Kiddie Pool 23/10/05

Family fun for whenever

Family shows

  • Symphony NH hosts a Halloween Magic Family Concert on Saturday, Oct. 7, from 11 a.m. to 12:15 p.m., at the Keefe Center for the Arts (117 Elm St., Nashua). The program will feature Halloween tunes such as “Hedwig’s Theme” from Harry Potter and the Sorcerer’s Stone, Danse Macabre and Night on Bald Mountain. Costumes are encouraged. Tickets cost $8 to $20. Visit symphonynh.org.
  • The Rock and Roll Playhouse will present the live concert “Music of the Beatles for Kids” at the Bank of NH Stage (16 S. Main St., Concord) on Sunday, Oct. 8, at noon, doors open at 11:30 a.m. Tickets cost $18.75 in advance, an extra $5 at the door. Find out more about Rock and Roll Playhouse at therockandrollplayhouse.com.

Fall fest

  • Charmingfare Farm (774 High St. in Candia; visitthefarm.com, 483-5623) wraps up its Pumpkin Festival Saturday, Oct. 7, through Monday, Oct. 9, with admission times starting at 10 a.m. each day. Admission costs $29 per person (23 months and younger get in free). Pick a pumpkin from the pumpkin patch, take a tractor or horse-drawn wagon ride, enjoy live music and more.
  • Applecrest Farm Orchards (133 Exeter Road, Hampton Falls; applecrest. com) is open daily 8 a.m. to 6 p.m., and on weekends through the end of October the orchard holds harvest festivals, which run Saturday and Sunday, 11 a.m. to 5 p.m. This weekend the focus is the Great Pumpkin Carve, with a master carver tackling an 800-pound pumpkin to create a giant jack-o’-lantern, according to the website, which says the carve is scheduled for Sunday. Look for live music throughout the weekend: The Green Heron Bluegrass band on Saturday, Unsung Heroes on Sunday and RockSpring on Monday.

Mountain music

Amythyst Kiah performs in Portsmouth

Those who only knew Amythyst Kiah from Our Native Daughters were a bit surprised by her Rounder Records debut, Wary+Strange. Sure, it contained some rustic elements, but mostly the 2021 record rocked.

The clearest example was her version of “Black Myself,” a song that won a Grammy for the all-women-of-color supergroup she’s formed with Allison Russell, Leyla McCalla and Rhiannon Giddens. Kiah’s re-recording growled with an electric urgency akin to Gary Clark Jr.’s 2019 scorcher “This Land,” and landed a country mile beyond the banjo-punctuated original.

Kiah decided to revisit “Black Myself” because it felt fuller when she wrote it.

“It was inspired by a line from the Sid Hemphill version of ‘John Henry,’ and that became the hook,” she said by phone recently. “I put the guitar part underneath and I was kind of like, ‘This feels like an anthem.’ It became part of the Our Native Daughters sound, but my music is in a lot of ways a modern take on roots music, so we explored bringing myself back in.”

It’s a side of Kiah that will be on display at her upcoming shows in Portsmouth, part of a tour that started on Sept. 27.

“I’m bringing a full band on this run, drums, bass and lead electric guitar,” she said. “Everybody sings background vocals on quite a few of the songs. It’s definitely a much bigger sound than what some people might know me for.”

Equally powerful is her raw honesty as a songwriter. “Wild Turkey” is a spare acoustic song from Wary+Strange that dealt with her mother’s suicide when she was 17. The experience led to her first public performance, at the funeral. Asked how she found a way to write about it now, her answer provided a clue to Kiah’s creative spark.

“Being a child of the ’90s, and getting into alternative music, I was really leaning into things that were on the darker side,” she said. “Dealing with feelings like anger and loss. Songwriters being willing to dig down in the depths and really talk about how they feel, that’s something that’s always resonated with me.”

It still does; her most recent EP, Pensive Pop, contains reimagined covers of Tori Amos, Green Day and Joy Division.

