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Friday, February 27
Bob Seger, Heartless Bastards
When Bob Seger’s Night Moves broke through on classic-rock radio in 1976, some observers described it as an overnight success. But the Michigan native was a force in the vibrant Detroit music scene as far back as the early ’60s, and his national audience eventually caught up to the singer’s rawer, earthier regional hits, such as “Ramblin’ Gamblin’ Man.” It’s never clear what this self-proclaimed “simple-minded guy” actually believes in. He has dissed draft dodgers (“The Ballad of the Yellow Beret”) and written anti-war songs (“2 + 2 = ?”), and the longtime shill for Chevy trucks now wants to save the environment on his latest album, Ride Out. With Seger, it’s always been more about his craggy mountain of a voice than his lyrical vision. To his credit, he shares the stage with the thunderously exhilarating anthems of Erika Wennerstrom’s Heartless Bastards. — Falling James
CENTER FOR THE ARTS EAGLE ROCK
Dan Deacon isn’t just for ears inclined to electronic music. Whether you want to classify the past 12 years of his music as avant-garde or pop nonsense, Deacon’s approach is tangible and easy to digest. His experimental sonic structures can be taken at face value for effortless enjoyment, or one can dive deeper into his blurring synths and 808 percussion. His new release, Gliss Riffer, is lighter and more fun than previous albums, which promises to make his live experience more engaging than ever. Known for encouraging audience participation, Deacon often starts dance-offs and lovingly makes fun of his audience. Get ready to move. — Britt Witt
Six Organs of Admittance, Elisa Ambrogio
Elisa Ambrogio’s The Immoralist — her first solo album, after dozens of overwhelmingly imaginative releases with Magik Markers — was one of the best albums of last year and one of the most real and human, too. With her guitar dialed almost all the way down, some barely-there piano and just-so strings that would’ve fit just fine in one of John Cale’s sad songs, Ambrogio made a world all her own. If you’ve ever walked alone through the last half of Big Star’s Third or that forever night Moe Tucker sang about so plaintively, you’ll recognize the scenery immediately. (Particularly on closer “Arkansas.”) She’s opening for collaborator and Drag City labelmate Six Organs of Admittance, whose ferocious new Hexadic album plummets into the unknown cosmic emptiness/heaviness explored earlier by Randy Holden or Earth. — Falling James
Colette, DJ Heather
THE VIPER ROOM
On Friday night, a little piece of Chicago settles into the Sunset Strip when Colette and DJ Heather take over the Viper Room. The two DJs are veterans of the Windy City’s legendary house scene, where they launched their careers during the 1990s dance boom and eventually formed the all-female crew Super Jane. Colette has since relocated to Los Angeles, but she hasn’t lost her taste for deep house. Both tour frequently and occasionally meet up to rekindle the magic of their hometown groove in their “Second City Sessions.” Colette and Heather are playing back-to-back from 9 p.m. until 2 a.m. Wear your dancing shoes; these DJs won’t let you off the floor until the house lights burn bright. — Liz Ohanesian
Saturday, February 28
Warpaint, L.A. Witch
CLUB FAIS DO-DO
With Emily Kokal and Theresa Wayman’s haunting harmonies mingling hypnotically with the strands of their shadowy guitars, Warpaint are one of L.A.’s most sonically enchanting bands. Those voice lull whether they’re shrouded in layers of gauzy softness on dreamy ballads such as “Teese” or buttoned up by the militant postpunk grooves of bassist Jenny Lee Lindberg and drummer Stella Mozgawa on the spacey dance-floor idyll “Disco//Very.” Signed by Rough Trade, Warpaint have a Brit-centric sound and a big following in the U.K., but they return to their hometown in a benefit for the Youth in Rock program at Marshall High School. L.A. Witch live up to their name with a mysteriously moody sound that alternates between the psychedelic garage-rock clangor of “You Love Nothing” and the ethereal cooing of “Heart of Darkness.” — Falling James
The Wild Honey Orchestra
This pop star–studded event benefits the Autism Think Tank and features a performance of The Beatles’ White Album in its entirety by a highly qualified array of glittering good-hearts, including musical director/guitarist Rob Laufer, multi-instrumentalist Probyn Gregory (Brian Wilson Band), Darian Sahanaja (Wondermints, Brian Wilson Band) on keyboards/vocals and Sarah Kramer (Leonard Cohen) on horns. They’ll be backing the one and only Dave Gregory of the late, great XTC; Vicki and Debbi Peterson (The Bangles), Mitch Easter (Let’s Active), John Easdale (Dramarama), Gary Wright (“Dream Weaver,” Spooky Tooth), Iain Matthews (Fairport Convention), and the list goes ever on. The Muffs and The Three O’Clock are gonna be there. You too? — John Payne
Sunday, March 2
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Despite having five individually talented singers, Fifth Harmony’s strength comes in their ability to shine brighter as a collective. The former X Factor contestants’ anticipated debut album, Reflection, was released in January and received praise for the group’s texturized vocal harmonies, which blend retro R&B, hip-hop and synth-pop into a cohesive sound. The chemistry between the five members goes well beyond their brief time as a unit. If singles “Bo$$,” “Sledgehammer” and “Worth It” (featuring rapper Kid Ink) are any indication of what’s to come, then the critical praise that’s been heaped upon Fifth Harmony will prove yet again that Simon Cowell and L.A. Reid, who assembled the group, haven’t lost their hitmaking magic. — Daniel Kohn