Music this week – 22/01/20

Thursday, Jan. 20

Bedford

Copper Door: Clint Lapointe, 7 p.m.

Brookline

Alamo: open mic, 4:30 p.m.

Concord

Area 23: Paul Driscoll, 7 p.m.; Ryan Williamson, 8 p.m.; April Cushman, 9 p.m.

Hermanos: Craig Fahey, 6:30 p.m.

Derry

Fody’s: music bingo, 8 p.m.

LaBelle Winery: The Joshua Tree, 6:30 p.m.

Epping

Telly’s: Chris Fraga, 7 p.m.

Exeter

Sawbelly: Max Sullivan, 5 p.m.

Goffstown

Village Trestle: Jennifer Mitchell, 6 p.m.

Hampton

CR’s: Ross McGinnes, 6 p.m.

L Street: live music, 6:30 p.m.; Karaoke with DJ Jeff, 9 p.m.

Wally’s: Chris Toler, 9 p.m.

Whym: music bingo, 6 p.m.

Hudson

Lynn’s 102: Karaoke w/ George Bisson, 8 p.m.

Kingston

Saddle Up Saloon: karaoke with DJ Jason, 7 p.m.

Laconia

Fratello’s: live piano, 5:30 p.m.

Londonderry

Stumble Inn: Mica Peterson Duo, 7 p.m.

Manchester

Angel City: open mic with Jonny Friday, 8 p.m.

Currier: Old Tom and The Lookouts, 5 p.m.

Fratello’s: Austin McCarthy, 5:30 p.m.

KC’s: Jessica Olson, 6 p.m.

Strange Brew: Becca Myari, 8 p.m.

Meredith

Giuseppe’s: Joel Cage, 6 p.m.

Merrimack

Homestead: Chris Powers, 5:30 p.m.

Milford

Stonecutters Pub: Blues Therapy, 8 p.m.

Nashua

Fody’s: DJ Rich Karaoke, 9:30 p.m.

Fratello’s: Johnny Angel, 5:30 p.m.

Newmarket

Stone Church: Dave Gerard & Tim Theriault, 7 p.m.

Portsmouth

The Goat: Isaiah Bennett, 9 p.m.

Salem

Copper Door: Chad Lamarsh, 7 p.m.

Seabrook

Red’s: Take Two, 7 p.m.

Friday, Jan. 21

Brookline

Alamo: Robert Allwarden, 4:30 p.m.

Concord

Area 23: The Blues Express, 8 p.m.

Deerfield

Lazy Lion: NKM, 6 p.m.

Derry

Fody’s: Joe Macdonald, 8 p.m.

Epping

Telly’s: Johnny Angel, 8 p.m.

Exeter

Sawbelly: Jack Shea, 5 p.m.

Goffstown

Village Trestle: BassTastic Duo, 6 p.m.

Hampton

CR’s: Don Severance, 6 p.m.

The Goat: Alex Anthony, 8 p.m.

L Street: live music, 6:30 p.m.; karaoke with DJ Jeff, 9 p.m.

Wally’s: KICK, 9 p.m.

Whym: Corinna Savien, 6:30 p.m.

Henniker

Pats Peak: Charlie Chronopolous, 6 p.m.

Hudson

Lynn’s 102 Tavern: karaoke with George Bisson, 8 p.m.

Laconia

Fratello’s: live piano, 5:30 p.m.

Tower Hill Tavern: DJ Kadence with karaoke, 8 p.m.

Londonderry

Coach Shop: Ralph Allen, 6 p.m.

Stumble Inn: Another Shot, 8 p.m.

Manchester

Angel City: musical bingo, 6:30 p.m.; Austin Worthington, 9 p.m.

Backyard Brewery: Maddi Ryan, 6 p.m.

Bonfire: live music, 9 p.m.

Derryfield: Souled Out Show Band, 9 p.m.

The Foundry: Ryan Williamson, 6 p.m.

Fratello’s: Jordan Quinn, 6 p.m.

Murphy’s: Steve Haidaichuk, 9:30 p.m.

South Side Tavern: Cox Karaoke, 9 p.m.

Strange Brew: Mica’s Groove Train, 9 p.m.

To Share Brewery: Kevin Horan, 6:30 p.m.

Meredith

Twin Barns: Justin Cohn, 5 p.m.

Merrimack

Homestead: Marc Apostolides, 6 p.m.

Milford

Pasta Loft: Road House, 9 p.m.

Stonecutters Pub: DJ Dave O with karaoke, 9 p.m.

Nashua

Boston Billiards: Max Sullivan, 5 p.m.

Fody’s: Marlena Phillips, 7 p.m.

Fratello’s: Josh Foster, 6 p.m.

New Boston

Molly’s: live music, 7 p.m.

New Market

Stone Church: Amulus with The Chops, 9 p.m.

Northfield

Boonedoxz Pub: karaoke night, 7 p.m.

Portsmouth

Gas Light: Max Sullivan, 9:30 p.m.

Goat: Chris Toler, 9 p.m.

Thirsty Moose: Eric Marcs & Solid Ground, 9 p.m.; Dom Colizzi, 9 p.m.

Salem

Jocelyn’s: Brian Walker, 9 p.m.

Seabrook

Red’s: Midnight Sound Society, 7 p.m.

Saturday, Jan. 22

Alton Bay

Dockside: Tim T, 8 p.m.

Auburn

Auburn Pitts: live music, 7 p.m.

Bow

Chen Yang Li: Chris Lester, 7 p.m.

Brookline

Alamo: The Incidentals, 5 p.m.

Concord

Craft Brewing: Paul Driscoll, 3 p.m.

Hermanos: Lucas Gallo, 6:30 p.m.

Penuche’s: The Special Guests, 7 p.m.

Deerfield

Lazy Lion: live music, 7 p.m.

Epping

Telly’s: Rob & Jody, 8 p.m.

Exeter

Sawbelly: Chris Cyrus, 1 p.m.; Tim Parent, 5 p.m.

Shooters: Max Sullivan, 6:30 p.m.

Goffstown

Village Trestle: Justin Cohn, 6 p.m.

Hampton

The Goat: MB Padfield, 9 p.m.

L Street: live music, 6:30 p.m.; karaoke with DJ Jeff, 9 p.m.

Wally’s: Jonny Friday Band, 9 p.m.

Whym: Pete Peterson, 6:30 p.m.

Henniker

Pats Peak: Karen Grenier, 5 p.m.

Hudson

Luk’s: Ryan Williamson, 6 p.m.

Lynnn’s 102 Tavern: Off the Record, 8 p.m.

Kingston

Saddle Up Saloon: Time Bandits, 8 p.m.

Laconia

Fratello’s: live piano, 5:30 p.m.

Londonderry

Coach Shop: Justin Jordan, 6 p.m.

Stumble Inn: Acoustic Tandem, 3 p.m.; Mt. Pleasant Band, 8 p.m.

Manchester

Backyard Brewery: Mikey G, 6 p.m.

Derryfield: Last Kid Picked, 8 p.m.

Elm Street House of Pizza: Brian Walker, 7 p.m.

Fratello’s: Tim Kierstead, 6 p.m.

The Foundry: Kimayo, 6 p.m.

The Goat: Paul Wolstencroft, 9 a.m.; KICK, 9 p.m.

Great North Aleworks: Kevin Horan, 3 p.m.

McIntyre: Paul Lussier, 5 p.m.

Murphy’s: Zach Newbould, 9:30 p.m.

Strange Brew: South Michigan Avenue, 9 p.m.

To Share Brewery: Drag Queen Bingo, 3 p.m.

Meredith

Twin Barns: Malcolm Salls, 5 p.m.

