The Best Concerts to See in L.A. This Week

The Juliana Hatfield Three play the Roxy on Monday
The Juliana Hatfield Three play the Roxy on Monday
Photo by Johnny Anguish/Daykamp Records

Be sure to check out our constantly updated concert calendar!

Monday, March 16

The Juliana Hatfield Three
After Boston alt-rock band Blake Babies broke up in 1991, singer Juliana Hatfield briefly performed with drummer Todd Phillips and bassist Dean Fisher as The Juliana Hatfield Three before going on to a generally well-received solo career. The trio recently reunited for the first time in two decades and sound as if they’ve never been apart on their new comeback album, Whatever, My Love. Fisher and Phillips stir up a euphoric pop-rock jangle even as Hatfield laments her bad luck with lovers in songs like “Ordinary Guy,” where she pines for a normal boyfriend who’ll take her to the beach instead of the somnambulant junkie she’s stuck with. “You make me feel invisible,” she chides on another song, but her wistful harmonies and the band’s pop backing turn the complaint into a lovely pop gem. — Falling James

Tuesday, March 17

Upcoming Events

Zane Musa Memorial Concert With Arturo Sandoval
Nine-time Grammy winner and trumpeter Arturo Sandoval takes an evening at Catalina to pay tribute to the late saxophonist Zane Musa, who was a member of Sandoval’s recent groups and with whom he had played on a jazz cruise just before his death in Florida in February. Sandoval called Musa “one of the greatest musicians I have ever played with,” comparing his talent to lofty jazz masters including Oscar Peterson, Michael Brecker, Art Tatum and more. The evening will also feature presentations from some of Musa’s closest musical friends and colleagues who weren’t able to attend the recent memorial for Musa held at the Beverly Hills Sofitel. Expect this evening to be a celebration of life through music for one of Southern California’s brightest young musicians. — Tom Meek

As the driving force behind The Bloody Beetroots, producer Sir Bob Cornelius Rifo was at the bleeding edge of the late-’00s electro-house explosion, alongside other crafters of serrated, arena-sized synth riffs such as Justice and fellow Italian Benny Benassi. His new project, SBCR, strips away the Beetroots’ rock elements and keeps the focus squarely on the dance floor. Lead single “The Grid,” off debut EP SBCR & Friends, Vol. 1 (out March 17 on Dim Mak), sounds like a mid-’90s throwback, riding hard techno synths and cymbal crashes into a sinister breakdown that’s practically begging for a Karl Hyde “lager, lager, lager” chant. This EP release party at Hollywood pop-up club No Filter is a rare chance to hear Rifo spin one of his fast-and-furious DJ sets in a relatively underground setting. — Andy Hermann

Wednesday, March 18

Felix da Housecat
Felix da Housecat has been working behind the decks for decades, but you might remember him best from such dance floor-packing, early-’00s singles as “Silver Screen Shower Scene” and “Madame Hollywood.” While the DJ/producer crafts some serious jams, he’s at his best in the DJ booth. Felix da Housecat seamlessly moves between genres — techno, house and electro are just the start — with a collection more eclectic than his name implies. He’s not one to shy away from the big disco and new-wave hits; in fact, he can make the oldies sound quite modern. Bring your friends who think DJ sets sound too same-y and prove them wrong. They will dance as if they forgot that it’s a weeknight. — Liz Ohanesian

Thursday, March 19

Nick Oliveri's Uncontrollable
Bassist Nick Oliveri has played in numerous significant bands over the past three decades, including Queens of the Stone Age, Kyuss, Mondo Generator, Turbonegro and Dwarves. But in recent years his personal life has been chaotic, and he’s maintained ambivalent relationships with his former bandmates, collaborating sporadically with Queens of the Stone Age after being kicked out of that band in 2004. When Oliveri does have it all together, he’s a forceful bassist capable of bringing massive heaviness and punk credibility to whatever project he’s involved with. — Falling James

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