LCD Soundsystem’s extensively hyped, painstakingly documented “farewell” concert in 2011 turned out to be far from its final chapter. Since then, the Brooklyn-based dance punks have reunited to headline festivals, tour internationally and release the 2017 album “American Dream,” which expanded their repertoire of self-conscious yet body-friendly bangers. Still, the band’s history of self-termination produces a nagging sense that when the frontman James Murphy sings, “This could be the last time,” in their hit “All My Friends,” he might finally mean it.
As of now, there are at least 15 more opportunities to see LCD Soundsystem live. The band is posting up at Brooklyn Steel for their first New York shows in four years — a 20-date residency that began on Nov. 23 and continues this weekend. On Friday, Saturday and Sunday, the concert begins at 8 p.m.; verified resale tickets are available (for a pretty penny) at bowerypresents.com.
Naughty, but Nice
The duo’s touring show, their biggest yet, makes a stop at the Town Hall on Friday and Saturday at 8 p.m. (tickets start at $27). It features some of their beloved songs and fabulous costume changes, as well as their irreverent commentary on surviving the apocalypse just in time for the holidays.
The show, co-written by DeLa and Jinkx, highlights what they do best: dissect and subvert popular culture and tradition in order to create a fresher, more inclusive sense of community. DeLa’s caustic Donna Reed-ness and Jinkx’s Joan Crawford-meets-Rosalind Russell quips are sure to lift your spirits and make you howl with laughter. Expect more naughty than nice.
The shopping season is upon us, that grueling holiday tradition. Thankfully, a potent antidote arrived this week in Brooklyn in the form of Big Dance Theater’s “The Mood Room,” created by Annie-B Parson. The new hourlong work, presented by Brooklyn Academy of Music in association with the Kitchen, features an all-female cast and takes inspiration from Guy de Cointet’s 1982 play, “Five Sisters,” a critique of consumerism filtered through Reagan-era California wellness culture.
Parson’s inventive movement — at once surprising and relatable — is currently on display on Broadway as a crucial and celebrated ingredient in David Byrne’s “American Utopia.” In “The Mood Room,” that pointed physicality anchors her storytelling, which also mixes in spoken text from Chekhov’s “Three Sisters” and soap operas, as well as an electronic score by Holly Herndon. The remaining shows through Sunday at BAM Fisher have sold out online, but the box office will be releasing a block of tickets each day. Call 718-636-4100 for availability. Also, a standby line will form 90 minutes before each performance.
Whether she’s playing in a free-improvisation duo or notating compositions like “Eight Pieces for the Vernal Equinox,” the pianist Kris Davis has proved to be a reliable bet in recent seasons. Her latest project is the multimedia effort “Suite Charrière.” It introduces a new Davis-led ensemble as well as fresh works from the composer’s pen — all in response to excerpts from films by the artist Julian Charrière.
The suite will be performed this Saturday — along with its cinematic accompaniment — at 8 p.m. at Roulette in Brooklyn. (Tickets start at $20; the concert will also be livestreamed free on the club’s website.) Davis’s recent track record is not the only aspect that is promising; her chosen collaborators for this date are, too. In addition to the composer herself on piano, her septet includes Angelica Sanchez on a Moog synthesizer, the violist Mat Maneri and the trumpeter Taylor Ho Bynum — all of whom possess distinctive profiles as interpreters.
SETH COLTER WALLS
Seeking the Light
Hanukkah commemorates finding a small amount of oil, which the Jewish Maccabees used to rededicate the temple in Jerusalem after they defeated the Syrian Greeks in the second century B.C. Sufficient for only one day, the oil miraculously burned for eight.
On Sunday (Hanukkah ends Monday evening), children visiting the Jewish Museum in Manhattan will also go on a faith-related quest, not for oil but for intriguing menorahs. This experience will shed light, too.
Included in museum admission (free for ages 18 and under), the Hanukkah Hunt drop-in gallery program runs from 10:30 a.m. to 3 p.m. (Timed-entry tickets, however, are required.) Participants will receive an information sheet with photographs of four lamps in the exhibition “Accumulations: Hanukkah Lamps.” They range from an 1885 Eastern European model consisting of eight dollhouse-size lead chairs to the artist Karim Rashid’s 2004 silicone and stainless-steel “Menorahmorph,” which resembles a series of hot-pink volcanoes.
Little visitors will also search for an early-20th-century silver lamp, resplendent with carved lions and turquoise and carnelian stones; and Peter Shire’s 1986 “Menorah #7,” a painted-metal creation that doubles as a modernist sculpture.
In addition, the museum will dispense fuel for young imaginations: art kits with materials for children to sketch, collage and sculpt their own menorahs.
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