanding, and vulnerability toward the real-ass issues of their day-to-day lives — as fathers, partners, thoughtful citizens, and lifelong fighters who have mouths to feed. And they've got a new bassist, Tyler Heydolph, in tow, loosening the valves as the two guitarists steer through this slow, steady, lyrical folk.

Deep thinkers indeed, the six-song EP finds Teret and Sutherland forging an even deeper peace with the joys and terrors attendant to that trait. Track three, "Grumblin'," revisits a highlight of Sutherland's 2008 album Me in a "Field", finding the ballad capable of soaring once its been trimmed of its old mournful weight. Snaex's version adds a slight tempo bump and gentle rollicking melody as Sutherland's lyrics flutter with a feeling of ease and forgiving wisdom, updating lyrics that a decade ago felt desolate and mournful. "All timeless and now it's gone / like when we were old and young / my life cycles and to return / a certain balance I attempt to earn / and I'm lucky o'this I know / given chances and place to grow / try, try, and try again."

By contrast, Teret's delivery is staid and workmanlike, born from the lineage of affectless indie-rock and post-punk vocalists who left their expressiveness to the squall of their guitars. On "There Are No Blues," the album's lowlit redeemer, his cadence seems borrowed from Irish folk songs and sea shanties, with an American candor so bald and unflinching as to nearly ironize his lyrics. "There are no blues that you can't handle / there's still mysteries for sure / but there are no women in the lobby / and no children by the door. There are no blues I heard you say / there are no blues that haunt my days. / There are no blues, there are no blues." 

Teret's post-punk vocabulary is also one that Sutherland has himself learned. (It's incredible to contrast his lyrical styles today to, say, those of the shy and anguished teen on Cerberus Shoal's remarkable 1996 album And Farewell to Hightide.) But his tracks on Holy Times glimmer with the many voices he's learned since, like those forged during Cerberus' chaotic trek through the desperate ecstasy and babbling dream-poetry of their final years, his work as a devoted pupil of Lorca's concept of duende, and the grounded flamenco-folk of Portland's seven-piece music and dance group Olas.

Through some sort of chicanery, some trick of the light perhaps, Teret and Sutherland perform these admittedly dour-seeming passages with a steady clarity and joy. The tracks are profoundly adult, yes. But these are, after all, a couple of dads, and you can almost hear how much practice they get singing to children.  

While listeners won't find Snaex discovering any sort of bright light their album title implies, the sincerity with which they explore the mysterious of today's world — "white privilege, the cult of busy-ness, the fumbling of men," among others — proves more worthwhile than any orthodox religious exploration. Nevertheless, these are wondrous affirmations they're sharing. I'm sure their sons and daughters will learn them.

Holy Times | By Snaex | With Micah Blue Smaldone at Mayo Street Arts, 10 Mayo St., Portland | 8 p.m. | $8 adv, $12 ($6 children) |

8 Days a Week: Resistance Summits, Shakespeare Parties, and New Mainer Fashion Shows



WATER WARS | While the winter air here in Maine begins to thicken, the contested site of Standing Rock Indian Reservation in North Dakota remains at a stark chill. Protesters were cleared out this month as production surged on the 1,172-mile Dakota Access pipeline after an executive order by you-know-who, and the site is reportedly a ghost village of left-behind belongings and stray animals. Last week, White House press secretary Sean Spicer told the press that the Trump administration is "constantly in touch with" the Standing Rock Sioux tribe, a comment which Tribe leaders quickly refuted. Time, cruel and beautiful as ever, takes us now into March. Opposition to DAPL — in principle if not in practice — is still widespread, and Mainers looking for clarity on the issue are still in motion. Two of them, Shawn and Molly Mercer, run a farm called Swallowtail up in Orland, Maine. Tonight, they host a benefit production off-peninsula called "A Line in the Sand," where they've prepped a multimedia presentation sharing experiences, inspirations, and resources anchored in their own travel to the reservation.

| By donation | 6 pm | Milk & Honey of Swallowtail Farm |


SIPPERS DELIGHT | One of Portland's richest pageants the past few years have been parties at the Bayside version of Bunker Brewing Co., a fine brewhut where folks made music that spilled out into a terrace of picnic tables wobbling with butts from all over the city. The times were good. How grateful we should be that Bunker still hosts shows and parties at their new location. Tonight, the dude Jeff Beam, a local and a good one, plays with Rick Rude, a true music band from New Hampshire, and Carinae, a psyched effort from Hadley, Massachusetts, home of other bands and farms.

| $5 | 8 pm | Bunker Brewing Co., 17 Westfield St., Portland |




DUDE ASKS QUESTIONS | The comedian Marc Maron, after a long stint laying low, started his comedy/interview podcast WTF in 2009, and has since become one of the most influential and referenced practitioners of the form, becoming an interviewer so trusted that he's gotten folks like Lorne Michaels (a white whale he'd been chasing for awhile), Robin Williams, and Barack Obama from the garage of his Los Angeles apartment. He rolls through New England, a rarity, this weekend for an appearance at the Music Hall in Portsmouth, New Hampshire, where he'll perform stand-up.

