It's a short week, but our music critics have still picked enough excellent shows happening to fill it up completely. We've got everything from a talented singer-songwriter who got the nod from Bob Dylan (Valerie June) to the man known for his near-patented hot nerd aesthetic and pristine power pop (Elvis Costello), and from a collection of people proud to rep prog rock (the Seaprog festival) to a benefit for the White Helmets featuring some of Seattle's most exciting artists (the BIG BLDG BASH). Click through the links below for complete showtimes, ticket links, and music clips, and find even more options on our music calendar.

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Bush with The Setback
Gwen Stefani's ex-baby daddy is back with a vengeance on this new Bush tour in support of their latest album Black and White Rainbows. Here's hoping they play "Glycerine" a thousand times and nothing else.

CJ Boyd, Lori Goldston, Bill Horist
Bassist CJ Boyd combines an itinerant touring regimen with an equally restless creative approach. He’s collaborated with talented folks like Eliot Lipp and Chris Schlarb while also maintaining an electronic-music project, DJ Too Slow. Go to his jam-packed Bandcamp and discover a wealth of styles utilizing his bass loops and vocal manipulations. Over countless releases, Boyd has embraced drone-based art-song composition, morose, pensive post-rock, Rachel’s-like chamber rock, free-folk songcraft akin to John Martyn and Tim Buckley, and more. It’s hard to predict what exactly Boyd will bring to Vermillion tonight, but you can count on it being interesting. DAVE SEGAL

Justin Townes Earle, The Sadies, Sammy Brue
Justin Townes Earle has sort of a thing with lineages. For one, he’s named after the late, great Townes Van Zandt. For another, his father is country and folk outlaw-cum-pagan-bard Steve Earle, and while these are usually the first things people say about Justin Townes Earle, he tries to keep them out of his music and be his own man. Trouble is, he’s now a father himself. Earle’s upcoming eighth album, Kids in the Street, takes time to reflect on his newfound responsibility as well as his own sometimes-misspent youth. As always, his smooth and honey-sweet voice is as gentle and alluring as his lyrics are poignant. JOSEPH SCHAFER

Lewis Del Mar
Rockaway Beach alt-folk pop duo Lewis Del Mar hit the stage with their blend of industrial and natural influences.

Rodriguez with Arum Rae
Sixto Rodriguez should've been at least as big as Leonard Cohen and Phil Ochs, if not quite in the same stratosphere of pop-culture prominence as Bob Dylan—or even Donovan. Coming up in late-'60s Detroit when that city was at its zenith of dominance in soul, rock, and funk, this Mexican-American street poet should've been swept up in the record industry's Motor City mania. He even had Motown rhythm-section ringers and session guitarist Dennis Coffey playing on and producing his debut LP, the 1970 cult classic Cold Fact.


Amy Vachal with Spencer Glenn
Brooklyn-based singer-songwriter and artist Amy Vachal entered the public consciousness through competing on NBC's The Voice, but she's been cranking out her own tunes for years. Her latest single, "Wait," was released independently last March, and will be followed by a full-length soon.

Forms: Peanut Butter Wolf
This one isn’t just for the heads, but all hiphop fans alike (though the Yachty faithful might not show up, sorry). Peanut Butter Wolf has been an instrumental figure in West Coast underground hiphop for more than 25 years. And though he’s certainly had his ups and downs—releasing some of the best albums by Dilla, Madlib, and MF Doom on his legendary Stones Throw imprint; losing his best friend and musical partner Charizma at a young age—he seems to only get better and stronger with age. So if you’re in the mood to listen to some real underground hiphop, you truly can’t get much better than a set by the Wolf. NICK ZURKO

Midnight Oil with All Our Exes Live in Texas
Returning to the United States for the first time in two decades, Australia’s storied rock act Midnight Oil have no direct counterpart in Western rock music. Their music, especially big singles like “Beds Are Burning” and “Blue Sky Mine,” made the act ubiquitous on alternative-rock stations worldwide in the late 1980s and early 1990s. With its roots in progressive rock, tempered with pop-song structures and an aggressively punk ethos, their sound bears a similarity to INXS and R.E.M., but Midnight Oil’s sometimes strident political statements and lyrics draw more from the 1960s folk tradition. Interestingly, singer Peter Garrett actually made a second career in Australian government while the band took a hiatus in the new millennium. JOSEPH SCHAFER

