Carnival of Soul

This fall’s music calendar will feature emerging artists, established legends and unearthed gems. Dates are subject to change. You can listen to a playlist of songs on Spotify from the fall preview here.

Read more listings for art, classical music, dance, film, television and theater.

MADONNA AT THE BROOKLYN ACADEMY OF MUSIC Since she returned to touring in 2001, Madonna has been the queen of the arena, crossing the globe for six large-scale, lucrative extravaganzas. But she’s experimenting with a smaller-format show starting Sept. 17 at the Brooklyn Academy of Music’s Howard Gilman Opera House in New York: a theater experience highlighting material from her most recent album, “Madame X.” Madonna tours aren’t greatest-hits sets, so expect a sampling — but not a heap — of tracks from throughout her discography at the show, which will travel to Chicago, Las Vegas, Los Angeles, Boston, Philadelphia and Miami Beach on its United States leg. — Caryn Ganz

TAMMY FAYE STARLITE AT PANGEA The alt-cabaret singer has built a devoted following with her irreverent tributes to female artists and roaring muses. The focus of her latest show is a certain English songbird’s 1979 album: “Why’d Ya Do It? Tammy Faye Starlite Performs Marianne Faithfull’s ‘Broken English.’” Back at Pangea through Oct. 31, this witty retrospective/homage finds Starlite at the peak of her comedic powers, backed by a veteran band including the guitarist Barry Reynolds and the violinist Eszter Balint. Pangea will also feature the androgynous night life fixture Raven O (Sept. 20 and Oct. 18); “The Randy Andys Coming Out Party!” (Sept. 9, Oct. 14, Nov. 11 and Dec. 9); the actress and singer Elizabeth Parrish (Oct. 2 and 9); and the return of Jack Bartholet in “Lady With a Song” (Nov. 1). — Elysa Gardner

RENÉ MARIE AT JAZZ AT LINCOLN CENTER This late-blooming jazz star brings a dusky sensuality and a fierce social conscience to her original compositions and rhythmically savvy interpretations of a wide variety of standards. She will be back at Dizzy’s Club at Jazz at Lincoln Center Sept. 19-22. Dizzy’s will later host Nnenna Freelon, another multitasking dynamo, (Oct. 5-6); the Sarah McKenzie Quintet (Oct. 4); the performer and composer Damien Sneed, celebrating mentor Aretha Franklin (Oct. 28); the robust-voiced Paula West (Nov. 22-24); and the eternally incisive Mary Stallings (Dec. 13-15). At the Rose Theater on Sept. 27-28, Cécile McLorin Salvant will perform a song cycle called “The Ogresse,” with a 13-piece chamber ensemble including jazz musicians and the Mivos Quartet. — E.G.

CHASTITY BELT When this band started out, its name was a devilish wink at those who knew its songs were actually rife with references to sex, weed and drinking. On its forthcoming self-titled album, Chastity Belt has scaled back on its shouty brazenness, offering a more sincere and heart-wrenching read on the trials of young adulthood. It catalogs the throes of depression in downtrodden, shoe-gazey guitar songs like “Elena,” a tribute to the Italian writer Elena Ferrante. (Hardly Art; Sept. 20.) — Olivia Horn

SAMANTHA FISH For the last decade, she has been one of the most promising young blues performers working, a punchy singer and a rowdy guitarist. “Kill or Be Kind” is her first album for the roots-music powerhouse Rounder, and it demonstrates the range of her palette, which takes in Southern R&B, rockabilly and much more. (Rounder; Sept. 20.) — Jon Caramanica

COLT FORD In the era of “Old Town Road” and “The Git Up,” might the spotlight finally land on Colt Ford? A country-rapper for well over a decade, Ford has been at the forefront of a movement Nashville has largely regarded with a polite shrug, even as he’s collaborated widely with the city’s biggest stars. “We the People,” his seventh studio album, includes songs with Mitchell Tenpenny, Dan Tyminski and Jimmie Allen. (Average Joes Entertainment; Sept. 20.) — Jon C.