Merrimack

Homestead: Marc Apostolides, 6 p.m.

Milford

Pasta Loft: The Pop Farmers, 9 p.m.

Nashua

Fratello’s: Lou Antonucci, 6 p.m.

Liquid Therapy: Brian Wall, 6 p.m.

White Birch Brewing: Chad Verbeck, 3 p.m.

New Boston

Molly’s: live music, 7 p.m.

Newmarket

Stone Church: Henley Douglas, 9 p.m.

Portsmouth

Gas Light: Jordan Quinn, 9:30 p.m.

The Goat: Mike Forgette, 9 p.m.

Thirsty Moose: Ben Lyons, 9 p.m.; Redline, 9 p.m.

Rochester

Revolution Tap & Grill: Joe McDonald, 1 p.m.

Seabrook

Red’s: Francoix Simard, 7 p.m.

Sunday, Jan. 23

Alton Bay

Dockside: Matt & Steve, Wooden Nickels, 4 p.m.

Bedford

Copper Door: Marc Apostolides, 11 a.m.

Brookline

Alamo: Chris Powers, 4:30 p.m.

Exeter

Sawbelly: WoodWind & Whiskey, 11 a.m.

Hampton

CR’s: Steve Sibulkin, 6 p.m.

L Street: live music, 6:30 p.m.; karaoke with DJ Jeff, 9 p.m.

Whym: Max Sullivan with Anthony LiPetri, 3 p.m.

Hudson

Lynnn’s: Vinyl Legion, 5 p.m.

Laconia

Belknap Mill: open mic, 2 p.m.

Fratello’s: live piano, 5:30 p.m.

Manchester

Strange Brew: jam, 7 p.m.

Nashua

Stella Blu: Bend and Brew, 10:30 a.m.

Northfield

Boonedoxz Pub: open mic, 4 p.m.

Salem

Copper Door: Nate Comp, 11 a.m.

Seabrook

Red’s: Pete Massa, 8 p.m.

Monday, Jan. 24

Hudson

The Bar: karaoke with Phil

Gilford

Patrick’s Pub: open mic w/ Paul Luff, 6 p.m.

Hampton

L Street: karaoke with DJ Jeff, 9 p.m.

Laconia

Fratello’s: live piano, 5:30 p.m.

Londonderry

Stumble Inn: Lisa Guyer, 7 p.m.

Manchester

Fratello’s: Phil Jacques, 5:30 p.m.

The Goat: live band karaoke, 8 p.m.

Merrimack

Homestead: Doug Thompson, 5:30 p.m.

Nashua

Fody’s: karaoke night, 9:30 p.m.

Fratello’s: Justin Jordan, 5:30 p.m.

Portsmouth

The Goat: musical bingo, 7 p.m.; Alex Anthony, 9 p.m.

Press Room: open mic, 6 p.m.

Tuesday, Jan. 25

Concord

Hermanos: Paul Bourgelais, 6:30 p.m.

Tandy’s: open mic night, 8 p.m.

Hampton

L Street: karaoke with DJ Jeff, 9 p.m.

Shane’s: music bingo, 7 p.m.

Kingston

Saddle Up Saloon: line dancing, 7 p.m.

Laconia

Fratello’s: live piano, 5:30 p.m.

Manchester

Fratello’s: Doug Mitchell, 5:30 p.m.

The Goat: Rob Pagnano, 9 p.m.

KC’s Rib Shack: Paul & Nate open mic, 7 p.m.

Strange Brew: David Rousseau, 7 p.m.

Merrimack

Homestead: Justin Cohn, 5:30 p.m.

Nashua

Fody’s: musical bingo, 8 p.m.

Fratello’s: Clint Lapointe, 5:30 p.m.

Portsmouth

The Goat: Isaiah Bennett, 9 p.m.

Seabrook

Red’s: Seabrook Idol, 7 p.m.

Wednesday, Jan. 26

Concord

Area 23: open mic, 6 p.m.

Hermanos: Brian Booth, 6:30 p.m.

Tandy’s: karaoke, 8 p.m.

Derry

Amphora: Ted Solovicos, 6 p.m.

Hampton

Bogie’s: open mic, 7 p.m.

L Street: karaoke with DJ Jeff, 9 p.m.

Wally’s: Chris Toler, 7 p.m.

Hudson

Lynn’s 102: Under Raps, 7 p.m.

Kingston

Saddle Up Saloon: Musical Bingo Nation, 7 p.m.

Laconia

Fratello’s: live piano, 5:30 p.m.

Manchester

Fratello’s: Jeff Mrozek, 5:30 p.m.

The Goat: country line dancing, 7 p.m.

Stark Brewing: Cox Karaoke, 8 p.m.

Strange Brew: Howard & Mike’s Acoustic Jam, 8 p.m.

Merrimack

Homestead: Jessica Olson, 5:30 p.m.

Milford

Stonecutters Pub: open mic, 8 p.m.

Nashua

Fratello’s: Chris Cavanaugh, 5:30 p.m.

Newmarket

Stone Church: Rhosalyn Williams, 12 p.m.

Rochester

Porter’s: karaoke night, 6:30 p.m.

Seabrook

Red’s: Fred Elsworth, 7 p.m.

Somersworth

Speakeasy: open mic night, 7 p.m.

Thursday, Jan 27

Bedford

Copper Door: Jodee Frawlee, 7 p.m.

Brookline

Alamo: open mic, 4:30 p.m.

Concord

Hermanos: Brian Booth, 6:30 p.m.

Derry

Fody’s: music bingo, 8 p.m.

Epping

Telly’s: Justin Jordan, 7 p.m.

Exeter

Sawbelly: Chad Verbeck, 5 p.m.

Goffstown

Village Trestle: D-Comp Duo, 6 p.m.

Hampton

CR’s: Just the Two of Us, 6 p.m.

Wally’s: Chris Toler, 6 p.m.; Joe Samba, 9 p.m.

Whym: music bingo, 6 p.m.

Hudson

Lynn’s 102: karaoke w/ George Bisson, 8 p.m.

Kingston

Saddle Up Saloon: karaoke with DJ Jason, 7 p.m.

Laconia

Belknap Mill: Palomino Motel, 7 p.m.

Fratello’s: live piano, 5:30 p.m.

Londonderry

Stumble Inn: Mugsy Duo, 7 p.m.

Manchester

Currier: Kevin Horan, 5 p.m.

Fratello’s: Clint Lapointe, 5:30 p.m.

KC’s: Joanie Cicatelli, 6 p.m.

Strange Brew: Jam Tomorrow, 8 p.m.

To Share Brewery: Ted Solovicos, 6:30 p.m.

Merrimack

Homestead: Austin McCarthy, 5:30 p.m.

Tomahawk: Chad Lamarsh, 6:30 p.m.

Milford

Stonecutters Pub: Blues Therapy, 8 p.m.

Nashua

Fody’s: DJ Rich Karaoke, 9:30 p.m.

Fratello’s: Tom Rousseau, 5:30 p.m.

Portsmouth

Clipper Tavern: Max Sullivan, 9 p.m.

The Goat: Isaiah Bennett, 9 p.m.

Salem

Copper Door: Pete Peterson, 7 p.m.

Seabrook

Red’s: Amanda Cote, 7 p.m.

