Pop, rap, indie, R&B, even jazz—no matter what music you love, this fall has something to entertain you.
In the early 2010s, Los Angeles alt-R&B crew the Internet was a curious offshoot of the wildly inventive, miscreant rap collective Odd Future. By 2015’s supremely chill, Grammy-nominated Ego Death, it was clear the band was the real deal. Their sound has increasingly become the product of thorough collaboration and democracy, each member rightfully earning songwriting credits. Singer Syd—a rising queer icon whose solo Fin was one of last year’s best R&B albums, and who recently cameoed in Drake’s “Nice for What” video—may be the group’s star, but guitarist Steve Lacy, keyboardist Matt Martians, and bassist Patrick Paige II also released well-received solo records ahead of the band’s fourth and best album, this July’s Hive Mind. Where Ego Death enlisted more help from outside collaborators like Janelle Monáe and Tyler, the Creator, the band’s core lineup crystallizes on the new album, highlighted by songs like the sneaky funk earworm “La Di Da.” 15+. 7:30 p.m. $31.50-$85. 1308 Fourth St. SE, Minneapolis; 612-217-7701. October 17 — Michael Madden
Florence + the Machine
London band Florence + the Machine are responsible for some of the grandest chamber-pop moments of the past decade—massive, cathartic rushes of skyward vocals, strings, and other orchestration. But following 2015’s How Big, How Blue, How Beautiful, singer Florence Welch and co.’s fourth album, June’s High as Hope, is easily their quietest LP yet, extending HBHBHB’s toned-down second half as it counts more on Welch’s emotive singing and negative space. Over the course of the album’s 10 songs, a lot does happen—jazz savior Kamasi Washington shows up to play saxophone and arrange horns on three songs, for example, and there are plenty of strings—but Welch, already known as an earnest lyricist, gets powerfully raw, direct, and personal as she contemplates vices, voids, and her individual pursuit of happiness. With Perfume Genius. 7 p.m. $39.50-$99.50. 600 First Ave. N., Minneapolis; 612-673-1300. October 20 —Michael Madden
Kali Uchis, a Colombian-American singer who frequently draws comparisons to giants like Billie Holiday and Amy Winehouse, has truly emerged in 2018. The 25-year-old’s rise from teenage homelessness to the cusp of pop stardom owes to her 2015 EP Por Vida, her assist on Canadian R&B newcomer Daniel Caesar’s Grammy-nominated “Got You” (among other collaborations with the likes of Gorillaz and Tyler, the Creator), and, most recently, her long-awaited debut album. On April’s surreal, swirling Isolation, Uchis navigates lo-fi pop, neo-soul, reggaeton, bossa nova, and more, with occasional Spanish-language singing and contributions from Gorillaz mastermind Damon Albarn, Tame Impala leader Kevin Parker, and funk icon Bootsy Collins. But if it sounds like it consists of disparate pieces, it’s a remarkably smooth, well-sequenced album all the way through. With Cuco. 18+. 7 p.m. $30. 701 First Ave. N., Minneapolis; 612-338-8388. October 23 —Michael Madden
Two years ago, with her breakthrough album, Puberty 2, and its standout single “Your Best American Girl,” Mitski Miyawaki emerged as an indie-rock revelation, an evocatively melancholy new voice in a genre increasingly viewed as stagnant. None other than Iggy Pop would later call her “probably the most advanced American songwriter that I know.” For her new, fifth album, August’s Be the Cowboy, Mitski builds on the lo-fi fuzz of her preceding work with glimmering synths and chamber-pop instrumentation, and she eschews the previous album’s aching introspection in favor of fiction and narrative. (There’s a song called “Me and My Husband”; Mitski isn’t married.) But even with those alterations, her songs still feel deeply honest and intimate. They’re also sneakily catchy, suggesting the already masterful songwriter is getting even better all-around. With Overcoats. 18+. 8 p.m. $20/$22. 701 First Ave. N., Minneapolis; 612-338-8388. October 26 — Michael Madden
After a relatively low-key decade and a half working in sideman capacities for artists ranging from Ryan Adams to Snoop Dogg, Kamasi Washington jolted normally jazz-averse listeners awake with 2015’s The Epic, a triple album that led to the Los Angeles tenor saxophonist, bandleader, and composer being compared to spiritual-jazz greats of the late ’60s and early ’70s. Washington’s ambition hasn’t wavered in the slightest. Following last year’s Harmony of Difference EP, plus contributions to records by Kendrick Lamar and Run the Jewels, he and his usual supporting cast (including trombonist Ryan Porter, bassist Miles Mosley, and drummer Ronald Bruner Jr.) delivered another colossal statement with the two-and-a-half-hour Heaven and Earth. It’s all made Washington the obvious leader of contemporary jazz and, almost exactly a year after his excellent First Avenue show, the reopened Palace Theatre’s second-ever jazz headliner. With Butcher Brown. 18+. 8 p.m. $30/$50. 17 W. Seventh Place W., St. Paul; 651-266-8989. November 1 — Michael Madden