THURS OCT 24
Blackwater Holylight, R.I.P., Pushy
Read our record review of Veils of Winter by Blackwater Holylight. (Thurs Oct 24, 9 pm, Star Theater, 13 NW 6th, $10)
The Wailers
With original bassist Aston âFamily Manâ Barrett at the helm, and the quite excellent Josh David Barrett on lead vocals, legendary reggae band the Wailers are touring to celebrate the 40th anniversary of Survivalâtheir 11th studio album with Bob Marley. While youâre sure to hear plenty of Bob Marley-written tracks from 1979âs militant, pan-African album (such as the title track, âAfrica Unite,â and âSo Much Trouble in the Worldâ), concertgoers can also expect to hear sparkling, drawn-out versions of some of the classics and mega-hits: âJamming,â âNo Woman, No Cry,â âExodus,â and the highly applicable âGet Up, Stand Up.â (Thurs Oct 24, 8 pm, Aladdin Theater, 3017 SE Milwaukie, all ages, $25-30) JENNI MOORE
CRITICâS PICK: Big Thief, Palehound
In just a few years, Big Thief has built a complex and thought-out discography thatâs made them into critical darlings. While arguably creating some of the most intriguing and addicting singles of the past several yearsââShark Smile,â âMasterpiece,â and âMythological Beautyââtheir albums arenât particularly easy affairs. Each one twists and turns through genres, often touching the heels of perfect pop before quickly backing away. The bandâs odd amalgamation of alt-country, art-rock, and minimalist folk weaves around Adrianne Lenkerâs versatile and unusual voiceâa voice that exists somewhere between the sharp Appalachian drawl of Iris DeMent and the hushed bedroom-pop intimacy of Frankie Cosmosâ Greta Kline.
UFOF, Big Thiefâs album from this spring, takes this genre-bending inclination even further. UFOFâs brightest highlight is the title track, a song that feels like a trick: Itâs got a song structure that plays like a Möbius strip, with one part leading into the next and back again, creating the illusion of repeatedly receiving something new. The somewhat baffling album is full of gifts, but those gifts require time, patience, and repeated listens.
Now, just five months later, theyâve released Two Hands, a project they refer to as âthe celestial twinâ of UFOF. Itâs their version of a straightforward folk-rock album: Neil Young-esque moseying beats, noisy lead guitar parts, Lenkerâs snarls. It opens easier, but is still full of moments that challenge and push against genre boundaries.
Regardless of whether youâre willing to brave the winding side roads of their albums, each contains several songs that feel like immediate classics, as if the recordings were destined to existâunlikely, but in some way inevitable. Although the bandâs only been around since 2016, they could easily have a âbest ofâ release by now. Theyâre on the kind of creative run that only comes from a group working in some sort of single-minded fever state. Itâs a rare kind of dedication, and itâs worth watching to see where they take it. (Thurs Oct 24, 8:30 pm, Crystal Ballroom, 1332 W Burnside, all ages, sold out) JOSHUA JAMES AMBERSON
Guerilla Toss, Blesst Chest
Guerilla Toss were born wild but reassuringly familiar, their lurching no-wave freak-outs kept in check by a reverence for Skin Graft Recordsâ seminal catalog of noisy weirdos. The New York band has lately evolved into a less abrasive but far stranger beast. On last yearâs Twisted Crystal, they gave themselves over to a sci-fi soundscape of squelching synths, cosmic grooves, and saccharine chants. It is Guerilla Tossâ most melodic record to date, but itâs still all sorts of off-kilterâits neon funk workouts are seemingly sent back in time from a super fun and completely cracked future. (Thurs Oct 24, 8 pm, Polaris Hall, 635 NE Killingsworth Ct, $13-15) CHRIS STAMM
THURS OCT 24 & FRI OCT 25
Y La Bamba
