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Protoje & the Indiggnation, Mista Chief & Rising Buffalo Tribe, Lior Ben-Hur & Sol Tevél
When Jamaican roots reggae revival singer Protoje rolled through Nectar Lounge two years ago, every yardie in a 200-mile radius packed the sold-out joint. A larger venue should provide more breathing room for Protoje's spellbinding lyricism that mixes social-realist commentary on contemporary Kingston with the best of reggae's swagger. Backing band the Indiggnation pack a punch that singing over prerecorded riddims can't quite match. GREG SCRUGGS
Peach Kelli Pop
Allie Hanson heads Peach Kelli Pop, a Canadian-American band that boasts a slew of garage-rock, saccharine attitude, and a whole lotta fun. Hailing from Ottawa, Peach Kelli Pop are on their way to a venue near you for the “Gentle Leader” tour, which will transform your night into a celebration of girlhood, no matter what age you are, thankfully. I’m 24 and still need my Sailor Moon and Hello Kitty, which Peach Kelli Pop get, but they also understand the feeling of wanting to cut up the little shits who won’t let you enjoy the nice things we have left in this world: “It’s my best life! Hello Kitty Knife!” SOPHIA STEPHENS
The Get Up Kids, the Casket Lottery
Before the word could be thrown around like an insult, the Get Up Kids were emo royalty. Hailing from Missouri, they released a standout of the genre with 1999’s Something to Write Home About. These songs are full of catchy hooks, mid-tempo pop-punk melodies, and earnest, often broken-hearted lyrics. The band officially split in 2005, only to reunite three years later for a handful of reunion shows. With a comeback album and several tours under their belt, it’s safe to say the Get Up Kids are back at it for good and not just cashing in on nostalgia. KEVIN DIERS
Here Lies Man, Lucky Brown & the SGs
I can tell I’m gonna dig Here Lies Man from the credits-reading get-go: They have two conga players. Granted, the shebang is mostly Marcos Garcia on keys, guitar, bass, and lead vocals, divining the dividing line between consciousness and the dream state, wondering which side is safer, which more necessary. It’s all eerie, spacey, and not for consumers of the brown acid. But somebody has to plumb the frontiers. And you can dance (for inspiration) into the bargain. ANDREW HAMLIN
Even if he had only written “Wichita Lineman,” Jimmy Webb would still belong in the pantheon. But of course, he also wrote about 900 of the finest mellow hit songs of the ‘60s, ‘70s, and ‘80s. “MacArthur Park.” “Galveston.” “Up Up and Away.” “All I Know.” “By the Time I Get to Phoenix.” “Didn’t We.” So many others. Not to mention his almost perversely interesting catalog of deep cuts. “When Does Brown Begin.” “Rosecrans Blvd.” “The Yard Went on Forever.” “Paper Cup.” Even more others. To say even less about "The Last Unicorn." He literally wrote the book about songwriting (Tunesmith, an essential text). Webb is a rare flower, and he doesn’t come to town very often. This isn’t to say that we need him more than want him, but it is to say that this is the very definition of the kind of show you regret not going to for all time. SEAN NELSON
What does Colin Newman do in his off hours from Wire, one of the greatest rock bands ever? Among other things, he helms Immersion with Malka Spigel (also of Minimal Compact). The duo have carved out an interesting catalog over the last quarter century, making ambient, IDM, and techno that sounds little like their main groups. However, the latest Immersion album, Sleepless, finds them folding in more rock elements—mainly Newman's plangent guitar, touching melodies, and the mantric, motorik grooves on “MS19” and “Propulsoid”—than ever before. And it sounds great. Immersion may never be as important as Wire, but their body of work is strong and intriguing for a “mere” side project. DAVE SEGAL
Brownout, Money Chicha
The Laredo, Texas, Latin-funk nonet Brownout are hardly a new proposition—you may know them by their alternative incarnations as Grupo Fantasma and Brown Sabbath—but their sixth album is likely to garner more attention than before. That's because Fear of a Brown Planet consists entirely of Public Enemy covers. Granted, these fuzzed-out, organ-fueled instrumentals are more like complete reinventions. A few, like the brass-drenched "Fight the Power" and bass-heavy "By the Time I Get to Arizona," are recognizable versions of the originals, but most are not. All 12 of them, however, are perfectly calibrated to make you move. KATHY FENNESSY
Shaolin Hunks, the Replicators, the B Sharps, Chris Crusher
Ramones, Buzzcocks, and Descendents made great records. But then it was dubbed “pop-punk” and imitators reduced it to something tidy, saccharine, and plastic. Labels tend to cheapen things. Just look at the bear scene in the gay community. Once a body-positive reaction to unrealistic physical standards, it’s now a clique prone to its own superficial measurements of masculinity. But praised be Shaolin Hunks, a husky and hirsute quartet who bury upbeat melodies beneath bloody-cuticle guitars and hollered vocals with the jagged jubilation of the classic proto-pop punks. Bonus points for their “The Guy She Saved” video and its half-naked cast of unassuming curvy men. Hunks, indeed. BRIAN COOK
Fashionably Laid: A Summer Formal
Summer has arrived, and the air is especially lusty. This party invites you to send your crush presents (like glow roses, punch bowls, candy, consent literature, and more sexy offerings) and dance to live performances from TERMINATOR (Lauren RodRiguez, Al Bee & Veronica Dye), Ex Licks (Alexandre Noble, Shawn Kock, and Dan Paulus), and Who is she? (Bree Mckenna, Julia Shapiro, Robin Edwards). DJs Hellbound and Casual Glitter will spin in between sets.
