The scene is set for a sideshow spectacular at this year’s Gallery Rally. Showcasing an eclectic collection of local artists creating works live in the gallery, the event gives visitors an opportunity to meet creators, witness the artistic process, and purchase freshly made pieces on the spot. All artworks are priced at $100, and all proceeds support upcoming exhibitions and programming. This annual fundraiser also features raffle prizes, DJ sets, caricatures, an afterparty, and entertainment inspired by acts staged alongside the big top circus tents.
Saturday 12/7. Free, 5–9pm. Second Street Gallery, 115 Second St. SE. secondstreetgallery.org
Willie Watson, Americana singer-songwriter and founding member of Old Crow Medicine Show, brings more than 30 years of musical experience to the stage with songs exploring torment and redemption. Through stories of heartbreak, hurt, hope, and growth, Watson channels old-time American folk, weaving in contemporary reflections on loss, love, addiction, and burdens in a complex world. Expect tunes that function as testimonials to life’s tough times and resilience, and effectively pull on your heartstrings as Watson strums his guitar and banjo.
Saturday 12/7. $25–30, 8pm. The Southern Café & Music Hall, 103 First St. S. thesoutherncville.com
There are plenty of reasons why Charles Dickens’ A Christmas Carol has spawned so many adaptations. And whether you prefer the lead miser be played by Michael Caine surrounded by Muppets, Bill Murray learning lessons about 1980s corporate greed, or an animated Jim Carrey in Disneyfied 3D, the main plot point stays the same: Can Ebenezer Scrooge change his ways before his proverbial (and literal) goose is cooked? In a tale of supernatural transformation, the American Shakespeare Center mounts this holiday classic where Ghosts of Christmas Past, Present, and Future haunt the dreams of a mean old man and work to thaw his icy heart.
Thursday 12/5 Through Sunday 12/29. Ticket prices and showtimes vary. Blackfriars Playhouse, 10 S. Market St., Staunton. americanshakespearecenter.com
LA LOM, an acronym for the Los Angeles League of Musicians, floats out a dreamy-yet-driving instrumental soundtrack with West Coast cool. More of a three-piece than a league, per se, the band’s sound careens smoothly through adventurous, succinct tracks that lilt with well-placed, heartbreaking chords and trembling guitar riffs. Zac Sokolow’s lyrical lead guitar—reminiscent of Link Wray’s more lucid solos and a dry land Dick Dale—call to mind the best strains of sad ’60s pop ballads. The sensible, syncopated bass line color provided by Jake Faulkner is offset by the danceable heat from Nicholas Baker’s economical drum and percussion-based beats. Baker often opts for replacing the typical snare drum spot with conga hits while kicking the bass drum and riding the hi-hat for an undulating groove.
It makes sense that LA LOM formed in 2019 for a nightly residency in L.A.’s Roosevelt Hotel lobby. Each song moves forward by constructing new scenes, deftly lit and advancing on a road mapped out by Latin music influences (Mexican boleros, Cumbia sonidera, Peruvian chicha), leading to a distinctly SoCal simmer that carries the cinematic history and intrigue of the Roosevelt’s Hollywood Boulevard locale.
On this year’s self-titled debut, tracks like “Ghost of Gardena,” “Rebecca,” and “San Fernando Rose” are offset with piano, strings, and bells in the latter song that play up what could be the opening soundtrack to a West Hollywood-based, Mexican-American James Bond movie. Ultimately, it’s Sokolow’s inventive guitar lines that make the difference for a fully instrumental group such as LA LOM. His wizardry with genuine and passionate leads replaces the need for a vocalist, and captures a breadth of emotion that words often cannot.
Openers The National Reserve represent the other coast’s media Mecca, as the Brooklyn-based five-piece that, ironically enough, flaunts its down-to-earth ’70s rock ‘n’ roll on its most-streamed Spotify track, “California.” The group’s not breaking any new ground but that hardly seems what it’s after.
The Center at Belvedere 540 Belvedere Blvd. “Small Works Art Exhibit,” featuring works under 13 inches by regional artists. Through December 18.
Chroma Projects Inside Vault Virginia, Third St. SE. In the micro gallery, “The Close and Holy Darkness,” sculpture and paintings by Aggie Zed. Through December. First Friday reception 5–7pm.
Aggie Zed at Chroma Projects.
