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Mirrors of Chartres Street: Faulkner in New Orleans/New Orleans in Faulkner 8
8 p.m. Wed., July 16
Le Chat Noir, 715 St. Charles Ave.;

Writer Rob Florence reworked his play Mirrors of Chartres Street into a one-man show for an August run in the New York International Fringe Festival. This one-night-only performance at Le Chat Noir is a fundraiser for The Halifax Theatre Company's New York-bound production. "[This play] is a really good vehicle for an actor if the actor has the chops," Florence says. "We thought [this format] was more appropriate. With [Ryan Reinike's] acting abilities, it makes sense." Reinike has been a permanent fixture in the cast since Florence's original version in 2003. The play features William Faulkner talking about his life in New Orleans and dramatizing many of the characters he created in his short stories and newspaper pieces. "People are intimidated by Faulkner," Florence says. "But this stuff is entertaining." Call 234-0090 for reservations to this show. Tickets $25 general admission, $15 actors/students. — Shantrell A. Cook




Alejandro Escovedo
10 p.m. Fri., July 18
Tipitina's, 501 Napoleon Ave., 895-TIPS;

Texas songwriter Alejandro Escovedo is one of rock 'n' roll's infantrymen — an artist who's spent his life in the trenches and remains there, unwilling to retreat. The 57-year-old one-time stone-punk rocker's first band, the Nuns, opened for the Ramones and the Sex Pistols in San Francisco. He also is credited as a founder of the nebulous genre alt-country for his projects Rank and File and True Believers. His critically lauded and deeply influential career has included plenty of soul searching and experimentation, including a performance piece about his immigrant parents and an ambient, haunting autobiographical album (2006's The Boxing Mirror ) that took a raw and intimate look at a life reimagined after a near-fatal illness. With his latest, the Tony Visconti-produced Real Animal , Escovedo simply rocks out, ably blending the hard '70s punk of his youth with the roots-rock of his maturity. Bloodied but unbowed, it's the triumph of a rocker who's managed to live fast and avoid dying young. Carrie Rodriguez opens. Tickets $18 in advance, $20 at the door. — Alison Fensterstock




The Black & Whites
10 p.m. Sat., July 19
Saturn Bar, 3067 St. Claude Ave., 949-7532

Oxford, Miss., rockers the Black & Whites have their pre-Katrina roots in a half-dozen or so New Orleans garage-rock bands — the sort of bands that routinely played Nuggets -influenced, punked-out blues at the defunct El Matador and the Circle Bar to enthusiastic crowds who probably all, to a person, had at least one of the band members' home phone numbers. As the Black & Whites, the group plays raw and tight rock 'n' roll with a heavy debt to bands like Johnny Thunders' Heartbreakers and snarling '60s British soul fans like the Kinks and the Pretty Things. And here's a bonus: How many punk bands have a song with a shout-out to Galatoire's? The show also features former Jimmy Reed student and Ninth Ward R&B guitarist Guitar Lightnin' Lee, who is backed by members of the screaming punk band Die Rotzz. Alabama's ambling, Voidoids-esque punk rockers Shining Path and the Bastard Sons of Marvin Hirsch open. Tickets $7. — Fensterstock




Tilly and the Wall
9 p.m. Sat., July 19
One Eyed Jacks, 615 Toulouse St., 569-8361;

As the first band signed to Team Love, the second label started by folk-pop prince Conor Oberst, Tilly and the Wall (named after a children's book, no less, and featuring former members of Oberst's early project Park Ave.) could be expected to deal in the wide-eyed romanticism and youthful wonder that Oberst's own delicate melodies made into a new leitmotif for indie rock. On its first two albums, the Omaha quintet (formed in 2004), regressed even further into the musical land of unbroken hearts, singing with unbound, innocent glee about the kind of love expressed by notes stuck in lockers and foot-stomping, squealing joy. (Literal foot-stomping — the percussion on those first two records came from a pair of amplified tap shoes.) The band's latest release, O , shows maturation but thankfully not too much. The addition of horns, clangy percussion (and a real drum kit to add weight and range to the shuffle-hop-cross) and forays into synth-pop and stripped-down, Gories-style garage rock expands its horizons while still maintaining the exuberant harmonies and direct line to the playground that gives them infectious, childlike zeal in the first place. Tickets $10. — Fensterstock


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