(The Old Church, 1422 SW 11th) Enchantress Alela Diane makes lovely folk music that fills a heart with longing and life. Celebrate Diane's lilting wonders with this record-release show for her newest, About Farewell, at the stately Old Church, where a string trio will accompany her. It'll be an elegant backdrop for her soft and stirring songs. COURTNEY FERGUSON Read our article on Alela Diane.

(Doug Fir, 830 E Burnside) Like the other singer/songwriters to whom she's typically compared—Gillian Welch, Ryan Adams, Neil Young—Chris Pureka's art thrives in emotionally desolate environments. Who can say why one person's interpretation of heartbreak and loneliness speaks so clearly to you while another's leaves you cold, or worse, bored? Thankfully, Pureka, who's recently relocated to Portland, is never boring. Actually, her sound has gotten bigger and more adventurous over the years, though the theme of fractured relationships has remained. Pureka's new EP, Chimera II, is just out, the follow-up to the first Chimera, which came out four years ago. Her impressive finger-picking is timeless, and evocative, and also lends itself particularly to space. Identifying as genderqueer would be tough in many aspects of life in 21st-century America. But in the realm of lost love, her viewpoint provides a lot of possibilities for interpreting loneliness from a more universal perspective. This shit happens to everyone. REBECCA WILSON

(Hawthorne Theatre, 1507 SE César E. Chávez) The first time I heard Machine Head's debut, Burn My Eyes, I thought they were the second coming of Metallica. Maybe they were. The Bay Area thrashers have been kept afloat by frontman Robb Flynn, who's adeptly steered the band with the times while also minding his own ambitions. Recent albums like The Blackening and Unto the Locust have returned Machine Head to the top of the thrash heap. The band—with a number of lineup changes—continues to tour, and is currently working on their eighth LP. If all goes according to schedule, you'll be hearing the name Machine Head in the same breath as some of the greats. MARK LORE

(Alhambra Theatre, 4811 SE Hawthorne) Evan Hailstone and Quinn Mulligan's energy is infectious—if you're not singing along with them, you're falling into beat and folk-moshing in the front row. Whether they're crooning an ode to the blue-collar struggle or to a love you may never find, Fanno Creek's tone is raucous, accented by the shared lead harmonies. Dane Brist is an intuitive drummer, bringing an upbeat pop element to the songs. This is Fanno Creek's only announced Portland show of the summer, currently, so if you're an old or prospective fan, it's going to be a particularly grand time. Expect some new material from the trio, as they've been studiously at work recording a new album. RACHEL MILBAUER

(Wonder Ballroom, 128 NE Russell) Buckcherry are headlining a show at the Wonder Ballroom. It's 2013. Either I'm out of touch or some promoter knows more than I do. Buckcherry are a band whose significance is absolutely confined to its time—and even then, that significance is ultimately negligible. Buckcherry are barely deserving of a footnote. They make Nickelback look like Aerosmith, and Aerosmith look like the Rolling Stones. I feel embarrassed just typing their name. The group's most enduring hit, "Crazy Bitch," is so wantonly misogynistic it would make Kid Rock blush. They embody the distilled evil of corporate rock; they're an artifact belonging to an age (the '00s) when subversive rock 'n' roll was marginalized to the point of being a nonentity, and where, in retrospect, bands like the White Stripes and Franz Ferdinand were lauded only because they weren't as bad as... well, Buckcherry. So, on the off-chance you were even considering it, please do anything with your night other than go see Buckcherry. MORGAN TROPER