Still, “Wild Turkey” took Kiah years to write. “It was dealing with such a tragic event in my life that I never really properly processed, and it wasn’t until I started going to therapy that I realized there’s some unresolved grief here,” she said. “It took so long to write simply because it took a while to unpack all those feelings.”

She stretched the process by constantly tweaking with the song’s mood. “In the beginning, I was trying to make it … more upbeat, like I wanted to juxtapose the subject matter with the music,” she said. “Sometimes you just have to get out of the way and let the song be what it’s gonna be. That’s what I had to do, [because] it’s a really sad song.”

Many fans have thanked her for the “Wild Turkey,” telling Kiah that it helped them process their own grief. She’s heartened by the response.

“If there’s anything I can leave behind in this world, it’s art that people were able to turn to when they felt alone or like they didn’t have anybody,” she said.

“It’s really an honor to have the opportunity to share that with people. … it means a lot.”

Kiah will unveil new songs at her show, the products of some recent cowriting efforts. “Empire of Love,” written with Sean McConnell, is “about my spiritual connection to the mountains where I live, in Appalachia,” while a co-write with Butch Walker is a “straight ahead rock song” called “Never Alone.”

She also collaborated with Avi Kaplan and Jeremy Lutito, who both worked on Kaplan’s LP Floating on a Dream, which Kiah called “probably my favorite album of last year.” Their writing session was inspired by the Old Gods of Appalachia podcast, which led her to read more horror and fantasy stories. “I’m returning to sounds of Appalachian folk music, still with a modern take and it’ll sound a little weird, like all my music sounds.”

An album she hopes to finish by year’s end will reflect this latest direction.

“There’s going to be some spooky songs on there and then some autobiographical songs and more of what I usually write about, but with some other things thrown in,” she said. “That’s the new stuff coming down — a spooky Appalachian vibe, with some rock and blues influences. It’ll be fun; I’m excited about it.”

Amythyst Kiah
When: Wednesday, Oct. 4, at 6 and 8:30 p.m.
Where: The Music Hall Lounge, 131 Congress St., Portsmouth
Tickets: $30 and up at themusichall.org

Featured photo: Amythyst Kiah. Photo by Sandlin Gaither

The Music Roundup 23/09/28

Local music news & events

  • Survivor: On his most recent album, Ride, Walter Trout got reflective while keeping the blues rock chugging. Much of the new disc deals with the difficulties Trout faced growing up in an abusive home; “Hey Mama” and “Ghosts” are two harrowing examples. The 70-year-old guitarist first gained notice playing in John Mayall’s Bluesbreakers, before going solo in 1989. Thursday, Sept. 28, 8 p.m., Nashua Center for the Arts, 201 Main St., Nashua, $39 and up at etix.com.
  • Suffering fools: In his one-man show The Book of Moron, Robert Dubac takes the idea of aliens landing and attempting to understand human nature more down to earth, playing an amnesiac desperately in need of people to explain a world where the loudest voices are often the dumbest. It’s “Idiocracy is a documentary” with even more alternative facts and ignorant bluster. Friday, Sept. 29, 7:30 p.m., Rex Theatre, 25 Amherst St., Manchester, $39 at palacetheatre.org.
  • Double fun: The final show of the Lakes Region shed season has the headlining Goo Goo Dolls with support from fun and funky Fitz & the Tantrums. Best-known for a string of late ’90s hits like “Iris” and “Slide,” the alt-rock band released its 13th album, Chaos in Bloom, last year, with the single “Yeah, I Like You,” a humorous jab at influencer culture and social media fame. Saturday, Sept. 30, 8 p.m., BankNH Pavilion, 72 Meadowbrook Lane, Gilford, $29 and up at livenation.com.\
  • Blues legend: Few blues artists are as lauded or influential as Buddy Guy. The guitarist was a guiding light for everyone from Jimi Hendrix to Stevie Ray Vaughan, and at age 86 he’s received multiple Grammys, including a lifetime achievement award in 2015 and a Best Traditional Blues Album trophy in 2019. Also, he’s earned more Blues Music Awards than any artist ever. Sunday, Oct. 1, 7 p.m., Capitol Center for the Arts, 44 S. Main St., Concord, $85.75 and up at ccanh.com.
  • Rude dude: If the Parents Music Resource Center were still around, Wheeler Walker Jr. would constantly be in its crosshairs. The country rocking alter ego of comedian Ben Hoffman recruited legendary producer Dave Cobb for his debut album in 2013, and he’s been offending sensibilities ever since with records like Sex, Drugs & Country Music. His area show is 21+, because of course. Tuesday, Oct. 3, 8 p.m., The Goat, 50 Old Granite St., Manchester, $49.50 at ticketmaster.com.