Snuff Redux, No Vacation, Dogbreth
Garage rock will never go out of style. Overexposure may dull our excitement at times, but then a Beach Fossils, or a Cloud Nothings, or a Snuff Redux comes along, and that fuzzy younger-you feeling comes rushing back. Now a few years and a couple EPs deep, local gang Snuff Redux do the lo-fi, gnarled punk thing, but also pull you in close for some wispy, beach-Polaroids-and-reverby-guitar numbers, highlighted by singer Skyler Ford’s impassioned, drunk-on-the-moment wanderings. Their last offering, “No Reasons Good,” a December single recorded while on tour last year, is a jangly, popish tune during which Ford laments, “It’s just energy, it’s the enemy, it’s the end of days, it’s the end of me,” which describes this past winter perfectly. TODD HAMM


Chastity Belt, So Pitted, Jenn Champion
I LERVE Chastity Belt so much, I haven’t stopped listening to Time to Go Home since its release. See, though they’re not of MY generation, they somehow captured the not-yet-codified-underground-sounds of the late ’80s/very early ’90s, like, when almost every record released was relevant. BUT, my lerve ain’t just nostalgia—Chastity Belt DO have it where it counts. They’re melodic and catchy, their arrangements are considered, the lyrics are smart as a mofo, AND they don’t overdo it with the reverb. Of course, y’all prolly all know this, ’cause everyone I know is already a CB fan. MIKE NIPPER

Elvis Costello & The Imposters
New wave and 1980s-music enthusiasts will already know Elvis Costello by his near-patented, Buddy Holly–indebted “hot nerd” aesthetic and pristine power pop. He’s inspired decades’ worth of copycats with whip-smart lyrics chock-full of innovative wordplay and a seemingly never-ending stream of hits over the last 40 years. His first several releases supply a barrage of dance-ready pop hits that will likely make you want to reach, alternately, for a poodle skirt or two-toned shoes. And while hits like “Allison” and “Pump It Up” are now classics of the new-wave era, Costello has not been limited by genre, consistently reinventing the past while drawing inspiration from all over the genre map: country, jazz, and the 1950s pop and rock ’n’ roll of his youth. This tour draws inspiration from the now 35-year-old album Imperial Bedroom, and effectively acts as the second half of last year’s “Imperial Bedroom & Other Chambers” tour. BRITTNIE FULLER

Princess with Maya Rudolph & Gretchen Lieberum
SNL vet and comedic genius Maya Rudolph has partnered with singer-songwriter Gretchen Lieberum to form PRINCESS, a Prince cover band. The duo turned their mutual passion for Prince's character and discography into their very own high-vamp musical project, sure to entertain.

Studio 4/4: Nicole Moudaber
Nigerian-born, London-based DJ/producer Nicole Moudaber has managed to maintain a busy international touring regimen playing big-room techno without stooping to cheesy selections. For that—and for running Mood Records (Carl Cox, Joel Mull, Pan-Pot, etc.)—she deserves your respect and sweat. Seattle DJ Succubass (aka Jessica Duran) keeps opening for touring acts and continually impresses the hell out of me with her deep techno selections that keep the mood subterranean and the beats percolating at just the right temperature. About time Succubass got her own damn headlining slot… DAVE SEGAL

Whores, Sandrider, Wrong, Bummer
One of the biggest challenges facing underground bands in the current cultural climate is to engage new listeners without having some contextual angle to drum up interest. It’s as if songwriting isn’t as important as having some elaborate concept or backstory to give critics something to write about. So kudos to Atlanta’s Whores for managing to draw significant attention solely by releasing a solid, sweaty slab of gnarly noise rock with last year’s Gold LP. No frills, no gimmicks, no groundbreaking musical maneuvers—just heavy, mean, irreverent three-minute ragers stacked with good riffs, strong shouted hooks, and the kind of instrumentation where every note and every drum hit is delivered with maximum intent. Don’t expect any think pieces on Whores, but fully expect to receive a solid ass-whoopin’ tonight. BRIAN COOK


Andrew Joslyn with Live Orchestra
Local multi-hyphenate Andrew Joslyn works as a multi-instrumentalist, composer, arranger, songwriter, and Macklemore's orchestra leader, as well as the band leader for the Passenger Ensemble, a string quartet that thrives in experimental, neo-classical zones.

