While big bands take center stage this year, a solo artist may well provide the best set of the festival. Richard Thompson, a monster talent as both a guitarist and songwriter, has been way ahead of his time since he first appeared with Fairport Convention in the late 1960s. Thompson crafts inimitable acoustic originals, his blackest-side-of-dark lyrics offset by his self-effacing humor and satirical perspective. (Sunday, April 29, at 6:30 p.m. on the Bank United Texas Stage.)
Nathan and the Zydeco Cha-Chas
Kila brings the world to Ireland instead of bringing Ireland to the world.
Details
The 2001 Houston International Festival runs April 21-29 at various locations downtown. For more information, call (713)654-8808.
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Saturday, April 21, 6:30 p.m., Budweiser American Music Stage
At its worst, zydeco is rote and mind-numbingly repetitive, which even fans admit. At its best, it's a joyous celebration of a specific people, mood and culture -- not to mention a celebration of a device originally utilized for laundry. For more than a decade, Lafayette's Nathan Williams and his crack band have existed firmly in the latter category. A big man toting a full-piano-key accordion (as opposed to the smaller-button models now in vogue), he's less interested in his place in the genre's pantheon than in getting your ass on the dance floor. The Cha-Chas infuse R&B, electric guitar and lyrical humor into their spicy Creole mix. Let's Go, the group's most recent release, redefines the term "party platter." -- Bob Ruggiero
Sweet Honey in the Rock
Sunday, April 22, 6:45 p.m., MoneyGram World Music Stage
Delicious a cappella harmonies and outspoken lyrics have been the hallmarks of Sweet Honey in the Rock for 28 years. Founded by Bernice Johnson Reagon in Washington, D.C., in 1973, the group has served as a vehicle for spreading African-American history and vocal traditions as well as fighting persecution. Reagon participated in the 1960s civil rights movement and translated that fertile pollen into Sweet Honey. The group has ever since been composed entirely of African-American women. Mixing narrative tradition and African rhythms, the group fuses history with music and drives home a powerful message, embracing gospel, folk, jazz and R&B along the way. -- Elizabeth Taishoff
Steve Riley and the Mamou Playboys
Saturday, April 28, 2:15 p.m., Budweiser American Music Stage
Though these days Houston audiences are more accustomed to seeing Riley in his side project, the swampland supergroup Li'l Band of Gold, he's back with his bread-and-hot-sauce gig here, touring on a brand-new record, Happytown. Known for their modern, accessible twists on traditional Cajun music, Riley and the Mamou Playboys have opted to take a long look back on the new album, which boasts lyrics based on Creole slave poetry mixed with drum loops, dark fiddles, and energetic two-steps and waltzes. The Mamou Playboys will be -- as always -- peerless backers in a gig that should feature crowd-pleasing numbers stretching back to their early days. -- Bob Ruggiero
Natalie MacMaster
Saturday, April 28, 3:30 p.m., Budweiser American Music Stage
Although hailed in her native Canada as a superstar while in her twenties, the charismatic MacMaster is neither a flavor of the month nor a sellout, despite having done TV ads for her country's biggest doughnuts-'n'-coffee chain. Her virtuosity, unpretentious attitude and respect for her Celtic roots have secured her as a national treasure and one of Canada's most sought-after exports. On her latest CD, My Roots Are Showing, MacMaster's deft handling of Cape Breton jigs, reels, strathspeys and dreamy airs displays not only youthful energy but the technical precision of players twice her age. -- Greg Barr
Clarence "Gatemouth" Brown
Saturday, April 28, 6:30 p.m., Bank United Texas Stage
They don't come any cooler than Clarence "Gatemouth" Brown. Born in Vinton, Louisiana, but raised in Orange, this "dual citizen" was exposed early to a Dixie-fried cornucopia of country, Cajun/zydeco, big band, Western swing and blues, all of which helped shape his unique "American music done Texas-style." Brown is as flexible as ever, equally comfortable playing "Take the A Train" as sturdy Gate-rockers like the jazzy "Chickenshift." But the real secret behind his success may be his positive attitude. With a million-dollar smile and a stage persona that seems too good to be true, Brown possesses an energy that can propel an arrangement to new levels of innovation and merriment. -- Mike Emery
Ralph Stanley and the Clinch Mountain Boys
Saturday, April 28, 6:30 p.m., Budweiser American Music Stage
O Brother, Where Art Thou?audiences may relate "I Am a Man of Constant Sorrow" with the fictitious Soggy Bottom Boys, but music lovers know that Ralph Stanley owns the tune lock, stock and corn-whiskey-in-a-barrel. The 74-year-old elder statesman of Appalachian music is enjoying a resurgence because of the Coen brothers movie, which also includes his stunning a cappella version of "Oh, Death." Indeed, the banjo man has one of the most recognizable voices in 20th-century American music, effortlessly veering in tone from down-home to eerily chilling on songs of mortality and retribution, on which he can sound more like a disembodied spirit than a good ol' boy. This is a rare chance to see an authentic legend, who's touring on a new compilation record titled (what else?) Man of Constant Sorrow. -- Bob Ruggiero
Flaco Jimenez
Sunday, April 29, 6 p.m., Latin Stage
Born into a family of accordion legends, Flaco Jimenez is the heavyweight champion of conjunto, a music created and nourished in Texas. The San Antonio native was already at the top of the conjunto game in 1973 when Doug Sahm recruited him to play alongside Bob Dylan and Dr. John. Shortly afterward, Jimenez met Ry Cooder. For Cooder, finding Jimenez was a revelation on the order of discovering Ali Farka Toure or Ibrahim Ferrer, an artist with a completely mature vocabulary unknown outside a small local audience. No longer. Jimenez now plays with everyone when an authentic accordion sound is needed. But what he still does best is conjunto, the sound of Tex-Mex soul. -- Aaron Howard
