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The folk-meets-bluegrass-meets-country-meets-blues-meets-rockabilly trio The Devil Makes Three likes to do things differently. And if that tongue-twisting description of their sound didn’t tip you off to that fact, consider this: They are a drummer-less trio.

I like to think about what Petunia, frontman of Petunia and the Vipers, sees when he steps up to the mic. There’s something about his old-timey aesthetic, warbling, velvet voice and smoky gaze that hint at a man transposed from another time, as if he was plucked from some turn-of-the-century ragtime saloon and plopped down on Sam Bond’s stage.

These country/rock road-warriors blend up-tempo classic country, folk and bluegrass, never afraid to address issues ranging from nuclear energy to war.

Grrrlz Rock is a month-long local concert series that spotlights and supports amazing female artists that light up this humble valley with music. A few acts are looking to make a splash at The Speakeasy this weekend.

Corvallis seems to be stepping up its live music game lately. As someone who grew up in Philomath — think Corvallis’ Springfield — we got used to driving to Portland or Eugene to see anyone touring nationally.

There may be no singer-songwriter with a beefier activist pedigree than Holly Near. Before she was 10, Near had performed for a Veterans of Foreign Wars talent competition and volunteered her vocals at the Taimage Mental Hospital.

When rock came along, it seemed to spell doom for the so-called Great American Songbook, those perennials composed by (mostly) New York-based songwriters from the 1920s through the mid 1950s. But those hardy tunes keep finding new life in various guises, and not just in cabaret or karaoke croon sessions.

Billy Idol has long been one of the great symbols of ’80s-era rock. So badass that he became a new breed of punk rock, so cool that he was rock ‘n’ roll through and through and even catchy enough that he could successfully wriggle his way into the pop world — he remains one of that decade’s most prominent and enduring musical figures.

Embracing the palpable restrictions of the seemingly humble uke - Jake Shimabukuro has skyrocketed the lesser-known ukulele scene into the international music spotlight.

I realize I’m a little late to the Macklemore & Ryan Lewis party; I didn’t fall in love with the pair until I heard the first bars of “Thrift Store” a month ago.

Jon Foreman and the guys in Switchfoot have been making some of the most thought-provoking commercial music for a decade now, and their latest release, 2011’s Vice Verses, is no exception.

Ambitious music projects are like catnip for Brian McWhorter. His latest, an assembled score with Beta Collide for the upcoming UO screening of the 1929 silent film Ed’s Coed, is no exception.

Big orchestras and operas make a lot of glorious noise, but sometimes the most enchanting music is also the most intimate.

Some bands have epic, long careers. Some bands burn bright and fizzle quickly. Some bands build a career nibbling at the edges: consistent, successful, influential, but never quite becoming household names despite their cult following. Dinosaur Jr. is a band like that.

Oakland is a hard place — always has been and ever will stay such, because the Bay, as they say, is the quintessence of the modern concrete jungle, churning up a bone meal Darwinism of jacked-up nasty that suffers no goons.

Ever been to one of those shows where you’re blinded by glow sticks, your body won’t stop buzzing because the bass is so loud, and you come out so sweaty on the other side you’d think someone threw you into a bucket of saltwater? No? Well now’s your chance.

Syracuse-based Sophistafunk has a mission: to destroy musical stereotypes. “There are only three of us and only two of us play instruments,” Sophistafunk keyboardist Adam Gold tells EW.

Jonathan Russell should apply to become the spokesperson for Eugene’s tourism board while he’s in town.

Living in the Northwest you grow accustomed to rain, cool breezes and gray skies — but also the opposite — sun and blue and warmth. The truth of this place is that nothing is permanent and there is always change, both in the weather and the geography.

Beach House does not want you to think about their music, they want you to feel it. “At the end of the day when you hear our music, I hope the analytical side shuts down and you feel it more,” Victoria Legrand (lead vocals, keyboard) says.

Hip hop boils music down to two basic elements: voice and rhythm. And over the years those elements have been blended by mad scientists, producing compound sounds as varied as those making the music.

The Shins and I go way back. They’re based in Portland; I’m from Portland. They contributed to the Garden State soundtrack; I snuck in to see Garden State multiple times when I was 16.

The Oregon Mozart Players begin a new era this Sunday afternoon with newly appointed artistic director Kelly Kuo’s first concert with the always enjoyable chamber orchestra.

Although they now boast an extensive touring record and monstrous discography, indie rock moguls Tegan and Sara had humble beginnings.