| $33 – 38 | 8 pm | The Music Hall, 131 Congress St., Portsmouth, NH |


STAY HARD | When you spend your twenties, as Chriss Sutherland did, committed to one of the most vividly experimental and transformative musical projects in modern Maine history — talking here of course about the legendary Cerberus Shoal — then anything seems tame by comparison. But the measured, controlled battles he fights nowadays with Chris Teret, the other half of the folk duo Snaex, are no less powerful. The two have readied an EP of their distilled and deceptively simple songs called Holy Times — a kind of woke dad-folk, perhaps — and release it tonight at a party at Mayo Street Arts, with support from the excellent Maine songwriter Micah Blue Smaldone. I've written about the album further on page 23.

| $12 | 8 pm | Mayo Street Arts, 10 Mayo St., Portland |


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Yonatan Gat photographed by Bryan Parker.

POST-EVERYTHING | By all accounts, the experience of watching Yonatan Gat's live show is face-melting, devastating, utterly crucial, possibly one of the last sublime experiences remaining in modern rock music. Style-wise, the ex-Monotonix guitarist plays melodic and astral jazz-guitar action delivered with punk heat. I've never seen the dude, but I'm expecting something like the Boredoms minus Yamantaka Eye. I'm maybe half right. Yonatan and his band, a trio, play with Friend Roulette in Brooklyn, and the skronk-ass trio Diva Cup.

| $10 | 8 pm | SPACE Gallery, 538 Congress St., Portland |


EVERY LITTLE COUNTS | Last year's "Go Big For Hunger" benefit, an annual effort raising money to fight food insecurity in Maine, ended in some sort of dispute between producer Greg Martens and performer John Popper of Blues Traveler. We hope that got ironed out! So this year, there's no Popper, but the Portland-based entrepreneur and Deadhead Greg Martens ramps up another show for his cause, bringing Armies' Anna Lombard and Dave Gutter, members of Boston's Sister Sparrow and the Dirty Birds, and the Working Dead, an undead tribute band.

| $22 adv, $27 day of | 8:30 pm | Portland House of Music and Events, 25 Temple St., Portland |




REVISIT YRSELF | If you're having goal problems, I feel bad for you, son. But some out there want to help. The women's leadership group Hear Her Roar ropes together a couple of life coaches — Christina Stathopolous and Robyn Wiley — to help re-ground you in any 2017 resolutions that might have floated off into the distant ether.

| $50 | 10 am – 2 pm | Think Tank Coworking., 533 Congress St., Portland |


MACKERS AND RYE | Five summers ago, a small crew of theaterpeople converged to launch PortFringe, a weeklong festival of original and arcane dramatic works in the middle of the summer. It was a slam hit! Last year, they dressed up the festival with an offseason performance of Hamlet, 'cept the catch was that the play was performed by around 20 different companies in a manic, patchwork style. That was also a hit, a big slam. This year, they give the same treatment to Macbeth, arguably the most accursed play in existence, tasking 14 troupes with piecing the Shakespeare play together in their own style. One other plus is that this goes down at Oxbow Blending and Bottling, which folks should totally use more for theater. All proceeds benefit putting on PortFringe 2017.

| $15 | 2 & 7 pm | Oxbow Blending and Bottling, 49 Washington Ave., Portland |


WINTER BECOMES YOU | A colleague of mine is fond of saying "the streets are littered with people who've tried to start a music festival in Maine." He was being hyperbolic, of course — the streets of Portland are littered with floss picks, poor producers those — but regardless, that was before Sunaana Winter Festival. The first annual all-day "sensory experience" at Thompson's Point has a dozen bands to boast, and nearly twice as many brewers of beer. One of the headliners is ROZES, a Philadelphia-based singer with an EP to her name who debuted as a vocalist on bro-pop production team the Chainsmokers' song "Roses" in 2015. She'll be here! So will Armies, the beautiful balladeers blurbed above. So will Scott Sorry, who played bass for a stint ten years ago in the English band the Wildhearts, sort of a hard rock/punk cover band thing. So will Very Reverend, a swaggering local trio who I know for a fact listen to Queens of the Stone Age and T. Rex. So will Mammút, a beloved rock band in Iceland on a label started by Bjork's band the Sugarcubes. If you're ready to hear some names of beers, here they are: Allagash! Austin Street! Banded Horn! Barrelled Souls! Bissell Brothers! Bunker! Foundation! Gneiss! Maine Beer Co.! Mast Landing! Oxbow! Orono! Rising Tide! Sebago! You can't have made it this far without forming, or hearing, opinions about these breweries, so I'll leave you to ruminate on them now. Experimental, sure, but what venture isn't in its first year? Weather looks fair, albeit cold, for Saturday (although of course, the thing is indoors). March is sneakily the worst month of the year, so this could be part of your defense.

