DIO
(Ballard Firehouse) Good grief! Is it Halloween already? Or does an appearance by dark lord Ronnie James Dio at the Ballard Firehouse count as a sign of the apocalypse? I can never remember. You can pretty much guarantee that this will provide one of the more fascinating crowd-watching experiences this year, as recovering metalheads attempt to pour themselves back into those tight leather pants. By the way -- what do you think his friends call him? Ronnie seems so tame; Ronnie James seems so white-trash; and Dio seems so, well, rock? BARBARA MITCHELL

BRADEN BLAKE
(Gordon Biersch) The ladies can go to ogle Braden Blake, and the fellas' tongues will surely dangle at the sight of the Julia Roberts-doppelgänger cocktail waitress at the Gordon Biersch. She's more classy Knotting Hill -era Julia than trashy Erin Brockovich-era Julia. And while we're on the subject, how could they use my name for such a slutty character? ERIN FRANZMAN

DJ CHEB I SABBAH
(ARO.space) Luckily, an old pal of mine is a huge Cheb I Sabbah Fan. He had this to say about him: "Cheb I Sabbah's first CD wasn't dance music or techno in any standard way. On the one hand, it's definitely got a dub sensibility, and the music sometimes feels very stoned. But what really knocks me out is the way he integrates really top-notch Indian classical music performances (famous vocalists, sitarists, percussionists) into the electronic genre. Overall, it's more about spirituality than stylishness, though it's still a safe distance from New-Agey world music. He's a legendary DJ in the classic sense -- that is, two-turntables-and-a-microphone, spinning disco, house, breakbeat, etc. Since I doubt he could bring in even half of the people he's got on his CDs to a live performance (they're scattered all over the world), I can't know what else he might do." ERIN FRANZMAN

VOYAGER ONE, NO. 2, CARISSA'S WEIRD
(Sit & Spin) It's hard to believe that it's only been a little over a year since Voyager One started making waves around town. Their self-released album proved that although My Bloody Valentine may never release anything else, their impact is still being put to good effect. It's great to see a band so adept at enhancing their onstage atmospherics -- and it's lovely to see them teamed with Carissa's Weird, who are equally capable of mesmerizing a crowd. BARBARA MITCHELL

FLAMING LIPS, LOOPER
(Showbox, early) The Flaming Lips were never a groomed-for-stardom rock band. For 15 years, they managed to create odd, innovative, and altogether interesting records, collected rabidly by a relatively small but devoted fanbase. Then suddenly, along comes The Soft Bulletin, and music critics at nearly every major publication are creaming their pants. The Lips haven't gotten any less weird, for sure -- they've just managed to add a depth and mastery of tuneful, almost epic rock that sets the record firmly apart. Lord knows what wackiness their live show will involve this time. LEAH GREENBLATT

DUSTY 45'S, PUSHROD & THE PISTONS,

BOXCAR TRAMPS
(Tractor) In a city where athletic socks and Birken-stocks seem to be an acceptable combination, the Dusty 45's are more than a great band -- they're a much-needed fashion inspiration. Or should I say "aspiration"? Any group that ups the style ante is A-OK by me. In addition to giving folks an excuse to get gussied up, the Dusty 45's strut, swing, and rock 'n' roll their way through some darned fine songs, and they're a blast to watch. BARBARA MITCHELL

THE YOUNG DUBLINERS
(Crocodile) Morrissey may have believed that every day is like Sunday, but you can't really go wrong by attempting to extend St. Patrick's Day. And if you're going to do that, you should definitely head down and catch the Young Dubliners. Although they've been residing in Los Angeles for most of the past decade, the key members of this band are, in fact, from Dublin. Grab a pint of Guinness and keep the celebration going. BARBARA MITCHELL

BLÖÖDHAG, TEEN CTHULHU, AKIMBO
(Sit & Spin) You have awakened suddenly in a tent; thunder crashes and lightning flashes over your head. Looking outside, you see the sky has turned an unnatural hue of green, and a sandstorm is raging across the desert dunes, headed straight toward you. If only you'd read the H. P. Lovecraft story BlöödHag had instructed you to, you might know the way out of this mess. Okay, okay, BlöödHag are heavy metal, and they toss out sci-fi books at their shows. They're doing a summer library tour! This is a record release gig. JUAN-CARLOS RODRIGUEZ

