Beyonce, Wednesday, April 1: The most fascinating thing about BeyoncAc is that, even though sheaE™s been a household name for close to a decade, we still donaE™t know very much about her. In interviews sheaE™s polite and soft-spoken. In photographs sheaE™s composed. BeyoncAc is careful to only give us what we need, and thataE™s the pop diva persona sheaE™s honed to perfection. Her third album I AmaE¦ Sasha Fierce released in 2008 acknowledges the split between her private and public personas with two disks, one filled with intimate ballads and the other with brash up-tempo tracks. On the sweet aEœHalo,aE the singer rejoices at having found a good man, while on the raunchy aEœEgo,aE she warbles, aEœItaE™s too big/ ItaE™s too wide/ ItaE™s too strong/ It wonaE™t fitaE¦ I love his big ego.aE (SheaE™s obviously not talking about Jay-ZaE™s self esteem.) The sexy sirenaE™s Seattle appearance is a preview of sortsaE”itaE™s the only stop sheaE™ll make in the United States until this summer, when she wraps up the international leg of her tour. Why sheaE™d choose to first perform here rather than say, her hometown, Houston, is unknown. But much like BeyoncAcaE™s persona, itaE™s certain to have been very carefully calculated. KeyArena, 305 Harrison St. 7 p.m., $59.75 - $99.75. All ages. Note by ERIKA HOBART

Weinland, Thursday, April 2: John Adam Weinland Shearer is a careful man. The songs he writes and performs with Weinland, his eponymous band, sound the way a baby bird looks: Delicate, almost fragile, anticipating the great weight of the world that lies ahead. Shearer is so cautious with his gentle vocals and quiet guitar that it's easy to imagine a musician with some secret sadness just waiting to spill out if he sings too loudly or plays too vigorously. Lyrics like I'll never tell you where I've been/I'll never tell you what I know from Sick as a Gun off 2007's La Lamentor only reinforce that image. And the songs from the band's upcoming April release, Breaks in the Sun, solidify it. Sunken Eyes addresses disappointment and heartbreak, without ever identifying the moment or experience that caused those two emotions. Shearer sings in metaphor and poetry, keeping his true feelings close to the chest. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880. 9 p.m., $6. Note by PAIGE RICHMOND

Miguel Migs, Friday, April 3: Deep house high priest Miguel Migs occupies a position in electronica somewhere between FranceaE™s Bob Sinclar and fellow San Franciscan (by way of Las Vegas) Halo. Even though heaE™s done remixes for A-listers such as Macy Gray, Lionel Ritchie, and Britney Spears, Migs remains a DJaE™s DJ, maintaining both a heavy tour schedule, especially on the West Coast, and a firm presence in the crates (or, as is more likely, hard drives) of jocks all over the place. WhataE™s particularly refreshing about MigsaE™ live sets is that he doesnaE™t focus on drawing clubbers to the dance floor at the peril of playing a good, soulful groove. In that regard, his ability to contour a night around physical movement as much as emotional appeal makes him shine, even if itaE™s not as bright as many of his contemporaries. With Lisa Shaw, Brian Lyons, Lu Rob. Neumos, 925 E. Pike St., 709-9467. 9 p.m., $15 adv. Note by KEVIN CAPP

Chad VanGaalen, Friday, April 3: If Chad VanGaalen is any indicator, then Canadians have excellent taste in music. VanGaalen aE” who is signed to Sub Pop in the United States and Flemish Eye in his native Canada aE” writes simple, articulate songs about other people and how those people make him feel. Not the world's most complicated musical formula: Some brutal honesty combined with easy guitar equals a confessional singer-songwriter. Here in the U.S., there are plenty of these musicians nowadays, but it's poppy, fresh-faced songwriters like Chris Carraba or Taylor Swift that earn national recognition. In Canada, however, VanGaalen went from recording songs in his bedroom in 2004 to being nominated for Canada's Polaris Music Prize in 2007. Maybe it's because his lyrics are a little off: On After the Afterlife from 2005's Infiniheart, VanGaalen asks the girl he loves if her mother's hairdo resembles seaweed. Most likely, it's because the songs off 2006's Skelliconnection tell the story of what it feels like to be lonely and not know how to change it. And that's something almost anyone anywhere can understand. With Women, Cataldo. Chop Suey, 1325 E. Madison St., 324-8000. 9 p.m., $10 adv., $12 dos. Note by PAIGE RICHMOND

