PALM Fri 3/2 Bunk Bar BILLIONS

Super Pick

Fri March 2 (Bunk Bar, 1028 SE Water) What’s in the water in Philadelphia? The tributary along which Palm resides must be teeming with radioactive fuzz and psychedelic clock-guts, radiant melodies and broken metronomes, crooked Beach Boys LPs and neon Tetris pieces. How else do you explain the four-piece’s positively weird-but-maybe-not-that-weird new album Rock Island? Palm’s bio on the Carpark Records website begins by declaring that the band “plays rock music backwards,” and that’s... well, that’s pretty much right. The guitars—played by Eve Alpert and Kasra Kurt—sound like a shelf full of animatronic figures chiming and buzzing and chirping out of time with each other, but interlocking in a way that makes perfect sense. Drummer Hugo Stanley’s playing is rhythmic, of course, but also adds a textural—even melodic—layer to Palm’s songs, flitting around the guitars like a bee trying to figure out how to sting a lightning bolt. When they’re not busy making this funhouse of sounds, Palm fills in the spaces with lovely vocal melodies that recall Animal Collective. Add it all up and you’ve got one of the best and strangest pop-rock records of the year. And if that ain’t enough to get you out of the house, consider the show’s opening act, the Spirit of the Beehive, another Philly combo with a gift for making warm, warped pop songs that zig when you expect them to zag, but always end up at a place that’s pleasing to the ear. (They made one of the best and strangest pop-rock records of last year.) BEN SALMON


(Mississippi Studios, 3939 N Mississippi) Sink your teeth into tonight’s all-star triple-stack of exploratory Portland music, headlined by the excellent Helvetia, whose pop-adjacent psychedelia defies easy categorization. They’re joined by the spectacular riffage of Blesst Chest and the no-wave experimentation of Wet Fruit. If someone drew a family tree of Portland bands, tonight would be a dense tangle of its many branches. NED LANNAMANN

(Alberta Rose Theatre, 3000 NE Alberta) The allure of Irish folk group Lúnasa lies in the band’s affinity for tradition. The quartet’s 1998 self-titled debut is still beloved for both its allegiances to and development from traditional Celtic music, which is ordinarily steeped in more melody-based arrangements and improvisations. The band has most recently been linked to several on-and-off collaborations with Tim O’Brien; bassist Trevor Hutchinson appeared on O’Brien’s Pompadour, while piper Cillian Vallely has logged time on the road with the bluegrass guitar virtuoso. Lúnasa is dropping a new album later this year called Cas, which features Mary Chapin Carpenter, Natalie Merchant, and many more. “These people are post-Beatles,” O’Brien explained. “There’s a certain adventurous spirit and an innovative direction in it.” I’d say that’s high enough praise to warrant two nights at the Alberta Rose. RYAN J. PRADO


(Alberta Rose Theatre, 3000 NE Alberta) See Wednesday’s preview.

(Kelly’s Olympian, 426 SW Washington) Fans of the sizzling hot monthly showcase the Thesis won’t be caught sleeping for this month’s installment, which once again features the very best of Portland hip-hop. Tonight’s lineup is straight-up FIRE, featuring the smooth, trippy rap of Bocha, who will be sharing the stage with rapper, beatmaster, and fan favorite sxlxmxn (formerly Stewart Villain). And joining the Thesis for the first time will be RC $pitta (a top name on the Burn Money Music roster) providing raw rhymes that'll put a serious bounce in the room, as well as Smokey Charles whose track “The Sauce” is rapid-fire, whip-smart, and just about everything you’ll ever need from life. Add the always-reliable DJ Verbz on the turntables, plus a sure-to-shock special guest, and you’ll see why the Thesis is the hip-hop lover's show that puts you in the know. WM. STEVEN HUMPHREY

(Mississippi Studios, 3939 N Mississippi) Portland singer/songwriter Haley Heynderickx is finally releasing her long-awaited debut LP, I Need to Start a Garden, and celebrating its grand unveiling with a show at Mississippi Studios alongside her Mama Bird Recording Co. label mate Vikesh Kapoor. Heynderickx is one of NPR Music’s 2018 Slingshot Artists, and for good reason: Her first album brims over with chillingly beautiful “doom folk” songs that contemplate life’s mysteries with tenderness and curiosity. CIARA DOLAN Read our story on Haley Heynderickx.

