Friday, March 14, at House of Blues
What superlatives can be employed to describe Annie Clark's mad genius that haven't already been used so many times in the recent past, let alone over the course of the past several years that Clark has recorded under the St. Vincent moniker? Whether she's still a local Dallas artist or not may be up for debate now that she lives in New York, but the fact her new self-titled album is a masterwork and should reside in the top five of any legit year-end "Best Of" list this coming December isn't up for argument. Clark's ascent from a sick guitar slinger to an internationally revered performance artist is as impressive as the rise of any indie buzz band of the past decade. Fully embracing the drama her music creates, Clark's stage show for the Digital Witness tour is set to be one of the year's most engrossing experiences, though she'll play large clubs and theaters, not massive arenas, which will surely make the creation all the more intimately urgent and dangerous. These days, Clark isn't an indie darling as much she is a pure rock goddess, and her homecoming show will surely be a majestic one. Kelly Dearmore
Tyler, the Creator
Saturday, March 15, at House of Blues
Back in 2000, Eminem sang, "I never knew I would get this big ... I never knew I'd affect this kid." While the waves of Mr. Mathers' music have touched countless voices since, no persona has been more explicitly shaped by him than Tyler, the Creator — the tallest-standing "kid" Eminem never knew he'd spawn. While Tyler hasn't the tongue to match his progenitor, he's every bit his imaginative equal, capable of conjuring shadowed, socially aware imagery on par with Eminem's sharpest nightmares. When Tyler's at his best, he blends colorful textures with streams of aloof, free-associative lyricism in a manner that sees his sophomoric demeanor balanced by uncompromised songwriting. Tyler's brand of hip-hop — non sequitur atop circus theatricality — is a glorious celebration of youth's ignorant genius. Jonathan Patrick
Spillover Music Festival 2014
Sunday, March 16, at Three Links and Dada
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Spread among three stages found in two of Deep Ellum's best venues, Parade of Flesh's Spillover is one of the finest North Texas festivals in the month of March. This year, it's an extremely healthy blend of bands, from the alt-rap of Astronautalis to the girl-group garage of the Dum Dum Girls to the ripping hardcore of Single Mothers. Two of the biggest can't-miss acts are Ty Segall, a psych-pop trip, and Deafheaven, probably the only band in the world that can be described as Jesus and the Mary Chain meets Carcass. If ever there was a time to celebrate all the acts coming to and from SXSW, Spillover is the real deal. The show starts early in the afternoon and runs until late that night. Start asking off from work the following Monday now. Eric Grubbs
Sunday, March 16, at Dan's Silverleaf, Denton
Over the years, Jagwar Ma has proven to be one of Australia's most interesting musical exports. The electro-psych trio layers crunchy dance beats with driving tribal drums over wavy synths and the ethereal falsetto of lead singer Jono Ma (from whom the band gets its name). They bring a contemporary sensibility to a sound that evokes a mid-1980s Factory Records sort of vibe. The three-piece's strong Happy Mondays influence is clear, but not trite. This is revivalism done right, and their live show makes for a hell of a good time. Last month, while playing their native Australia's Laneway Festival, Jagwar Ma somehow ended up in an epic 12-hour recording session with King Krule, Warpaint and Earl Sweatshirt. Though we don't yet know what came of that night in the lab, local studio owners would be smart to take note and put some feelers out. If this is the sort of thing Jagwar Ma like to do with their off time, it could lead to some pretty exciting collaborations. Vanessa Quilantan