Catching up with the ladies

More movies from Barbie summer

It was the summer of women! — so declared the discourse, thanks largely to the excellent box office of Greta Gerwig’s Barbie movie and the success of Beyonce and Taylor Swift tours. With a film version of Taylor Swift’s The Eras Tour hitting theaters Oct. 13, it’s likely going to be the fall of women too, at least box-office-wise. But these aren’t the only lady-led summer/fall movies. Here are a few more female-forward films from recent months worth catching up with.

  • Bottoms (R) Released on VOD last week, this high school sex comedy didn’t do Barbie box office numbers but it won a lot of praise — released in theaters on Sept. 1, it currently has a 93 percent on Rotten Tomatoes (for whatever that’s worth). Bottoms stars Rachel Sennott (who co-wrote it with director Emma Seligman, who also wrote and directed 2020’s Shiva Baby, in which Sennott starred) and Ayo Edebiri (best-known for the TV show The Bear). The movie has almost a throwback quality for its strict social division of “populars” and everybody else — PJ (Sennott) and Josie (Edebiri) are best friends and fellow awkward nerds waiting it out for college, where they feel like they’ll have a better shot at coolness and having sex. But then they accidentally find themselves in a position to help cheerleader Isabel (Havana Rose Liu), the girl Josie is crushing on, get away from her meatheaded football player boyfriend Jeff (Nicholas Galitzine). PJ and Josie sort of stumble into the idea that presenting themselves as tough badasses (which they are extremely not) will win over not just Isabel but also Brittany (Kaia Gerber), the girl PJ is lusting over. Thus do they start a girls’ fight club, nominally a means of teaching self-defense, but soon, inadvertently, a way of pulling attention and power away from the football-player-dominated school. The movie is sweet for how it walks its familiar movie high schooler-types through familiar lessons about friendship, honesty and finding genuine intimacy versus just trying for random hook-ups. Even when the comedy feels a bit not-fully-baked, Sennott and Edebiri make it work. B
  • Golda (PG-13) Another late-summer release (Golda hit theaters on Aug. 25, VOD in recent weeks) is this Helen Mirren biopic about Golda Meir, Israel’s prime minister from 1969 through 1974. The movie gives us a “newspaper clippings and characters introduced with identifying chyrons” play-by-play of Meir during the Yom Kippur War in 1973. It’s all fine in the same way that having Helen Mirren read the Wikipedia entries about this point in history would probably be fine but the movie doesn’t have much to say about Meir as a person or this slice of history. I feel like we’re more watching the “Mirren does Golda, Liev Schreiber does Kissinger” makeup and costuming of it all than getting some new window onto the people or the times. B-
  • Polite Society (PG-13) Technically this movie got its U.S. release in late April, but I saw it on Peacock (where it still lives) in the summer. It’s written and directed by Nida Manzoor, creator of the excellent TV show We Are Lady Parts, also on Peacock (watch it!). This action comedy has a slight Jane Austen-y quality but a modern setting: Two British-Pakistani sisters, the college-age Lena (Ritu Arya) and the teenage Ria (Priya Kansara), have big dreams. Ria wants to be a stunt woman and practices martial arts so she can make videos where she says “I AM the Fury” before delivering a spinning jump kick. Lena recently left art school and spends her days being discouraged — though Ria is determined to get her back making art. The girls’ mother, Fatima (Shobu Kapoor), scores the family, including dad Rafe (Jeff Mirza), an invitation to a party held by community fancy person Raheela (Nimra Bucha). The true purpose of the party is for Raheela to find a wife for her handsome, dopey son Salim (Akshay Khanna), giving off some Mr. Bingley vibes. When he