Don’t Miss These Five Shows

Tennis, Kishi Bashi, Ibeyi, Sphie and Rezz.

Tennis (Courtesy of Tennis)

Tennis
Pop

Any time you try to pigeonhole Tennis into one genre, the duo releases an album that furthers their desire to remain undefinable. Alaina Moore and Patrick Riley make up the husband-and-wife team that has four studio albums under their belt, and now Yours Conditionally has become the fifth to radiate affection and love that the two share not just for each other, but for the music they create. There is a soothing balance between the ’80s pop and modern indie-rock that plays in the background of their vulnerable lyrics. The self-doubt is all too relatable. Riley channels his inner Elvis Costello with the starry-eyed guitar track on “10 Minutes 10 Years,” which accompanies Moore’s delicately soulful voice. “Please Don’t Ruin This For Me” channels her insecurities as she has a heart-to-heart with herself over the fleeting nature of love but the necessity to indulge in what is still right in front of her. The defenseless lyrics juxtapose the acoustic guitar and tambourine arrangements that feel like the sonic embodiment of everything pure in the world. Sarah Armendariz
9 p.m., Friday, Nov. 17, at The Fillmore. $31-$48; thefillmore.com

Kishi Bashi
Indie Rock

Kishi Bashi’s Sonderlust is an eclectic arrangement of songs that are his most refined to date. He’s a graduate of Berklee College of Music, and his classical training alongside renowned violinist Matt Glaser is more apparent here than on his prior discography. Tracks like “Hey Big Star” and “Flame On a Flame” combine violin loops with futuristic, Galaga-like synthetic instrumentals that are just downright fun to hear on repeat. Bashi has distanced himself from the film score vibe on his earlier material, diving into a ’70s soft-rock direction, with a bit of modern disco that listeners can find on tracks like “Say Yeah.” If the Bee Gees had formed in 2040, they would have undoubtedly released that song. Each cut is a testament to the medium that Bashi has found between his classical career and his newfound passions in R&B and synthetic music. “Can’t Let Go, Juno” is a crashing wave of stripped-down lyrics and funky, layered instrumentals, but it’s easily Bashi’s most spontaneous track, a demonstration of his fluid sound and his ability to have fun. Sarah Armendariz

8 p.m., Sunday, Nov. 19, at The Fillmore. $15-$47; thefillmore.com

Ibeyi
Alternative Soul

Few artists capture the heartfelt resilience one must have to combat the dreary modern global political climate as well as Ibeyi does. With soulful vocals combined with percussion-heavy beats and a jazzy flair, Ibeyi makes blending together genres sound effortless and refreshingly natural. French-Cuban twin sisters Lisa-Kaindé and Naomi Diaz not only refuse to remain within the confines of a single genre, they sing in multiple languages, including French, Yoruba, Spanish, and English. This serves as a deeply personal connection the Diaz sisters feel with their multi-ethnic familial heritage, further heard with the inclusion of elements from Afro-Cuban music. Ibeyi’s sophomore album, Ash, released this past October, thrusts the Diaz sisters to the forefront of growing resistance movements that have developed in the wake of adversity. Standout track “No Man is Big Enough for My Arms” features vocal samples from a Michelle Obama speech in 2016 denouncing Donald Trump’s behavior toward women, and the result is an exuberant and compelling anthem celebrating empowerment and positivity of women, singing, “Won’t stand still, won’t be shamed.” Although minimalist in sound, this duo proves it’s a force to be reckoned with. Tim Casagrande

8 p.m., Saturday, Nov. 18, at The Fillmore. $35; thefillmore.com

SOPHIE

Experimental Pop

In the two years since the release of her jarring debut album, Product, Sophie Long’s enigmatic persona has come to define her idiosyncratic, bubbly, and sometimes abrasive pop compositions. Sophie’s inimitable production style has drawn the attention from the likes of Charli XCX, Vince Staples, and Madonna, who have all recently collaborated with Sophie. Her single “Lemonade” — which, strangely enough, found its way into a McDonald’s commercial — perfectly summarizes the balance of catchiness and surrealism that makes Sophie’s music so addicting, even if it takes time to grow on you. With her uplifting “It’s Okay to Cry,” Sophie gracefully steps out of the shadows — for the first time ever, she’s on camera — with all of the spotlight directed on her, signaling a dramatic change in tone within her artistry as she takes on vocal duties along with producing. Absent are the dark and twisted dance beats found on her previous releases, as a confident Sophie looks to comfort and empower listeners in her climactic, synth-heavy pop ballad, exclaiming, “Whatever it is, just know it’s all right.” Sophie is no stranger to challenging pop music’s conventional standards, as she continues to deconstruct the consumerism and gender norms that plague the music industry. Tim Casagrande

9 p.m., Saturday, Nov. 18, at the Midway. $20-$25; themidwaysf.com

Rezz

Electronic/Dance

Effortlessly blending elements from techno, electro, and bass music, Rezz — born Isabelle Rezazadeh — has asserted herself as one of dance music’s most exciting up-and-coming artists. Since arriving to the electronic scene in 2015, Rezz’s striking and unpredictable style quickly developed a loyal fanbase, including cosigns from top names like Skrillex, who released her debut EP on his OWSLA record label. Often compared to stylistic inspiration Gesaffelstein, her dark (and occasionally viscous) techno-inspired productions have proven to be irresistible for listeners, as she frequently plays to sold out venues and packed festival stages. Rezz’s recently released debut album, Mass Manipulation — released by the Deadmau5 ran label mau5trap — confirmed her status as a vital artist within the increasingly monochromatic world of EDM. Mass Manipulation, like Rezz herself, refuses to stick within the confines of a single genre and takes the listener on a colorful and erratic journey through delightfully demented soundscapes in a way very few artists can do. When performing, Rezz dons a pair of light-up spiral goggles, a subtle hint to her audience that she intends to hypnotize them into a no-holds-barred dance party. But with or without her hypnotizing goggles, Rezz undoubtedly holds the power to control her audience. Tim Casagrande

8 p.m., Friday Nov. 17, at the Warfield. $24.50-$35; thewarfieldtheatre.com

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