Few new indie artists show as much potential as the Cameroon-born, New York-based singer-songwriter Laetitia Tamko, better known as Vagabon. After her 2014 EP, Persian Garden, Tamko became one of NYC’s best-kept secrets, eventually emerging to a broader audience with this February’s Infinite Worlds, a musically varied debut album that shows her growth as a songwriter. While she’s a sucker for soft-to-loud rock dynamics (as on opener “The Embers”), there’s also the glinting synth-scape “Mal á L’aise” and the whispery acoustic closer “Alive and a Well.” While other contemporary acts share sonic similarities with Vagabon (Waxahatchee, for one), Tamko’s lyrics about racial identity afford the record a sense of cultural significance that’s rare in indie rock these days. As a woman of color in a traditionally white- and male-dominated musical realm, Tamko could be an iconic talent for years to come. Nnamdi Ogbonnaya opens.