THOSE ENCHANTED by the brooding melodies of post-punk bands like Joy Division and Interpol will find more solace in Birmingham, England's Editors. Though commercial appeal in the States hasn't granted them the same cross-over success as either of the aforementioned groups, there's something uniquely alluring about Editors' often dark and visceral melodies. Of course, fans across the pond have had no problem latching on to the band's indie-rock musings, in fact, their debut LP, The Back Room, reached the Top 5 on the U.K. album chart. Their second LP, 2007's An End Has a Start, finds the quartet swirling in the somber realities of life, and more prominently, death. Editors share the bill with New Wave revivalists Hot Hot Heat and Louis XIV.
Thurs. and Fri. Feb 7-8
The Paramount Theatre
WE ALL know it takes more than just talent to hit it big in the music industry, and lucky for Jill Scott, a little good fortune came rolling her way in the form of Root's drummer Ahmir "?uestlove" Thompson. The hip-hop percussionist invited Scott to join the group in the studio, resulting in 1999's "You Got Me," a chart-topping single that thrust Scott into the bright rays of the R&B spotlight. A succession of collaborations followed; the soul diva found herself sharing tracks with Eric Benet, Will Smith and rapper Common before embarking on a tour of Canada as the lead in the Broadway musical Rent. Upon returning to the States, Scott resumed her quest to become America's new R&B sensation, releasing her debut album, Who Is Jill Scott? Words and Sounds Vol. 1, in 2000 and the follow-up, Experience: Jill Scott 826+, a year later. A Grammy nomination and two albums later, Scott has indeed found herself perched atop the neosoul ladder, even if a guy with a 'fro helped her climb the steps.
Tue. and Wed. Feb. 12–13
KNOWN FOR her time spent as a fan of the original punk hellions the Sex Pistols, and later with her own band, Siouxsie and the Banshees, Siouxsie Sioux (born Susan Janet Ballion) has been a controversial figure since the day she first sauntered onstage as a fill-in at the 100 Club's "Punk Rock Festival." That was back in 1976, and for the next 20 years, Siouxsie and the Banshees never ceased to uphold the always-defiant charisma and rebellious nature of punk rock attitude. Musically, Siouxsie flourished as one of the most influential British female rockers to ever wield a microphone, creating a vampirelike image associated with sexual fervor and the dramatic splendor of her music. Re-emerging in the mid-'90s on the heels of a duet single with Morrissey, Siouxsie continues to push the punk-rock envelope well beyond its assumed threshold.