Gerald Collier, Friday, April 3: When this show was announced nearly six months ago, the good news traveled fast. Gerald CollieraE™s sizable, longtime fan base was understandably thrilled that last summeraE™s reunion show between Collier, guitarist William Bernhard, bassist and vocalist Jeff Wood, and drummer John Hollis Fleischman was not a one-time occurrence. Few musical unions IaE™ve witnessed in all my years in this business have produced as much downright magical energy as what transpires when these four are on stage together. Even more heartening is the fact that they are in the midst of writing material for a new album, and the demos IaE™ve heard are as good (if not better) than the gorgeous, dark-hearted Americana they carved out when they first convened more than ten years ago. With The Maldives, Kim Virant. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 9:30 p.m., $8. Note by HANNAH LEVIN

J. Tillman, Friday, April 3: These days, J. Tillman is best recognized as the man at the back of a very large and very popular stage: Tillman has been the drummer for Fleet Foxes for the past year, during which time the band's indie rock cred has grown exponentially. But long before that fame, Tillman gained a reputation as a Seattle singer-songwriter in his own right, performing on smaller stages with just himself and his guitar. And fittingly, the long-haired, bearded musician writes melodic songs about being alone, filled with ooohs and occasional additions of drums or stringed instruments. This is more like the slowcore popularized by Duluth's Low aE” Tillman even does a killer cover of In the Drugs aE” that the Foxes' folk. Songs like James Blues sound more like stories than songs, where the author is trying to make sense of life. And whether or not Tillman succeeds in his search for meaning, it's worth following him on the musical journey. With Pearly Gates Music. The Crocodile, 2200 2nd Ave. 8 p.m., $10 adv. Note by PAIGE RICHMOND

Ab Baars Trio with Ken Vandermark, Friday, April 3: Tenor saxophonist Ab Baars arguably exemplifies why jazz has remained alive and well in its European incarnation while the majority of Americans mistakenly view it as an embalmed art form. A veteran of the Dutch jazz community who first came to prominence over 25 years ago as a member of HollandaE™s rowdy, anarchistic ICP Orchestra, Baars and his trio aE” standup bassist Wilbert de Joode and Martin van Duynhoven aE” can certainly summon their share of chaos but, at times, display a considerably more subdued temperament. With his forward-thinking style, BaarsaE™ music isnaE™t necessarily an easy listen, but he and his bandmates are masters at toying with the relationship between refinement and abrasion. They also blur the hard distinction between aEœfreeaE and traditional playing, landing on various points in between rather than treating the two approaches as distinct polar opposites. By turns, their work together can sound abstract, cacophonous, somber, peaceful, and whimsical aE” sometimes within the same piece or even the same phrase. Special guest Ken Vandermark, a critically acclaimed Dutch transplant who now lives in Chicago, brings his own brand of tenor firepower, as well as a next-generationaE™s perspective, to the colorful mix. Seattle Asian Art Museum, 1430 Prospect Ave., 625-8900. 8 p.m., $7.50-$15. All ages. Note by SABY REYES-KULKARNI

Lifesavas, Saturday, April 4: Even though Portland hip hop troupe the Lifesavas has only released two albums in the past six years, those two records were good enough to cement these guysaE™ status as some of the most innovative purveyors of rhyme, not just in the Pacific Northwest, but in the entire country. Like their labelmates Blackalicious, the LifesavasaE”Vursatyl, Jumbo the Garbageman and DJ ShinesaE” combine sharp witted-rhymes spat in unusual cadences and musically diverse production thataE™s sometimes unorthodox, but never, ever boring. In fact, it was BlackaliciousaE™ Chief Xcel who discovered the group and offered the Lifesavas their current record deal on Quannum. Unfortunately, if the gap between 2003aE™s Spirit In Stone and 2007aE™s Gutterfly is any indication, it may be a while before the Lifesavas release another record; that said, whenever that elusive third release does drop, itaE™ll more than make up for a couple yearsaE™ worth of lag time. With Grayskul, Rudy & the Rhetoric, Mic Crenshaw. Nectar, 412 N. 36th St., 632-2020. 9 p.m., $12 adv. Note by SARA BRICKNER

