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iHeartRadio Jingle Ball is returning to Dickie’s Arena in Fort Worth on Dec. 3 with the early Christmas gift of pop radio hits in tow. The Fort Worth event is the first of 10 across the country…
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Carly May Gravley
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Tag: dallas things to do
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Kane Brown, Shaboozey, Meghan Trainor Due at iHeart Radio Jingle Ball in Fort Worth
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Watch: Big Tex Goes Up at the State Fair
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It was a sight to behold on Friday morning with the erection of Big Tex. Get your mind out of the gutter: Big Tex, the man, the legend, is risen. And he’s ready to judge your spending habits at the State Fair of Texas…
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Eva Raggio
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Dallas Contemporary Exhibitions Explore Identity Politics and Social Histories
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Dallas Contemporary has never feared examining the big issues. When the museum stages exhibitions that complement each other via theme and ethos, the result is an even more pleasing experience for the art aficionado…
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Kendall Morgan
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10 Best Concerts of the Week: Olivia Rodrigo, Jenny Lewis, Sleater-Kinney and More
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Kicking off Women’s History Month, half of this week’s best concerts are woman-fronted acts from an array of genres. The concert week kicks off with simultaneous shows from folk duo Indigo Girls at the Longhorn Ballroom and pop star Olivia Rodrigo at American Airlines Center. On Saturday, indie goddess Jenny Lewis comes to the Cedars while gothic singer songwriter Chelsea Wolfe plays in Deep Ellum. Get ready to riot on Tuesday when the iconic riot grrrl band Sleater-Kinney comes to The Studio at The Factory. This week will also see two nights of shows from indie-pop act LANY, a concert from indie-rocker Ariel Pink, a min-festival headlined by San Anontio metal band The Union Underground, Midwest emo band Mom Jeans. playing on Lower Greenville and a lesson from rapper KRS-One. Spring is surely in the air, and the concerts only get better from here.
Indigo Girls
6:30 p.m., Friday, March 1, Longhorn Ballroom, 216 Corinth St. $35 at prekindle.comThanks to last year’s Barbie movie and its wonderful use and re-use of Indigo Girls’ “Closer To Fine,” the longtime duo of Amy Ray and Emily Saliers have seen renewed interest in their songwriting partnership. The duo have known each other since grade school and began performing together as high schoolers in Decatur, Georgia, in the early ’80s. The two parted ways after high school; Saliers went to Tulane University in Louisiana and Ray to Vanderbilt University in Tennessee. Both grew homesick and returned to Georgia, transferring to Emory University in Atlanta in 1985 when they began performing as Indigo Girls. That lifelong shared bond really shows in Indigo Girls’ music. Roots Americana and honest to its core, Indigo Girls’ songwriting has always explored the nuances of identity and emotion, never bending in its integrity. Southern gothic singer-songwriter Kristy Lee opens the show.
Olivia Rodrigo
7:00 p.m., Friday, March 1, American Airlines Center, 2500 Victory Ave. $400+ at stubhub.comWith verified resale tickets starting at around $400, we certainly hope that you scored tickets to Olivia Rodrigo’s Guts World Tour concert with Chappell Roan before reading this. If you haven’t, we’re also quite certain that your social media feed will have plenty of poorly shot videos of the show for you to scroll through come Saturday morning. The former Disney Channel actress turned pop star released her second album, Guts, last September, a much anticipated follow-up to her Grammy Award-winning debut, Sour, from 2020. Guts didn’t fare as well at this year’s Grammy Awards, receiving none of the awards for which it was nominated from the Recording Academy. The album did, however, take home the “Album of the Year” award at this year’s People’s Choice Awards, and it’s people who buy albums and concert tickets, not the Academy.
