To call him a folk singer or categorize Chicago Farmer as a singer/songwriter wouldn’t be wrong. It might, however, not accentuate his commanding poetic voice and passion behind his storytelling. Maybe it’s because each song tells a story that first-time listeners feel his songs speak to them personally. Chicago Farmer’s catalog of 50+ originals draw on themes of racism, tradition, loss, quarter-life crisis, and, finally, instill hope. Touring as a solo artist over the past few years, Chicago Farmer’s music has created a buzz throughout small towns, college towns and big cities across the Midwest. His August release, About Time, assembles a fuller sound as his acoustic guitar and gritty voice are accompanied by Nashville greats on violin, piano, bass, percussion and backing vocals. This collection covers a journey over the past 10 years from people he’s met along the way and what he’s learned from those experiences. (Appearing at Underground Lounge on Aug. 5) --text: Kymber Berson

 

The voice of mono-named Jem (surname Griffiths) bears an uncanny resemblance to another British, singular named chanteuse, Dido, but Jem is more of an indie darling and hasn‘t played with Eminem like her counterpart. Her songs contain upbeat melodies that showcase her wide range of influences from the optimistic title track "Finally Woken" (from the 2004 album) to the catchy and foreboding "They." (Appearing at the Park West on Aug. 5) --text: Garin Pirnia

 

Kid 606, aka "the Action Packed Mentalist", a.k.a. Miguel Depedro, plays rough. His scorched earth policy has resulted in several agonizingly great albums. Almost single-handedly, he's created a unique sample-splatter hardcore techno technique. Willfully experimental, this Kid fears no genre. Everything is dumped into his samplers and gets regurgitated back out in a sonic miasma that rips the samples from their original style and places them in new, unexpected contexts. Those familiar with the Kid's relativist past will be shocked by the placid tunes on his newest and most personal album to date, Resilience. Fans longing for the "old" Kid need not fret — on this tour the Kid will only be playing a couple of songs off Resilience. The rest of his set will be as mental as always. (Appearing at Abbey Pub on Aug. 5) --text: David Mittleman

 

Former Chicago resident and current Austin enthusiast Bill Callahan has dropped the parentheses from his pseudonym, Smog (nee (Smog)), and his sound has drifted in the direction of Austin legend Jerry Jeff Walker. In a sense it is difficult to imagine the musician who penned albums such as Wild Love and The Doctor Came At Dawn going alt-country, and with the obligatory pregnant pauses and cynical puns his music entails, it might seem an awkward fit. But Callahan has consistently re-invented his sound, and Knock Knock certainly reveals Callahan¹s morose baritone in an agile, more rock-based form. His previous album, Supper, unveiled his newfangled concerns and unlike the bulk of his earlier work, featured a backing band in the recording studio. The new A River Ain¹t Too Much To Love (Drag City) is an obvious continuation of this. Live, Callahan has become much more animated over the years, and his last shows featured several herky-jerky kick moves with a drop to the knees slide thing that only he could pull off. (Appearing at Empty Bottle on Aug. 4) --text: Jacob Knabb--photo: Joanna Newsom

Projectile corks go Molotov whenever this blues-indebted British trio takes the stage. Bottled up on a British shelf since 2002 and led by Levis action slacks aficionado Martin Trimble, the 22-20s proved themselves to be incendiary performers last March at the Double Door. If you¹re wondering what became of the White Stripes or if Jack White¹s marimba detours leave you cold, come see the 22-20s ‹ they gave a better offer to the Devil at the crossroads. (Appearing at Schubas on Aug. 3) --text: Josh Cox--photo: Mick Rock

 

© 2009 Innerview Media, Inc.

:: developed by InfraStrategy