Shows

Dave Gererd and Tim Theriault Thursday, Jan. 20, 7 p.m., Stone Church

Anthony Geraci & the Boston Blues All-Stars Thursday, Jan. 20, 7:30 p.m., Jimmy’s Jazz & Blues Venue

An Evening with Felix Cavaliere’s Rascals Friday, Jan. 21, 7:30 p.m, Palace Theatre

Red Hot Chilli Pipers Friday, Jan. 21, 7:30 p.m., Flying Monkey

Ambrose Akinmusire Friday, Jan. 21, 7:30 p.m., Jimmy’s Jazz and Blues Club

The Dave Matthews Tribute Band Friday, Jan. 21, 8 p.m., Tupelo

Fred Hersch Trio Saturday, Jan. 22, at 7 and 9:30 p.m., Jimmy’s Jazz & Blues Club

Funtcase & SweetTooth Saturday, Jan. 22, 8 p.m., Jewel Music Venue

Amulus/The Chops Saturday, Jan. 21, 9 p.m., Stone Church

Who’s Bad (tribute to Michael Jackson) Saturday, Jan. 22, at 2 and 7:30 p.m., Palace Theatre

Beechwood & Boomsoss Saturday, Jan. 22, 8 p.m., Bank of NH Stage in Concord

The Skunk Sessions Saturday, Jan. 22, 8 p.m., Stone Church

Portland Symphony Orchestra Chamber Music Series Sunday, Jan. 23, 5:30 p.m., Jimmy’s Jazz and Blues Club

Citizen Cope Tuesday, Jan. 25, 7:30 p.m., Music Hall

Eddie 9V Wednesday, Jan. 26, 7:30 p.m., Jimmy’s Jazz and Blues Club

Nicholas Payton Thursday, Jan. 27, 7 p.m., Jimmy’s Jazz and Blues Club

Juggalo Jump-Off (Insane Clown Posse tribute) Thursday, Jan. 27, 8 p.m., Jewel Music Venue

Bearly Dead Thursday, Jan. 27, 9 p.m., Stone Church

Alicia Olatuja Quintet Friday, Jan. 28, 7:30 p.m., Jimmy’s Jazz and Blues

Marty Stuart & His Fabulous Superlatives Friday, Jan. 28, 7:30 p.m., Flying Monkey

Keb’Mo’ Friday, Jan. 28, 8 p.m., Music Hall

Classic Stones Live Friday, Jan. 28, 8 p.m., Tupelo

Brandon “Taz” Niederauer Saturday, Jan. 29, 7:30, Jimmy’s Jazz and Blues

The Bulkheads/Adrienne Mack-Davis/Villains Row Saturday, Jan. 29, 8 p.m., Stone Church

Superunknown: A Tribute to Chris Cornell Saturday, Jan, 29, 8 p.m., Tupelo

Rachel & Vilray Saturday, Jan. 29, 8 p.m., The Historic Theatre/Music Hall

Blitzkid The Reunion Kickoff Tour Wednesday, Feb. 2, 7 p.m., Jewel

Joel Ross Quintet Wednesday, Feb. 2, 7:30 p.m., Jimmy’s Jazz and Blues Club

Juston Cohn & Dario Castro Wednesday, Feb. 2, 7 p.m., Stone Church

Mike Block Trio Thursday, Feb. 3, 7 p.m., Stone Church

Shemekia Copeland Thursday, Feb. 3, at 7 and 9:30 p.m., Jimmy’s Jazz and Blues Club

Foreigners Journey (tribute to Foreigner and Journey) Thursday, Feb. 3, 7:30 p.m., Palace Theatre

King Solomon Hicks Friday, Feb. 4, 7:30 p.m., Jimmy’s Jazz and Blues Club

The Soggy Po’ Boys Friday, Feb. 4, 8 p.m., Stone Church

Enter the Haggis Friday, Feb. 4, 8 p.m., Bank of NH Stage in Concord

Phil Vassar Friday, Feb. 4, 7:30 p.m., Flying Monkey

Cowboy Junkies Friday, Feb. 4, 8 p.m., The Historic Theatre/Music Hall

Tusk (Fleetwood Mac Tribute) Friday, Feb. 4, 8 p.m., Tupelo

The Brother Brothers Saturday, Feb. 5, 7 p.m., Bank of NH Stage, Concord

Cash Unchained — The Ultimate Johnny Cash Tribute Saturday, Feb. 5, 7 p.m., Cap Center

Mike Girard’s Big Swinging Thing Saturday, Feb. 5, 7:30 p.m., Flying Monkey

Lucky Chops Saturday, Feb. 5, 7:30 p.m. & 10 p.m., Jimmy’s Jazz

Sister Dee & Dis N’ Dat Saturday, Feb. 5, 8 p.m., Stone Church

Jethro Tull’s Martin Barre — Aqualung 50th Anniversary Tour Saturday, Feb. 5, 8 p.m., Tupelo

Mike Dawes and Yasmin Williams Saturday, Feb. 5, 8 p.m., Bank of NH Stage in Concord

Pink Talking Fish (Pink Floyd/Talking Heads/Phish tribute band) Saturday, Feb. 5, 8 p.m., and Sunday, Feb. 6, 1 p.m., The Historic Theatre/Music Hall

Taylor O’Donnell Monday, Feb. 7, 8 p.m., Johnson Theatre, UNH Durham

Bird Friend/Mike Cote Wednesday, Feb. 9, 7 p.m., Stone Church

Peter Parcek Band Wednesday, Feb. 9, 7:30 p.m., Jimmy’s Jazz and Blues

Rascal remembers

Ahead of biography, Felix Cavaliere performs

Felix Cavaliere’s voice powered hits like “Groovin’,” “I’ve Been Lonely Too Long” and “It’s A Beautiful Morning” into the cultural zeitgeist, landing his band The Rascals in the Rock & Roll Hall of Fame. He’s still on the road, satisfying fans who never stopped craving the group’s signature brand of blue-eyed soul, even though they split after less than a decade together.

At the relentless urging of E Street Band guitarist and satellite radio impresario Steven Van Zandt, The Rascals reunited in 2012 for the multimedia show Once Upon A Dream. It ran on Broadway and toured North America the following year. As the group swung through press conferences in different cities, Cavaliere decided to start work on an autobiography.

“They would ask us questions individually, and everybody had a different answer,” he said by phone recently. “I said, ‘Wow, was I there or did I dream this?’ It’s kind of like when you tell a joke and somebody repeats it, it’s never the same. … I thought, I’ve gotta make sure, for my sanity if nothing else, that I write down my story.”

Memoir Of A Rascal arrives March 22. A big part of the book covers their time with Atlantic Records. The Young Rascals were one of the first rock groups signed by the legendary R&B label. They made the deal after turning down an offer from producer Phil Spector.

Their decision to go was driven by a desire for creative control.

“I knew that if we went with Phil, we wouldn’t sound like what we sounded like,” Cavaliere said. “We would sound like Phil … that big wall of sound. But Atlantic said, ‘Yeah, you guys can produce yourselves,’ and I was adamant about that.”

The unanticipated presence of Atlantic co-producer Arif Mardin, who decades later helmed Norah Jones’s chart-topping debut album, made a big difference, Cavaliere said.

“Then good fortune comes into the picture,” he said with a laugh. “You can’t really put into words the addition that was to our music. … It’s like The Beatles with George Martin. This gentleman not only became one of my dearest friends, but like wow, man, was he talented! He was phenomenal.”

Working at the home of artists like Ray Charles, Otis Redding and Aretha Franklin was “just a joy,” Cavaliere said. “First of all, my record collection at that time was three quarters Atlantic, and one quarter Motown. To be on that label was not only a treat, but that place was all about making good music. They made it so easy and comfortable for us, [and] for that I’ll always be grateful.”

Cavaliere spent most of the past year and half in Nashville, where he’s lived for several years, finishing his book and making an album called Then & Now, which pairs classic favorites with newly written tunes.