JASON MORAN AT THE WHITNEY MUSEUM The MacArthur-winning pianist Jason Moran has long aimed to connect jazz’s history — and its present — with adjacent forms of art and social action. His exhibition at the Whitney Museum of American Art, opening Sept. 20, is full of drawings, sculptures and video pieces he’s assembled over the past decade. Some sculptures are recreations of historic jazz stages from New York City’s bygone days, and he will activate them with a series of live performances across nine separate weekends, starting with the saxophonist Archie Shepp (Sept. 27-28) and concluding with the all-star Tiger Trio (Jan. 3-4). — Giovanni Russonello

ROBBIE ROBERTSON The 50th anniversary of the Band’s performance at Woodstock has loomed large over 2019, but the sixth solo album from the guitarist Robbie Robertson is closer to his last four decades of producing and composing for Martin Scorsese. On “Sinematic,” Robertson’s taut noir tales of hit men, warmongers, gangsters and hard-luck kids (among more general musings on humanity) are fitting for a moonlit night at the Twin Peaks Roadhouse. Guests on the album include Van Morrison, Glen Hansard and Derek Trucks. (UMe; Sept. 20.) — Christopher R. Weingarten

TOVE LO This Swedish singer specializes in club bangers tinged with melancholy. On her most popular song, she espouses chasing highs — but not for the thrill of the party so much as the fear of the comedown. Her fourth studio album, “Sunshine Kitty” draws strength from female companionship, both platonic and romantic, with songs that celebrate the support of friends after a breakup (“Glad He’s Gone”) and the spark of a first crush (“Bad as the Boys”). (Island; Sept. 20.) — O.H.

VIVIAN GIRLS “Memory,” the first album in eight years from the fuzzed-out Los Angeles-via-Brooklyn trio Vivian Girls, has about a decade’s worth of anxiety and ire simmering underneath its reverb-drenched harmonies and distorted guitars. (“Sick again,” the singer Cassie Ramone sighs on the album’s first single, “more often than not at the hands of men.”) Across 12 tight songs, the reunited band sticks to the formula — girl-group DNA with a feminist-punk edge — that made it stand out in the post-riot grrrl, male-dominated, late-aughts indie era, and helped clear the path for the current bounty of female-driven DIY rock. (Polyvinyl; Sept. 20.) — Joe Coscarelli

TONY MIDDLETON AT ROXY BAR Over nearly 70 years, this singer’s resonant baritone has taken him from doo-wop to Broadway to collaborations with top pop and R&B tunesmiths like Burt Bacharach and Smokey Robinson. Now a cabaret regular, Tony Middleton will stop by the Roxy Bar on Sept. 21. The jazz outfit the Café Society plays there on Sept. 20, and the Habibi Kings — featuring the supple-voiced Mardie Millit, the pianist Michael Garin, the Israeli-born violinist Samir Shukry and the native Egyptian percussionist Ossama Farouk — perform on Sept. 27. — E.G.

THURSTON MOORE While his indie-rock solo albums have gotten attention since the 2011 dissolution of Sonic Youth, Thurston Moore has quietly been doing masterful work in the avant-garde sphere; the three-CD “Spirit Counsel” puts his experimental visions in the driver’s seat. Two long-form ensemble pieces recall My Bloody Valentine’s noisier and more suffocating moments; the guitar armies of Rhys Chatham and Glenn Branca; and the shimmering swirl of ’90s U.K. noise bands. The album’s lone solo guitar piece, “8 Spring Street,” is Moore’s homage to Branca, who died last year. (The Daydream Library Series; Sept. 21.) — C.W.