DAVID GRAY, ALAN CHARING
(Tractor, early) Although he's released several critically acclaimed records and is an immensely talented and downright charming performer, British singer-songwriter David Gray seemed destined for "huge in Ireland, invisible in America" status -- until Dave Matthews stepped in. Gray's new album, White Ladder, is being released on Matthews' label, According to Our Records. One of those rare artists who is more engaging live than on record, this is Gray's first visit in forever -- so don't miss it. BARBARA MITCHELL

KULTUR SHOCK
(Tractor) Kultur Shock weave a hypnotic spell, combining elements of rock, funk, Latin, and almost anything else, with solid roots in Balkan and Gypsy music. That tells you what they do, but it doesn't tell you why you should see them: This is quite possibly the most infectious dance music anywhere, guaranteed to get the most lead-footed stick-in-the-mud bopping. Don't worry about losing the beat; this is dance music, after all, and you'll move to it even if you have no sense of rhythm whatsoever. GENEVIEVE WILLIAMS

SILKWORM, COBRA VERDE, JOEL R. L. PHELPS

& THE DOWNER TRIO
(Crocodile) Given the fact that you're more likely to get "shushed" for whispering at a Joel Phelps show than you are in church, it's odd to find Cobra Verde on this bill. Sure, all the bands are friends, but Cleveland's C.V. specialize in the kind of true-blue rock 'n' roll that's in short supply these days -- swaggering, intelligent, and explosive. In other words, all the things that are good about "the rock," and not exactly conducive to sitting still or staying quiet. If you need more convincing, they score indie cred points for serving as Robert Pollard's backing band on Guided by Voices' Mag Earwhig. BARBARA MITCHELL

HARVEY DANGER, KEN STRINGFELLOW
(Metropolis, Olympia) Who can forget that annoying Harvey Danger song? I thought that this band would die down, but apparently not. Harvey Danger, however, are not the reason why you should go to the show. Ken Stringfellow has got his solo thing going on, and he is amazing. At the Deck the Hall Ball of '98 with Hole and Elliott Smith, Stringfellow played a few of his acoustic numbers, but literally got booed off the stage before he could play any more. Don't follow in the path of the rowdy KNDD fans -- Stringfellow is brilliant, and sounds even better solo. LIZY REIERSON

JUNO, AUTOMATON ADVENTURE SERIES,

BILLY SHOOK
(Breakroom) I remember when Juno would frequent the Velvet Elvis, and then they got a gig opening for Sunny Day Real Estate at the Crystal Ballroom in Portland. Since then the band has gained a large following, and for good reason. Juno can play soft or they can rock, neither ever sounding out of place. When I attended their Kirkland show where they played with Waxwing and Death Cab for Cutie, it had been a while since I had seen them. Juno sounded better than ever, but it seems the band has gone for a softer sound. LIZY REIERSON

ROY HARGROVE QUINTET
(Jazz Alley) There are plenty of things, I suppose, that are impressive about Roy Hargrove. He's an amazing trumpet player and composer; he is very young (barely 30!), considering how skilled, complex, and old he sounds; and his numerous recordings featuring various jazz hotshots -- a Marsalis or two, bass god Christian McBride, Stanley Turrentine, Ron Blake, Chucho Valdes -- are gorgeous and heartfelt, seamless and seductive. But what I love is the bliss I feel every time I see him perform. Onstage, his sheer enthusiasm and sense of adventure, his muted ballads, and his interpretations (loyal to tradition, but playful and sexy) make me weak in the knees. I will forever be grateful to Hargrove for being the soundtrack to my (absolutely perfect) first official grown-up date, which involved a rainy summer evening, a smoky basement stage, a new dress, and a boy from Nashville. MIN LIAO

Laundry night!

