(with John Craigie) 8 p.m., Thursday, Feb. 14 and (with Laura Gibson) 8 p.m., Friday, Feb. 15, at The Fillmore. $32.50; thefillmore.com
Offering a brand of melancholic Americana and atmospheric folk, Gregory Alan Isakov heartily captures the everyman-spirit of greats like Bruce Springsteen and Neil Young. The independent farmer and singer-songwriter was born in Johannesburg but reared in Philadelphia, touring with a rock band at 16 before settling in Colorado to focus on his solo career. Isakov’s 2003 debut album, Rust Colored Stones — along with all his subsequent albums — would be released on his own Suitcase Town Music label, a demonstration of his commitment to self-reliance and a DIY ethic. Isakov’s 2007 album, That Sea, the Gambler, was his breakthrough effort, a moody journey through desolate indie folk anchored by Isakov’s warmly human lyricism. In 2016, he teamed up with the Colorado Symphony for a tour and subsequent album in which Isakov ambitiously reworked prior material to give his story-driven songs a new cinematic feeling, all in an orchestral setting. Evening Machines, Isakov’s most recent album, hears the musician return with emotionally contemplative material within a carefully produced atmosphere that emphasizes the smaller details lurking in the album’s brooding soundscape.
8 p.m., Saturday, Feb. 16, at Rickshaw Stop. $12; rickshawstop.com
Sure to become the next indie-rock powerhouse owing to her stunning voice and proven creative versatility, Miya Folick is fresh off a watershed year. Her debut album, Premonitions, earned widespread acclaim, with critics singling out its potential crossover appeal. The Santa Ana-born singer and instrumentalist began writing music after dropping out of New York University, also learning how to play guitar professionally. In 2015, she released her debut EP, Strange Darling, a lo-fi, dream-pop-drenched effort pleasantly reminiscent of Mazzy Star. The following EP, Give It to Me, hears a confident Folick display the sheer capability of her voice, perfectly matched with a welcome storm of distorted guitars and upbeat energy. After much anticipation, Folick released her revelatory debut studio album Premonitions last October, a sonically dynamic collection of 10 songs that advocate for self-empowerment and the honest challenges that come with doing so. Folick’s sincere lyricism elevates the album to soaring heights while maintaining impeccable pop tendencies that makes Premonitions an unabashedly fun listen that can only leave you excited for Folick’s artistic growth.
8 p.m., Friday, Feb. 15, at Slim’s. $17; slimspresents.com
Gleefully erratic and driven by endless energy matched with limitless creative ambition, Broncho’s idiosyncratic style of punk-smacked art rock has kept them as one of indie-rock’s most consistently engrossing bands since their start in 2010. Founded in Oklahoma by singer and guitarist Ryan Lindsey as a result of lackadaisical recording sessions with friends, Broncho’s 2013 debut album, Can’t Get Past The Lips, is a crunchy and anthemic dosage of quality lo-fi rock that hints at the knack for experimentation that subsequent releases would explore further. The following year, Broncho released Just Hip Enough to Be a Woman, a surreal but deliriously catchy effort that almost sounds like Billy Idol and Jarvis Cocker came together to record a proto-punk album. While retaining the quirky sensibilities of their past albums, Broncho’s latest record Bad Behavior hears the group channel T. Rex and Gary Numan for a decisively more mature record that reflects on today’s tense political and cultural climate in a tongue-in-cheek manner that only Lindsey could properly handle. Bad Behavior may be Broncho’s most refined album to date, but the group still has their trademark sense of playfulness.