Sunn O))), Papa M
If you’re new to Sunn O))) (just say “Sun”), have no new-fan insecurities. The long-worshipped ambient drone group from Seattle is still putting out great work, guaranteed to vibrate your whole body down to a cellular level. Seeing Sunn O))) live also remains a wholly rewarding experience—if being Maxell’s Blown Away Guy is your thing, and it is my thing—because unless you have a very finicky sound system friend there’s just no way you’re getting the full Sunn O))) experience from their albums. It’s also interesting to see Sunn O))) touring with Papa M, a folksy multi-instrumentalist who carries a similar ambient-bliss vibe, but will do nothing to prepare you for the heavier aspects of the headliner. Well played. (Thurs Sept 12, 9 pm, Revolution Hall, 1300 SE Stark, All ages, $25-28) SUZETTE SMITH

CRITIC’S PICK: Third Angle New Music: In Wildness
Modern classical ensemble Third Angle New Music is kicking off its 2019-20 season on a down note. Titled In Wildness, the program the group has put together will be, as artistic director Sarah Tiedemann wrote in a recent blog post, “about the poles, the sea, the glaciers, and the myriad creatures depending on us to protect a planet that belongs to them, too. It is about the point where art and science meet.”

The timing is close to perfect. There are calls for a general strike later this month to demand an end to the world’s dependence on fossil fuels, and on September 23, the UN will hold a Climate Action Summit that might make some headway toward pulling the globe away from an irreversible tipping point. And, lest we forget, the Bahamas and the southeastern US are still recovering from the damage wrought by Hurricane Dorian, a storm whose increased strength was fueled by warmer air temperatures and rising sea levels.

The titles of the 10 pieces that Third Angle will perform spell out the message Tiedemann and the composers wish to relay: “Expressions of Sea Level,” “Black Snow, Dark Ocean,” “Planetary Bands, Warming World,” and “Glacier.” The music drives the point home. George Crumb’s piece, “Vox Balaenae” (or “Voice of the Whale”), is a strange and discordant wonder with scraping cello tones and distressing humming from the flute giving way to furious blasts of sound and a quiet, bleak closing. Rebekah Driscoll’s “Testing the Second Breath” is easier on the ears, with flute and bassoon lines wending around one another. But as its title is referring to, according to the composer, “the maxim that half the Earth’s oxygen comes from marine life,” the beauty of the work—and the stray piano and vocal samples accompanying the wind instruments—hits like a dire warning. (Thurs Sept 12, 7:30 pm, Vestas, 1417 NW Everett, all ages, $10-35) ROBERT HAM


CRITIC’S PICK: Gary Clark Jr.
While watching Gary Clark Jr.’s electrifying performances of songs like “Pearl Cadillac” and “What About Us” on Saturday Night Live and NPR’s Tiny Desk Concert, it’s hard not to feel goosebumps and a sudden urge to compare the 35-year-old blues-rock singer to Jimi Hendrix. But the Texas artist’s newfound freedom and political bent on 2019’s This Land (particularly its defiant, anti-Trump title track) is also reminiscent of his statement-making contemporaries, like eclectic guitar hero Ben Harper (“Excuse Me Mr.”), Childish Gambino (“This Is America”), and Beyoncé (“Formation”). (Speaking of, let’s never forget that one magnificent time Clark Jr. performed “Higher Ground” with Queen Bey during the Stevie Wonder tribute concert. “Epic” doesn’t even begin to cover it.)

In response to a certain sector of society that tells brown people to “Go back where you come from,” the title track’s chorus repeatedly declares “This land is mine,” an homage to Woody Guthrie’s “This Land Is Your Land.” Clark Jr. was inspired to write the song after an encounter with a new neighbor who couldn’t believe a young Black man could afford a massive ranch just outside of Austin, Texas. “We don’t want, we don’t want your kind/We think you’s a dog born/Fuck you, I’m America’s son/This is where I come from.”