PAPAS FRITAS, SUNSET VALLEY, FIVE GEARS

IN REVERSE
(Crocodile) Now that they're in label limbo (after they signed to Kneeling Elephant, RCA pulled the plug on its subsidiary -- leaving the band's future up in the air), it's even more important to go out and support Sunset Valley. That's the kind of situation that makes people want to quit the music business, and Sunset Valley are too good to lose. Get out there and show them you care -- you'll feel good knowing you did something for the future of music, and you'll feel great watching Herman Jolly and Co. run through yet another stellar set of left-field pop hits. BARBARA MITCHELL

MIX MASTER MIKE, RAHZEL, CHOCLAIR
(Showbox) Mix Master Mike makes excellent use of his DJ tools; no one disputes that the man is an exceptional scratcher (thus, the quite justified "mix" and "master" in his name). Rahzel, on the other hand, has only one piece of equipment: his microphone. His astonishing skills as a human beatbox have placed him prominently in the productions of, among others, Wu-Tang, Aaliyah, and the Roots. Unfortunately, his lyrics don't quite match his larynx. Still, if you're there strictly for the joyful noise, you should leave the show duly impressed and amazed. LEAH GREENBLATT

JILL COHN
(Tractor Tavern) The problem with the girl-with-guitar motif (or girl-with-piano, or girl-with-accordion) is precisely that it showcases the performer's vocal talents. All too often, the result is overwrought poetry sung in a breathless, wispy voice that has no gut behind it. Fortunately, that's not a problem where Jill Cohn is concerned; while she does tend toward breathiness, there's a sense of real power behind her voice, as if she could start belting at any moment. She also explores a greater range of expression than many singer-songwriters; her latest, The Absence of Moving, ranges from gentle to sultry. And she's a lot livelier than the more popular sirens she's most often compared to. GENEVIEVE WILLIAMS

SILVER SCOOTER, TIARA, TALES FROM

THE BIRDBATH
(Crocodile) Austin, TX may be the "live music capital of the world," but it's not exactly known as a pop mecca. But here's Silver Scooter, one of the Lone Star state's hidden treasures: a laid-back guitar-pop trio that specializes in bouncy little ditties with a sweet and almost innocent feel. Their last album, Orleans Parish, came out two years ago; although we're overdue for a new album, I'll gladly settle for a rare Northwest appearance. BARBARA MITCHELL

SIL2K
(I-Spy) Sure, it's kind of a pretentious name -- Strategic Improvisation Laboratories -- and basically all the performers are unknown, but for Chrissakes, can't you spend at least one Wednesday night without Hit Explosion or the same recycled K-Tel collection at the latest '80s fest? Yes, I know experimental music is not for the masses, but you owe it to yourself to push your musical boundaries a little, and you owe it to Sil2k to give a little support to a struggling and noble effort. So if you can handle listening to a night of music you can't sing all the words to, skip the usual safety dance and head down to I-Spy this time. LEAH GREENBLATT

LUNA, THE DELUSIONS
(Showbox) Oh, how the times have changed. Who could've predicted that a member of seminal mood-popsters Galaxie 500 would have ever attempted -- much less PULLED OFF -- a Guns N' Roses cover? Luna's latest album, Days of Our Nights, didn't actually need the shock value created by adding "Sweet Child o' Mine" -- the record actually contains some of the band's most confident-sounding material yet -- but if it made more people pay attention, then the ends justify the means. After all, in a world where 'N Sync outsells Beck, good music needs all the help it can get. BARBARA MITCHELL

BETH HART
(ARO.space) For the those of you who have never heard of Beth Hart, perhaps the most useful tidbit I can give you is that she recently starred in a Janis Joplin bio stage play, and she's got that bluesy, rootsy white-girl schtick down pat. Other bits of interest: Her debut, Immortal, was shaped by producers of both Phil Collins and Guns N' Roses; her Beth Hart Band once opened for the Scorpions; she apparently rocked Star Search in '93; and Dutch people really seem to dig her. If the above information compels you to go hear tunes from her latest, Screamin' for My Supper, tonight at ARO.space, then more power to ya. LEAH GREENBLATT