Portland-based indie band Y La Bamba just released a seven-track EP called Entre Los Dos, the follow-up to their excellent 2019 LP Mujeres, which Rolling Stone called âfood for the bicultural soul.â Led by Mexican American singer Luz Elena Mendoza, Y La Bamba puts the frontwomanâs self-contemplation and exploration of her rich heritage at its heart, garnering the band critical acclaim, and a recent performance on NPRâs Tiny Desk Concert series. Y La Bamba is celebrating this new EP with a sure-to-please two-night release party at Doug Fir Lounge, joined by the excellent Brown Calculus and Noche Libre on Thursday and then by Noche Libre again along with Reyna Tropical on Friday. (Thurs Oct 24 & Fri Oct 25, 9 pm, Doug Fir Lounge, 830 E Burnside, Thurs $16-20, Fri sold out) JENNI MOORE
FRI OCT 25
Karma Rivera, Amenta Abioto, Lisa Vazquez, KayelaJ
Set in the Jack Londonâs cozy basement bar, the Ladies First: Hip-Hop/Soul Showcase brings together some of the townâs stalwart music acts. From rapper/radio personality KayelaJ to MC/loop-pedal maestro Lisa Vazquez to a high-energy performance from Karma Rivera, thereâs lots to see here. But perhaps the most moving part of the evening will be a partially improvised set from soul singer/multi-instrumentalist Amenta Abioto, who also uses looping techniques to create her music, weaving vocal sounds together with kalimba, synths, drum machine, and guitar. Originally from Nashville but residing in Portland, Abiotoâs soothing Southern accent and joyful experimentalism are like a breath of fresh air. (Fri Oct 25, 9:30 pm, Jack London Revue, 529 SW 4th, $12-15) JENNI MOORE
The Legendary Pink Dots, Orbit Service
Categorizing the Legendary Pink Dots is a foolâs errand. Led by multi-instrumentalists Edward Ka-Spel and Phil Knight, the long-standing ensemble have dabbled in whatever musical element hooves into their collective view. Over their nearly 40-year existence, that has included excursions into neo-psychedelia, industrial rock, ambient, and arch pop punctuated by bursts of raw noise. On the groupâs latest album, Angel in the Detail, the Dots set the wispy vocals of Ka-Spel and his philosophical lyrics over a synthetic backdrop that evokes the throbbing allure of the dance floor or the drowsy visions of an opium den. (Fri Oct 25, 8 pm, Polaris Hall, 635 N Killingsworth Ct, $25-30) ROBERT HAM
SAT OCT 26
Oranssi Pazuzu, Insect Ark, WILL
Read our story on Oranssi Pazuzu. (Sat Oct 26, 9 pm, Star Theater, 13 NW 6th, $17)
Dinosaur Jr., Steve Gunn
Itâs getting really depressing to note the frequency with which seminal albums from my youth are celebrating their 25th anniversary this year. But here we are, trapped in the existentialist malaise of a world where Dinosaur Jr.âs 1994 album Without a Sound is all grown-up. Of course, the project felt mature when it dropped, and it might be the first album by the band where the detached emotionalism in J. Mascisâ songwriting was first fully honed. The band hasnât lost a step. And while on the surface, their pairing with Steve Gunn for this tour might seem mismatched, Mascis and Gunn are two of the most dynamic guitarists performing in America today. (Sat Oct 26, 9 pm, Wonder Ballroom, 128 NE Russell, sold out) RYAN J. PRADO
SUN OCT 27
Kero Kero Bonito
Itâs always interesting to watch a band change and grow. London-based Kero Kero Bonito made its name as an ultra-catchy electro-pop act before transforming into a fuzzed-out electro-rock band focused on darker themes for their 2018 album Time ânâ Place. A year later, the trio has evolved again for their new EP Civilisation I, by emboldening their arrangements, pulling in a broader palette of sounds, and expanding their thematic scope to explore political division, climate change, Biblical imagery, and the end of mankind. Have they lost their penchant for effervescent melodies? They have not! After all, this is still Kero Kero Bonito; itâs just a more fully developed version. (Sun Oct 27, 8:30 pm, Wonder Ballroom, 128 NE Russell, all ages, $20) BEN SALMON
MON OCT 28
Danny Brown, Ashnikko, ZeelooperZ
