BOB SEGER & THE SILVER BULLET BAND, JOE WALSH
(Rose Garden, 1 Center Ct) Bob Seger, the grizzled rocker beloved by your mother-in-law's boyfriend, grudgingly leaves the comfort of Detroit to spend one night in Portland (and a bunch of other cities). Seger hasn't released new music in seven years or so, but who cares about new music? You want to bask in the hits, and Seger's got plenty. DIRK VANDERHART Now, read our feature on Bob Seger.
FUZZ, WOODEN INDIAN BURIAL GROUND
(Bunk Bar, 1028 SE Water) It's fair to say that Ty Segall makes too much music. He probably agrees, as he attempted to keep anonymous his latest guise—Fuzz, the new band he's formed with guitarist Charlie Moothart and bassist Roland Cosio (Segall plays drums and sings). That secret didn't keep, but there is something refreshingly different about Fuzz, which reworks Black Sabbath-y power-trio stoner metal of the late '60s and early '70s to fun effect, buried under gnashing distortion and dinosaur stomp. Segall, a limber but not especially heavy-handed drummer, lends a looseness and swing to Fuzz's debut 7-inch, and the full-length due later this year should be further evidence of the very best thing about Segall's astonishing prolificacy: music-making for the pure joy of it, regardless of what name is on the front cover. NED LANNAMANN
PHOENIX, MAC DEMARCO
(Crystal Ballroom, 1332 W Burnside) Versailles, France popsters Phoenix dip through Portland on a West Coast jaunt centered around Coachella to amp up interest for their fifth album, Bankrupt!, which won't be out until April 23. Judging from the advance single "Entertainment," Phoenix are happy to keep things consistent, as they fasten heart-soaring pop onto tik-tik guitars and breezily danceable beats, something they've done many times before. The new song has a larger widescreen vista, perhaps, but could pretty easily fit onto their 2006 breakthrough It's Never Been Like That. Although Phoenix isn't breaking molds or challenging listeners, their smilingly likeable pop ensures that, despite the name of their new album, they'll never be short on cash. Ideas? That may be a different story. NL
THE PYNNACLES, THE NO TOMORROW BOYS, VERNER PANTONS
(Tonic Lounge, 3100 NE Sandy) If you're like a lot of newer Portlanders, you may not know the name Sean Croghan. You probably have no idea what a Crackerbash is, or a Satan's Pilgrim for that matter. And you've certainly never been to Kleveland. That written, it doesn't matter much. Suffice it to say that Portland's Pynnacles come from some pretty impressive regional rock 'n' roll pedigrees, and have assembled one of the more promising collections of new-wavey punk-rock fun with their self-titled debut, which sees its release tonight. The band shuffles bar-band blues, keys-heavy pop, and punchy punk with equal aplomb, generating a head-nodder of a listen that makes me want to roll my pant legs up, grease my hair back and smoke every cigarette on earth forever—which is to say that The Pynnacles makes you feel like you're in on something dangerous and cool. (Don't smoke). RYAN J. PRADO
CLUTCH, ORANGE GOBLIN, LIONIZE, SCORPION CHILD
(Roseland, 8 NW 6th) When people talk about stoner rock (or whatever you wanna call it), and its practitioners, Clutch is all too often left out of the conversation. Which is asinine. Starting with 1993's Transnational Speedway League, the Maryland four-piece has been dropping sinewy Zep-and-Sabb riffs that are worth their weight in gold. And Neil Fallon's gravelly bark spins tales that retell history, drop the occasional pop-culture reference, or take you to another world entirely. Their 1995 self-titled LP is still spotless. And this year's Earth Rocker—their 10th full-length—is their best in years, another cult classic by a great cult rock band. MARK LORE
JAMIE LIDELL, EMPRESS OF, LUDWIG PERSIK
(Doug Fir, 830 E Burnside) Jamie Lidell's metamorphosis from riveting electronic-music experimentalist to slightly left-of-center R&B crooner has not always been satisfying. Blessed with a chameleonic soul man's voice and expert beatboxing skills, Lidell peaked with 2005's Multiply, a phenomenal convergence of challenging and accessible tracks. Since then, though, he's leaned a bit too hard on sentimental balladry and rote, slick dance numbers. The new Jamie Lidell album reveals flashes of his mid-'00s brilliance, but more often sounds effortfully mediocre. Lidell's more conventional moves likely have made his label and manager happy, but they've surely left many fans of his earlier, riskier works disgruntled. Here's hoping Lidell brings to the Doug Fir some of the next-level funk and vocal origami that left a speaker smoking at 2006 Bumbershoot. DAVE SEGAL
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