LANY
7:30 p.m., Friday and Saturday, March 1 and 2, South Side Ballroom, 1135 Botham Jean Blvd. $23.50+ at axs.comThe duo of guitarist and lead vocalist Paul Jason Klein and drummer Jake Clifford Goss, otherwise known as LANY, will play two nights this week in The Cedars as part of this beautiful blur: the world tour 2024. The indie-pop band was formed in Nashville in 2014 before moving to Los Angeles to make it big. The band’s name is a nod to its nationwide ambitions, spanning from Los Angeles to New York. To date, the band has released five albums, all of which have entered the Billboard 200. Last year, the band released A Beautiful Blur, its first since leaving Universal Records for Virgin Records to have more creative freedom. It was also the band’s first album as a duo after the departure of keyboardist Leslie Priest, but as Priest became more of an engineer for the band, the music has not suffered. Singer-songwriters Hazlett and Conor Burns open the show.
Jenny Lewis
7 p.m., Saturday, March 2, South Side Music Hall, 1135 Botham Jean Blvd. $42+ at axs.comIndie goddess Jenny Lewis comes to town this week on her Joy’All Tour with avant-garde musician Hayden Pedigo. Lewis had a long career as a child actor in the ’80s and ’90s before starting Rilo Kiley with fellow child actor and then-boyfriend Blake Sennett of Salute Your Shorts and Boy Meets World. In addition to playing with Rilo Kiley, Lewis also contributed background vocals for bands Cursive and The Postal Service. Lewis had started doing solo work before Rilo Kiley officially disbanded, releasing Rabbit Fur Coat with the Watson Twins in 2006 and Acid Tongue in 2008. For those albums, as with her next two, The Voyager and On The Line, Lewis stuck close to the indie-rock genre that has gotten her this far. On Joy’All, however, she has gone more in an avant-country direction that is at once familiar and foreign.
Ariel Pink
7 p.m., Saturday, March 2, Granada Theater, 3524 Greenville Ave. $32 at prekindle.comAriel Pink is nothing if not a controversial figure in the music world. Seen as both the godfather of lo-fi hypnagogic pop and chillwave as well as a glib speaker who has said more than his share of problematic things in interviews, Pink has established himself as one of those figures whose life and music is an extension of a larger artistic project. Pink’s work with The Haunted Graffiti from the late ’90s through the ’00s repurposed the sounds and techniques of decades past, but also generated the feelings that kind of music evoked. Pink’s first two studio albums in 2010 and 2012 brought this kind of musical hauntology to the masses before he dropped The Haunted Graffiti band and began exploring art rock in all of its directions. Pink will have opening support from Period Bomb, Psychic Love Child and Semiwestern.
Chelsea Wolfe
7 p.m., Saturday, March 2, The Studio at The Factory, 2727 Canton St. $30.50+ at axs.com
Singer-songwriter Chelsea Wolfe grew up in Northern California as the daughter of a country musician father, an upbringing that inspired the young Wolfe to begin writing and recording songs in her childhood. Far from the music of her father, Wolfe’s earliest recordings were Casio-based, dark R&B songs. As Wolfe developed as a musician, she began to combine elements from the folk music she grew up with and doom metal, gothic rock and experimental noise. Wolfe’s early struggles with sleep paralysis inspired many of the lyrics in her albums Abyss and Hiss Spun. Wolfe has also struggled with alcoholism since an early age, but in 2021, she made the decision to become sober, documenting her ups and downs in the newly released album, She Reaches Out to She Reaches Out to She. For this album, Wolfe went in a more electronic direction, creating music more akin to trip-hop than neo-folk. Australian doom metal band Divide & Dissolve will be there Saturday to warm up the crowd.
The Union Underground
8 p.m., Sunday, March 3, Trees, 2709 Elm St. $28 at axs.comSunday night in Deep Ellum will take us back to the 2000s nü metal scene with a concert from San Antonio’s The Union Underground. The band never saw the success of a Korn or Limp Bizkit, but The Union Underground did give us one undeniable classic from the era. When the band released … An Education in Rebellion in 2000, it came with the hit single “Turn Me On ‘Mr. Deadman’,” which stayed on the mainstream rock charts for six months, earning the band spots on Marilyn Manson’s Holy Wood tour in 2000 and the Ozzfest 2001 tour. However, in 2002, the band released a live album and broke up. The band members all went on to new projects, notably John Moyer joining Disturbed on bass. But in 2016, singer Bryan Scott announced that the band would be coming back with a new lineup, and although this new lineup has yet to release any new material, the band is set to show you everything it has been working on Sunday after sets from SOiL, RA and Flaw.