REEVE CARNEY AT THE GREEN ROOM 42 The singer, songwriter and musical leading man survived “Spider Man: Turn Off the Dark” to rise again in “Hadestown.” He’s also become a favorite at the Green Room 42, where on Sept. 22, Oct. 6 and Oct. 20 he’ll deliver tunes from his album “Youth Is Wasted,” along with Broadway and American songbook selections. Carney’s “Hadestown” co-star Eva Noblezada presents “Ballad of a Broadway Twenty-Something” on Sept. 15, Oct. 13 and Oct. 27; others set to appear include the wily English import Frances Ruffelle in “Live(s) in New York” (Oct. 20 and Nov. 23); and, just in time for the holidays, Paige Turner, the host of show “So You Think You Can Drag,” in “Jingle All the Way!” (Dec. 6, 13 and 19), featuring yuletide tunes and parodies. — E.G.

JON BATISTE AT CAFE CARLYLE The “Late Show” bandleader and scion of New Orleans jazz royalty will make his Café Carlyle debut starting Sept. 24, performing songs from his T Bone Burnett-produced collection of diverse American classics, “Hollywood Africans,” and other material. The soul singer Bettye LaVette returns to the Carlyle (Oct. 10-12), and the actress and singer Mare Winningham will follow (Oct. 29-Nov. 2), along with partners in music and marriage: John Pizzarelli and Jessica Molaskey (Nov. 5-16); and Herb Alpert and Lani Hall (Nov. 19-30). The songbook champion Steve Tyrell marks his 15th anniversary in the holiday slot (Dec. 3-31). — E.G.

STEVE LEHMAN AT JAZZ STANDARD “The People I Love” might seem like an unsuitably approachable title for a record by the cerebral saxophonist Steve Lehman — and to some extent, it is. But this album, released in August, finds him comfortably situated in a classic acoustic quartet, dialing into a subtle sense of swing. Sometimes, his compositions get stuck on a single chord, the rhythm section dancing in place, while elsewhere he bleats and burns through a swift run of changes; throughout, he’s focused on keeping melody and rhythm intertwined. Lehman celebrates the album’s release with a two-night run, Sept. 24-25, at Jazz Standard, joined by the excellent band from the recording: Craig Taborn on piano, Matt Brewer on bass and Damion Reid on drums. — G.R.

THE BEATLES Commemorating the 50th anniversary of Paul McCartney’s “death,” the final album recorded by all four Beatles receives new stereo, 5.1 surround and Dolby Atmos mixes — as well as 23 alternate takes and demos — in a deluxe four-disc “‘Abbey Road’ Anniversary Edition” boxed set. Though hearing the studio chatter and goof-ups around Take 9 of “Octopus’s Garden” is an exercise for die-hards, there are some excellent stripped-down versions of tunes: George Harrison’s studio demo of “Something” without strings and multi-tracks; and McCartney’s home demo of “Goodbye” written for the singer Mary Hopkin. (Apple Corps Ltd./Capitol/UMe; Sept. 27.) — C.W.

JUSTIN VIVIAN BOND AT JOE’S PUB Through a career spanning theater, film, cabaret and visual art, Justin Vivian Bond has continually defied gender and genre boundaries. With “Under the Influence,” Bond returns to Joe’s Pub (Sept. 27-Oct. 2) as part of Judy Collins’s Vanguard Residency. Bond pays homage to Collins by tracing her diverse vocal terrain and covering songs by giants, including Bob Dylan, Leonard Cohen and Joni Mitchell, as well as Duke Ellington, Jacques Brel and Stephen Sondheim. Collins herself will appear (Nov. 18-27) with the Norwegian singer-songwriter Jonas Fjeld and the bluegrass group Chatham County Line, her collaborators on the upcoming folk album “Winter Stories.” Blending pop hits, Spanish boleros and original compositions, Migguel Anggelo eyes cultural stereotypes though an L.G.B.T.Q. lens in “LatinXoxo” (Oct. 15, Nov. 6-7). Also scheduled: Salty Brine (Sept. 18-19) with his latest “Living Record Collection” mash-up, in which Mary Shelley’s “Frankenstein” meets the Smiths’ “The Queen Is Dead.” — E.G.