and Lena appear to hit it off, Ria is certain there’s something more sinister about him. She ropes her high school mates into various schemes to try to expose Salim as unfit for her beloved sister, but meanwhile her parents and Salim’s mother continue to push the couple together. This movie is a top to bottom delight, from the sisterly relationship which occasionally devolves into martial arts fights to Ria’s friendships, one of which is borne out of a school-time battle. By the time Ria finds herself fighting a true villain — a marvelous villain — we can believe this girl has taught herself to be “the Fury” even if the movie is also letting her do some slightly superhuman moves. A+
  • Nimona (PG) Any list of my favorite movies of the summer will surely include this animated film, which appeared on Netflix at the end of June. Based on a graphic novel, this movie features Nimona (voice of Chloë Grace Moretz), a shape-shifting girl of undetermined age, befriending Ballister Boldhart (voice of Riz Ahmed), a fallen knight in a futuristic-medieval-y world whom everyone thinks has killed the queen he was sworn to protect. Ballister came from the commoner class, not the nobility like other knights and his friend/comrade-in-arms/sweetheart Ambrosius Goldenloin (voice of Eugene Lee Yang), a descendant of a legendary hero. Ballister is trying to prove his innocence and find the real queen assassin, but Nimona is in this partnership for his general troublemakerness, which she regularly tells him is “metal.” As a kid movie (older kids, for some of the scarier battle scenes and violence; Common Sense Media labeled it 11 and up), this is a plucky adventure with good lessons about friendship and not prejudging people. For the grown-ups in the audience, there’s plenty of humor, smart visuals and general sweetness to enjoy. A
  • Theater Camp (PG-13 ) A July release that stretches the brief just a little in the sense that it’s more an ensemble than woman-character-led, the movie’s action kicks off with Joan Rubinsky (Amy Sedaris) having a stroke during a kids’ production of Bye Bye Birdie. The longtime owner and director of a theater camp, Joan lands in a coma for the summer, leaving her goofy, would-be influencer son Troy (Jimmy Tatro), who knows very little about theater, to run the camp. While he weighs whether or not to sell it, the staff struggles to put together the summer’s productions, including an original piece about Joan’s life. Longtime friends Rebecca-Diane (Molly Gordon, also from Shiva Baby) and Amos (Ben Platt) are particularly in the spotlight in this part of the tale. Bottoms’ Ayo Edebiri also appears here as a new counselor who knows nothing about theater — at one point she literally asks the kids to explain what her class is supposed to be about. This movie works best as a fun collection of scenes — Edebiri’s character asking the kids to explain stage combat, Amos’ self-serious criticisms of the desperately eager campers, the very jazz-hands Still Joan production — but can be a little pokey as a narrative. Available on Hulu, it’s a solid low-effort comedy to watch that doesn’t require 100 percent of your constant attention. B
  • Love at First Sight (PG-13) This very straight down the middle Netflix rom-com about two attractive young adult people — American Hadley Sullivan (Haley Lu Richardson) and Brit Oliver Jones (Ben Hardy) — meeting cute and then slowly falling in happily-ever-after draws most of its charm from Richardson, who brings the same real-person energy to this as she does to better movies like Support the Girls or The Edge of Seventeen. This movie also gets some solid help from a supporting cast that includes Rob Delaney playing Hadley’s dad, Sally Phillips as Oliver’s mom and Jameela Jamil, who doesn’t annoy me like she does The Internet, as a kind of Greek chorus narrator type. Acceptable “whilst doing other things” watching with moments of genuine charm. B-

Featured photo: courtesy photo.

