[MUSIC] To celebrate its 13th anniversary, Dante’s booked one of the greatest American rock bands of the last 30 years. Sure, the roots-punk ensemble hasn’t recorded new music in two decades, but it also hasn’t played a club this small since it was tearing up L.A. in the ’80s. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $25. 21kknd.

Something’s Got Ahold of My Heart
[THEATER] Hand2Mouth Theatre’s production about love digs into euphoria as well as heartbreak, incorporating personal stories, pop songs and upbeat choreography. Studio 2, 810 SE Belmont St. 8 pm Thursdays-Sundays through Feb. 17. $12-$20. 

Dave Attell
[COMEDY] After cutting his teeth at Saturday Night Live, Attell now hosts two Comedy Central programs. Helium Comedy Club, 1510 SE 9th Ave., 888- 643-8669. 7:30 pm and 10 pm Friday- Saturday, Feb. 1-2. $30-$35.

Fuse Witch Mountain, Diesto, Solid Giant, Red Shield
[METAL CRACK] The long-simmering cauldron of sludge that is Portland’s Witch Mountain—which, standard disclosure, features WW contributor Nathan Carson on drums—is a gateway drug for doom metal. Even innocents to the world of gothic fonts and leather wrist cuffs will be lured in by the siren song of singer Uta Plotkin, whose formidable pipes produce big, bluesy wails that are more Pat Benatar than, say, Goatwhore. But before too long, you’ll start to find the thundering riffs and pentatonic screeches that lurk below those deceptively tuneful vocals become equally intoxicating, until eventually, Plotkin lets out a deep, bone-shaking growl and you throw your head back, raise your fists to the gods and roar along in delight. Then it’s too late for you, my friend—grow your hair out and start brushing up on your Finnish. This show celebrates the vinyl release of Witch Mountain’s 2012 album, the nationally praised Cauldron of the Wild. RUTH BROWN. Ash Street Saloon, 225 SW Ash St., 226-0430. 9 pm. $8. 21kknd.

Reva DeVito, Shy Girls, Brownish Black
[SOUL SOUNDS] Reva DeVito just loves making you wait. The Portland soul singer, long whispered about in local soul and hip-hop circles before the whispers grew to a legitimate citywide buzz (DeVito placed ninth in WW’s 2012 Best New Band poll), has built an audience on the back of a pair of EPs that find her shining but perhaps not meeting the potential that her coolly joyful live shows evidence. Nonetheless, DeVito’s fan base— the portion of it that hasn’t died of anticipation of a full-length— has continued to grow. Tonight’s outing finds her sharing the stage with Shy Girls, whose fascinating and heartfelt minimalist take on new jack swing is worth getting very excited over, and the rollicking throwback soul act Brownish Black. All of this is yet more evidence that Mississippi Studios isn’t just for folk rock anymore. CASEY JARMAN. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $10.

Saturday, Feb. 2

Beaverton Winter Market
[FOOD] Though a bit smaller than usual, the Beaverton farmers market will open three months early for its first winter market. Local farms will provide whatever grows in winter (Rutabaga! Parsnip! Beef!), and for those too lazy to simmer at home, some hearty winter soups will be available, too. Beaverton Farmers Market, Hall Boulevard between 3rd and 5th streets, Beaverton, 643-5345. 10 am-1:30 pm. Free.

Beta Collide, AnyWhen Orchestra 
[MUSIC] In this jazz-tinged, post-classical music concert, one of Oregon’s finest new-music ensembles, Eugene’s Beta Collide (comprising mostly University of Oregon faculty members on trumpet, sax, piano, percussion, guitar and bass), performs original arrangements of music by the died-too-young Canadian world-music singer Lhasa de Sala. AnyWhen, a sax-trumpet-bassoon-cello-guitar-drum sextet headed by young New York-based composertrumpeter Douglas Detrick, will premiere Detrick’s 10-movement suite, The Bright and Rushing World. Like Wayne Horvitz’s Gravitas Quartet, AnyWhen artfully combines spontaneity and structure with composition and improvisation more organically— and engagingly—than many of the old third stream and fusion attempts to harmonize the worlds of jazz and classical music. Community Music Center, 3350 SE Francis St., 823-3177. 8 pm Saturday, Feb. 2. $10-$20 suggested.

[THEATER] Portland Experimental Theatre Ensemble’s first full-length play, R3, is director Gisela Cardenas’ “radical reimagining” of Shakespeare’s Richard III. Well, not really, but that’s fine. Lines have been cut and scenes rearranged, but to the casual Shakespeare fan, little will have changed. The same demonic Richard, hell-bent on the throne of England, beheads friend, family and foe alike to reach it. What is radical about R3 are the minimalist and versatile props. Umbrellas are used as guns and a dinner table becomes a pulpit. Beautifully lit from varying sides to play up the shadows, the cast alternately flies across the room on a wheeled table and lingers motionless against the back golden wall. The cast is nearly all female, which when portraying multiple characters of both genders—however skillfully—distorts Cardenas’ goal of refocusing the play on its women. Jacob Coleman, as Richard, bleeds enthusiasm, but he can get too tied up in his emotions when he should be conspiring with the audience. All told, such flaws are minor, and PETE pays a fine, respectfully errant tribute to Shakespeare’s twisted king. MITCH LILLIE. Headwaters Theatre, 55 NE Farragut St., No. 9, 289-3499. 7 pm Thursdays-Sundays through Feb. 3. $15.