JOHN COLTRANE Six months before he made his masterstroke, “A Love Supreme,” in late 1964, John Coltrane brought his quartet into the studio to record the soundtrack for an experimental Canadian film, “Le Chat Dans le Sac.” Just three pieces wound up in the movie, and the rest languished in storage; only now are these recordings being released as an album, “Blue World.” By the mid-1960s, Coltrane was moving at a creative sprint, and he rarely paused to revisit past items from his repertoire. These understated, screen-ready renditions of tunes like “Naima” and “Like Sonny” — on which Coltrane occasionally zips off into the turbulent, time-bending flurries that had become his signature — represent a rare moment of tranquillity, and something like repose. (Impulse!; Sept. 27.) — G.R.

ALESSANDRO CORTINI As a keyboardist in Nine Inch Nails and a collaborator with other electronic musicians, Alessandro Cortini harnesses analog synthesizers to generate pervasive, ominous suspense. His new album, “Volume Massimo,” actually relies less on volume than on atmosphere and melody; it’s a set of darkly pulsating instrumentals that march toward desolation. (Mute; Sept. 27.) — Jon Pareles

RAMSEY LEWIS Since the 1950s, the pianist and keyboardist Ramsey Lewis has been mining the territory between a head-nod and a full-on dance groove. His hits — including “The In Crowd,” from 1965, and “Sun Goddess,” featuring the members of Earth, Wind & Fire, a decade later — have always been peacemaking missions between jazz, funk and pop. He returns to that approach on “Urban Knights VII,” his first new album in eight years, on which he collaborates again with the ever-evolving ensemble known as Urban Knights. Slickly propulsive originals are interspersed here with a range of covers: Blues classics, the Beatles and Chick Corea all get their due. (Ropeadope. Sept. 27.) — G.R.

EMEL MATHLOUTHI The Tunisian songwriter Emel Mathlouthi became a voice of Arab Spring in 2012 with her song “Kelmti Horra” (“My Word Is Free”); she counts Joan Baez, Björk, Sinead O’Connor and the Lebanese songwriter Marcel Khalife among her influences. Her third album, “Everywhere We Looked Was Burning,” is her first with lyrics primarily in English; its somberly dramatic songs back her clear, dauntless voice with electronics, orchestral arrangements and sounds from nature. (Partisan; Sept. 27.) — J.P.

JON PARDI California-raised, Nashville-grown Jon Pardi cut a path through modern country’s embrace of pop, hip-hop and EDM by stubbornly sticking to fiddles, steel guitar and dive-bar jukebox energy. However, he’s no traditionalist, and his breakthrough 2016 album, “California Sunrise,” was a hard-rocking LP that split the difference between Alan Jackson and Bob Seger. Its follow-up, “Heartache Medication” — named after the kind prescribed by bartenders, naturally — continues that direction, with honky-tonkin’, boot-stompin’ tracks about whiskey, women and song. The first two are covered in the tender ballad “Don’t Blame It on Whiskey,” a duet with Lauren Alaina, written by Miranda Lambert and Eric Church. (Capitol Nashville; Sept. 27.) — C.W.

THE REPLACEMENTS The producer Matt Wallace has drastically remixed “Don’t Tell a Soul,” the Replacements’ much-maligned pop album from 1989, peeling away its gauzy layers of major-label gloss, reverb and drum triggers. What he revealed is a heartland punk record. The remix leads the four-CD/one-LP “Dead Man’s Pop” boxed set, a collection that also includes rarities, a complete live show from the summer of 1989 and, most notably, a set of songs from a whiskey-fueled, bottle-clinking jam with Tom Waits, who reportedly loved the Mats’ “broken” sound. (Rhino; Sept. 27.) — C.W.

STURGILL SIMPSON The existential outlaw country troubadour Sturgill Simpson trades his metaphorical boots for platform shoes, exploding with “Sound & Fury,” a space-bound, hip-shaking, hard-rock album that recalls the year that produced Electric Light Orchestra’s “Discovery” and Kiss’ “Dynasty.” It’s paired with an anime movie, premiering on Netflix, that Simpson describes as “a futuristic, dystopian, post-apocalyptic, samurai film.” (Elektra; Sept. 27.) — C.W.