“Out of the two million songs that interest me, I chose five and re-recorded them. … I did Jackie Wilson’s ‘Higher and Higher’ and Ben E King’s ‘Spanish Harlem,’ and I wrote five new ones that were influenced by that,” he said.

In October he made a tentative return to the stage at a tribute concert for Lee Greenwood. Though it was an odd pairing for Cavaliere, whose liberal resume includes co-writing “People Got To Be Free” and working for Robert F. Kennedy’s presidential campaign, the two go back to their early days as musicians.

“He’s an old friend, and he’s done well for himself,” he said. “We are on opposite poles of the universe, but that’s OK, he’s a good guy.”

The two initially connected when Cavaliere and future Rascals drummer Dino Danelli first played together at the Dunes Hotel in Las Vegas, backing Sandu Scott, a forgotten singer bankrolled by her hotelier husband. Greenwood was with a group that approached him with an offer. Scott called her band Her Scotties, and for the duration of their brief run Cavaliere and Danelli wore traditional kilts on stage.

“Hey,” said Cavaliere, “everyone’s gotta work.”

An Evening With Felix Cavaliere’s Rascals

When: Friday, Jan. 21, 7:30 p.m.
Where: Palace Theatre, 80 Hanover St., Manchester
Tickets: $50.50 and $60.50 at palacetheatre.org

Featured photo: Felix Cavaliere. Courtesy photo.

The Music Roundup 22/01/20

Local music news & events

Local lights: A music-friendly taphouse and grill kicks off a new weekly series, NH Music Collective Artist Showcase. The first show offers singer-songwriter Paul Driscoll, one-man band Ryan Williamson and country singer April Cushman, riding high on the release of her new album, The Long Haul. NHMC shines a light on the region’s original music, as well as providing booking services, artist development and production. Thursday, Jan. 20, 7 p.m., Area 23, 254 N. State St. (Smokestack Center), Concord, thearea23.com.

Soulful time: Dance away the winter/pandemic blues with Mica’s Groove Train, a six-piece R&B band with an edge. The band is led by charismatic singer and keyboard player Yamica Peterson, a ubiquitous presence on the regional scene with solo and ensemble shows, a collaboration with guitarist Don Severance in the Mica-Sev Project and the father-daughter duo Family Affair, with fellow scene fixture Pete Peterson. Friday, Jan. 21, 8:30 p.m., Strange Brew Tavern, 88 Market St., Manchester. See micasgroovetrain.com.

Slight detour: While sipping the house special, mimosa-adjacent Sledgehammer, enjoy Paul Wolstencroft on keys for an early event, dubbed Slightly Stoopid Brunch after the band he joined in 2013. Their history dates back to SoCal’s early surf punk scene; late Sublime singer Bradley Nowell discovered them during a stint at a rehab clinic run by the mother of co-founder Miles Doughty. Wolstencroft also plays with Organically Good Trio. Saturday, Jan. 22, 9 a.m., The Goat, 50 Old Granite St., Manchester, goatnh.com.

Original play: For their first hometown appearance since last summer, Married Iguana is joined by regional standouts The Humans Being and Earthmark for a rollicking event presented by local promoter Jigs Music. Their debut EP includes one of the best songs to come out in 2021; “Go With The Flow” chugs along like a rolling party bus, aided by scorching guitar licks from front man and main songwriter Brett Higgins. Saturday, Jan. 22, 8 p.m., Shaskeen Pub, 909 Elm St., Manchester, $10. See facebook.com/JigsMusic.

The junction: Learn about the intersection between classical music and jazz at Up Close & Personal, a six-concert series featuring a sumptuous prix fixe dinner and chamber music from the Portsmouth Symphony Orchestra. The upcoming event’s centerpiece is Gershwin’s “Rhapsody in Blue” arranged for piano quartet, performed on the venue’s Steinway by Boston pianist Tianhong Yang. Sunday, Jan. 23, 5:30 p.m., Jimmy’s Jazz & Blues Club, 135 Congress St., Portsmouth, $75 at ticketmaster.com.

At the Sofaplex 22/01/20

The Tragedy of Macbeth (R)

Denzel Washington, Frances McDormand.

Joel Coen directs and adapts this Shakespeare play starring Brendan Gleeson, Corey Hawkins, Harry Melling and Stephen Root. Washington and McDormand are Macbeth and Lady Macbeth, slowly going mad with guilt and paranoia after the murders they commit to become king and queen of Scotland. (Spoiler alert, I guess, if you “read” Macbeth in high school without actually reading it.)

The look of this eerie black and white adaption is probably its most striking feature. It is set in a kind of minimalist world that suggests a vaguely late medieval/early Renaissance Scotland, but in a very modernist clean-lines furniture sort of way. Fog regularly rolls through stark landscapes or brutalist castle ramparts to underscore the evil, corruption and uncertainty of the moment. And if all that sounds a bit much, Washington and McDormand keep the whole thing down on earth with performances that make all that 400-year-old dialogue feel natural. Even if “Shakespeare adaptation” has the ring of homeworkiness about it to it you, this briskly paced, engrossing presentation will, I think, overcome whatever reluctance you might have (yes, this is Shakespeare, but it is also a Coen movie) and is worth a watch. A Available on Apple TV+.

Spencer (R)

Kristin Stewart, Jack Farthing.

Directed by Pablo Larrain, who also directed 2016’s Jackie, which, as I think other critics have noted, feels like very much a part of the same cinematic universe. In both instances, the focus — the sole, almost claustrophobically narrow focus — is the turmoil of a woman wrestling with celebrity and the strains of a seemingly “fairy tale” marriage. In this case, Diana Spencer (Stewart), still the wife of the Prince of Wales, is white-knuckling it through a multi-day family Christmas with Queen Elizabeth (Stella Gonet) and the royal family, including Charles (Farthing), the husband she has clearly become estranged from. She is happy to see her sons (Jack Nielen, Freddie Spry) but otherwise literally sick to her stomach over the visit, frequently throwing up from the pressure. She chafes against the rules, the pre-planned wardrobe picked out and labeled for each meal and event, the many discussions about how open her bedroom curtains are or aren’t. At times, she finds comfort in Maggie (Sally Hawkins), a sympathetic staff member who helps dress her, and in chef Darren (Sean Harris). And, as she works out her feelings about being trapped in this lousy marriage with this stifling family, she occasionally talks to distant ancestor Anne Boylen (Amy Manson), who understands the hurt of your husband giving you the same necklace as he gave his mistress.

As with Jackie, Spencer is more about feeling, the emotions of Diana, the mood of the moment or the tone of different relationships she has, than it is about linear storytelling. Though the action stays in those few Christmas days, she wanders back to her childhood, back through different iconic Diana dresses, into her family’s former house. In some ways this is a movie about the performance of a performance, Stewart doing Diana doing the “Princess Diana TM” shtick with the head tilt and the soft-spokenness but maybe also trying to figure out who she would be if she didn’t do that character anymore. And it’s an interesting watch. I can understand why Stewart has been drawing much awards acclaim. Her Diana is mannered — something I also thought about Natalie Portman’s Jackie Kennedy — but she’s captivating and you feel her getting to the emotion of the character. B Available for rent or purchase.

The Tender Bar (R)

Ben Affleck, Christopher Lloyd.