City Clay 700 Harris Street #104. The annual Holiday Sale featuring locally made decorations and functional pottery for your holiday gifts, gatherings, and table. Through December 19.
C’ville Arts Cooperative Gallery 118 E. Main St., Downtown Mall. “Color, Pattern and Design: An Inspiration-sparked Creative Journey with Polymer Clay,” by Judith N. Ligon. December 6–31. First Fridays reception with the artist 5–8pm.
Judith N. Ligon at C’ville Arts Cooperative Gallery.
Dovetail Cabinetry 1740 Broadway St. Ste. 3. Monoprints, watercolors, and acrylic paintings by Judith Ely. Through December 30.
The Fralin Museum of Art at UVA 155 Rugby Rd. “Barbara Hammer: Evidentiary Bodies” features an immersive multichannel video installation. Through January 26, 2025. “Structures,” a selection of 20th- and 21st-century works exploring the ways that art can speak to or question the formal, physical, environmental, social, and institutional structures of our world. Through July 20, 2025. “Celebration,” features works by five African American artists highlighting the ways these artists honor history, culture, and heritage through various media. “Vanity,” black and white photography by longtime UVA arts instructor Holly Wright. “Conversations in Color,” new print acquisitions curated by M. Jordan Love. All shows run through January 5, 2025 unless otherwise noted.
Free Union Artisans Open House 4220 Free Union Rd. Handmade gifts from professionals in wood, pottery, basketry, weaving, jewelry, painting, and photography. December 7–8, 10am–5pm.
Nancy Ross at the Free Union Artisans Open House.
The Gallery at Studio IX 969 Second St. SE. “Pieces Of Color: A meeting of color, texture and time,” works by Kim Boggs and Rachel Thielmann. Through December 29. First Fridays opening reception 5–7pm. Artist talk November 21, 5–6pm.
Hello Comics 211A W. Main St, Downtown Mall. “Picture Show,” a cash-and-carry show of original drawings and digital prints by Todd Webb. Through January 8, 2025. Additional works available at Hello Comics Uptown location.
Infinite Repeats Gallery 1740 Broadway St. The Winter Market, featuring 20+ local artists and vendors. Through December 25.
IX Art Park 522 Second St. SE. “The Looking Glass,” an immersive art space featuring a whimsical enchanted forest and kaleidoscopic cave. Ongoing. “Art Mix at IX,” a fun night of painting, music, and cocktails at the outdoor art park. First Fridays, 6pm. Ticketed paint swap party 7–8:30pm.
Kluge-Ruhe Aboriginal Art Collection of UVA 400 Worrell Dr. “Our Unbroken Line: The Griffiths Family,” screenprints on textiles, ceramic works, and paintings curated by Dora Griffiths. Through December 8. “Shifting Ground: Prints by Indigenous Australian Artists from the Basil Hall Editions Workshop Proofs Collection,” curated by Jessyca Hutchens, featuring work by 22 Indigenous Australian artists. Through March 2, 2025. “Milpa: Stop-motion animation by Spinifex artists,” animated films. December 13, 2024–March 2, 2025.
Milpa, Spinifex Arts Project at Kluge-Ruhe Aboriginal Art Collection of UVA.
Jefferson School African American Heritage Center 233 Fourth St. NW. In the Contemporary Gallery, “Beyond Boundaries: The Sculpture of Alice Wesley Ivory,” metal sculptures of animals by an award winning African American artist. Through December 14.
Les Yeux du Monde 841 Wolf Trap Rd. “Small Works,” featuring interdisciplinary artworks from more than 40 artists. Through December 15. Holiday Soirée, December 4, 1–7pm.
Loving Cup Vineyard 3340 Sutherland Rd., North Garden. BozART presents pastel, acrylic, and photographic works by Judith Ely, Brita Lineburger, and Andy Stafford. Through December 15.
Mas Restaurant 904 Monticello Rd. “Negotiations With Gravity,” paintings by Kris Bowmaster. Through December.
Kris Bowmaster at Mas.
McGuffey Art Center 201 Second St. NW. In all galleries, the annual Winter Market. Featuring original art, home goods, prints, ceramics, cards, fiber arts, ornaments, wearables, jewelry, and more. All purchases are cash and carry and support the artists and McGuffey Art Center. Through December 29. WinterFest open house, December 8, 1–5pm. First Fridays, 5:30–7:30pm.