SUI ZHEN The third album from the Melbourne-based pop futurist Becky Sui Zhen is tied up in the achingly personal — her mother’s losing battle with pancreatic cancer. But it wouldn’t be Sui Zhen if she didn’t apply a high-concept framework to the universal experience of loss. Titled “Losing, Linda,” the album centers on its titular character, a digital avatar (accessible via the album’s companion website) who stores data and memories in order to preserve existence beyond death. Though heady, the album’s first single, “Perfect Place,” is perfectly danceable. (Cascine; Sept. 27.) — O.H.

TEGAN AND SARA For roughly a decade after they started making music in the late 1990s, the Quin sisters existed in the margins of popular music. Queer, female and working in a hard-to-place zone between pop, punk and acoustic music, they posed a conundrum to critics eager to write them off as “lesbian folk.” Now that the mainstream has caught up with Tegan and Sara, the duo is taking time to reflect on its roots. The twins’ new memoir, “High School,” due on Sept. 24, will be accompanied by “Hey, I’m Just Like You,” an album’s worth of songs that the Quins, now 38, originally wrote as teenagers and rerecorded earlier this year. (Sire; Sept. 27.) — O.H.

TEMPLES A mop-topped, Chelsea-booted four-piece from Kettering, U.K., Temples wear their British Invasion influences like a badge of honor. But for a throwback band, they have a thoroughly modern origin story: A homemade track posted to YouTube in 2012 gained unexpected traction, and a year later, the group was opening for the Rolling Stones in Hyde Park. Across their first two albums, “Sun Structures” from 2014 and “Volcano” three years later, Temples reveled in a retro psych-pop sound built from 12-string guitars and densely layered vocal harmonies. The nostalgia trip continues with “Hot Motion,” the first single and title track from their third album. (ATO; Sept. 27.) — O.H.

YOUNG M.A It has been more than three years since Young M.A’s breakout hit “Ooouuu,” a sturdy tutorial in East Coast hip-hop, went from YouTube to the Billboard Top 20. Despite her steady stream of rock-hard singles since, the rapper, born Katorah Marrero, has yet to release a full-length project. Opting to stay independent, Young M.A will finally release her debut album, “Herstory in the Making,” packing it with 21 tracks (including the sleeper hit “PettyWap”) with production by Zaytoven and Mike Zombie. (M.A Music/3D; Sept. 27.) — Joe C.

DANNY BROWN Over his last four albums, the Detroit underground rhyme-smith Danny Brown has gone from being a hilarious bacchanalian hedonist to an even more compelling truth teller who details the negative impact of being a bacchanalian hedonist. “uknowhatimsayin¿” is his first album since “Atrocity Exhibition” in 2016; Q-Tip is the executive producer. (Warp; Oct 4.) — C.W.

KRIS DAVIS Her first album since being named the No. 1 “rising star artist” in DownBeat magazine’s 2018 critics poll, “Diatom Ribbons” finds the pianist Kris Davis embracing the strongest elements of her artistry (a splattery, two-handed approach to harmony, a devilishly dancing lyricism and a head bursting with ideas but governed by restraint) while forging partnerships with various new collaborators, including the drummer Terri Lyne Carrington, the electronic musician Val Jeanty, the tenor saxophonist J.D. Allen and the bassist and vocalist Esperanza Spalding. (Pyroclastic; Oct. 4.) — G.R.

BILL FRISELL The eminent guitarist Bill Frisell improvises in smoky ringlets of melody, drawing the influence of classic jazz guitar into a palette based on early American folk music. He has been a noted bandleader since the 1980s, but has never released an album for Blue Note Records, jazz’s most illustrious label. That will change with “Harmony,” which finds Frisell playing eight smoldering original compositions and a few covers alongside the vocalist Petra Haden, the cellist Hank Roberts and the guitarist and bassist Luke Bergman. (Blue Note; Oct. 4.) — G.R.