(Doug Fir, 830 E Burnside) In his 2017 album Forced Witness, Alex Cameron takes a microscope to the toxic masculinity that powers bar fights, misogyny, and internet trolling. With backup from the likes of Angel Olsen and Killers frontman Brandon Flowers, it’s one of last year’s strangest (and greatest) records—Cameron’s sleazy synth-pop is sometimes vaguely Buffett-esque, and sometimes as glittery as a Vegas fireworks show. Tonight, the hip-swiveling Australian visits Portland with his business partner/saxophonist Roy Molloy and opening act Molly Burch, whose 2017 debut Please Be Mine is retro-pop perfection. CD Read our story on Alex Cameron.

(Arlene Schnitzer Concert Hall, 1037 SW Broadway) Five years ago, when Astoria’s hometown heroes teamed up with the Oregon Symphony for their very first collaboration, I remember being surprised by how many Blind Pilot fans from all over the country had traveled to be a part of the Schnitzer crowd. Luckily, their hunch that something special would be brewing absolutely panned out, and happy memories from that night still bob to the surface of my consciousness whenever a track from We Are the Tide plays. Who’s to say if a magical evening can be conjured twice, but frontman Israel Nebeker’s endlessly intriguing lyrics joined with his absolutely infectious melodies are already brilliant creations, and when they’re enlivened by expertly tailored orchestral arrangements performed by scores of virtuosic musicians in front of thousands of people, my money’s on the magic. BRIAN HORAY

(Bossanova Ballroom, 722 E Burnside) Matt Harvey is a busy man. In 2017, the guitarist/vocalist was involved with three different releases from three different extreme metal bands: an EP from his death homage band Gruesome, an EP from his all-star death/grind project Expulsion, and a full-length entitled Death Revenge from his first band, Exhumed, which definitely benefited from Harvey refining his chops in so many projects. Revenge has all the hack-and-splatter grind Exhumed fans have come to expect over the years, but since Harvey has been emulating Chuck Schuldiner via Gruesome, the scope is much grander than the typical two-minutes-and-change chum-churners Exhumed typically pumps out. The album is conceptual, with an overture and other orchestral interludes throughout. Harvey and Bud Burke’s guitar work is as harmonious and impressive as it is devastating. In a live setting, songs from Revenge will certainly leave you gathering your disembodied appendages once the show is over. ARIS HUNTER WALES


(Arlene Schnitzer Concert Hall, 1037 SW Broadway) Situated at the vanguard of multiple movements in jazz—from his post-bop years with Miles Davis, to defining fusion with Head Hunters, to the electrofunk breakthrough of “Rockit,” and beyond—Herbie Hancock is a titan of American music. If you’re still working on your bucket list of legendary musicians to see live, Hancock should absolutely be on it. Tonight’s your chance. NL

(Mississippi Studios, 3939 N Mississippi) Read our review of Candace’s new record, New Ruins.

(Crystal Ballroom, 1332 W Burnside) On the greater spectrum of pop music, Brockhampton falls somewhere between Odd Future and *NSYNC. Headed by 21-year-old rapper/producer Kevin Abstract—the only member who’s already got two solo albums under his belt—the Texas collective fuses their love of both alterative hip-hop and lush, Auto-Tuned boyband pop hooks. (Joba’s verse on “Sweet” even references his aspirations of becoming a frosted-tipped JT.) 2017 was a huge year for the group: They signed to Fool’s Gold Records, released three albums in the Saturation Trilogy, and were the subjects of the Viceland documentary series American Boyband. Brockhampton is currently touring behind their latest record, Saturation III; its lead single, “Boogie,” showcases their fluency in both danceable bangers and sleek R&B. CAMERON CROWELL