Mom Jeans.
6 p.m., Monday, March 4, Granada Theater, 3524 Greenville Ave. $38 at prekindle.com
Berkeley, California, indie-rock band Mom Jeans. started in early 2014 at UC Berkeley, and it has been coming up slowly on the indie music scene for the past decade. For the band’s first three albums, Mom Jeans. stuck to a pretty standard indie-rock sound one would expect from anyone bearing such a genre label. Last year, Mom Jeans. decided to do something a little different for its fourth album, Bear Market. Rather than writing new songs, the band returned to its older songs to re-record them with a new perspective. In these new renditions, the songs have taken on a poppier sound that has really divided fans and critics. While some praise the album for its clean mixes and tightened time signatures, others think that the new approach has ruined the old music. You can judge for yourself Sunday night when the band plays after Summer Salt, Hunny and Slow Joy on Lower Greenville.
Sleater‐Kinney
7 p.m., Tuesday, March 5, The Studio at The Factory, 2727 Canton St. $41 at axs.comSleater-Kinney formed in 1994 in Olympia, Washington, when Corin Tucker of riot grrrl band Heavens to Betsy and Carrie Brownstein of Excuse 17 joined forces, creating one of the most important and influential bands to come out of that time and place. Taking its name from Sleater Kinney Road, in Lacey, Washington, the band combines feminist and progressive politics with punk-infused indie rock, playing sharp, hard-driving music that’s had a profound influence on women like St. Vincent and Beth Ditto as well as men like Gerard Way of My Chemical Romance and Patrick Stickles of Titus Andronicus. Sleater-Kinney released seven albums before going on a 10-year hiatus in 2005. Since 2015, the band has released four more, including Little Rope, which came out in January. Indie-rock singer-songwriter Black Belt Eagle Scout will open.
KRS-One
7 p.m.. Wednesday, March 6, Trees, 2709 Elm St. $35 at axs.com“Woop-woop! That’s the sound of da police.” KRS-One is back in town with a show in Deep Ellum Wednesday night. The legendary rapper made his debut in 1993, helping to popularize the “boom bap” sub-genre of hip-hop, named after the kick-snare pattern used primarily in the East Coast style of hardcore hip-hop. Before that, KRS-One had been one-third of the hip-hop group Boogie Down Productions, where he first incorporated a Jamaican zung gu zung melody — a rapping style made famous by Yellowman — into American hip-hop. Over the years, KRS-One has maintained his prominent stature in hip-hop culture, not just as an early music influence, but as a philanthropist and a philosopher concerned with pushing forward hip-hop music and the culture from which it originates. No opening act has been announced for the show.
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David Fletcher
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SMU’s Punk and Post-Punk Art and Fashion Exhibition To Showcase Buzzcocks Designer Malcolm Garrett
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When punk supposedly “died,” it imparted new life into its sister genre, post-punk, which has its own derivative forms, including new wave and goth. These are ultimately meaningless distinctions, but they speak to a larger culture that thrived in the 1970s and ’80s. In punk and post-punk was a nexus between music (obviously), visual art, fashion and philosophy. And in many ways, it shaped pop culture and the American experience.The remnants and documentation of this proud and vibrant culture will be on display at Southern Methodist University starting this week. Torn Apart, the self-described largest exhibition of punk, post-punk and new-wave relics, opens on Thursday, Feb. 8, at the campus’s Hamon Arts Library, with a panel moderated by Michael Worthington.
The following evening’s reception will include a speech by none other than Malcolm Garrett, famed British graphic designer whose most notable work includes art for the controversial Buzzcocks single “Orgasm Addict.” Garrett was bestowed the Most Excellent Order of the British Empire in 2020 for his formidable achievements in this field.