Danny Brown, the tart-tongued rapper from Detroit, set himself a high bar to clear with his last album, 2016âs Atrocity Exhibition, a funky head trip that took on influences of industrial and post-punk. But he was given a huge boost by Q-Tip, co-founder of A Tribe Called Quest, who stepped in to executive produce Brownâs latest uknowhatimsayinÂż (released earlier this month on Warp). With some assists from the likes of Jpegmafia, Run the Jewels, and Flying Lotus, the new record is as rubbery and loose as an ether high and as nasty as a festering wound. (Mon Oct 28, 8 pm, Roseland Theater, 8 NW 6th, $25) ROBERT HAM
Moorea Masa and the Mood, Frankie Simone, Blossom
Moorea Masaâs first solo album, Shine a Light, is a soulful, magnanimous collection of songs that sounds fully contemporary even as it boasts vintage garnishments like whirring Hammond organ and Motown-esque stabs of strings. Masaâs voice would likely sound fantastic in front of any backdrop, but Shine a Light is the perfect showcase for her terrific voice, tinged with soul, R&B, folk, and pop. Itâs an album good enough to turn Masa into the kind of superstar she so clearly is destined to become. Nowâs a very good time to become familiar with her work live as she headlines on this top-notch bill that includes Frankie Simoneâs self-empowering pop and the neo-soul of Portlandâs own Blossom. (Mon Oct 28, 8 pm, Mississippi Studios, 3939 N Mississippi, $12-14) NED LANNAMANN
100 Gecs
Is this a prank? Do I love this? I think I love this. Experimental music duo Laura Les and Dylan Brady have alchemized some of the most annoying music in recent historyâlike AutoTune, glitch, dubstep, noise, and screamoâinto a debut album of highly addictive dance-pop treasures. It feels like they came out of nowhere, but thereâs actually a whole fascinating world of SoundCloud tracks to discover from both Les and Brady. So while this show is at an energetic, electro-punk-loving-youths-ready-to-mosh-and-dance level of sold out, you and me (I wasnât gonna mosh anyway) can still do an internet deep dive and bask in all the bedroom vaporwave hits we missed that foretold the 2019 total pop dominance of 100 Gecs. (Mon Oct 28, 8 pm, Holocene, 1001 SE Morrison, A, sold out) SUZETTE SMITH
TUES OCT 29
Natasha Bedingfield
UK singer/songwriter Natasha Bedingfield has cemented her place in the pop music hall of legends by way of âUnwritten,â her gooey ode to self-empowerment from 2004. But carry on she has in the 15 years since, with less beloved, but equally delightful earworms like âI Wanna Have Your Babiesâ and âPocketful of Sunshine,â and the small triumph that is her new album Roll with Me. Working with pop producer par excellence Linda Perry, the record makes great use of Bedingfieldâs flexible voice, letting edges of blues grind into her various personae: disco diva, coy princess, screwed-up lover, and pure goofball. (Tues Oct 29, 8 pm, Revolution Hall, 1300 SE Stark, $35) ROBERT HAM
WED OCT 30
Haley Heynderickx
The aftershock of Haley Heynderickxâs ballyhooed 2018 album, I Need to Start a Garden, is still reverberating in the chests and brains of everyone whoâs heard it. I personally witnessed a table full of people scream along in solidarity to the lyrics of the title track at a bar in Southeast not one week ago. Itâs rare when a record receives that kind of adoration, and Heynderickxâs live shows are part of that, too. As such, sheâll be performing an early solo show at Mississippi Studios, followed by a full-band set, to appease her rabid fan base. (Wed Oct 30, 7 & 9:30 pm, Mississippi Studios, 3939 N Mississippi, early show sold out, late show $25-30) RYAN J. PRADO
THURS OCT 31
HTRK, Soft Kill, Choir Boy
Thereâs always a lot of undue pressure to get as spooky or debaucherous as possible on Halloween night, no matter how old you are. Soft Kill is the kind of band practically ready-made for the gloomy quotient of the Halloween tradition, and have been steadily carving their way into the deep recesses of the goth-rock/post-punk paradigm. The bandâs 2018 album, Savior, is a dark, anthemic listen, ruminating on recovery, personal evolution, and salvation, set to moody, Cure-inspired pop production that you can dance to. Australiaâs HTRK headline on the heels of their 2019 LP, Venus in Leo. (Thurs Oct 31, 8 pm, Mississippi Studios, 3939 N. Mississippi, sold out) RYAN J. PRADO