New City Arts 114 Third St. NE. In the Welcome Gallery, “Of the Earth,” abstract landscape paintings and works on paper by Christen Yates and wall-hung sculptures by Jacqui Stewart Lindstrom. December 6, 2024–January 16, 2025. First Fridays reception and artist talk 5–7:30pm.
Northside Library 705 Rio Rd. W. “Landscapes … Landscapes,” oil and pastel works by Julia Kindred. December 2–30.
Julia Kindred at Northside Library.
The PVCC Gallery V. Earl Dickinson Building, 501 College Dr. In the Pottery Studio (D114), the annual Pottery Club sale. Offering handmade mugs, bowls, vases, plates, casseroles, pitchers, and works of art for purchase. Items will be added to the sale throughout the morning and are priced between $5–75. Sales are limited to cash or personal check only. December 7, 10am–2pm. On the grounds surrounding the V. Earl Dickinson Building, the annual “Let There Be Light” light-centered outdoor art exhibition. December 13, 6–9pm.
Ashtin Bowman at PVCC.
Quirk Gallery in The Doyle Hotel 499 W. Main St. “Color As Language,” oil paintings by Jennifer Esser. Through December 29. Please note, this is Quirk Gallery Charlottesville’s last exhibition before the space is repurposed by The Doyle.
Ruffin Gallery UVA Grounds, Ruffin Hall, 179 Culbreth Rd. “New Growth: Ten Years of ArtLab at Mountain Lake Biological Station” celebrates the mission and history of UVA’s ArtLab Residency, merging art and science. Featuring interdisciplinary works by Nancy Blum, Sara Bouchard, Gregory Brellochs, Rob Carter, Zehra Khan, Meredith Leich, Chris Mahonski, Nathalie Miebach, and Ash Eliza Williams. Through December 6.
Second Street Gallery 115 Second St. SE. In the Main Gallery, “That Feels Good! Labor as Pleasure,” an interdisciplinary group show curated by Francisco Donoso. Artist Talk Bingo, December 7, 10:30am. In the Dové Gallery, “Hannah Diomataris: Sticker Work,” handcut sticker compositions by the Richmond-based artist. Both shows run December 6, 2024–January 24, 2025. First Fridays reception 5:30–7:30pm.
Laura Josephine Snyder at Second Street Gallery.
Visible Records 1740 Broadway St. “Leaving My Eyelids Behind,” interdisciplinary works by Ali Eyal. Through December 13. “Direct Sow,” a group show of works by Visible Records studio members. December 20, 2024–January 25, 2025. Opening reception December 20, 6pm.
As you prepare for the big feast this Thursday, why not start off with a side of jam? The table is set for an evening of Americana music at Thankful Dead, featuring early Grateful Dead tunes performed by local five-piece group Mama Tried, and covers of Jerry Garcia Band songs by Sisters & Brothers. It’s a testament to the lasting legacy of the Dead and JGB that these tribute shows continue to draw fans eager to experience the folksy blues-rock and psychedelic sounds of the ’60s.
Wednesday 11/27. $15–18, 7:30pm. The Jefferson Theater, 110 E. Main St., Downtown Mall. jeffersontheater.com
Beat the Black Friday blues with a night of Americana holler-core and down-home honky-tonk. Palmyra (above) and Ramona & the Holy Smokes take the stage for a post-holiday double bill sure to shake you out of your tryptophan stupor and take the edge off holiday shopping. It’s always a foot-stomping, booty-shaking, sing-along good time when these local faves do their thing. Is there a better way to celebrate the festive season than by sweating out your Thanksgiving meal under low ceilings and stage lighting with your loved ones? Probably not.
Friday 11/29. $15–18, 8pm. The Southern Café and Music Hall, 103 First St. S. thesoutherncville.com
Get into the holiday spirit early with Coney Island Christmas, a seasonal show that’s poised to become a classic. Pulitzer Prize-winner Donald Margulies has penned a story filled with memories and mirth that should appeal to folks of all ages and faiths. Centering on a young Jewish girl cast to play Jesus in her school’s Christmas pageant, at its core, this is a tale about what it means to be an American during the holidays.