The Horrors, Dust Moth
At the risk of being reductive, the Horrors have grown from a band trying to sound like Joy Division to one that wants to sound like the Cure (or maybe even Duran Duran) over the course of 13 years. The group’s ragged early material vaulted them into the UK music spotlight, and what’s followed has been a gradual softening and smoothing of their sound. The Horrors’ recent work is mannered and a bit bloodless—more like a collection of impeccable influences than a band with a well-defined musical perspective—but if you’re into big-stage new wave done well, this is it. ANDREW GOSPE
Negative Gemini, George Clanton
Genre-spanning electro-spinner Negative Gemini blends ’90s techno and head-high modern electronica with their own vocals and original lyrics. They'll be joined by frequent tour partner George Clanton.
Robert Plant & the Sensational Shape Shifters, Lucinda Williams, Seth Lakeman
Okay, for anyone joining us late, Robert Plant used to sing in Led Zeppelin. Look them up. For the last 38 years, though, he’s explored avenues untraveled with Led Zeppelin, notably harmony singing (usually with whichever talented female singer he’s shacked up with—Alison Krauss and Patty Griffin, two essential talents in their own rights, took turns). Last year’s Carry Fire mostly finds Plant without female bolstering, and communing with the eternal through skeletal English folk. Catch him before he becomes a skeleton himself—in tune with the music, naturally. ANDREW HAMLIN
Carina Lewis, Datenite, Carlene Crawford
The soulful vocals of Seattle's Carina Lewis are backed by Alex Westad on guitar and bass and James Mansour on drums. The band will be joined by Seattle pop acts Datenite and Carlene Crawford.
Ononos, SSDD, CH4
Ononos aren’t the kind of group that cranks out albums—in fact, they’ve been a band for years now, with nary a single recorded, purchasable artifact. Ononos are probably better described as a multimedia project—a collaboration among three friends, mixing their combined interests in music and conceptual video art. They’ve stated they’re heavily influenced by dadaism and absurdism—and their love of bands like the Germs, Misfits, and the Screamers, as well as industrial pioneers Throbbing Gristle and their namesake, Yoko Ono. KELLY O
Chronophage, Scuzz Nun, Bloom Offering, Les Bons Bons
Austin rippers Chronophage will be in town on their summer tour and will headline a night with local groups Scuzz Nun, Bloom Offering, and Les Bons Bons (their first show).
In their native UK, Gomez are Mercury Prize-winning crowd pleasers, but despite decades of trying—including a high-profile signing to Dave Matthews's record label and splashy opening gigs for Pearl Jam—the band's quest for mainstream U.S. stardom remains mostly elusive. Tonight, Gomez bring their reliably melodic indie rock to the Showbox for the 20th anniversary of their debut album. DAVID SCHMADER
Saint-Saëns Symphony No. 3 Organ
They're firing up the organ for Camille Saint-Saëns's big, bold, adventurous Third Symphony, which is always a treat. Before that, Benjamin Grosvenor, a super precise, but not at all mechanical, British pianist will likely deliver a performance of Chopin's Second Piano Concerto so clean you can eat off it. And before that, we'll get a Saint-Saëns amuse bouche in Danse macabre, which sounds like the music a Viking would make after drinking a lot of coffee. RICH SMITH
No performance on Saturday
Dead & Company
For whatever reason, John Mayer catalyzed a folksy rebirth of American music in order to relive all of jam band extraordinaire the Grateful Dead's best moments. The whole crew will be present for a long night in the Gorge.