DJ Premier & The Badder Band
The ol’ “live band re-creates the work of classic hiphop producers” trope has found strong, sturdy legs via the likes of BadBadNotGood, the El Michels Affair (known for interpreting the RZA’s Wu-Tang classics), and Miguel Atwood-Ferguson’s Suite for Ma Dukes (a tribute to J Dilla). It’s only right that DJ Premier, arguably the finest hiphop producer of all time (and you will argue, having this conversation), get in on the act. Preem has formed a five-person squad, the Badder Band, to breathe new life into his legendary catalog of era-defining boom-bap, including his work with the late great Guru in the iconic group Gang Starr. Joints I’d request off the top go something like this: D’Angelo’s “Devil’s Pie,” Mos Def’s “Mathematics,” and Biggie’s “Kick in the Door.” Joints I’d request be stricken from the playlist: Christina Aguilera’s “Ain’t No Other Man,” Miguel’s “2 Lovin U,” and especially his remix of Desiigner’s “Timmy Turner.” LARRY MIZELL JR.

EPIC with Blueyedsoul
Iconic Seattle nightlife DJ Blueyedsoul is at the helm of this month's EPIC, which gives a single DJ control of the dance floor for an entire night. Visuals for this iteration of EPIC are by Pixelflip, graphic design is by Hanssen, and stage design is by Celeste Cooning. Enjoy all four hours because this is the last time EPIC will be held at Re-bar; the marathon event will begin again in July at Nightjar in Pioneer Square.

Research: Kyle Hall
Can we just give it up to Kyle MF Hall for a minute? Crafting beats since his teens, he first popped up on heads’ radar way back in 2007 with his brain-scrambling “Plastik-Ambash” 12-inch for living legend Omar-S’s Detroit-based FXHE label. Since then, Hall has seemingly tried to outsmart the dance-scene peanut gallery by plying his wares to labels as diverse as Hyperdub and Third Ear Recordings while also focusing on his own label, Wild Oats, on which he’s released two astounding full-lengths: 2013’s The Boat Party and 2015’s collection of early recordings, From Joy. And this says nothing about his astounding DJ abilities, a skill he’s been honing since he was a kid in his family’s living room. So, to say the least, this will be a special night of deep cuts. NICK ZURKO

Valerie June with Lynn Cardona
Memphis multi-instrumentalist/singer-songwriter Valerie June has a voice that’s tenderly sweet and bright like liquid gold yet somehow imbued with a wise, old-soul quality. She had her national “coming out” with 2013’s Pushin’ Against a Stone, partially produced by Black Keys heavyweight Dan Auerbach; it landed on several year-end best-of lists, including that of Rolling Stone and American Songwriter. Its follow-up, The Order of Time—which dropped earlier this year—is just as warm, effortless, and ethereal as you’d expect, and the mountain-hewn soul and rural-blues elements are still intact, though it’s definitely heavier on the classic country, bluegrass, and gospel-soaked folk influences. Additional cred: The hard-to-please Bob Dylan has given Valerie June his seal of approval. LEILANI POLK


Seaprog 2017
Progressive rock refuses to die! That’s right, folks: Dennis Rea and company’s Seaprog fest offers three days of all the key-change blizzards, tempo-shift typhoons, arcane meters, in-your-face-down-your-esophagus soloing, and hymns to the ethereal a solitary consciousness could possibly snork. Seattle’s Paraesthesia (a noble-sounding word for nerve damage) headline Friday night; their 2016 album documents a day/eternity in the life of a bipolar fellow. Saturday night headliners Wax Heads might be a supergroup, a big-name outfit, or the end of the world; nobody can tell from the joke credits at the website. Sunday night climaxes with Jack o’ the Clock, a three-man two-woman outfit from Oakland that mix industrial, folk, jazz, ambient, bassoon, and the sound of flies buzzing. My personal fave: Greg Sinibaldi, aka Lupertazzi, a UW artist in residence who performs solo on the EVI (Electronic Valve Instrument). Catch him 4 p.m. sharp on Sunday. ANDREW HAMLIN


