Something strange we noticed this afternoon: There's an abundance of affordable Sleater-Kinney tickets on the resale market right now. And that's sort of normal when resellers might buy up a large amount of stock so they can turn a profit on a popular group—the Crystal Ballroom show sold out very quickly, as one would expect in the band's hometown—but it's also just going to be a bummer if those stubs don't go to fans.
Whether you're looking for something to do tonight, next weekend, or in the fall, Mercury Music Picks has a list of interesting shows speckling Portland's upcoming music horizon.
Tonight in Portland, PNW rock royalty Sleater-Kinney close up the US portion of a tour to support their new album Little Rope. The cathartic, post-punk-driven record tackles personal and national grief with nods to the loss of Carrie Brownstein's parents and the overturn of Roe v. Wade. In a statement from the band, Brownstein writes, "We’re always mixing the personal and the political but on this record, despite obviously thinking so much about politics, we were really thinking about the person—ourselves or versions of ourselves or iterations of depression or loneliness—in the middle of the chaos.” (Crystal Ballroom, 1332 W Burnside, Fri Apr 5, 8 pm, SOLD OUT, but pretty available through resale, all ages, w/Black Belt Eagle Scout) AUDREY VANN
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One sign that society is advancing in a good direction: The youth are shaking it to non-English lyrics. We have K-Pop to thank for that, and now we have Xavi to thank as well. The 19-year-old Mexican American singer can't enter the upper balcony of the Roseland at the Portland stop of his current Poco a Poco Tour, but he's already lived a jam-packed twist of your typical ingenue origin story—he started writing songs on his guitar at a tween age, survived a car accident that almost cost him his voice, posted videos of himself playing songs in his hospital bed, and now his corridos tumbados regularly dance off with Bad Bunny at the top of Billboard and Spotify global charts. When he sings, "yo puedo comerte como a ti te gusta,"—which appears to mean "I can eat you how you like" on smash-hit "La Diabla," we get a feeling we'll be hearing that turn of phrase all summer. (Roseland, 8 NW 6th, April 6, 8 pm, SOLD OUT, and much less available for resale, all ages, w/ Estevie) SUZETTE SMITH
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Portland singer-songwriter Laura Veirs sits most comfortably in the indie-folk camp, but the breezy, forward movement in her songs suggests her appreciation for good old four-four pop. At this show she celebrates the release of her new live album, Laura Veirs and Her Band - Live in Brooklyn, which reimagines her primarily acoustic catalog with a live five-piece band. The night will get started with a set from indie-folk artist Sam Amidon. (Polaris Hall, 635 N Killingsworth Court, Fri April 12, 8 pm, 21+, w/) AV
I am a regular listener of the feminist philosophy / pop culture podcast Binchtopia—a "Binchie" to be precise (IYKYK)—so, the fact that I will be in the presence of my parasocial bestie Eliza McLamb this month has me shaking in my boots. If you know anything about her podcast with Julia Hava, then you know that McLamb is incredibly insightful about the trials of girlhood, which is the heart of her debut album, Going Through It. Exploring female friendships ("Glitter"), parentified children ("Bird"), social media addiction ("Modern Woman"), and being mythologized by boys ("Mythologize Me"), the album chronicles her own experiences of growing up through tender folk-tinged lullabies and ferocious indie rock anthems. (Lola's Room, 1332 W Burnside, Sat April 13, 8 pm, $16-18, all ages, w/ Mini Trees) AV
The new project from Portland-based composer and musician Sage Fisher, Cyane maintains the ground taken by her previous effort Dolphin Midwives when it comes holding shows featuring a big harp and high, angelic vocals in a dance club. Fisher's mastery of electronic instruments elevates her analog keystones, transporting an interested audience heavenward. It's polarizing stuff, and you either can't stand Fisher's work or you write about it in your diary. There is no middle ground. Portland multimedia / sound artists Meroitic and Cha Cha support her on the bill. (Holocene, 1001 SE Morrison, Sun April 14, 8 pm, $12, 21+) SS
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Chastity Belt's debut album No Regerts instantly transports me to the summer of 2013—driving around Alki Beach in my friend's VW Cabriolet, scheming for beers, complaining about boys, and shouting the lyrics to "Giant Vagina." It isn't just my personal memories that tie this album to the sunny season, but it's the breezy guitars, the lyrics that evoke the freedom of a summer break, and frontwoman Julia Shapiro's free-flowing, full-bodied vocals. When I hear the opening chords of "Black Sail," I swear I can hear the crack of a Rainier beer opening. After over a decade in a band the quartet started on a whim, the newly-released record Live Laugh Love—which Vivian McCall at our sister pub The Stranger recently profiled—proves they've still go that baked-in knack for riding the line between satire and sincerity. (Wonder Ballroom, 128 NE Russell, Tues April 16, 8 pm, $20, 21+, w/ Peel Dream Magazine) AV
If you're not yet familiar with the work of Kath Bloom, allow me to introduce you. The Connecticut-born singer-songwriter released a handful of albums in the late '70s/early '80s with the avant-garde guitarist Loren Connors. Both Bloom and Connors individually shine with their emotionally resonant, intuitive style, so their collaborative work is truly transcendent (if you queue it up, be ready to wrap yourself in a blanket and cry for several hours). Bloom's voice is raw, emotive, and often sounds as if she's on the edge of tears, crooning poet lyrics about physical and emotional closeness. Don't miss this rare opportunity to see Bloom on her PNW tour alongside fellow troubadours Cruise Control with Bob and Lila on night one, and the Barry Walker Unit with Steel Fringe on night two. (Turn! Turn! Turn! 8 NE Killingsworth, Wed April 17Â & Thu April 18, 8 pm, $15-20, 21+) AV
Holocene recently announced an experimental show, as is their habit, featuring unmissable ambient electronic musician Drew McDowell—who you either haven't heard of or are fiendishly sweaty about. Best known for being either his time with Psychic TV or as a member of Coil during the '90s, McDowell has populated his impressive career with collaborations, working with composers like Caterina Barbieri and Halcyon Veil label-owner Eric Burton, AKA Rabit. He's only playing a handful of shows in the US to support his latest release A Thread, Silvered and Trembling, so this one should be looked upon as a rare treat. Opener {arsonist} is an electronic composer-producer who generally traffics in soundscapes built with software that sound like robot dreams of electric sheep. (Holocene, 1001 SE Morrison, Sun June 26, 8 pm, $20-25, 21+) SS
Blonde Redhead, Nation of Language
Indie-rock trio Blonde Redhead has been kicking out the atmospheric strange for 30+ years, so its endearing that their live shows still sort of feel like basement jam sessions. You're really meant to listen to the swelling choruses of "Snowman," "23," or "In Particular" while riding a minimalistic motorcycle through pastoral countryside, so singer (among other things) Kazu Makino and guitarist (among other things) Amedeo Pace can be forgiven for filling the stage with 3-4 instruments apiece, which they then wander between like they've been sent downstairs to organize ephemera. They're great; the last time I saw them, they talked to the audience just once and then full on ignored everyone for the rest of the show. But their live sets sound wonderful. So go to the Blonde Redhead show, but don't stress out about getting a good view. In fact, Revolution Hall is a terrific venue for people watching. In an interesting twist, pared-back synth pop New Yorkers Nation of Language co-headline the tour, bringing Black Marble-esque beats and catchy grabs like "On Division St." (Revolution Hall, 1300 SE Stark, Sat Oct 12, $45, all ages) SS
