Jarret Keene

Nobody has mined the fault line between the underground and the overground better than Ian Astbury, 48, frontman for the British hard-rock outfit The Cult, whose commercial zenith hit in the late-’80s, just before grunge de-leather-pantsed every young male rock star. His vocal attack is equal parts Ian Curtis, Jim Morrison and Robert Plant. Hits such as “Fire Woman” and “She Sells Sanctuary” straddled alt-rock and glam metal, while Astbury’s interest in Native American culture infused every cosmic-inclined lyric and arena-ready guitar riff with a spiritual quality.

Public arts centers used to be the last place I’d look for cool music. Chinese flute recitals and Native American chanting, sure. But electric guitars? No chance.

Let me apologize beforehand, dear readers, for outing myself as a Southern boy in Vegas hipster clothing. Growing up in Florida, I was raised on a diet of music by Dixie-bred artists such as Tom Petty and the Heartbreakers, the Allman Brothers and, of course, Lynyrd Skynyrd. The latter explains why you’ll find me putting aside my personal political opinions on Aug. 27 and clicking my Bic for Sean Hannity’s Tea Party-tinged Freedom Concert at the Orleans this weekend. (Michael W. Smith, The Charlie Daniels Band and co-host Col. Oliver North round out the evening of combined commentary and rock.)

In 2026, the sun came undone. Electromagnetic waves destroyed communications, air travel, the world economy. Billions died of starvation. Cities were abandoned. History became myth. Scientific knowledge devolved into lost magic. What remained of mankind reconnected with nature; people returned to the land, taking over farms previously owned by corporations. Performance and memory once again served as the basis of community entertainment. Or at least that’s how Las Vegas artist Stephen Hendee’s excellent, thought-provoking new show describes it.