“I think it’s a given that there’s going to be a great deal of interest from the community,” says Jolene de Verges, the director of the Hamon Arts Library. “It’s a pretty ambitious exhibition. We put a lot of work and resources in it.”
Indeed, as this interview was being conducted in the university library, de Verges and Assistant Director Beverly Mitchell guided us past a cargo-grade shipping container that contained the art pieces and artifacts. Mitchell says the scale of this is truly unprecedented in the history of the school’s exhibitions in the library.
“We’ve worked with fine arts shippers before, but this one is significant in terms of the number of objects,” she says. “For example, the last exhibition we did in the fall, there were 15 drawings. And, of course, this one, there’s hundreds and hundreds of objects in it.”
Q: Are We Not Men? A: A DEVO postcard from 1979 will be on display at SMU’s Torn Apart exhibition.
Janet Pier
That is hardly surprising, considering the do-it-yourself ethics on which punk rock was founded. The ephemera on display for this exhibition include a punk fanzine autographed by each member of the Ramones; a gig poster for a Hazel O’Connor and Duran Duran show at England’s Lancaster University; and promotional art for Richard Hell & the Voivoids’ Blank Generation, the Sex Pistols’ Never Mind the Bollocks and Alternative TV’s The Image Has Cracked.
There is also a DEVO postcard, an X-Ray Spex gig poster and a DIY t-shirt with ransom note typeface that reads in part, “We’re the 1% who don’t fit & don’t care.”
As such descriptions suggest, much of this exhibition will allow spectators to listen through the eyes.
“It’s going to be very impactful, visually,” Mitchell says.
“I don’t think anything like this has ever really been done [in Dallas],” de Verges adds. “We’re an educational institution, and our gallery has a mission to connect with the curriculum here. So we have a fashion media program in Meadows, a degree that students can earn in journalism from fashion media, advertising, graphic design, art …”
Torn Apart: Punk + New Wave Graphics, Fashion and Culture, 1976–86 runs from Feb. 8 through May 10 at SMU’s Hamon Arts Library, 6100 Hillcrest Ave. The exhibition will be open Monday – Thursday, 8 a.m. – 10 p.m.; Friday, 8 a.m. – 6 p.m.; Saturday, noon – 5 p.m.; and Sunday, noon – 10 p.m. More information can be found online on SMU’s website.
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Garrett Gravley
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Tina: The Tina Turner Musical Lights Up Fair Park Music Hall
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Another jukebox musical has made its way to Dallas. Tina: The Tina Turner Musical traces Tina Turner’s rise to stardom from her Tennessee roots. As America’s favorite pop stars become folk legends, Tina Turner’s life as told in Tina: The Tina Turner Musical is no exception.Her story is one that much of the audience at Fair Park Music Hall knows well — a story we have talked about among friends, a story we have long read about or seen on the big screen. A pivotal moment from Turner’s life story — the moment she left her abusive husband Ike at the Statler Hotel — is part of Dallas’ history. Hers is a story we’ll show up to hear again.
Born Anna Mae Bullock in Nutbush, Tennessee, Tina overcame her abusive family to start performing at 17 years old with the Ike and Tina Turner Revue.
For the next two decades, she would suffer physical and emotional abuse from her bandleader and later husband Ike Turner, who would also keep her from any of the show’s earnings despite her critical role in the duo.
The book is by Katori Hall, Frank Ketelaar and Kees Prins, with music and lyrics entirely from Tina Turner’s discography.
Her story is apt for musical adaptation: her humble roots, her overcoming of abusive individuals in an equally abusive industry, her international love story, her eventual stardom — all stuff of legend.Yet, with a run time of almost three hours, the show leaves the audience unfulfilled. As Tina charges through the plot, checking off each turning point in Tina’s life, it forsakes the intimate moments that explain that what made Tina Turner great was Tina Turner, and no one else.
Performers Ari Groover and Parris Lewis take on the athletic role of Tina Turner together, and their vocals carry the production until its very end.