THE MENZINGERS This Scranton, Pa., band has been, for over a decade, shockingly consistent, making blue-collar punk with big heart and choruses that demand to be shouted out loud. “Hello Exile” is its sixth studio album, sneaking in flecks of tunefulness that don’t undermine its sweaty core. (Epitaph; Oct. 4.) — Jon C.

GABY MORENO AND VAN DYKE PARKS Immigration is the constant undercurrent of “¡Spangled!,” the collaboration of the Guatemala-born singer Gaby Moreno and the arranger, songwriter and era-hopping visionary Van Dyke Parks. It’s a pan-American collection of songs in English, Spanish and Portuguese, drawn from all over the hemisphere and rendered with cinematic, hallucinatory orchestrations, mixing past and present while always thinking about the American dream and promise. (Nonesuch; Oct. 4.) — J.P.

OLD CROW MEDICINE SHOW For many artists — like Jason Isbell, who has made it the site of an annual residency, and Harry Styles, who admitted to booking an entire tour in order to play there — the Ryman Auditorium in Nashville is holy ground. Old Crow Medicine Show, an old-school string band and unlikely major-label signee, has performed there more than 40 times over the past two decades, and will honor the storied concert hall with a new album of songs recorded live on its stage called “Live at the Ryman.” With selections borrowed from Ma Rainey and the Carter family, the album mines the American roots tradition. Naturally, it also includes “Wagon Wheel,” the band’s best-known contribution to that songbook. (Columbia Records via the Orchard; Oct. 4.) — O.H.

ANGEL OLSEN Her early work cast her as a brooding folk singer, but Angel Olsen is eager to tinker with her own image. With her new album, “All Mirrors,” she follows some of the lines that emerged on “My Woman” in 2016: Her sound leans into cinematic pop, with string flourishes by a 14-piece orchestra and eerie effects woven into her sepia-toned vocals. Even the record’s coziest moments sound vast. (Jagjaguwar; Oct. 4.) — O.H.

THAT DOG. One of the finest bands of the ’90s (see the punchy, biting guitar rock of “Minneapolis” and “Never Say Never”) is returning after 22 years as a trio — the guitarist-singer Anna Waronker, the bassist-singer Rachel Haden and the drummer Tony Maxwell — for an album titled “Old LP.” Guests include Maya Rudolph, Randy Newman and members of Blur and the Go-Go’s. Vibes are intact. (UMe; Oct 4.) — C.G.

WILCO For its 11th album, “Ode to Joy,” the Chicago indie rock stalwarts of Wilco switch tones — sometimes dank and plodding, sometimes warm and Westerberg-ian — both confronting our strange times and trying to seek pleasure in their shadow. “I’m not saying I’m depicting the current American landscape,” Jeff Tweedy said in a statement. “I’m just trying to have something feel the way I feel when I think about it.” (dBpm; Oct. 4.) — C.W.

SHOALSFEST Though considerably smaller than rival music cities like Nashville and Memphis, Muscle Shoals, Ala., is well known as a historical hub of country, rock and R&B. The home of Muscle Shoals Sound Studio, which produced the Staples Singers’ “I’ll Take You There,” also neighbors the birthplace of Jason Isbell, the alt-country singer-songwriter. On Oct. 5, Isbell will host a homecoming celebration with his inaugural ShoalsFest, a one-day music festival. The list of headliners includes Sheryl Crow, Mavis Staples and Amanda Shires. — O.H.

STEPHANIE NAKASIAN AT THE BIRDLAND THEATER Since the 1980s, Stephanie Nakasian’s fresh, limpid voice and swinging grace have been inspiring jazz fans and musicians — among them her prodigiously gifted daughter, Veronica Swift. At the Birdland Theater on Oct. 8, Nakasian will be joined by the Matt Baker Trio, with the Australian-born Baker on piano, Karl Kimmel on bass and Curtis Nowosad on drums. Also at the theater: the Broadway darling Laura Osnes (Nov. 12); Karen Mason singing Kander and Ebb (Nov. 25-27); and the jazz vocalist and multi-instrumentalist Gunhild Carling (Dec. 13-15). The Broadway at Birdland series will feature Natalie Douglas in residency, offering soulful tributes to Nancy Wilson (Sept. 23), Barbra Streisand (Oct. 28) and Joni Mitchell (Nov. 25). — E.G.