Happiness Falls, by Angie Kim

Happiness Falls, by Angie Kim (Hogarth, 387 pages)

What if a father went missing, and the only person with information about what happened was a disabled teenager who was unable to talk?

That’s the disturbing premise at the heart of Happiness Falls, the second novel by the author of 2019’s Miracle Creek, Angie Kim.

The novel is narrated by Mia, a 20-year-old college student, home for the pandemic and prone to rattling on at length about anything that comes to mind.

She has two brothers, the younger of whom is autistic and has also been diagnosed with something called mosaic Angelman syndrome, a genetic disorder “which means he can’t talk, has motor difficulties, and — this is what fascinates many people who’ve never heard of AS — has an unusually happy demeanor with frequent smiles and laughter.”

Eugene is 14 and is primarily cared for by his father, a stay-at-home dad who daily takes him for long walks in a park near their home in the suburbs of Virginia. One day in June 2020, however, Eugene arrives home alone — running, dirty, disheveled and agitated, with traces of what appear to be blood under his fingertips.

Mia, who like the rest of her family is extremely protective of Eugene, later washes Eugene’s clothes and directs him to shower, one of many reactions that she later comes to question. But the Korean-American family is slow to realize that something bad might have happened to the father — they assume that there’s some rational explanation for why the father is slow to return and don’t even call the police for hours.

Once they do, a series of events unfolds that causes Mia, her other brother and her mother to question everything they believed about their life to that point, in particular what both Eugene and their father might be capable of, what secrets they might be concealing.

When, during an interview with police detectives, Eugene becomes upset and lunges at his mother, the teen comes under suspicion. Could he have violent tendencies the family has covered up, and could he have accidentally or even intentionally harmed his father?

And the discovery of texts the father sent to an unfamiliar woman — who is also now missing — calls into question his fidelity to his wife and family.

Meanwhile, other snippets of evidence keep turning up — perplexing snippets of video shot by passers-by the day of the disappearance, security footage showing the father’s credit card being used, and a backpack found in a river that contained a water-logged notebook in which the father had been recording notes on what he called the “Happiness Quotient.”

A less skilled writer could have taken the bare bones of this story and turned out a Hollywood thriller. But Kim makes it next-level by incorporating research on happiness and how changes in its baseline (literally, happiness levels falling and rebounding) affect our sense of well-being. And the novel is deeply researched on the subject of people who are unable to speak, because of severe autism or other disorders.

Kim explains in her author’s note that she experienced the frustration of being unable to communicate when her family moved to the U.S. when she was 11 and only knew a few “essential English phrases” she’d memorized. “Our society — not just the U.S., but human society in general — equates verbal skills, especially oral fluency, with intelligence. Even though there was a good reason I couldn’t speak English, I felt stupid, judged and ashamed,” she wrote.

Eugene, trapped in a seemingly impenetrable bubble, appears to have this sort of frustration, apparently processing some sort of trauma in the only way he knows how, by incessantly jumping on a trampoline and making anguished animal-like sounds, or zoning out by watching anime on his tablet. What he has going for him is love — a family that is unwilling to give up on him, no matter what has happened. But the novel also questions whether our expressions can go too far, to the point where they become damaging.

Happiness Falls is both an engrossing mystery and a family drama with multiple layers of complexity. A minor irritant is the series of footnotes that populate the book — not substantiation of facts, as footnotes are in a research paper, but asides derived from Mia’s hyper-analytical stream of consciousness. Addressing the reader, Mia says at the beginning of the narrative that readers can skip over the footnotes to get to the end, and eventually I did just that, as their presence was such an annoyance in the novel. It’s not that I objected to what Mia was saying in the footnotes, but their presentation interrupted the flow.