JR (Daniel Ranieri as a kid, Tye Sheridan as a college student, Ron Livingston as an adult in voiceover) knows his mom (Lily Rabe) isn’t happy when they have to return to live with her parents (Lloyd, Sondra James) on Long Island, but he is delighted. The crowded house is frequently full of cousins and an aunt who, like JR’s mom, leaves and comes back when life doesn’t work out. And his Uncle Charlie (Affleck) is around — taking care of the family and tending bar at his place, The Dickens. Uncle Charlie gives impressionable JR lessons in “man sciences” (things like always have a little stash of money you hold back in your wallet and don’t spend at the bar, open doors for women, take care of your mother) and a community in the bar regulars. He also introduces JR to books — the canon of Dickins, later Orwell, and the like — and helps reinforce JR’s mother’s obsession with his going to an Ivy League college. But while she wants JR to become a lawyer — though not, as everyone jokes, to sue his father (Max Martini), a radio DJ who left them, for child support — JR’s love of Uncle Charlie’s books has him convinced he is going to be a writer.

Directed by George Clooney, The Tender Bar is a very straightforward kind of memoir telling a very straightforward kind of story about a boy growing up in the 1970s and 1980s. It feels a little too simple sometimes for the kind of golden (and awards-seeking) sheen it puts on everything. In this year of Belfast and Licorice Pizza, this take on the coming-of-age story feels a little mustier, a little like something that would feel at home in the theaters of the mid-1990s. The performances are fine — this kind of character feels like the optimistic variation of the one Affleck has played several times before. But while he doesn’t bring much new to the role, it and the movie overall are mildly, benignly interesting. B- Available on Amazon Prime.

Sing 2 (PG)

Voices of Matthew McConaughey, Reese Witherspoon.

Also lending their voices to this animated tale are Scarlett Johansson, Tori Kelly, Taron Egerton, Nick Kroll, Garth Jennings, Jennifer Saunders, Chelsea Peretti, Nick Offerman, Eric André, Pharrell Williams, Letitia Wright, Halsey, Bono and Bobby Cannavale doing the villain, a hotel-owning, gold-gilded office-having bully who pronounces “huge” as “U-ge” and maybe the one thing we, as Americans, could all agree on is that we can cool it with that kind of character for a while, huh?

The troop of performance-loving animals returns, still working for showman Buster Moon (McConaughey) in his theater, performing in a song-filled Alice in Wonderland show. When an attempt to take the show to the big city fails, Buster decides to bring the show to the talent-seeking hotel owner Mr. Crystal (Cannavale) anyway. Without intending to, the troop sells him on Gunter’s (Kroll) idea of a space-set jukebox musical, featuring the music of reclusive megastar Clay Calloway (Bono). Crystal wants something even better — Clay himself.

We get a mixed truffles chocolate box full of storylines — some characters working to convince Clay to come back to performing, some characters working out the difficult elements of their roles in the show, some characters dealing with the petulant fragile-egoed only-cares-about-his-image Crystal and his spoiled daughter.

There are a lot of characters and one of them is angry a lot — was an early complaint from one of my kids, who walked away from the movie about 20 minutes in. They seemed bored at points, but enjoyed the music and some of the sillier moments of physical comedy. And they did all wander back to the TV by the end, which features the music and production of the show-within-a-show. I mention these junior reviews in part because to watch this movie you are either going through the process of herding everybody into a movie theater or spending $24.99 for 48-hour VOD rental. Either way, for younger kids, the payout might not be worth the return in terms of kid engagement and enjoyment. My 6-year-olds might be right on the line of kids who have the patience for all of this movie’s scenes of talking and who are old enough for the threats of physical violence from the my-way-at-all-costs Crystal. Because the movie has so many storylines, we don’t get to spend as much time with any one character. As with the first Sing, the music is ultimately the movie’s most compelling star. C+ In theaters and available for rent.

Scream (R)

Scream (R)

Another girl, another ghostface but same old Woodsboro in Scream, the fifth movie in the Scream series, which started way back in the prehistoric days of 1996.

That movie was also called Scream. This Scream, hewing to its meta roots, explains how franchise continuations these days can’t just reboot from zero and they can just be straight sequels, making this a “requel” combo of new blood and legacy characters.

Sure, kids, let’s.

Another Woodsboro high schooler, Tara (Jenna Ortega), answers a landline expecting an acquaintance and instead getting chatted up by an unfamiliar voice about scary movies. Unlike Drew Barrymore during the Clinton administration, Tara isn’t killed, just horribly horribly injured. Her estranged older sister, Sam (Melissa Barrera), returns to Woodsboro to tend to her — with boyfriend Richie (Jack Quaid) in tow. Sam explains to Richie that her town has a history with slashers, how every few years some killer puts on a ghostface mask and reenacts the murders of the friends of then-teen Sydney Prescott (Neve Campbell), crimes that eventually fed the popular Stab movie series. What she doesn’t tell him right away is that she has a connection to that original spate of murders and she’s afraid that that connection is why her sister was targeted.

When more people are killed, Sam turns to an expert — Dewey Riley (David Arquette). No longer a sheriff and divorced from wife Gale Weathers (Courtney Cox), Dewey is reluctant to get involved but, of course, he is eventually drawn in. Naturally, Tara has a friend group and it is through them that we learn the rules of the requel and how Stab (and Scream) is a conscious back-to-basics approach to horror in a world where elevated horror-as-social-commentary entries are getting more of the spotlight.

These are all cute ideas and the movie executes them totally OK-ish-ly. The first Scream made its mark with not just its humor but the way it messed around with the rules of classic horror while also following those rules. There is some of that here, some messing around with our expectations and what a “requel” needs to be, but I feel like there was one extra turn, one extra bit of off-kilter-ness needed to make this pop. When it comes to the legacy characters, the movie makes good use of about half of them. I like the character of Sydney as presented here but the movie seems to run out of things for her to do. Cox’s Gale doesn’t have much to do from the start and really seems like she was inserted just to bring in those streaming-era Friends binge-ers.

Likewise, the new blood, as I’m pretty sure the movie itself calls them, are spunky modern-horror teens similar to the kids from those Netflix horror movies from last fall. Their pre-loaded self-awareness, though, makes their discussions about “who is the killer” and “who is the main character” feel less like a bit of meta cleverness and more like just how these very online kids talk. It is all fine but it did not particularly tickle me with its wit. Barrera, whom I have most recently seen before this in In the Heights, is a good lead, perfectly able to do both the scream queen stuff and the “girl fights back” bits.

This movie is perfectly accessible to fans of the original Scream movies and moviegoers too young to remember them. It goes down smooth, even if it isn’t particularly complex or inventive and doesn’t leave you wanting even a little bit more. C+

Rated R for strong bloody violence, language throughout and some sexual references, according to the MPA on filmratings.com. Directed by Matt Bettinelli-Olpin and Tyler Gillett with a screenplay by James Vanderbilt & Guy Busick (based on characters by Kevin Williamson), Scream is an hour and 54 minutes long and distributed by Paramount Pictures in theaters.

Featured photo: Scream.

Out of Office, The Big Problem and Bigger Promise of Working from Home, by Charlie Warzel and Anne Helen Petersen

Out of Office, The Big Problem and Bigger Promise of Working from Home, by Charlie Warzel and Anne Helen Petersen (Knopf, 272 pages)

We are just now beginning to see how Americans’ work lives may have forever been changed by the pandemic, and in Out of Office, Charlie Warzel and Anne Helen Petersen craft a vision for how things could be better for the so-called “knowledge workers” who are able to do some or all of their jobs remotely. With some companies already announcing that they will be fully or partially remote even after the pandemic ends, this isn’t necessarily cause for celebration for people sick of working in their basements. But the authors begin by arguing that what we’ve been doing for the past two years isn’t truly remote work, but remote work during a stressful pandemic while homeschooling and wondering where the next roll of toilet paper is coming from. In other words, forget the past two years. Instead, dream with them about working fewer hours with no commute, fewer unnecessary meetings, more time to focus on the most important and fulfilling aspect of your job. It’s not The 4-Hour Workweek promoted by Tim Ferriss, but a more realistic fantasy.