This Land is all over the place—in a good way—and shows Clark can make pretty much any genre sound good when strapped with a guitar. Throughout, the album packs in rock ’n’ roll (“Gotta Get into Something”), dabbles in reggae (“Feelin’ Like a Million”), and tackles country-blues (“The Governor”). Clark Jr. continues to tap vocal influences like Curtis Mayfield and Prince. Other highlights include “The Guitar Man,” “When I’m Gone,” the self-incriminating “Low Down Rolling Stone,” “Dirty Dishes Blues,” and the guitar-centric bonus track “Highway 71.”

In addition to his strong, raspy, naturally soulful voice, Gary Clark Jr. can really fucking play. His guitar solos are the highlight of every track, and on video, feel almost too good to look directly at—these are intimate, visceral experiences between man and instrument. At his upcoming sold-out show at Edgefield, some of us lucky Portlanders will get to be flies on the wall for his finger-pickin’ goodness. (Fri Sept 13, 6 pm, Edgefield, 2126 SW Halsey, Troutdale, All ages, sold out, w/Los Coast) JENNI MOORE


Lose Yr Mind: Shannon Shaw, Feels, Oh Rose, the Lavender Flu, Gary Wilson, Deathlist, Mattress, Bryson Cone, Psychedelic Porn Crumpets, Guantanamo Baywatch, Surfbort, Andy Place & The Coolheads, Wave Action, Levitation Room, the Shivas, Shadowgraphs
It’s the sixth year of the Lose Yr Mind festival, and once again, organizers have upped the ante on the annual shindig. Now featuring two stages (twice the rad!), Lose Yr Mind brings Portland acts, ex-Portland acts, and more together under one roof, along with regional food trucks, booze suppliers, and beer peddlers. Bands as sonically disparate as the Lavender Flu, Guantanamo Baywatch, the Shivas, Bryson Cone, Deathlist, and Wave Action are guaranteed to deliver memorable sets, and there’s a free post-fest wrap party at Rontom’s (Sun Sept 15) with performances by Aan, Art d’Ecco, and Night Heron! Do it for your city. (Fri Sept 13 & Sat Sept 14, 8 pm, Vitalidad Movement Arts & Events Center, 116 SE Yamhill; 9:30 pm, Bunk Bar, 1028 SE Water, $15-50) RYAN J. PRADO


Amy Winehouse Tribute Night
It’s been eight long years since Amy Winehouse’s passing, and her presence is still missed. If you feel the same, you can’t afford to miss vocalist Davi Schmidt as she fronts a seven-piece band of local musicians to pay tribute to the eclectic and passionate singer who was gone much too soon. There will be new takes on some of the classics (like “Love Is a Losing Game,” for which Davi Schmidt has posted a cover on YouTube), but there will also be some lesser-known songs played, so concertgoers can experience the full span of what Winehouse left us with. (Sat Sept 14th, 8 pm, Jack London Revue, 529 SW 4th, $20) KATHERINE MORGAN

Internet Beef, Ayla Ray, Cry Babe
There are EP release shows, and then there’s Internet Beef’s EP release show—less of a traditional affair and more an exposition of artistically epic proportions. The new-ish band is dropping their debut EP, Free Trial—a glitzy punk explosion that ought to pair nicely with all the debauchery planned: burlesque dancers, martial artists, drag performers, live painting, a Super Smash Bros. tournament, and live comedy. All of that’s in addition to fellow Portland rockers Ayla Ray and Cry Babe opening the musical portion of the evening. (Sat Sept 14, 5 pm, Ladd Taphouse, 2239 SE 11th, all ages, $5) RYAN J. PRADO


Joseph, Deep Sea Diver
Read our story on Joseph. (Sat Sept 14 & Sun Sept 15, 9 pm, Roseland Theater, 8 NW 6th, All ages, $27.50-99)

