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Music worth leaving the house to hear this week

Antigone Rising, Ingram Hill, louque
Thursday, June 10
Pour House Music Hall

The four pals in Ingram Hill like to call Memphis their home, but thanks to their road-warrior attitude, they haven't been there in weeks and haven't played a show there since throwing a massive bash back home on New Year's Eve. "We're basically like four married women out here by now," says Ingram Hill's frontman Justin Moore, who has practically spent the last three years on the road with the radio-ready quartet. "But the arguments are never too bad because we all know why we're out here." Speaking of women, Antigone Rising--five lasses playing adult contemporary pop with a big rock attitude--headline. Catch them before everybody else certainly does. --Grayson Currin

Two Dollar Pistols, Kevin Gordon Trio, Shannon O' Connor
Friday, June 11
Fowler's Porch

John Howie Jr. and the Two Dollar Pistols could have replicated the highly acclaimed You Ruined Everything, and no one would have ever noticed. But with Hands Up! Howie & Co. have managed to record another unadulterated gem of big country hurt while simultaneously giving the songs more room to breathe with the help of Brian Paulson, a farfisa and the propulsive drumming of new find Matt Brown. On Friday, the Pistols will kick off Fowler's Back Porch season, the first since 2001 and one which promises garage-rock hedonism, female-harmonizing heroism and old-fashioned friendliness. Tickets are $8. Visit www.team1512.com for more information.--Grayson Currin

The Bleeding Hearts CD release party, with The Loners, The Pink Slips
Saturday, June 12
Kings

How's this for a storybook rock 'n' roll journey: Sam Madison, in and out of various brewery-hopping bands since 1982, meets three recent Triangle transplants from upstate New York and begins practicing with them a few weeks later. He loves the sound, and--as if guitarist Joe Yerry contained the switch to his proverbial songwriting lightbulb--he begins penning new material immediately, dealing with his divorce from nine years before for the first time in song.

They play them, the crowds love them, and The Bleeding Hearts record them. Here's your chance to get their debut CD, Stayin' After Class, before it hits stores. The Loners and The Pink Slips open.--Grayson Currin

Boudin Brothers
Saturday, June 12
Blue Bayou Club

The Boudin Brothers, harpists Mel Melton and Johnny Sansone, take their name from a spicy Cajun sausage made with pork or seafood and rice. Though raised elsewhere, Melton and Sansone have adopted Louisiana culture. Melton is a local who learned his trades as a chef and a musician in Louisiana and brought them back home, mixing Zydeco with blues and serving up his own gumbo at gigs. East Orange, N.J.'s "Jumpin'" Johnny Sansone ended up in Louisiana playing for Ronnie Earl before starting his own band, learning accordion and also mixing Zydeco and blues. Melton, coauthor (with slide guitarist Sonny Landreth) of "Congo Square," recorded by the Neville Brothers and John Mayall, regularly tours the East Coast with his band The Wicked Mojos, while Sansone usually stays close to his adopted home city of New Orleans. In addition to their 9:30 p.m. show, the Brothers will conduct a $25 harp workshop from 5-7 p.m.--Grant Britt

Dale Watson, The Olympic Ass-Kicking Team
Saturday, June 12
Pour House Music Hall

"The Merle Haggard of today is Dale Watson," proclaims Hank Williams III, concerning what he brands as the new breed of country outlaw. The Austin-based honky-tonker writes country weepers and blazing twangers based on his real life, dedicating an entire album, 2000's Every Song I Write Is for You, to his finance's death in a car accident and his subsequent suicide attempt. If that's not enough for you, when you go to see him live, just give him a title and a type of tune and Watson will give you a "make-up" on the spot. Watson and Williams share the same dim view of the status of today's country, which Watson compares to having a relative who's a heroin addict--they don't want to be helped, so all you can do is point out how bad it is. The show starts at 10 p.m. Tickets are $8 in advance. --Grant Britt

Demolition Doll Rods
Sunday, June 13
Local 506

These Detroit trash-hounds boil rock and R&B sounds down to their juicy essence, spewing it out in unfettered sex-drenched glamour. The Doll Rods are notable for their choice of raunchy tunes and nastier dress. It's no wonder, as Danny Doll Rod was the other guitar-slinger alongside Mick Collins in Motor City house-rockers The Gories. Nice warm-up for the upcoming Sleazefest, too. 10:00 p.m. For info, please see www.local506.net or call 942-5506. --Chris Toenes

The Shins, The Glands
Monday, June 14
Cat's Cradle

The Shins are the first shot 'cross the bow in what has the makings of another indie rock radio invasion. There's an inextinguishable charm to the New Mexico quartet's arrangements that recalls timeless British Invasion pop like the Zombies' "She's Not There," The Hollies' "Bus Stop" or the Animals' "Don't Let Me Be Misunderstood." But while gifted with a great sense of economy, there's also a dreamy elegance to the shimmering psych pop they favor. Kindred spirits The Glands jangle like a Paisley Underground act, with strong, bright melodics. Please note: This show is so sold out. --Chris Parker

Longwave
Tuesday, June 15
Go! Room 4

America's best purveyor of dreamy, swirling Britpop, the New York quartet features the tremendous guitar interplay of Shannon Ferguson and Steve Schiltz, who buzz and churn with a palette that runs from the hazy, tender pop of Mojave 3 to the muscular drone of Swervedriver. Longwave's rich, atmospheric sound at times also recalls The Verve, and as they're about to head into the studio with John Leckie (who produced The Bends), the Radiohead comparisons are unlikely to abate.--Chris Parker

Ron Sexsmith
Tuesday, June 15
Cat's Cradle

A wonderful writer, Sexsmith's songs linger like a wistful gaze fueled by remembrance and longing, offering an impressionistic snapshot daubed with emotion. His early albums with producer Mitchell Froom suggested more of a chamber pop crooner like Rufus Wainwright or perhaps a latter-day Brill Building pop-meister in the mold of Harry Nilsson. But after three releases with Froom, Sexsmith joined Steve Earle for Blue Boy, a warmly organic release that showcased Sexsmith's rocking side. The last two albums with Martin Terefe have been gems in their own ways: first, Cobblestone Runway with its mesh of burbling electronics and acoustic guitar, and now with Retriever, his new album, Sexsmith returns to the broad, baroque pop of his early releases. --Rick Cornell

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