And it’s necessary, the authors say, because the workforce is “collapsing” under the pressure of what they called fetishized standards of productivity and the hours we work: more than workers in other Western nations.

Among their points:

• To improve work life, we need not boundaries but guardrails. Boundaries are permeable. Guardrails protect. “Not because we’re fragile or undisciplined, but because the forces that undergird work today — especially the obsession with growth and productivity — are indiscriminate in their destruction,” the authors write. Other countries have guardrails that have been legislated, such as France, which passed a law in 2016 aimed at discouraging people who work at large companies from sending or replying to emails after working hours.

• Four-day work weeks can be achieved when companies eschew “faux productivity” and focus on getting important stuff done in less time. Companies can create policies that don’t accidentally discriminate — for example, childless people should be entitled to leave or sabbaticals without going to the trouble of having a baby. Like remote work, flexibility in employment is not necessarily a perk, the authors argue, but an opportunity to work 24-7. True flexibility would be like the software developer who gets much of his thinking done on a hiking trail, or the graphic designer who works for a few hours in the middle of the day, then three hours in the evening, building her day around the needs of her young children.

Companies like theirs operate with a culture of trust, “granting real freedom to make small and occasionally large decisions about when work should be done. … They’re focused not on immediate growth but on long-term vision: retaining valuable employees in a competitive industry.”

• Be suspicious of companies that present themselves as a family, rhetoric that emerged in the past half-century. “Treating your organization as a family, no matter how altruistic its goals, is a means of breaking down boundaries between work and life.” What many of us need is not a work “family” to compete with our own, but more emotional distance from all-consuming work.

In recent years, tech companies have normalized lavish perks that have contributed to this sense of work being a second home, from pool tables and pinball in break rooms, to free gourmet coffee and snacks, to bring-your-dog-to-work days. In order for a new hybrid model of work to succeed, offices need to be less appealing to workers, not more. Otherwise, remote workers already anxious about their relative invisibility, compared to people who keep showing up, suffer FOMO, fear of missing out, leading to even more stress. Companies need to create a culture in which there is truly a level playing field whether you’re remote or in an office building, Petersen and Warzel say.

• Remote workers contribute to their own stress by doing something that the authors call LARPing; the acronym stands for live-action role playing, and we do it at work when we become obsessed with constantly looking like we’re working, even when we ostensibly shouldn’t be. (An after-hours response to an email or Slack message is an example.) “A flare sent into the air to show you’re working incites others to send up their flares, too,” the others write.

In the end, Petersen and Warzel describe today’s knowledge workers as enduring a sort of carnival horror house of employment. In doing so, they make remote work sound worse than it is; there’s a reason so many workers are refusing to go back to the office, and it’s not all Covid-19-related. On the other hand, there’s also a reason for what’s been called the Great Resignation, and it’s not that we’re all clamoring to drive for Amazon.

Post-pandemic, we’re not going back to the lives we led in 2019, and Out of Office is part of the thoughtful conversation that needs to take place before we mindlessly take on other ghastly routines. Not every idea presented here is sterling; I’m deeply suspicious of the authors’ argument that cutting back on office time frees us to volunteer in our communities. That may solve some societal problems, but still leaves us with exhausted citizens. Also, the ideas presented in Out of Office may inspire hope among knowledge workers, but most have little power to change their own circumstances; it’s their bosses who need to read this book and sign on to the ideas. Workers can, however, help to foster change by thinking about why they revere hyperproductivity, a mindset the authors argue is a relic of the agrarian past. “Who would you be if work ceased to be the axis of your life?” they ask. While much of this book could be condensed into an article in The Atlantic, it’s good that the authors are posing the question they raise here. B-


Book Notes

Reader’s Digest Condensed Books are a thing of the past (we have SparkNotes with which to cheat-read now), but there are still “Book of the Month” clubs out there that offer to send you a book every month in the genre of your choice. Given that Americans read 12.6 books, on average, in 2021, according to Gallup,they’ve at least got the pacing down right.

But there’s another way to see books of the month — quite literally.

Last year, for example, The Ten Thousand Doors of January by Alix E. Harrow came out in paperback (Redhook, 416 pages). It’s a well-reviewed novel about a 17-year-old girl from Vermont named January who finds a peculiar book that leads her on a fantastical adventure. Reviewers called it magical and inventive.

Let’s move onto February: February House (Mariner Books, 336 pages) is “the story of W.H. Auden, Carson McCullers, Jane and Paul Bowles, Benjamin Britten, and Gypsy Rose Lee, under one roof in Brooklyn.” And you thought your bathroom was crowded. Sounds a bit like the Algonquin Roundtable, 24-7.

March: No way to begin spring without Little Women, so let’s do March: A Novel (Viking, 288 pages) by Geraldine Brooks, who envisions the Civil War experiences of the absent father of Meg, Beth, Jo and Amy.

April: One Friday in April: A Story of Suicide and Survival (W.W. Norton, 144 pages) is a gripping memoir by Donald Antrim, released last fall about his near suicide and struggles with depression.

May: Eight Days in May (Liveright, 336 pages) is another fall 2021 book that examines the collapse of the Third Reich. The author, Volker Ullrich, is a German historian, and the book was translated into English by Jefferson Chase.

June: Seven Days in June (yes, there’s a pattern here) is a celebrated novel by former beauty editor Tia Williams released last June (Grand Central Publishing, 336 pages). It’s about a pair of writers who had a fleeting romance as teenagers, then parted ways yet continued to write about each other in their books — while pretending not to know each other as adults.

Promising stuff here, if you missed these books when they first came out. Next week: July through December.


Book Events

Author events

TOM RAFFIO Author presents Prepare for Crisis, Plan to Thrive. The Bookery, 844 Elm St., Manchester. Thurs., Jan. 27, 5:30 p.m. Visit bookerymht.com.

CHAD ORZEL Author presents A Brief History of Timekeeping. Virtual event hosted by Gibson’s Bookstore in Concord. Thurs., Jan. 27, 7 p.m. Via Zoom. Registration required. Visit gibsonsbookstore.com or call 224-0562.

ISABEL ALLENDE Author presents Violeta. Virtual event hosted by Gibson’s Bookstore in Concord. Sat., Jan. 29, 7 p.m. Via Zoom. Registration and tickets required, to include the purchase of the book. Visit gibsonsbookstore.com or call 224-0562.

JOHN NICHOLS Author presents Coronavirus Criminals and Pandemic Profiters. Virtual event hosted by Gibson’s Bookstore in Concord. Tues., Feb. 1, 7 p.m. Via Zoom. Registration required. Visit gibsonsbookstore.com or call 224-0562.

Book Sales

USED BOOK SALE Used books for $1, $3 and $5. GoodLife Programs & Activities, 254 N. State St., Unit L, Concord. Jan. 10 through Jan. 21 (closed Jan. 17). Monday through Friday, 9 a.m. to 4 p.m. Visit goodlifenh.org.

Poetry

CAROL WESTBURG AND SUE BURTON Virtual poetry reading hosted by Gibson’s Bookstore in Concord. Thurs., Jan. 20, 7 p.m. Via Zoom. Registration required. Visit gibsonsbookstore.com or call 224-0562.

ROB AZEVEDO Poet reads from his new book of poetry, Don’t Order the Calamari. The Bookery, 844 Elm St., Manchester. Thurs., Feb. 3, 6 p.m. Visit bookerymht.com.