(Theater of the Clouds at Moda Center, 1 N Center Court) Bust out your finest patterned tracksuit and tease that hair—this is definitely your mama’s throwback jam. Tonight, the Theater of the Clouds becomes a hotbed of nostalgia, with performances from music and style icons of the ’80s and ’90s, like hard-working dance-pop diva Taylor Dayne (“Tell It to My Heart”) and R&B queen Evelyn “Champagne” King, who came to prominence at the height of disco fever with “Shame” and followed it with hits “I’m in Love” and “Love Come Down.” Miami comes through with King of Freestyle Stevie B, the voice (and unforgettable mullet) behind hits “Spring Love” and “Because I Love You (The Postman Song).” Other hits guaranteed to ignite the dance floor include “I Wonder If I Take You Home” (Lisa Lisa), pioneering electro hit “Jam on It” (Newcleus), and Southern hip-hop classic “Tootsee Roll” (69 Boyz). DANIELA SERNA

(Analog Theater, 720 SE Hawthorne) On Porches’ song “Be Apart” (from 2016’s Pool), frontman Aaron Maine agonizes over whether or not he should leave the comfort of his house and “be a part of it all.” Throughout the New York-based synth-pop project’s aptly titled new record, The House, Maine continues to alternate between burrowing into this familiarity and pining for the outside world like a housecat hesitating at an open window. It’s probably safe to say this is a metaphor for outgrowing a relationship, so it’s also probably safe to say The House is a breakup record. But across 14 tracks, Maine illustrates his own chaotic emotional states with clean lines—even as he’s saying “Goodbye,” the drum machine beats and synth throbs are controlled with mathematic precision. Although Pool has catchier hooks and fewer throwaway tracks, The House contains plenty more of what Porches does best: icy techno-pop that’s suited for crying or dancing or even both, simultaneously. Girl Ray will open the dance floor waterworks with jangling, lovelorn pop from their sweet 2017 debut, Earl Grey (they’re very British), which lands somewhere between Cate Le Bon and the Ronettes. CD


(Spare Room, 4830 NE 42nd) Named “Payback” after the Etta James classic, this week’s installment of Sugar Town—a recurring dance party for the LGBTQ community and its allies—will spotlight soul music’s greatest female contributors in celebration of Women’s History Month. Sound providers will focus on all the best (and most underappreciated) soul and R&B from the ’60s and ’70s. A portion of the door proceeds will go toward Higher Heights of America, an organization that seeks to support and expand the “Black women’s leadership pipeline,” and strengthen civic engagement. JM

(Black Water Bar, 835 NE Broadway) Summer Cannibals is one of the best bands in Portland—a perfect storm of talent, DIY ethos, and community mindedness. (Frontwoman Jessica Boudreaux has contributed time and expertise to Portland’s School of Rock, while also supporting the city’s omnipresent need for all-ages shows and music venues.) Summer Cannibals’ rock ’n’ roll is driven to excellence by Boudreaux’s roaring vocals, often delivered with a take-no-crap attitude. The band released their first two albums on their very own independent label, New Moss Records, before signing with Kill Rock Stars to release their most recent LP, 2016’s Full of It. DELANEY MOTTER

(Doug Fir Lounge, 830 E Burnside) The chance to see Lee Ann Womack in a venue as cozy as the Doug Fir is some kind of rare treat, because in a just world, this country music veteran from Texas would be headlining stadiums. But these humble shows are a result of the defiance the 51-year-old has shown throughout her stormy career. After a string of huge albums in the ’90s and ’00s that played within the pop confines, she reverted to a ’70s-style sound that incorporated soul and gospel influences. Her labels at the time didn’t care for the shift, and quickly showed her the door. Rather than nurse her wounds quietly, Womack has stormed out as an independent artist and released some of her best-ever work, including her most recent album The Lonely, the Lonesome, and the Gone, a soundtrack for a late-night bar crawl marked by flouncing satisfaction and rueful musings. ROBERT HAM

