The Dame's lineup is getting stronger

By walter tunis — Contributing Music Writer

Posted: 11:12am on Apr 9, 2009; Modified: 11:24am on Apr 9, 2009

  • The week that was

    Pandit Skivkumar Sharma and Ustad Zakir Hussain at the Singletary Center for the Arts: There was a brief overview on Indian classical music at the onset of this immensely involving performance. Specifically outlined by Sharma, a pioneering voice on the hammer-dulcimer-like santoor, was the rag (pronounced "rahg") — the musical component that defines the melodic and emotive core of a composition.

    An unplanned example later presented itself when the cry of an unsettled infant became a dominating sound between tunes. "Her rag," Sharma remarked, "did not match our rag." But then, it was hard to imagine anyone matching the very real but understated drama summoned by Sharma and Grammy-winning tabla artist Hussain.

    To these Western ears, the bulk of the program was a study in dynamics. Sharma established rags with improvisations that centered on hammered taps on the santoor's strings. The notes developed shape over time before falling in line as a melody. Hussain then added rhythm on the two hand drums of the tabla. Sometimes the percussive element was barely more than a subtle, precise tap.

    But at the height of the duo's interplay, Hussain created a firestorm of rhythm, whether he was in tandem with the agitated grace that Sharma's playing evolved into or creating a meditative dialogue between tabla and santoor. Either way, Hussain's mightier rolls were rightly rewarded with rock-star adoration by the audience, proving exactly what made these rags roll.

    The Clumsy Lovers at The Dame: Guitarist Trevor Rogers and his mates were on their guard. After all, he suggested, how might the banjo and fiddle abilities of a band from the unlikely string-music metropolis of Vancouver, British Columbia, be received in Bluegrass country? It was a good-hearted ice-breaker of a remark — especially given that the Monday crowd at The Dame numbered roughly 15.

    But Rogers and company didn't bat an eye (or an ear, for that matter) when tackling Uncle Pen, a 60-year-old signature tune of the great Bill Monroe. Luckily, The Clumsy Lovers have long been adept at fashioning alert string sounds for friendly folk-pop environments. Uncle Pen, as well as an equally spirited update of Old Plank Road late into the sadly brief 50-minute performance, reflected immense respect for string-music tradition.

    But fiddler Rebecca Smith and drummer Tyler Thompson (new members since the band last played here) also gave the tunes a crisp, contemporary dusting. There were even hints of bluegrass and country in such seemingly poppish fare as Is This My Life and Walk in the Light of Your Fire (which, like much of the set list, came from the Lovers' new album Make Yourself Known). Instrumental Celtic medleys were served with similar flair. One sported a verse of The Beatles' Octopus' Garden sung with cheerleading reverence by Rogers. Such was the merry continental shift that resulted when industrious Canadians tightened up the bows in the Bluegrass.

If anyone had any doubts about The Dame getting back on its feet as a leading local music venue — and just about everyone during the past six months has had a few — we suggest a scan of the club's increasingly plump concert lineup for the rest of the spring.

During the past two weeks, the club has greatly beefed up it calendar with some serious surprises and several killer late additions. A few of those head our way as early as next weekend.

We'll fill you in on all of the updates in a moment. But first, let's review the exemplary local sounds that The Dame, 367 East Main Street, has planned for this weekend.

On Friday, the club again hosts one of the most reliable grooves Lexington has to offer: the always fun Latin chill of Big Maracas (8 p.m., $7). Bring your best ventilated dancing shoes out for this one. It's always a late night when the Maracas get rolling.

On Saturday, Idaho, Alaska, which despite the name is made up entirely of local lads, presents soundscapes that fall somewhere between post- grunge and psychedelia on a bill that includes Nashville's Kill the City and Lexington's Latin Heat. (8 p.m., $5.)

Now, let's quickly round up all of the newly announced shows that The Dame has on tap to celebrate spring in all of its rocking glory.

April 18: Raul Malo: The local solo debut of the Roy Orbison-esque Malo will be the singer's first Lexington performance, as far as we can tell, since his former band, The Mavericks, played the long-defunct Breeding's in the early '90s. (8 p.m., $15.)

April 19: The English Beat: Only Dave Wakeling remains from the original Beat lineup that produced such glorious early-'80s post-punk pop hits as Save It for Later and I'll Confess. That will do quite nicely, thank you. (8 p.m., $15.)

April 23: Shooter Jennings: Jennings last played The Dame a year ago, when the fate of its West Main location was sealed. When we spoke to him at the time, Jennings had lots to say about The Dame's demolition. Too bad it's mostly unprintable. (8 p.m., $15 in advance, $17 at the door.)

May 5: Hoobastank: Go figure. The California band that hit big with the 2004 radio single The Reason playing The Dame? Just shows you that the club has something for just about everyone this spring. (8 p.m., $20.)

May 28: Todd Snider: A Snider show around these parts isn't news. But this will be the first time the renegade Nashville song stylist will be in town after walking out on a WoodSongs taping last winter. (8 p.m., $15.)

June 6: The Dynamites: Straight out of Nashville comes this ultra old-school soul and funk troupe. Leading the charge will be singer Charles Walker, whose roots go back to Music City's fertile but largely unheralded R&B scene of the late '50s. (8 p.m., $7.)

June 16: X: Finally, we have the return of Los Angeles' most acclaimed punk troupe. The years might have settled the temperaments of Exene Cervenka, John Doe, Billy Zoom and D.J. Bonebrake. But when X played the old Dame five years ago, the band stuck to music from its first four albums and rocked the house something fierce. (8 p.m., $20.)

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