CHITA RIVERA AT FEINSTEIN’S/54 BELOW With a new Broadway revival of “West Side Story” around the corner, and Steven Spielberg’s fresh cinematic take due next year, the time is right to watch the force of nature who introduced “America.” Returning to Feinstein’s/54 Below (Oct. 8-16) after a pair of sold-out engagements, Chita Rivera will again retrace a career spanning more than a half century of beloved and daring musicals — among them the works of Kander and Ebb, well-suited to her enduringly spry wit in song, movement and storytelling. The club’s lineup also includes the similarly resilient Marilyn Maye (Oct. 17-26), along with latter-day Broadway and cabaret vets Jason Danieley (Sept. 18-21), Andrea McArdle and Donna McKechnie (Sept. 26-28), Lucie Arnaz (Sept. 30-Oct. 2), Betsy Wolfe (Oct. 4-5), Brian Stokes Mitchell (Nov. 12-23), Liz Callaway and Ann Hampton Callaway (Nov. 26-30), Linda Eder (Dec. 3-6) and Norm Lewis (Dec. 17-22). — E.G.

YAZZ AHMED This young British-Bahraini trumpeter reaches new musical depths on “Polyhymnia,” applying the collagist techniques from her previous record, “La Saboteuse,” to an even broader range of compositions. Glistening chords on a Fender Rhodes and an acoustic piano mingle with a radiant vibraphone, saxophone and Ahmed’s even-keel, matte-finish trumpet sound (which she sometimes runs through a harmonizer, and drenches in reverb). This house-of-mirrors dynamic proves adaptable with Ahmed dipping into trundling Middle Eastern grooves, New Orleanian funk rhythm and sharply cut contemporary jazz arrangements. (Ropeadope; Oct. 11.) — G.R.

BIG THIEF This Brooklyn band makes indie rock feel otherworldly. In the hands of the singer and songwriter Adrianne Lenker, family lore is elevated to a spiritual plane, woven in and among songs that also make space for what she calls “extraterrestrials and animals and sort of witchy stuff.” A new album, “Two Hands,” is due Oct. 11 on 4AD, and the group will play three consecutive local shows: one at Brooklyn Steel on Oct. 9, and two at Webster Hall on Oct. 10-11. — O.H.

RICHARD DAWSON The disjunctive melodies of the British avant-garde troubadour Richard Dawson are like Captain Beefheart reborn as a pastoral folky. Dawson’s sixth album, “2020,” is probably his closest to a rock record, one that still maintains his angular songwriting and vividly bent details: “The guy from the vape shop/Ferrying his golden retrievers/Waves to us cheerily/From a leaky kayak.” (Weird World/Domino Recording Co.; Oct. 11.) — C.W.

EMPTYSET The sparse, minimal, glacially evolving throbs of the duo Emptyset explore the area where electronic sound meets our fragile reality — silence, feedback, room ambience. For its sixth album, “Blossoms,” the group allowed machine-learning software to gobble up Emptyset records and hours of percussion jams. It threw up a convulsing, mutated, Cronenberg-ian tantrum of rhythmic confusion. (Thrill Jockey; Oct. 11.) — C.W.

KIM GORDON The first-ever solo album from the alt-god Sonic Youth co-founder, “No Home Record” is a noisy, industrial Los Angeles nightmare from a native who spent most of her life as far away from Hollywood as possible. On songs like “Get Yr Life Back,” “Murdered Out” and “Air BnB” (“Air BnB!/Going to set me free/slated walls/47-inch flat TV”), Kim Gordon sneers and recoils at the modern condition, splitting the difference between her beloved former band and the even harsher Body/Head music she’s recorded since. (Matador; Oct. 11.) — Joe C.

