By Ben Westhoff and Sarah Purkrabek
By Steve Brennan
By Joseph Hess
By Allsion Babka
By Kelsey McClure
By RFT Music
By Christian Schaeffer
By Gabriel San Roman
The fourth annual An Under Cover Weekend concludes on Friday night at the Firebird (2706 Olive Street; 314-535-0353). As always, the rules remain the same: Five local bands have thirty minutes to interpret or reimagine the songbook of an established musical hero. This final night runs the gamut from baroque pop and classic blues-rock to '80s college rock and grunge. The show starts at 8:30 p.m., and admission is $10.
Band: Via Dove
In Reality: Since covering the Rolling Stones at last year's AUCW, the guitar-heavy quartet has ditched slow-burn atmospherics in favor of hot rock action.
Artist Cover: Pearl Jam
Why This Will Work: Via Dove can come in heavy and hard, but it can also explore introspection with arena-rock grace — a style Eddie Vedder and company have been refining for twenty years.
Band: The Dive Poets
In Reality: A rootsy ensemble that pairs Americana textures with rock rhythms.
Artist Covering: R.E.M.
Why This Will Work: The Dive Poets tempers its country twang with plenty of indie-indebted jangle, a combination R.E.M. relied on during its '80s heyday.
Band: Theodore with the Rats & People Motion Picture Orchestra
In Reality: Theodore takes folk-song idioms and dips them in the dark ink of the best Southern Gothic stylists. The R&P MPO uses brass, strings and martial percussion to score silent films.
Artist Covering: Van Dyke Parks
Why This Will Work: Parks' best work re-imagines all types of folk music, from Appalachian banjo tunes to Calypso steel-band rhythms. The pairing of these two like-minded groups will bring orchestral discipline and classic pop sensibilities to these playful, layered songs.
Band: The Makeshift Gentlemen
In Reality: Slick modern-rockers that rely on equal parts buzzy synths and distorted guitars.
Artist Covering: The Doors
Why This Will Work: The Makeshift Gentlemen favors modern synthesizers over '60s combo organs, but like the Doors, its songs are keyboard-driven — and they leave plenty of room for a theatrical frontman.