Oregon Symphony: Star Wars: The Empire Strikes Back
According to the liner notes for the original release of The Empire Strikes Back soundtrack, conductor John Williams and the London Symphony Orchestra recorded the score over 18 three-hour sessions. That’s a lot of music (and a daunting undertaking for anyone). The Oregon Symphony is up to the challenge, as they take on the classic score alongside a screening of the film. Conductor Norman Huynh leads the orchestra through what are still some of Williams’ most striking and challenging pieces, including “The Battle in the Snow” (which utilizes piccolos and percussion) and the iconic “The Imperial March” (a nod to Gustav Holst’s “Mars, the Bringer of War”). Of course, the Oregon Symphony has performed Williams’ classic work a number of times with honor and precision; these performances will not disappoint. (Fri Sept 13 & Sat Sept 14, 7:30 pm; & Sun Sept 15, 2 pm, Arlene Schnitzer Concert Hall, all ages, $45-120) MARK LORE


Avril Lavigne, Jagwar Twin
Read our story on Avril Lavigne. (Sun, Sept 15, 7 pm, Keller Auditorium, 222 SW Clay, All ages, $39.50-325)


Blue Tomorrows, Sunbathe, Dolphin Midwives
Sarah Nienaber is one of two multi-instrumentalists who give Portland-based shoegaze-pop band Candace its pretty, plugged-in jangle. Now she has a new project called Blue Tomorrows, which finds her in home-recording mode, using acoustic guitar strums, soft synths, and floaty melodies to build warm, charming psych-pop songs that seem to sway in time with your body rhythms. Tonight, Nienaber will celebrate the release of Blue Tomorrows’ lovely debut album Without Sound (on Moon Glyph Records, which recently relocated to Portland). She’ll be joined by some buds, and the result is a killer night of local left-of-center sounds. (Tues Sept 17, 9 pm, Doug Fir, 830 E Burnside, $10-12) BEN SALMON


Phony Ppl
If you like your R&B and soul like a gurgling waterfall in the middle of a rainforest, then turn your ears to Phony Ppl. This Brooklyn-based quintet combines smooth, bubbly jazz melodies with the kind of vocal harmonies that bring to mind the feel-good artistry of Earth, Wind & Fire. Singing smart, tuneful lyrics that are deep explorations of love and relationships (such as the irresistible “Before You Get a Boyfriend”), Phony Ppl aren’t afraid to dip into more political territory, such as “on everythinG iii Love.,” which pays tribute to the Black people whose lives were taken by police brutality. But more than anything, Phony Ppl trades in music that’s heavy on the head-nodding percussion and gorgeous arrangements—exactly what you need on a heavy-hearted day or lazy Sunday morning. (Wed Sept 18, 9 pm, Jack London Revue, 529 SW 4th, $16) WM. STEVEN HUMPHREY

Sheer Mag, Tweens, Andy Place and the Coolheads
Too many of this century’s garage-pop greats have either called it quits or settled into extended hiatus before the world was ready to let them go. Gentleman Jesse: silent. Royal Headache: broken up. Barreracudas: broken up. The Marked Men: a once-in-a-blue-moon festival act. The Splits: Who knows? Cincinnati’s self-proclaimed “trash pop” outfit Tweens have yet to burn out, but they’ve definitely faded away. It’s been five years since they released their remarkable self-titled debut, which showcased songwriting instincts on par with the aforementioned masters of fuzzed-out bliss. Five years is way too long. Here’s hoping Tweens know they are needed, now more than ever. (Wed Sept 18, 9 pm, Mississippi Studios, 3939 N Mississippi, $16-18) CHRIS STAMM


Jay Som, Boy Scouts, Affectionately
Indie dream-pop artist Jay Som is the recording project of singer/songwriter/multi-instrumentalist Melina Duterte, who just released her second studio album, Anak Ko, the follow-up to 2017’s critically acclaimed Everybody Works. Recorded and produced by Duterte herself, Anak Ko is nine tracks of sparkling, gauzy indie rock and bedroom pop with a significant focus on instrumental details, including violin, maracas, distorted vocals, and masterful guitar work. Jay Som is known for putting on a terrific live show, so we’ll look forward to hearing highlights like “Superbike,” “Nighttime Drive,” and “Tenderness.” Affectionately and Boy Scouts will open—the latter of which is the project of Taylor Vick, who contributed to Anak Ko and just released their new record, Free Company. (Thurs Sept 19, 9 pm, Doug Fir, 830 E Burnside, $15) JENNI MOORE