Neon Indian (DJ Set), Cuff Lynx, Zoolab
Neon Indian’s glossy yet smeared chillgaze pop enjoyed a vogue in that 2009-2011 phase when American youth thirsted mightily for beach-friendly tunes that oozed out of speakers slightly out of focus and winsomely wispy around the edges. Masterminded by Alan Palomo, Neon Indian’s Psychic Chasms and to a lesser degree Era Extraña embodied that hazy, lazily danceable mode better than most in the crowded field. A recent-ish single, “Annie,” sounds like mid-’80s Scritti Politti on a Caribbean holiday and the lead track (“Slumlord”) from Neon Indian’s last album titled VEGA INTL. Night School is also vaguely tropical and funky, with Palomo’s voice to the fore and clearer than usual, because that’s how indie auteurs get more popular. I’ve been wrong in these matters before, but “Slumlord” sounds like a potential nocturnal summer boat party anthem that might even go BOOM on radio. DAVE SEGAL
Cote d'Ivoire roots rock and reggae legend Alpha Blondy will bring his 30-plus years of experience to Seattle this summer, with his 12-piece band Solar System.
Still rolling on the success of perma-relevant track "Fuck Donald Trump" with YG, LA rapper Nipsey Hussle graces us with his energetic presence and live theatrics on his Victory Lap Tour.
Bread & Butter, Guayaba, Trick Candles
Bread & Butter will be laying down the hella sweet, and honestly quite buttery, melodic power-pop jams. MIKE NIPPER
Jo Passed, Hoop, Wolcott’s Instant Pain Annihilator
Canada’s Jo Passed are a cool group of sweeties on Sub Pop whose music sounds smart and fun without stooping to some kinda “party rock” schlock or (ahem) pop-punk. Y’all, the songs are there; they’re super-melodic with an occasional bit of sideways-’70s, angular dual-guitar aesthetic and a LOT of the best parts of ’90s indie-pop/-rock, plus a bit of shoegazer atmosphere—the singer bruh is even a classic Gibson SG sling head. Yeah, so they've got a LOT of kickass distilled into their jams. MIKE NIPPER
I Love the '90s Tour
Experience the resurrection of all your favorite still-alive '90s thrillers with this ridiculously stacked lineup of Salt-N-Pepa, Sir Mix-a-lot, Vanilla Ice, Rob Base, Young MC, and DJ Kool.
Industrial Revelation, High Pulp, JusMoni
Industrial Revelation’s brand of jazz isn’t a brand, but a fully dimensional experience. Honoring the roots of jazz as a black American art form through their contemporary discography, Industrial Revelation offer a touch of the cosmic that is grounded by Ahamefule J. Oluo’s lyrical trumpeting. Accompanying act High Pulp’s infusion of soul-based hiphop, R&B, and funk cannot be missed, and make sure to check out the 10-member group’s “Basement Sessions” on their YouTube channel. JusMoni, whose lush vocals on tracks like “Cookies” and “Second Best,” with beats by producer Atomikdog on April’s Sweet to Me, completes this must-see lineup of local acts. SOPHIA STEPHENS
Middle Kids, Duncan Fellows, Honcho Poncho
Middle Kids will be coming to the PNW from Sydney, Australia. They’re one of Domino Records’ newest signees, and despite their drummer being classically trained, they’ve retained all the DIY goodness of a garage-rock band. Their songs range from nostalgic introspection to plain old feel-good pop, making them sure to have something for almost everyone. ANNA KAPLAN
The Vera Project Presents Elysian Brewing's Search Party
Show your support for excellent all-ages music venue Vera Project by dancing to live sets from local rockers Young the Giant, Deerhunter, Black Joe Lewis and the Honeybears, and Sundries (as well as KEXP DJs) while drinking Elysian brews.
Frog Eyes, Hello Blue Roses, Virgin of the Birds
British Columbia rockers Frog Eyes are part of the same constellation of bands as New Pornographers, Destroyer, and Wolf Parade (whose frontman Spencer Krug was once a member), but never achieved anything close to their notoriety. The group’s music is noisy and dense, short on hooks, and headed up by Casey Mercer’s acerbic, flamboyant vocals, which have lost none of their edge since he recovered from a 2013 cancer diagnosis. The band has said this is their final tour, and credit’s due to a group that for 17 years has stayed its own strange course. ANDREW GOSPE
Known best for his hit single "Riptide," Melbourne folk and pop singer-songwriter Vance Joy will return stateside on his "Nation of Two" World Tour in support of his latest works.