Album Reviews 22/01/20

Bird Friend, Carolyn Know (self-released)

Fans of folk revivalists like Karen Dalton and Jackson C. Frank, Manchester local Geoff Himsel and his girlfriend and musical co-conspirator Carson Kennedy were covered before on this page back in June 2020, upon the release of their I Am The Hand album, which was a pretty trippy little joint, full of real-sounding samples of rain, train station sounds and thunderclaps. Thankfully the pair hasn’t lost their taste for weird-beardness; opening track “Will You Miss Me/A Brighton Beach Of The Body” begins with some sort of circa-1930s-sounding radio broadcast, which is charming on its own, and then the duo ease into some organic, vintage-sounding busking that evokes Dust Bowl sharecroppers on a deserted street corner. More old-time-radio chatter and happy desolation ensues, most agreeably on “Angel Was My Friend,” at which point you begin picturing unplugged Woodstock performances of old, things like this. Some courageous, warm-hearted stuff here. A+

Pete Malinverni, On The Town: Pete Malinverni Plays Leonard Bernstein (Planet Arts Recordings)

Well that makes two winners this week, this one more in the category of records to be listened to when you absolutely, positively must chill. Jazz pianist Malinverni has been a fixture in the New York scene for 40 years if I’m reading this right, and toward our purposes, one of the highlights of his career was meeting legendary composer Leonard Bernstein. For what it’s worth, I totally get that; the first rock star I met still evokes memories of encountering a being not of this earth, so I can understand why Malinverni felt the need to, well, commemorate that meeting at long last. And so our principal here settles in with bassist Ugonna Okegwo and drummer Jeff Hamilton to deliver stunningly genial versions of such classics as “New York New York,” “Some Other Time” and “I Feel Pretty” with the utmost care; the renditions feel intimate, playful and absolutely spot-on. A+

PLAYLIST

• Yo homies, Jan. 21, is creepin’ up on us, bearing with it “gifts” of hot new albums, for you to buy, ignore or, in my case, see if they make me barf! These are the days that try men’s souls, nothing but frozen tundra, slush and Alaskan mountain blizzardry until July, when we switch over to baking ourselves like microwaved Hot Pockets just to get low-grade lattes! But our North Pole life isn’t our focus today; no, we’re supposed to be poking innocent fun at new albums. Say, do you remember when X-Files person David Duchovny made a couple of albums and I was super-nice to them here, except for the part where I said they kind of sucked? What about when Billy Mumy from the 1960s TV show Lost In Space made some albums, and they sucked because there was no Dr. Smith freaking out and screeching in fear? I wonder if any more overrated actors will ever dare to step in to my critical crosshairs, to risk everything to see if I can stomach what musical thing they’re attempting, oh wait, look, it’s none other than Kiefer Sutherland, former Lost Boys and 24 star and now de facto president of the United States, with an album of his own, called Bloor Street, due out Friday! Bloor Street is an actual place in Toronto, Canada, which is north of us, covered in snow and ice, a place where you always have to watch out for Grinches and Abominable Bumble monsters until the weather turns warm in — well, it never does, so maybe Kiefer’s album is about his boyhood times living in a Toronto igloo before his famous dad Donald let him come to live with him in Hollywood, I have no idea. I know, I know, let’s get this over with, there’s some dumb YouTube video for the title track of this album, I’m going to go and see if I can stand it right now! Whoopsy daisy, Kief, way to rip off the guitar part from Bob Seger’s “Against The Wind,” what are you even doing. I don’t know, I suppose the rest of it is OK, if you like bands like Train. I don’t, so so I’m just going to move on to our next tale of terror. Let’s go, folks.

• Yes, finally I catch a break, after no new albums to talk about for weeks, here they are, my favorite psychedelic-stoner-rock band, only because their name is super-long and fills up all sorts of column space, yes, it’s Australian boneheads King Gizzard & the Lizard Wizard, with their first album of 2022, Butterfly 3001! Mind you, this is a remix album, and — holy crow, look at the participants, DJ Shadow did a rewrite of “Black Hot Soup” and called it “My Own Reality,” but this might be a troll on King Gizzard & the Lizard Wizard’s part, because I can’t find proof that DJ Shadow did anything with that Blind Melon-ish song, so forget it, but Canadian punker Peaches’ remix, “Neu Butterfly 3000,” is super cool, draped in a busy, pretty world-music fractal.

• Yikes, time for me to waddle out of my comfort zone and talk about Things Are Great, the new LP from Seattle folk-indie dweebs Band of Horses! I don’t wanna, but I’ll listen to the single “Crutch” only because you demand it. Yuck, as always, it sounds like a B-side from the ’70s band America, like it’s music to shear your sheep to, aren’t sheep so cute, get me out of here before I melt down completely.

• Last but not least, it’s pale and slightly edgy-looking Norwegian synthpop girl Aurora, whom I’ve never heard of, ever, with The Gods We Can Touch, her new album! Hmm, I actually like the single, “Giving In To The Love,” it’s got some big bouncy Blue Man Group-style drums, ABBA-pop hooks, some Zola Jesus edge, there’s nothing wrong here folks, great stuff.

If you’re in a local band, now’s a great time to let me know about your EP, your single, whatever’s on your mind. Let me know how you’re holding yourself together without being able to play shows or jam with your homies. Send a recipe for keema matar. Message me on Twitter (@esaeger) or Facebook (eric.saeger.9).

’68 Barracuda

The idea had been a solid one: walking around Boston’s North End, comparing the ricotta pie at as many Italian bakeries as possible.

Okay — I was comparing the ricotta pie. The rest of my party was comparing cannoli.

I get it — cannoli are good. Extremely good. But let’s face it. They’re no ricotta pie. I feel strongly about ricotta pie — to the extent that I fervently believe that if they held a Miss Greater Boston Italian Pastry beauty competition, an actual slice of ricotta pie would almost certainly win. Yes, the other girls would cry.

Until they ate the winner.

At any rate, we had taken a short break from pastry-eating and had stepped into an Italian deli to get warm. The rest of my group was oohing and ahhing over imported pasta and balsamic vinegar. I was looking at the olives in the deli case, when I accidentally made eye contact with the man behind the counter.

He gave me a half chin lift nod of recognition, then, seemingly recognizing something in me, he asked, “Are you an Olive Guy?”

As it happens, I am an olive guy.

“Yeah,” I said, trying to keep it cool, “I’m an Olive Guy.”

He looked briefly to each side, as if he might be overheard, then reached into the case and tapped a bin of small black olives. His voice dropped to just above a whisper.

“These, My Friend,” he confided in me, “these are the ’68 Barracuda of Olives.” He looked at me for my reaction.

I looked at the olives critically — I mean, it was already a foregone conclusion that I was going to buy the olives, but I didn’t want to look too easy. They were very small, about the size of black jelly beans, but darker. Much darker. The air around them almost shimmered as it was tugged at by their blackness.

“Yeah,” I said after a few seconds, “Gimme half a pound, please.”

My new friend didn’t move. He stood there, watching me impassively.

“Um, and another half a pound in another container,” I added.

He nodded very slightly with approval, and got me my olives.

They were extremely good olives.

’68 Barracuda

At this point, after that very olive-centric story, you could be excused for expecting an olive-based cocktail. And indeed there is a lot to be said for, and about, dirty martinis, the gold standard — the ’68 Barracuda, if you will — of olive-based cocktails, but that is a study for another time. No, this time, we’re going to go in the other direction — the Barracuda.

A Barracuda is a standard if not terribly well-known cocktail — very fruit-forward, and in spite of its name a fairly innocuous drink. Yes, it has a fairly lengthy list of ingredients, but it is a pleasant if not terribly memorable cocktail.

This is a tweak on the original.