Through 12/15. $12–20, times vary. Four County Players, 5256 Governor Barbour St., Barboursville. fourcp.org
They say laughter is the best medicine, and comedian Nurse Blake is on call with a heavy dose of hilarity. From Level 1 trauma centers to stages around the country, Blake Lynch has taken his unique experiences as a nurse to find the humor in humerus bones, the lighter side of liver disease, and the fun in hospital funding. Celebrating health care practitioners, this tour features live skits, videos, and interactive stories drawn from real life. And there’s likely to be plenty of care providers in the audience should you bust a gut, break a rib, or slap a knee too hard.
Monday 11/25. $45–59.50, 7pm. The Paramount Theater, 215 E. Main St., Downtown Mall. theparamount.net
Guitarist Bill Frisell (center) is joined by bassist Thomas Morgan and drummer Rudy Royston for two shows at The Southern Café and Music Hall on Saturday. Supplied photo.
By Dave Cantor
Bill Frisell is a cypher for American music, ping-ponging among genres for the past five decades.
Like most jazz musicians, the guitarist keeps his ears wide open. But encountering vibraphonist Gary Burton playing what at one point was called “jazz rock” sent Frisell’s understanding of the genre down a new path.
“The whole psychedelic thing was happening, but then the music was on such a high level,” Frisell says of hearing Burton’s late-’60s and early-’70s groups during his youth. “I mean the guitarists that Gary had in his band were—I guess people don’t even know half of these guys. Even before Larry Coryell, he played with Hank Garland. … Then there’s Jerry Hahn, Sam Brown, John Scofield, Pat Metheny, Mick Goodrick. It’s incredible the guitar players that went through that band.”
As a kid, Frisell frequented a music shop and cultural center run by Harry Tuft—a figure in Denver maybe akin to Moses Asch. He’d hang around, check out instruments and records that were for sale, and take in heady conversations about performers he wasn’t necessarily familiar with.
By his teenage years, Frisell was deep into the clarinet and eventually headed off to college to further study the instrument. His folks also moved from Denver to New Jersey during the ’70s, and then later to North Carolina, where Frisell would “go off exploring” during visits.
In the western portion of North Carolina and in southwest Virginia, Frisell again found music that rearranged his brain—folk strains developed in tight-knit communities, relatively untouched by the genre’s electric and pop-oriented derivations.
“It was really kind of mind-blowing for me,” the guitarist says. “I hadn’t heard that for real, you know, stuff that people had just grown up [with] there and played. That had a huge impact on me.”
Frisell’s own work has stretched to insinuate the spectrum of music he’s encountered over the decades, veering from jazz standards to familiar folk tunes. In some ways, it was drummer Paul Motian—best known for working in Bill Evans’ trio—who gave the guitarist a significant platform to explore in the ’80s.
“He really recognized me for what my voice was. He wanted a guitar player, but it wasn’t so much about the guitarist. He wanted me as a person,” Frisell says about the late drummer. “I felt so wide open to do whatever I felt. It wasn’t like I was filling a role of what he thought a guitarist should be. It was like, ‘Here, just take it as far as you can go.’”
Frisell’s developed long-standing relationships with a raft of other players—including drummer Rudy Royston; they first played together back in 1993, the guitarist says. During the ensuing decades, Royston’s contributed to a handful of the bandleader’s albums, as well as provided the backbeat for Frisell’s regular trio, which is making a stop at The Southern for a pair of Saturday shows.
In addition to Royston, the guitarist’s group will include Thomas Morgan at its Charlottesville date—a bassist who’s played with Frisell for more than a decade, contributing to a few duo albums on ECM alongside the bandleader. Both rhythm players were also a part of the guitarist’s Grammy-nominated Orchestras, a 2024 album that featured a wealth of European classical talent.
It should maybe go without saying: There’s not a set list for the trio’s local performance.
“The number of songs that we know and the possibilities are so huge that we never really—especially with this trio—we don’t really plan at all,” Frisell says. “Anything I can throw at those guys, they’re gonna know what it is.”
While familiarity with repertoire can help performers shuttle ideas from their minds down to their fingers, attaining that kind of fluidity is a career-long journey.
Frisell referred to the distance between intent and desired outcome as a “huge chasm.”
“I can never get what it is I’m actually trying to do to come out,” he says. “It’s always … reaching for something that you can’t quite get. So, you just get as close as you can, and that’s what keeps you going.”