Mxmtoon, Alexander 23
The artist known as Mxmtoon (pronounced “em-ex-em-toon,” n00bs) has, like so many musicians her age (19), found her fame on the internet. It started with cute footage of family vacations on her YouTube channel. Then it was clips of adorably awkward confessionals and tart original songs played on ukulele. Three years later, she has amassed a global fanbase and has a debut full-length that blends her quaint, diary-entry-like tunes with lush, textured pop. She may be a mystery to you olds, but best believe your adorable nieces and nephews know all the words to “Seasonal Depression” and “Prom Dress.” (Thurs Sept 19, 7 pm, Holocene, 1001 SE Morrison, All ages, sold out) ROBERT HAM


CRITIC’S PICK: Poison Idea
It’s 1983. Hardcore punk is four years old and the bands responsible for its invention are breaking up, slowing down, getting weird, and flirting with crossover sounds. Minor Threat call it a day. Black Flag grow their hair out. Bad Brains release an album produced by the Cars’ Ric Ocasek. Scene kids go to college and get into the Replacements. But hardcore doesn’t die; it is too fast and too loud to perish. Ronald Reagan is still president, the world is still a nightmare, kids are still all kinds of pissed. Enter Poison Idea and their debut EP, Pick Your King, a fierce bruiser that finally puts Portland on the hardcore map.

Instead of establishing a distinct regional sound, Pick Your King marries the precision of Minor Threat to the feral menace of Rollins-era Black Flag to create a kind of hardcore superhero: fast and exacting and ready to rumble. There isn’t an extraneous second on the concise 12-song record, because Poison Idea abides by the stark and simple lines of the hardcore blueprint. That’s the whole point. Bands will eventually complicate and subvert hardcore conventions to create vital sub-genres, but the foundational fury of a one-minute rager will always be necessary. Poison Idea are necessary.

It’s 2019. Jackpot Records has reissued Pick Your King, which, at 36 years old, is as vital as ever. Hardcore has survived. Poison Idea have survived. They aren’t on the Punk 101 syllabus with Black Flag and Dead Kennedys and other best-selling patches, but their work on Pick Your King definitely deserves a place there.

In fact, Pick Your King and the records that followed might be some of the better gateway drugs for kids getting curious about the hardcore canon, because Poison Idea hasn’t become iconic in a way that distorts their legacy. They don’t have a logo that has been parodied to death or appear in every single documentary about anything even tangentially related to punk rock. They are not synonymous with a movement or style. They are simply Poison Idea, an incredible hardcore band from Portland, and that’s all they ever had to be. Now, nearly 40 years after forming, they’re calling it a career and playing one last Portland show. 2015’s stellar Confuse and Conquer offered convincing proof that they could probably do this forever, but they’ve done more than enough. RIP Poison Idea. Long live hardcore. (Fri Sept 20, 9 pm, Dante’s, 350 W Burnside, $20-25; w/Long Knife, Magick Gardens, Toody Cole) CHRIS STAMM


Shigeto Live Ensemble
Musician/producer Zach Saginaw, AKA Shigeto, has used jazz as the foundation and inspiration for much of his solo output, sampling favorite records and using a similar whorled aesthetic to complement his electronic dance compositions. In recent years, the Michigan-bred artist has been letting his roots show more through collaborations with trumpeter Dave Douglas and his latest EP Versions, which finds Saginaw behind a drum kit and vibing with a crack ensemble of players that grab on to existing formulas before instantly finding ways to fuck with them. It’s jazz siphoned through a dub remix mentality. (Sat Sept 21, 8:15 pm, Jack London Revue, 529 SW 4th, $25) ROBERT HAM