Ingredients

  • ice
  • ⅔ ounce Galliano, an Italian, vanilla-forward liqueur, in a freakishly beautiful bottle
  • ⅓ ounce grenadine
  • 1 small Fresno pepper
  • ⅔ ounce white rum
  • ⅓ ounce fresh-squeezed lime juice
  • ⅔ ounce pineapple juice
  • sparkling wine — I used Cava.

Slice the pepper into a shaker, and muddle it thoroughly.

Add an ounce or so of white rum to the shaker, then “dry shake” it. This means to shake it without ice. (The capsaicin — the spicy compounds — of the pepper are alcohol-soluble, which means that the straight rum will extract them pretty well. They are not water-soluble, so the juices or ice would interfere with the process.)

Add everything but the sparkling wine to an ice-filled rocks glass, then top with the wine.

It’s up to you whether to stir, or not to stir.

The juices and grenadine give a dependable Tiki-like background flavor to a standard Barracuda. Regular white rum is happy to hide in the background, wrapped in a comfortable vanilla blanket of Galliano. The star of this show, singing out proudly like it’s ’80s Night at a Tiki karaoke, is the Fresno chile.

Why Fresno?

I’m glad you asked. For years my go-to chile has been a classic jalapeño. It’s got a great flavor. It’s hot, but not too hot. It’s been great.

But sadly, in recent years it’s let itself go. Eighty percent of the time it has no heat and even less flavor; it’s usually in lawn-clippings territory. The other 20 percent of the time it’s as if it’s sobered up and tries to make up for lost time, and blows the top of your head off. Fresnos are more dependable.

And, not for nothin’, they’re red, which suits this drink better anyway.

Featured photo: ’68 Barracuda. Photo by John Fladd.

What goes with football?

Pairing wines with NFL playoff chicken wings

It is the NFL playoff season and time to have those football-centered house parties. The mainstay of those parties is, of course, chicken wings! Deep-fried chicken wings have southern roots, but coating the wings in a spicy butter-based sauce reportedly has its roots in Buffalo, New York, the home of the Bills, who just halted the New England Patriots in their pursuit of advancing in the playoffs. Recipes for preparing those cherished wings can vary from a lemony-pepper sauce to a Sriracha-based sauce to a myriad of mustard- or vinegar-based sauces with varying amounts of sweetness and spice.

It goes without saying that beer certainly has a place at the table with all those wings, sour cream and celery, but there are several types of wine that can also be seated next to those revered wings, and we will explore a few of them. When considering which wine to serve, there should be a balance between the buttery sauce coating those wings and a slightly acidic wine that refreshes the palate.

Our first wine, the 2017 Château de Fesles Anjou Chenin Sec (originally priced at $59.99, and reduced to $21.99 at the New Hampshire Liquor & Wine Outlets), comes from the Anjou region of the Loire River Valley of France. The color of this chenin blanc is straw that somehow has a sparkle even though it is a still wine. It has a floral nose of citric blossoms that transform to the palate with dried fruit, honey and toasted bread. This slightly citric wine will clean the tongue of the rich, complex, sweet and spicy notes of those wings.

Our second wine, the 2017 La Grand Comtadine Premières Vendanges Vacqueyras (originally priced at $64.99, and reduced to $22.99 at the New Hampshire Liquor & Wine Outlets), is a classic Mediterranean Southern Rhone red wine. Produced as a blend of 50 percent grenache, 40 percent shiraz/syrah and 10 percent mourvedre, it offers texture and complexity with ripe fruit that works nicely with the warm, red sauces coating the wings. The color is a deep red with a nose of dried plums. To the tongue, the fruit recedes with good, strong tannins of leather. This is a wine with body that will complement those wings.

Our third wine, the 2020 Vigne Regali Rosa Regale Brachetto D’Acqui Sparkling Red Wine by Banfi (originally priced at $19.99, and reduced to $14.99 at the New Hampshire Liquor & Wine Outlets), is an interesting study of pairing the slight sweetness of this wine to a tomato, mustard, vinegar-based sauce. Castello Banfi is a family-owned vineyard estate and winery located in the Brunello region of Tuscany. Fermentation of 100 percent brachetto grapes takes place in temperature-controlled stainless-steel vats, with bottling immediately afterward. This careful attention to time and temperature results in its slight effervescence and a rich garnet color. To the nose it is full of raspberries and strawberries. To the tongue there is a slight delicate softness that settles to a clean, dry finish. While this wine is frequently paired to desserts, it holds up well to barbecue-style wings.

Our fourth wine, Comte de Saint Aignan Crémant de Loire Brut Première Étoile (originally priced at $28.99, reduced to $14.99 at the New Hampshire Liquor & Wine Outlets), is a blend of 60 percent chenin blanc, 35 percent chardonnay and 5 percent cabernet franc). The grapes for this sparkling wine come from the Crémant-de-Loire appellation of the Loire River Valley in central France, producing a color that is light gold (almost clear) with persistent but sparse bubbles. The nose is slightly nutty with notes of dark honey. To the mouth there are bold citric notes that will complement the freshness of a lemon-pepper sauce on your wings.

So, in settling in to watch your next almost favorite team roll through the playoff brackets, consider these alternatives to beer in pairing with those ubiquitous chicken wings.

Featured photo: Courtesy photo.

Banana whoopie pies

Remember all that healthy eating I wrote about a couple weeks ago? Toss it out the window! I know, healthy eating is important, but so is an occasional dessert!

While chocolate may come to mind when you think of whoopie pies, these banana whoopie pies may just become your go-to version after you make a batch. Much like a typical whoopie pie, they are built around two tender, moist cakes filled with frosting. What makes these extra special are two things. One, they are filled with cream cheese frosting, which helps to balance the sweetness. Second, there is a small layer of walnuts or pecans that adds a nice bit of crunch.

This recipe is about as straightforward as a dessert recipe can be. There are no important ingredient or cooking notes. Just make a batch, and enjoy!

Banana whoopie pies
Makes 12

Cakes
½ cup unsalted butter, softened
½ cup light brown sugar
¼ cup granulated sugar
1 egg
1½ cups mashed banana, about 3
1 teaspoon vanilla
1 teaspoon cinnamon
1 teaspoon baking powder
1 teaspoon baking soda
¾ teaspoon salt
2 cups all-purpose flour

Filling
4 ounces cream cheese, softened
¼ cup unsalted butter, softened
1¾ cups powdered sugar
1 Tablespoon whole milk
1 teaspoon vanilla
½ cup maple glazed walnut or pecans, chopped (optional)

Preheat oven to 350 degrees.
Line a baking sheet with parchment paper.
Place butter and both sugars in the bowl of a stand mixer, and beat with paddle attachment on speed 2 until smooth.
Add egg, mixing until fully incorporated on speed 2.
Add banana, vanilla, cinnamon, baking powder, baking soda and salt, mixing well on speed 2.
Use a spatula to scrape down the sides, and mix again.
Add flour, mixing on low; scrape sides with spatula and mix until fully blended.
Scoop approximately 1½ tablespoons batter, spaced evenly, onto the prepared baking sheet.
Bake for about 15 to 20 minutes, or until cakes spring back when touched.
Allow to cool for 2 minutes on baking sheet.
Transfer to a baking rack to cool completely.
To assemble:
In a stand mixer cream together the cream cheese and butter on speed 2 for about 4 minutes.
Add powdered sugar, milk and vanilla; mix on low speed until combined.
Spread the flat side of 12 cakes with the cream cheese frosting.
If using the pecan or walnuts, sprinkle a tablespoon on top of the frosting.
Top each with another cake.

Photo: Banana whoopie pies. Photo by Michele Pesula Kuegler

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