FearNoMusic Presents Penelope (Song Cycle With My Brightest Diamond’s Shara Worden)
[POSTCLASSICAL SONG CYCLE] After 20 years of bringing Portland some of the most adventurous postclassical music, FearNoMusic, the new-music ensemble comprising some of the area’s finest classical players, is forging new connections between the rapidly converging worlds of art rock and indie postclassical, as in last year’s show at the Aladdin with cellist Zoe Keating. This time, with help from other Oregon Symphony members, it’s bringing My Brightest Diamond’s Shara Worden to reprise her rapturously received 2010 performance (with New York’s Signal ensemble) of composer Sarah Kirkland Snider’s radiant Penelope song cycle, inspired by The Odyssey, but viewed through the eyes of the protagonist’s long-suffering wife. BRETT CAMPBELL. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 7:30 pm. $20-$35. Under 21 permitted with legal guardian.

Emeli Sandé, Emily King, Jenna Andrews
[SOUL] She has a mohawk Billy Idol would’ve grown if he had the balls and a voice like Beyoncé without all the showy flourishes, and Nina Simone is her idol. Scottish singersongwriter Emeli Sandé seemed destined to join the ranks of these superstars from the start. For one, her lyrical content is as fierce as her mind. Shortly after dropping out of medical school, Sandé and her sister recorded her first video, an original song titled “Nasty Little Lady,” and it became a hit online. If that wasn’t enough to prove her predestined stardom, her birth name is Adele. Our Version of Events, Sandé’s 2012 debut, places her firmly within the pop spectrum, though exactly where is hard to tell. Soul—the warm, innocent kind—shines out while her energy level fluctuates from sleepy Joni Mitchell to energetic, “Rolling in the Deep”-style anthems. Sandé isn’t doing anything new in pop, but she’s doing a whole lot pretty damn well. MITCH LILLIE. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $13 advance, $15 day of show. 21kknd.

Compagnie Marie Chouinard
Stravinsky’s primal score Le Sacre du Printemps (“The Rite of Spring”) has been an irresistible challenge to choreographers ever since Nijinksy and the Ballets Russes set it in motion a century ago. Since then, we have seen everything from Angelin Preljocaj’s sexualized scrimmage on Astroturf to Pina Bausch’s wonderfully gritty vision (not to mention Christopher Stowell’s recent rendition at Oregon Ballet Theatre). Montrealbased contemporary choreographer Marie Chouinard approaches the pagan spectacle with less narrative emphasis than some, but with plenty of vigor, building her version around solos for her 10-member company. It’s paired here with her “Prelude to the Afternoon of a Faun,” based on both the iconic Nijinsky creation and Adolph de Meyer’s photographs of Nijinsky’s performance. Few women have danced the role other than Nijinsky’s sister and Chouinard herself; here, two of the company’s women will alternate in the role. In either case, expect to see fresh takes on two classic works, even as they offer echoes of their predecessors. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725- 3307. 8 pm Thursday-Saturday, Jan. 31-Feb. 2. $20-$30.

Sunday, Feb. 3

45th Parallel
The chamber ensemble composed teams up with the city’s all-classical public radio station’s weekly contemporary music show, Club Mod. They’ll perform movements of American works from the last century by Samuel Barber, George Gershwin, Leonard Bernstein, Charles Ives, the recently deceased Elliott Carter and more. Plus there will be music by great contemporary composers Steve Reich and George Crumb, and film-music legend John Williams’ haunting Schindler’s List theme. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 7:30 pm Sunday, Feb. 3. $20-$25.

Street Nights, Bear & Moose, Eidolons
[CLASSIC ROCK] Portland’s Street Nights may have had its original name, Nightmoves, stolen by a Minneapolis buzz band, but the group hasn’t let that slow it down— even though sharing its moniker with a Bob Seger jam was incredibly apt. Formed in 2011, the local supergroup—made up of members of Joggers, Guidance Counselor and Wild Ones—came together with the intent of bringing “elements of radio rock from our childhoods back into the fold here,” according to singer-guitarist Jake Morris, and it’s certainly accomplished that goal, playing music that, as described on the band’s Bandcamp page, is the sound of “classic rock without the excess or success.” That second part could soon change, however, with debut album You Have My Word scheduled for release in April. MATTHEW SINGER. Rontoms, 600 E Burnside St., 236-4536. 8:30 pm. Free. 21kknd.

Wreck-It Ralph
Bkknd In Rich Moore’s entertaining Wreck-It Ralph, John C. Reilly voices the title character, a villain in an 8-bit arcade game called Fix-It Felix Jr. In the world behind the arcade screen, Ralph isn’t a villain; he’s just a guy working a thankless 9-to-5 job. He gets tossed in the mud every day and can never win a medal. You don’t need to know much about old games to enjoy this alternately funny and touching film, but it rewards those who do. PG. JOHN LOCANTHI. Bagdad, Edgefield, Kennedy, Mt. Hood, St. Johns, Valley.