(Holocene, 1001 SE Morrison) For its first-ever performance with a live vocalist, local dance party Gran Ritmos is hosting global bass powerhouse Zuzuka Poderosa. Born to a Brazilian mother and an Indonesian father and raised in Rio de Janeiro and the Cayman Islands, she began DJing and performing in New York City, where she studied jazz vocal improvisation. Poderosa’s unique sound—which she describes as “interracial music babies”—has come to be known as Carioca Bass: a potent blend of Brazilian baile funk and Miami booty bass with a favela grit and elements of party sounds from around the world. Her music is full of sweaty beats and tongue-in-cheek innuendo, from 2009’s “Ai Voce Gosta,” a slamming bass-heavy baile funk rap set to the Eurythmics’ “Sweet Dreams,” to 2017’s “Pussy Control,” an old-school electro-influenced international collaboration released after the Women’s March. DS

(Veterans Memorial Coliseum, 300 N Winning) “Smooth,” Carlos Santana’s 1999 collaborative single with Rob Thomas, will always be there, gyrating gently on the periphery of our shared cultural consciousness. This is unfortunate, as “Smooth” is an indisputably shitty song that speaks to the insufferable self-importance of turn-of-the-millennium guitar music, when rock radio was the aural equivalent of a hamper filled with dirty khaki shorts and white Gold Toe socks. Santana’s post-“Smooth” career has been rocky, too: His oft-forgotten collaborations with Chad Kroeger, Steven Tyler, and Scott Stapp—the last of which is a hilariously awkward cover of CCR’s “Fortunate Son”—are just as bad. Is the batshit, wildly inventive Carlos Santana who played guitar on Abraxas and Santana III in the early ’70stwo albums that make Eric Clapton sound like Tiny Tim—the same Carlos Santana who eagerly collaborated with the lead singer of Creed in 2010 and a few years later went on record to say Beyoncé “isn’t a singer”? Either we have a “Paul is dead”-level conspiracy on our hands, or Santana desperately needs a new manager. MORGAN TROPER

(Crystal Ballroom, 1332 W Burnside) Portland’s own MarchFourth Marching Band celebrates its 15th anniversary this weekend with three shows at the Crystal Ballroom. The 20-member ensemble’s live performances combine vaudeville theatrics, stilt-walkers, circus acrobatics, and brassy, New Orleans-inspired big-band sounds. Plus, they’ve opened for groups as dissimilar as KISS and Blink-182, if that says anything about their range in appeal. If you’re craving an oversized musical experience with horns, refurbished bike drums, and aerial tricks, MarchFourth is probably for you. CD


(Crystal Ballroom, 1332 W Burnside) See Saturday’s preview.

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(Doug Fir, 830 E Burnside) Seattle’s Thunderpussy dishes out unapologetic rock ’n’ roll like it’s the air they breathe, and now they’re bringing those voracious vibes to Portland as part of their "Pour Morals" tour. Those vibes recently took a turn for the slightly lovelorn, with the romantic track “Torpedo Love” getting everyone in the spirit of making love or breaking it. No matter which side of that coin you land on, Thunderpussy’s commanding, vibrant nature is guaranteed to deliver high levels of badassness. They’re the perfect band to see if you need a boost in your mood (as we all might, these days). CERVANTE POPE


(Doug Fir, 830 E Burnside) The title of Faith Healer’s Try ;-) reads like a dare—the winky face is, without question, the boldest emoticon—but the freewheeling psych-pop found on the Edmonton, Canada, duo’s latest album (released last year via Mint Records) is unmistakably playful. With the help of multi-instrumentalist Renny Wilson, singer/guitarist Jessica Jalbert kicks off the title track—which she fashioned as a response to Bruce Springsteen’s come-hither ballad “Tougher Than the Rest”—with a carefree laugh, while song titles like “Such a Gemini” and “Best Saved 4 Last” (the album closer, naturally) contribute to the record’s easy, breezy feeling. These coy flourishes don’t distract from Faith Healer’s versatile talent, though; “Light of Loving” is smoldering psychedelia, while “Sterling Silver” mellows into hymn-like electro-pop. Faith Healer is becoming one of Canada’s best musical exports, and tonight they’ll play alongside one of Portland’s best musical exports, Reptaliens (whose 2017 LP FM-2030 is languid, morbid, sun-kissed, and beautiful pop). CD

SLAY Film Fest
In person at the Clinton St. Theater 10/29 & 10/30