Tina opens with Tina preparing for her solo debut in Brazil, sitting backstage and reciting a Buddhist chant. The stage fills with figures from her past until we are transported back to her childhood church in 1950s Tennessee. From that initial flash forward, the musical pushes ahead, maintaining the chronological integrity of Tina’s story (sometimes to the detriment of a compelling narrative).
Seeing a show at Fair Park Music Hall informs the viewing experience almost as much as the very set on the stage. Seating over 3,000 people, the hall filled with a collective gasp when Symphony King (Young Anna-Mae Bullock) starts to sing.
In this small-town church, Anna-Mae Bullock’s voice soars over the ensemble as they sing “Nutbush City Limits.” It’s a strong introduction into Anna-Mae’s upbringing that cuts straight to a fight between her mother Zelma (Roz White) and father (Kristopher Stanley Ward).The show introduces the rotation of abusive men in Tina’s life right from the start.
Her father attacks her mother. Her mother leaves Tennessee for St. Louis, taking Anna-Mae’s sister with her. It’s not until her later teenage years that Anna-Mae reunites with her sister and mother in St. Louis.
Anna-Mae is then courted by the scheming Ike Turner (Deon Releford-Lee), who renames her Tina and invites her on tour. While performing with the Ike & Tina Turner Revue, she is forced to abandon her secret romance with saxophonist Raymond Hill (Gerard M. Williams) and marry Ike Turner — all while carrying Hill’s child.
With ample fight scenes throughout Act I, Ike’s abuse does not cease with Tina’s pregnancy nor their children’s presence. And, with Ike menacingly as a backdrop, the show never finds any levity even while the Iketettes sing backup for the revue in shiny little dresses.
Ike and Tina Turner traverse the industry as a duo, although most of the interest is in Tina. (In one scene, legendary Motown producer Phil Spector, another member of the abusive men of Rock ‘n’ Roll Hall of Fame, wants to record only Tina without Ike on “River Deep Mountain High.”)
The show’s most staggering moment takes place during “I Don’t Wanna Fight,” with a lone Tina on stage, blood on her face, begging for a hotel key so that she can escape Ike’s abuse.
Scheduled to perform in July 1976 in Dallas with the Ike and Tina Turner Revue, this scene takes place after Tina ran from her and Ike’s room at The Statler Hotel on Commerce Street to the Lorenzo Hotel, known as the Ramada Inn at the time.
As the Ike and Tina Turner Revue dies and Tina’s solo career begins, Ike’s lingering evil is undying. Tina sweats through the taxing Vegas show schedules, but Ike jumps through legal hoops to keep her out of any money. Even as Tina’s mother sits on her deathbed, Ike returns with a new scheme to thwart Tina’s independence.
It isn’t until Tina starts recording with Capitol Records in Europe that the story of the Queen of Rock ‘n’ Roll takes off. From here, a young Roger Davies (Dylan S. Wallach) shepherds her into a changing industry she already knows well. While working in Europe, she also meets the love of her life, Erwin Bach (Max Falls).
Tina stumbles into the well-trodden territory of jukebox shows. After all this singing and dancing, the audience is still left feeling like they don’t know the point of view of any of the characters. That is, despite marching through all the major happenings in Tina’s life, we’re still left wondering who Tina Turner was.
If not educational, Tina is still fantastically entertaining, however. The reenactments transport audience members straight to the 1970s with all of the decade’s coked-out glamour, flared jumpsuits and hypnotic dance numbers.
With all of Fair Park Music Hall on their feet as red and white lights illuminate the audience, Tina takes the show home with “Simply The Best” and two encore numbers.
For the final triumphant songs, the musical fully leans into itself as a rock concert (a place where the show seems to find itself). And it certainly makes a better concert than it is a musical.
Tina: The Tina Turner Musical runs through Feb. 4 at the Music Hall at Fair Park, 909 First Ave. Tickets are available at the Broadway Dallas website.
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Ava Thompson
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