Frankie Cosmos, Stephen Steinbrink, Lomelda
For the past 12 years, Stephen Steinbrink has been producing smart, uncommon albums of indie-pop. His latest, 2018âs Utopia Teased, is easily one of the best in Steinbrinkâs vast catalog. On it, 1999-era Prince synth grooves combine with Judee Sill-inspired â70s folk-pop, playing like a strange love-child of Arthur Russellâs Calling Out of Context and Shuggie Otisâ Inspiration Information. Lyrically, the album is a glorious puzzle: the fantastical mixes with the mundane, and the heartfelt with the absurd, revealing and obscuring, over and over. (Thurs Oct 31, 7:30 pm, Wonder Ballroom, 128 N Russell, $17) JOSHUA JAMES AMBERSON
Strung Out, the Casualties, Cliterati
A handful of bands like Strung Out and the Casualties, who both arguably reached their prime in the mid- to late-â90s punk-rock push, are suddenly rushing back out onto the field. While the skinny high school kid in my heart swoons, it also makes one think about what the political landscape looked like back then versus what it looks like now (shudders). The high energy, brutal truth, and unapologetic attitude of punk rock is needed again. And while nostalgia is awesome, thankfully there are bands like Portlandâs Cliterati to bring a fresh, fire-spitting sound. Cliteratiâs recent full-length, Ugly Truths/Beautiful Lies, is raw, crusty, metallic hardcore that pulls zero punches. Songs like âSilence = Death,â âTrans Is Beautiful,â and the 50-second shredder âIn Crust We Trustâ are brash, fast, and fierce. Cliterati make you think and challenge the norms of society right before they rip your fucking head off. (Thurs Oct 31, 8 pm, Hawthorne Theatre, 1507 SE Cesar E. Chavez, $20-23) ARIS HUNTER WALES
FRI NOV 1
(Sandy) Alex G, Tomberlin, Slow Pulp
Thereâs a song called âSouthern Skyâ on (Sandy) Alex Gâs new album House of Sugar that ambles effortlessly along the borders of country, indie rock, and lo-fi pop, just as there was a song called âBobbyâ on his previous album Rocket that did the same thing. Both are achingly beautiful, and theyâll make you want more from this Philly wunderkind. But (Sandy) Alex G seems to have no interest in giving you what you want. Instead, on both Rocket and House of Sugar, he bounces all over the stylistic map, trying out gentle noise, weird jazz, electronic, and other far-out sounds. Which is his right, certainly! But hereâs hoping that one day he gives us a full collection of the DIY twang-pop he does so well. (Fri Nov 1, 8:30 pm, Wonder Ballroom, 128 NE Russell, all ages, sold out) BEN SALMON
SAT NOV 2
Two Door Cinema Club, Peach Pit
It took three long years for us to hear a new Two Door Cinema Club album, but luckily, the indie pop three-piece from North Ireland is coming to Portland in support of their newest record False Alarm. Itâs a good thing the Crystal is all standing room, because youâre going to be spending the entire time dancing anyway. Queue up the classics (âSomething Good Can Work,â âWhat You Know,â âI Can Talkâ) and some new hits (âTalk,â âOnce,â âAre We Ready?â). Two Door Cinema Club has something for everyone. (Sat Nov 2, 8:30 pm, Crystal Ballroom, 1332 W Burnside, all ages, $39.50) KATHERINE MORGAN
Jonathan Richman
Nearly 50 years into his career, Jonathan Richman remains a singular figure in indie music. A soft-hearted punk legend who approaches the world with childlike wonder, Richmanâs career includes leading early-â70s band the Modern Lovers, playing songs in a tree in a â90s Farrelly Brothers blockbuster, and being covered by everyone from the Sex Pistols to David Bowie and being sampled by M.I.A. One of the most playful and eccentric live performers around, Richmanâs shows are an uncommonly intimate experience, even on an off-night. Itâs rare he plays any of his songs in a straight, recognizable form, but the immense, unfiltered joy he brings to each performance is something everyone should witness. (Sat Nov 2, 8 pm, Revolution Hall, 1300 SE Stark, $20-25) JOSHUA JAMES AMBERSON
TUES NOV 5
Choker