Shells, Deadbeat Beat, Jessica Dennison and Jones, Bob Desaulniers
Known for her work in Detroit rock band Tyvek and the late, great Saturday Looks Good to Me, Shelly Salant is a fixture of Midwestern indie music. As Shells, she makes adventurous, guitar-driven instrumental albums that pair the collaged freedom of Mick Turner from Dirty Three’s solo records with the best of ’90s indie rock instrumentals (think Yo La Tengo’s “Green Arrow,” Halo Benders’ “Rebels Got a Hole in It,” and Silver Jews’ “Night Society”). These free and easy collections of home recordings, when played as a whole, gather a sense of intention and purpose. They feel casually grand, transcendent, and somehow wise. (Sat Sept 21, 8 pm, Turn! Turn! Turn!, 8 NE Killingsworth, $7) JOSHUA JAMES AMBERSON


Mike Watt and the Missingmen, Máscaras
It feels like it’s been a very long time since Mike Watt and the Missingmen have hit the road or done much of anything at all—but that’s because the project is only one of Watt’s prolific endpoints of creativity. The punk icon’s collaboration with guitarist Tom Watson and drummer Raul Morales began in the late ’00s, and hearkened to the taut power-trio punk-funk maelstrom of the Minutemen and Firehose, though they emerged a decidedly different animal altogether, as heard on Watt’s 2010 LP, Hyphenated-Man. Their six-week tour has no off days, so the performances should be pocket-tight affairs that you’ll forever regret missing, man. (Mon Sept 23, 9 pm, Mississippi Studios, 3939 N Mississippi, $18-20) RYAN J. PRADO

Fear No Music: Hearings
Fear No Music has been delivering brilliant musical experiences to Portland for more than 25 years, and tonight this classically trained collective offers a program of fresh compositions responding to last year’s Senate confirmation hearings that elevated the dishonorable Brett Kavanaugh to the Supreme Court. The intriguing chamber works to be performed are inspired by the official transcript of the proceedings, with a specific focus on the wrenching—yet ultimately heroic—testimony of Dr. Christine Blasey Ford. Come give witness to the power of creative transmutation as some of this town’s finest musicians turn national heartache into unadulterated hope. (Mon Sept 23, 7:30 pm, The Old Church, 1422 SW 11th, $10-25) BRIAN HORAY


Blue Cranes, Methods Body
Methods Body, the artistic partnership of keyboardist Luke Wyland (ex-AU) and John Niekrasz (ex-Why I Must Be Careful), has existed in some form for at least five years, with the two friends and master musicians prodding and daring each other to seek as-yet-unreached creative plateaus through improvisation and sometimes ritualistic performances. So far that has yielded live shows of remarkable complexity and joy, as well as a recording of a set in Iowa (out on Bandcamp) where Niekrasz sets loose on a jumbled jazz-like rhythm and Wyland moves and responds with the grace and glitter of modern dance. (Tues Sept 24, 8 pm, Mississippi Studios, 3939 N Mississippi, $12) ROBERT HAM

BJ the Chicago Kid
BJ the Chicago Kid has an impressive supply of hits (and numerous features) from which to create a killer setlist. First was his ear-catching indie classic Pineapple Now-Laters (featuring “Good Luv’n”), then his stunning major-label debut In My Mind on Motown Records in 2016, and now he’s touring behind his new album, 1123. The contemporary soul singer always puts on a stellar live show when he comes through Portland. From his previous performances at the Star Theater and Mississippi Studios—two theaters perfectly sized for BJ’s intimate live R&B—I most enjoyed his heartfelt, perfectly sung renditions of “Heart Crush,” “The Resume,” and of course “Church.” And also the time he paused his performance to tell some loud-mouthed dudes in the front to pipe down so us actual fans could peacefully bask in BJ’s lovely live vocals. (Tues Sept 24, 9 pm, Star Theater, 13 NW 6th, $20-50) JENNI MOORE