India.Arie, Saturday, April 4: When India.Arie first debuted her music to the world on her album, Acoustic Soul, from 2001, she was seen as a welcome change within the music industry. Existing slightly inside of the neo-soul box, but far away from the pillow-talk R&B at the time, ArieaE™s songs spoke of black love and self love in a way that touched music consumers young and old. That album eventually went triple platinum, which obviously is a strong start to oneaE™s music career. The Denver native, who spent much or her adolescence in Atlanta, is a talented vocalist and guitar player and she also writes most of the songs on her album. Her latest disc, Testimony: Vol. 2, Love & Politics recently hit stores in February, and while it doesnaE™t have a single on it as catchy as aEœBrown SkinaE or aEœI Am Not My Hair,aE the song aEœChocolate HighaE featuring Musiq Soulchild is a jazzy, modern soul hit. Other jams on Love & Politics include aEœTherapyaE featuring Gramps of reggae group Morgan Heritage and aEœBetter WayaE which has a guest appearance from blues singer Keb Mo. ItaE™s a solid album and anyone that likes their R&B/soul music to be hard hitting without the cheesy, baby-come-hither lyrics should check her out. With Laura Izibor. Paramount Theatre, 911 Pine St., 467-5510. 8 p.m., $29.59-$59.50. All ages. Note by JONATHAN CUNNINGHAM

Torche, Sunday, April 5: Last summer, when I interviewed guitarist Juan Montoya, co-founder of Florida underground-metal powerhouse Torche, he explained to me one of the differences between he and his bandmate (and friend of 15-plus years), singer-guitarist Steve Brooks: aEœSteve is the more realistic one in the bandaE¦and IaE™m the one thataE™s always like, aE˜WeaE™re gonna be the best! WeaE™re gonna rock out! LetaE™s go to Japan by the end of the year!aE™ I make all these crazy goals and heaE™s like, aE˜Dude, youaE™re a daydreameraE¦aE™aE Apparently, realism has won out, because Montoya was asked to leave the band in late 2008 due to vague-but-ever-popular aEœpersonal and professionalaE reasons, reducing Torche to a trio (they have no plans to replace Montoya). Part of what made last yearaE™s breakthrough album Meanderthal such an amazing, compelling listen was the collision of the pairaE™s disparate styles and influences aE“ Brooks was into death metal like Entombed and Deicide, while Montoya brought to the band a love of My Bloody Valentine, Jawbox, and Cocteau Twins; they found common ground in the Melvins, whom Torche occasionally resembled both on the disc and live. How the band moves forward with Brooks firmly in charge is anyoneaE™s guess, but tonightaE™s show should provide at least some answers. With Dredg, Maps & Atlases.A Neumos, 925 E. Pike St., 709-9467. 7 p.m. $15 adv. All ages. Note by MICHAEL ALAN GOLDBERG

Astronautalis, Sunday, April 5: Andy Bothell makes the kind of pseudo-hip hop that makes anticon followers drool and hipsters swoon. He rhymes as Astronautalis, wavering from a Sole-like drone to a hoarse growl that makes him sound like Tom Waits slinging rhymes. Bothell's a recent transplant to SeattleaE”he comes to us from FloridaaE” but his recent deal with Eyeball Records and the cross-country move aren't the only changes Bothell's made lately. On Pomegranate, Bothell's newest and most ambitious release, he weaves eerie tales of thieves and reinvents historical river crossings like hip hopaE™s misfit bard. With each subsequent record, Bothell seems to progress further into the wild hybrid territory settled by the pioneers in anticonaE” which is not a bad thing. But the best part of Bothell's shows is still all hip hop: when he asks the crowd to throw out a few words, which he'll then incorporate into a zany freestyle. Bring your best nouns. With Cars & Trains, Bleubird. Nectar, 412 N. 36th St., 632-2020. 9 p.m., $7. Note by SARA BRICKNER