Ball of Wax 48: No English
This Ball of Wax #48 compilation release party features a rare appearance by the Arcata, California/Portland group Die Geister Beschworen, led by Oryan Peterson-Jones. Local scene vets may remember him from his mid-’00s psych- and post-rock bands Datura Blues and Beast, Please Be Still (they are still active, but now mostly based in Portland). Enough history; let’s discuss DGB’s engrossing music. On their well-stocked Bandcamp, you can find exceptional works like 2015’s Music Feeds Stars, a suite of outward-bound folk-rock that harks back to those early-’00s Weird America (™ The Wire magazine) days. Alternately dense and diaphanous, these songs seed pastoral tropes with strange aural flora and fauna. This year’s “The Psychologically Ultimate Seashore”—on a split release with Espers’ Helena Espvall—is a disorienting studio dream marked by children singing “Happy Birthday” amid a menacing, industrial-folk panorama. DAVE SEGAL

Some of the most exciting local artists will play in support of Syria's White Helmets in BIG BLDG Records' big bash: Naomi Punk, DoNormaal, Guayaba, Wild Powwers, CHARMS, the Fabulous Downey Brothers, MOON DIAL, Terrence Brown, and many, many more.

Elevator & FTS Present: Music Works for Industry
It was lonely in Seattle’s underground electronic-music scene in the 1970s and ’80s. Sure, we had studio savants like Kerry Leimer, Jeff Greinke, Rob Angus, and Marc Barreca releasing prolifically while playing gigs to modest crowds, but their distinctive creations largely had gone unnoticed for decades—that is, until the last few years, when New York’s RVNG Intl. label and its Freedom to Spend subsidiary reissued Leimer and Barreca’s key eerie ambient, trance-inducing, subtly rhythmic works from that period. Barreca is a fascinating figure who now works in Seattle as a bankruptcy judge, but he’s also resumed making music for Leimer’s Palace of Lights label over the last decade. Against the odds, his most recent releases sound just as vital and intriguing as his peak output. The recent reissue of Barreca’s 1983 opus Music Works for Industry reveals idiosyncratic sonic vistas that recall the finest efforts of Jon Hassell, Haruomi Hosono, and Midori Tanaka. Fusing exotica and industrial music is a genius idea rarely summoned, and Barreca executes it serendipitously—all while doling out a wry critique of consumerism via samples and guest vocals. DAVE SEGAL

Gifted Gab: Rollin' With The Homies
Gabby is Moor Gang's first lady, one of the city's best rappers—and her Gab the Most High (whose cover sees her styled in the manner of the Afrocentric divas of the 1990s) is her most complete work, full of her reveling in her mastery of words, voice, and flow. She is unapologetic, outspoken, raw as hell, and straight-up rap (besides her leavening touches of R&B)—no artsy alternative tags could be applied to her Bandcamp description. LARRY MIZELL, JR.

Seether with Starset
Top-billing hard rock group Seether have been touring non-stop since the drop of their critically acclaimed 2014 album Isolate and Medicate. Now they're back in Seattle with new material and a live set with Starset.


John Legend
This one's for the lovers. R&B crooner John Legend eschews the production trickery found in most Top 40 slow jams these days—the Auto-Tune, the deep-sea minimalism—in favor of a more nostalgic, reverent take on soul. He's got the pipes to back up the retro fetishism and the Rolodex to remain radio-relevant, getting guest verses from the likes of Pusha T and Rick Ross. Unfortunately, dude remains an interminable cheeseball. Some liberal quotations from mega-single "All of Me" are in order, for the purpose of illustration: "What's going on in that beautiful mind/I'm on your magical mystery ride." "Love your curves and all your edges/All your perfect imperfections." It goes on. Doesn't matter how creamy-smooth your voice is: Even Stevie couldn't sell lines like those. KYLE FLECK


The Yardbirds
Attention long-hairs and all like-minded no-counts, the current lineup of 1960s greats the Yardbirds is playing TONIGHT! The Yardbirds have a weighty history: In the early ’60s, they were tapped to replace the Rolling Stones’ residence at the Crawdaddy, and soon after they were cracking AM radio charts and reinventing English, R&B-driven beat music. Not a shocker, as the list of ex-Yardbirds includes three of rock’s guitar heroes: Clapton, Beck, and Page. I’ve seen these fellers the last couple times they visited, and they were great, so I’d expect the same level of heat tonight. HOWEVER, as I said before, “it ain’t 1963, and the Triple Door ain’t the Marquee, so go easy on the amphetamines,” y’all. MIKE NIPPER

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