Want to see some live music tonight? Here are your best options, curated by the Willamette Week music staff.


Oregon Symphony, Yolanda Kondonassis

[CLASSICAL] Pity the classical music soloists who don't play violin or piano or maybe cello. If they want to perform a concerto with an orchestra, they probably got only a handful of overplayed pieces to choose from, since most hidebound American orchestras are too conservative to program or commission anything new. Fortunately for harp virtuosa Yolanda Kondonassis, one of the only harp concertos also happens to be one of the best concertos of any kind: Alberto Ginastera's dramatic 1965 Harp Concerto happily avoids the gooey glissandos and saccharine "angelic" gestures that oversweeten too many harp compositions. And with this year being the centennial of the Argentine composer's birth, Kondonassis is touring and recording this masterpiece that spotlights the instrument of which she's the acknowledged world master and advocate. The program, guest-conducted by Yan Pascal Tortelier, also boasts Maurice Ravel's lively Morning Song of the Jester and Tchaikovsky's Symphony No. 5. BRETT CAMPBELL. Arlene Schnitzer Concert Hall, 1037 SW Broadway. 7:30 pm Saturday, 2 pm Sunday, and 8 pm Monday, Oct. 24-26. $23. All ages.


[CONCEPT ROCK] Queensrÿche is one of those bands that separates the hard-rock dilettante from the real-deal heavy-metal maniac. Sure, you can wear your sleeveless Slayer shirt down to the Freak Night at the Weird Bar, but the true psychopaths are at home, alone, with hair frizzed to mammoth proportions, practicing fingertapping on the guitar and gazing in lusty awe at the Operation: Mindcrime poster on their bedroom wall. That album, from 1988, stands today as one of the most absurd concept albums ever released, which is in itself a fucking insane thing to catalog. It's a fantastic, moronic album. Since then, the band has booted out original singer Geoff Tate and welcomed a new fellow on board, and is touring in support of recently released Condition Human.BRACE BELDEN. Bossanova Ballroom, 722 E Burnside St. 8 pm. $60-$100. 21+.

Ed Schrader's Music Beat*

[PRIMAL PUNK] Baltimore is a weird town. So it makes since that, as Baltimore natives, Ed Schrader's Music Beat makes weird music. In one moment, its songs are rhythmic and almost jazzy; in the next, it's lacerating and primal, and any sort of serenity is completely obliterated. In that way, 2014's minimalistic Party Jail is either exploding or constantly on the verge of exploding. You can never tell when Schrader's smooth baritone is going to be interrupted by his own violent screech. You just know it's going to happen, and it's going to be awesome. SHANNON GORMLEY. Bunk Bar, 1028 SE Water Ave. 9:30 pm. $8. 21+.

*NOTE: In WW's print edition, we wrongly listed this show as happening on Oct. 23. It is tonight.

Drake & Cake featuring DJs Ronin Roc, Gang$ign$, Nine Inch Nilina

[WHAT A TIME TO BE BORN] Canada's greatest cultural export since Rick Moranis turns 29 today, and while Drake himself is probably spending the day in an aromatherapy bath, you can pay homage to rap's most touchy-feely superstar by the hitting floor for all-Aubrey sets from three of Holocene's staple DJs. Then, of course, go home and have a good cry. Holocene, 1001 SE Morrison St. 10 pm. $10. 21+.

Marriage and Cancer, Low Culture, Dark Light

[ANGST + ANGER] One of Portland's more intensely downcast bands, Marriage and Cancer releases a new seven inch and kicks off a tour tonight. The Know, 2026 NE Alberta St. 8 pm. $5. 21+.

Florence and The Machine

[SPECTACLE SOUL] Florence Welch is the kind of festival centerpiece you've come to expect—big, bold and full of radio-friendly hooks caked with melodrama. That's not to knock the young British sensation, considering the soulful polish of her latest album, How Big How Blue How Beautiful. It's cinematic in scope without losing any intimacy, allowing Welch to funnel her lovesick tendencies and references to Greek mythology into a package teeming with clashing guitars and Adele-like war cries, and her live performances are just as operatic. BRANDON WIDDER. Memorial Coliseum, 1401 N Wheeler Ave. 8 pm. $30.50-$66. All ages.

Little Wings, Helvetia, Sam Coomes

[INVENTIVE FOLK] Once again, Woodsist has partnered with a promising musician whose creative energy spills from every song. This time, the act is Little Wings, aka Kyle Field, whose fast-talking, asymmetrical brand of Americana is both captivating and counter to genre norms. Field has been pushing his music for years, originally with K Records while playing from California, where he also collaborated with the likes of Grandaddy, Devendra Banhart and others. His newest release, Explains, his first for Woodsist, might be his finest to date. It's a subtle and supremely poetic piece of work that is paranormal and lasting. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave. 9 pm. $12. 21+.

The Tenses, The Mizuuchi/Wada/Henguchi Trio, Ray Talley Dancers

[MERRY PRANK PUNK] Any band taking the stage with the Tenses wittingly partakes in the enduring genre movement of "free music," coined by founding members Oblivia and Juk-Su Reet to describe its sonic explorations from their days as members of the experimental collective Smegma. As the Tenses, the Portland-via-L.A. duo weave a musique concrete fabric of samples and feedback, with jazzy fills and slide guitar twang, into a style entirely their own. Tonight's show features the Mizuuchi/Wada/Henguchi Trio from Japan, whose whirlwind combination of live poetry, improvisational noise and free jazz commands a wide audience, while the Ray Talley Dancers invite kinetic movement with their sound collages. WYATT SCHAFFNER. Turn Turn Turn, 8 NE Killingsworth St. 8 pm. $5. 21+.

YACHT, Larry Gus

[SCIENTIFIC DISCO] From glitchy laptop experimentalists to dance-pop eccentrics to a band important enough to announce its new album via a billboard in L.A., it's been a long, strange trip for YACHT. Formerly one of the leading lights of the Portland music scene, Jona Bechtolt and Claire L. Evans moved to Los Angeles a couple years ago, but the music hasn't gotten any less weird, or conceptual. "I Thought the Future Would Be Cooler," the lead single off its upcoming album of the same name, is an electro-disco banger—something like Blondie's "Rapture" updated for the internet age—undercut by feelings of technological malaise. It's an ironic juxtaposition which seems precisely like something only they would come up with. MATTHEW SINGER. Wonder Ballroom, 128 NE Russell St. 9 pm. $17. All ages.