| $25-75 | 1 pm | Brick South, Thompson's Point, Portland |


LABOR-READY | If you're in a chance-seeking mood, head to Portsmouth tonight to see Big Work: A Documentary Play for 17 actors exploring their relationship to labor, employment, starting over, the search for meaning, etc. (Don't say you don't think about that shit! Don't you say it!) Playwrights Melissa Bergstrom and Kate Marple penned this together after, you know, stewing on it for a bit in their early 30s (typical millennial laziness, obv), and came up with this pretty inventive and well-regarded script, after which recent performances around Massachusetts the two women, also founders of Perpetual Visitors Theatre Company, host spirited talkbacks, as they plan to do here.

| $18 | 2 & 8 pm | 3S Artspace, 319 Vaughan St., Portsmouth, NH |


GLAM UP | International Women's Day may have a certain extra echo of gravity this year. Maybe that's enough to impel you toward the 8th Annual Women's Day Fashion Show, hosted by the organization Women United Around the World (WUAW). This gala celebrates the styles and fashions of New Mainers migrating here from around the globe, with a focus on local designers' collections. Ticket proceeds benefit WUAW's efforts. Yes!

| $40 | 6 pm | Italian Heritage Center, 40 Westland St., Portland |




ANTI-PROGRESS | The president rolled back transgender bathroom rules this week, in an effort led by Jeff Sessions and Betsy DeVos and anchored in this administration's sweeping assault on the rights of everyone who isn't a straight cis white man. Portland voices its disgust with a Rally for Trans Rights today in Monument Square.

| $10 | 3 pm | Monument Sq., Portland


ANTI-PROGRESS | It's plenty possible you can attend the trans rally above and still get some time in at the Maine Resistance Summit, a catch-all resistance rally convened by the progressive organization Maine People's Alliance. With workshops and skillshares on media basics, canvassing, fundraising, lobbying your legislature, and many others, this should be a vital resource for anyone in the good fight. Inquire about tickets for the summit, titled "From Mobilization to Movement Building," at the MPA website.

| 8 am – 6 pm | Civic Center, 76 Community Dr., Augusta |




NONPROFESSORS | With federal domestic spending set to decrease, nonprofit and big philanthropic efforts might see a heavier workload in trying to effect social change. Just spitballin'! Hard to say what'll happen in this world. But if you're interested in nonprofit or social work, pop in on this forum tonight at One Longfellow Square, where directors from Maine nonprofits Preble Street, Maine People's Alliance, Kids First Center, and the Portland Symphony Orchestra field questions about how it's done.

| $5 | 5 pm | One Longfellow Square, 181 State St., Portland |




OPEN CITY | The architects and designers behind the long-rumored Fox Field Food Forest, a community-minded edible forest garden in Bayside's Fox Field, are looking for volunteers, and to spread information, tonight at Urban Farm Fermentory, just a skip away from the action. Learn more about this exciting urban landscaping project produced by the Resilience Hub and the East Bayside Neighborhood Organization.

| FREE | 6 pm | Urban Farm Fermentory, 200 Anderson St., Portland |


GOOD IDEA | We wrote a couple weeks back about new resistance efforts that have cropped up around the city since the election. One of them is GET READY WEEKLY, a visual art and resistance project that has hosted sign-painting and letter-writing parties. That group teams up with art magazine The Chart for a series of "Resistance Readings," collective discussions of political art texts over dinner. The first is tonight at Babylon Restaurant on outer Forest, where the group (which could include you, my dude!) will read an essay by Taylor Renee Aldridge about the "savior complex" of Detroit's rebuild. Dinner's on you!

| FREE | 6 – 8 pm | Babylon Restaurant, 1192 Forest Ave., Portland |




NO BACKLASH | It's like we always say here at The Phoenix: if it works, you mustn't fix it. Thus, Clash of the Titans has returned to Empire, the weekly thematic tribute night between two like or loosely related cover bands comprised of hot-shit local musicians. Tonight's affair is a stand-off between Death Cab for Cutie and Bright Eyes. Those bands!

| $6 | 10 pm | Empire, 575 Congress St., Portland |


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Every Time I Die is poised to set the world free through a metal concert at the State Theatre. 

CATLIKE DUDES | Formed in 1998, the metalcore band Every Time I Die have risen to be one of the foremost bands in the genre. (It must be amazing to be in any band, let alone a leave-it-all-on-stage metal band, all catharsis and performed rage, for literally 20 years.) If you're a fan, you already know they're coming; odds are you're not getting converted otherwise. With their just-released new album, Low Teens, in tow, ETID play with Knocked Loose, Harm's Way, and Eternal Sleep.

| $18 adv, $20 day of | 7 p.m. | State Theatre, 609 Congress St., Portland |



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Regina Spektor photographed by Shervin Lainez.

BE TICKLED | Next week, the dreamboat and songwriting genius Regina Spektor shows up at the State Theatre, reminding you of things you might have wanted to forget about relationships you were in 10 years ago.

| $40 adv, $42 day of | 7 p.m. | State Theatre, 609 Congress St., Portland |

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