Michigan-based indie/R&B/pop artist Choker has been compared to the prolific Frank Ocean a lot on the interwebs, and I understand why: On previous projects Peak and Honeybloom, Chokerâs vocal tones, intermittent rap, and pop tendencies shine inside the artistâs own emotive production and unorthodox song structure. But Chokerâs newish singles (âLucky,â âStarfruit LA,â and âPetrol Blissâ) prove that he has a style all his own. The ironically named artist sounds terrific on recordings, and his music videosâwhich typically feature shots of Choker hanging out a car windowâare beautifully stimulating in all their DIY glory. Chokerâs gig at Holocene provides an opportunity to experience the depth of the artistâs multifaceted chops live. (Tues Nov 5, 8 pm, Holocene, 1001 SE Morrison, all ages, $18-20) JENNI MOORE
WED NOV 6
The Menzingers, Tigers Jaw, Culture Abuse
On 2017âs After the Party, the Menzingers raged against the fading light of their glory days and tried to figure out how to grow up without going dark and dead inside. Existential agitation also informs the lyrics on their new album, Hello Exile, but the band sounds more settled than ever, their fest-bound pop-punk inching ever closer to the heart of palatable radio rock. Although bittersweet anthems like âAnnaâ and âStrangers Foreverâ will surely inspire sodden dudes to join sweaty sing-alongs in polite pits, they are also perfect soundtracks for tired souls who have to squeeze all of their feelings into the vanishingly brief span between dropping the kids off and punching the clock. Because growing up is really just a matter of scheduling your good cries. (Wed Nov 6, 8 pm, Hawthorne Theatre, 1507 SE Cesar E. Chavez, all ages, $22-25) CHRIS STAMM
Emmet Cohen Trio
Still in his late 20s, some might consider pianist, organist, and composer Emmet Cohen to be a rising star, but his impeccable technique, genre-spanning knowledge, and utterly unique style make him an active supernova brightly burning right now in the musical universe. If you canât catch him later this month in Paris or Stuttgart, the smoking hot Cohen brings his trio sound to town tonight with Russell Hall on bass and Kyle Poole behind the drum kit. Their setlist will be anyoneâs guess, but prepare for original compositions, jazz standards slyly interpreted, and maybe, if weâre lucky, a ragtime encore. (Wed Nov 6, 7:30 pm, the Old Church, 1422 SW 11th, $25-30) BRIAN HORAY
CRITICâS PICK: Alessia Cara
Last year, Canadian singer/songwriter Alessia Cara won a Grammy for Best New Artist despite the fact the artistâs been around for a handful of years, putting in serious work, and doing big-girl numbers. Caraâs strength as a performer comes from her tightly honed vocal skill, down-to-earth personality, and the fact that her stage presence has continued to blossom ever since quietly marching onto the scene in 2015 with two hit singles: âScars to Your Beautifulâ and her anti-social anthem âHere.â Cara makes pop for outsiders. I rather enjoyed her studio debut Know-It-All (which was written while she was still a teenager), and her single âHow Far Iâll Go,â for Disneyâs Moana. Her most recent full-length, last yearâs The Pains of Growing, is a more mature, cohesive project that explores the mental and emotional experience of aging and life transitions. Highlights include singles âTrust My Lonely,â âGrowing Pains,â and âOut of Love,â the latter a heartfelt ballad Cara says was inspired by a friendâs break-up. Cara also just released an EP in September called This Summer, with gems like âReady,â âRooting for You,â and the appropriately timed âOctober.â When the singer played Portlandâs Moda Center recently, as the impressive opening act for Shawn Mendes, I remember thinking, âWhy isnât Alessia headlining her own tour by now?â Having extended her North American leg of her âThe Pains of Growing Tour,â Caraâs upcoming concert (at Arlene Schnitzer Concert Hall, no less!) should more than make up for the delay. (Wed Nov 6, 7:30 pm, Arlene Schnitzer Concert Hall, 1037 SW Broadway, al ages, $29.50-187.50) JENNI MOORE