Also, I questioned whether this needed to be yet another pandemic book. But those are minor quibbles, and Happiness Falls delivers, maybe not happiness, but a novel you can get lost in this fall. A

Album Reviews 23/09/28

Zooey Celeste, Restless Thoughts (ATO Records)

Meanwhile on the planet XT-431, we have here a collection of tunes from this southern California-based dude, who’s busily trying to craft his own chill-techno trip, revolving around a genre he’s dubbed “astral-pop,” which his PR people cleverly promote as a “soundtrack for nocturnal driving and an immediate conduit for lasting transcendence.” I myself meditate once a week, usually, and this stuff wouldn’t interfere with the practice’s process of trying to become a witness to one’s own passing thoughts, but it’s not as TM as he might like to think. OK, there were probably a lot of drugs involved, let’s just say that, but I could be wrong; a lot of the imagery comes from a novel he wrote a while back, the feel of which, he professes, is “somewhere between Quentin Tarantino and the Bhagavad Gita.” Oh, I almost forgot, the music is gently woven tech-pop of the Goldfrapp sort by way of 1960s Donovan, all of it made uniquely magnetic because Celeste sounds a lot like the Cure’s Robert Smith. A lot of people would be down with this, absolutely. A

Arina Fujiwara, Neon (self-produced)

Well, what a nice surprise this is. Seems like 90 percent of the jazz albums I’ve been getting for review lately have been breezy dark-coffee-house exercises (luckily there’s been a lull in singer-oriented Big Book projects; not that I don’t like hearing the 4,749th interpretation of “Nature Boy,” there’s just no need for it in current_year), but this one, the debut EP from the Manhattan School Of Music pianist, is deeply ritzy ambiance, stuff you’d expect to hear at a snobby wedding reception for which all the stops have been pulled. The difference comes by way of the fact that Fujiwara is supported by a four-piece string section, along with a vibes person and a pretty chill drummer; as well, our heroine tables a pretty dazzling, dextrous version of Scott Joplin’s “Maple Leaf Rag,” and, in a really courageous effort, offers a retrofitted version of a Japanese children’s song from her earlier life (“Hotaru Koi”). This is well worth the trip, folks. A+

Playlist

  • On Friday, Sept. 29, we’ll see a new LP from hilariously overrated singing person Ed Sheeran, called Autumn Variations! I’ve always thought that his fans just feel sorry for him because he is a ginger neckbeard, but what do I know; I mean, I did see the video where he went on a stupid talk show and “proved” his claim that every pop song in the world is an old Beatles song, I forget which one, and he accomplished that by pulling out his guitar and asking the audience to give him a song title, and then he “proved” it had the same chords as “Let It Be” or whatever by slowwwly and sneakily changing the chords to fit his insane theory. Your mileage may vary, of course, who cares, but that brings us to his latest song advance, “A Beautiful Game.” It is a piano-pop song that is pretty and oafishly show-stopping, just like every Zoomer-targeted pop song being put out today, and I’ll at least admit that it isn’t a variation on “Let It Be.” No, indeed; cleverly, it rips off Joan Osborne’s “One Of Us” at the beginning and U2’s “Beautiful Day” as things “progress.” What a talented human, that ginger neckbeard, wouldn’t you say?
  • Naturally I always confuse Blonde Redhead with Concrete Blonde, who wouldn’t? Sit Down For Dinner is the former’s new LP, and the latest single, “Before,” is very gentle and mellow and chill, evoking Fleetwood Mac stealing from REM. It’s not bad.
  • Finally, let’s have a laugh at the expense of former Pitchfork darlings Animal Collective, whose new full-length, Isn’t It Now, is on the trucks, headed to the malls and all that happy stuff. I have not kept track of this band, because why would anyone do that anyway, but I do give them credit for totally owning the “tuneless fractal-indie” space for those 10 minutes, remember those days? The single, “Soul Capturer,” sounds like Vampire Weekend trying to be Mungo Jerry. Does anyone seriously have any deep love for music like this, like at all?

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).

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