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Sunday 2.22

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Greg Humphreys
  • Greg Humphreys

Raleigh
Greg Humphreys and Gibb Droll
The Pour House—Greg Humphreys got his start as the soul voice in the middle of the pop band Dillon Fence and then turned the Curtis Mayfield-ness up several notches in Hobex. Trunk Songs, Humphrey's recent home-cooked and scaled-back song collection, confirms that he can sing anything, including folk ballads and bluegrass tunes. And that makes guitarist Gibb Droll, whose versatility enables him to support whatever style of music Humphreys pulls from the trunk, the perfect stagemate. Tickets are $8 in advance and $10 at the door, and the collaborating commences 'round about 8 p.m. —Rick Cornell



Chapel Hill
Small Change's Action News
Nightlight—As the city where modern, urban-style graffiti got its start, it's no surprise that Philadelphia is home to a thriving DIY art scene. Small Change is a filmmakers' collective that's been showing "experimental" film and video art in various venues around the city since 2004, and for the month of February they're touring the South with their latest curated show, Action News. It's an eclectic mix of short films, by turns clever, hallucinatory, jokey, disturbing and mesmerizing—and sometimes all five, as in the case of Michael Robinson's Light is Waiting, a cut-and-paste of high and low culture that expands and distorts scenes from a Full House episode almost beyond recognition, to beautiful effect.Other works include Tommy Chat Just Emailed Me, a bizarre domestic fever dream by Whitney Biennial artist Ryan Trecartin, and Ich Bin Ein Manipulator, by Andrew Jeffrey Wright and Clare Rojas, in which fashion magazines are "improved using Sharpies and Wite-Out." The show starts at 9:30 p.m. and the cover is $5. Visit smallchangescreenings.com. —Marc Maximov


Chapel Hill
Dexter Romweber & The New Romans
The Cave—Drummer Dave Schmitt founded The New Romans as a vehicle for putting duo-veteran Dexter Romweber in front of a nonet. The band invoked Romweber's underlying love for surf-rock, '60s crooners and lounge music. Hazy keys and blankets of guitar reverb wash behind his growl. Saxophones bleat and moan. The music swings, slinks and seems to exist outside of time. Night Tide, released late last year, serves to document the band's rich retro-chic: rock 'n' roll with a balance of grooving instrumentals and charged shoulda-been-standards, meant for dancing in tight, dark bars. Pay $5 at 9 p.m. —Bryan Reed

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