LIGHTNING BOLT On “Sonic Citadel,” the undisputed kings of 21st century noise-rock wash up on somewhat poppier shores. They deliver some of their catchiest melodies under their trademark Technicolor bulldozer of bass fuzz, vocal distortion and frenetic drumming. (Thrill Jockey; Oct. 11.) — C.W.

KENNY BARON AND MULGREW MILLER On “The Art of Piano Duo: Live,” a new three-CD set, the piano masters Kenny Barron and Mulgrew Miller revel in some of their commonalities. Both refer often, each in his own way, to the legacies of Thelonious Monk and Horace Silver. Both play richly colorful harmonies, but also show some of their finest skill when dialing down, focusing on a single-note line or an carefully built chord. This new collection features live performances captured in Europe in 2005 and 2011 (Miller died in 2013). Even when they’re playing with great economy, the two pianists still jostle and overlap and disagree, falling in and out of an embrace. (Groovin High; Oct. 18.) — G.R.

BATTLES Down to a duo for its fourth album, “Juice B Crypts,” these squishy New York bloop-rockers are slightly more minimal but remain rhythmically maddening. The guitarist-keyboardist-sound-tweakist Ian Williams and the drummer John Stanier still approximate the grooves of dance music and the hypnotic propulsion of Midwest math rock, but sound more like alien calliopes, flickering LEDs, digital mbiras and hocketing unicorns. A cross-generational phalanx of guest vocalists include the Yes vocalist Jon Anderson, Sal Principato of the New York dance-punks Liquid Liquid and the contemporary art-rap crew Shabazz Palaces. (Warp; Oct. 18.) — C.W.

CLIPPING Over the course of three albums, this Los Angeles noise-rap trio has reveled in the intellectual through line between contemporary hip-hop and 20th-century musique concrète. Naturally, its fourth, “There Existed an Addiction to Blood,” features not only a guest verse from the foul-mouthed Three 6 Mafia associate La Chat, but concludes with an 18-minute cover of Annea Lockwood’s 1968 composition for a burning piano. On this ambitious LP, the rapper and storyteller Daveed Diggs, a Tony and Grammy winner for his performance in “Hamilton,” spits a flurry of blood-and-guts rhymes inspired by ’90s “horrorcore” rap, but with a socially conscious bent. (Sub Pop; Oct 18.) — C.W.

FLOATING POINTS The gifted British producer Sam Shepherd has allowed his Floating Points project to embrace deep house, cosmic jazz, post-rock and psych-rock on a series of ambitious releases over the last decade. “Crush” is a suite of experimental electronic music that vacillates between restless, Aphex Twin-style juddering and tense fogs of ambience. (Ninja Tune; Oct 18.) — C.W.

FOALS The post-punk band Foals are doing their best to bring back spine-tingling, sweaty live club shows. “Everything Not Saved Will be Lost — Part 2,” the sequel to a raging record from March, is the conclusion of a song cycle about destruction and survival of all kinds. Its first single, “Black Bull,” is the type of pounding eruption the British group is known for. (Warner Bros.; Oct. 18.) — C.G.

GO: ORGANIC ORCHESTRA AND THE BROOKLYN RAGA MASSIVE The longtime percussionist and bandleader Adam Rudolph recently brought together his Go: Organic Orchestra — an ongoing magnum-opus ensemble of percussionists, woodwind players and other instrumentalists informed by global music traditions — with the Brooklyn Raga Massive, an equally adventurous collective of musicians trained in Indian classical music. The resulting album, “Ragmala,” ranges from dynamic unison melodies to slowly unfurled solo improvisations to occasional flights of writhing rock skronk, almost always over an ambling groove. (Meta; Oct. 18.) — G.R.

VAGABON The singer-songwriter Laetitia Tamko, who performs as Vagabon, began her career as an urgent whisperer and a cautious belter, with intimate rock songs about being and feeling small. She has since grown from Bandcamp and sweaty independent venues into a more audibly assured musician, self-producing her second album, “Vagabon,” with synths, beats and big ideas (“All the women I meet are tired,” goes the tone-setting mantra), while also retaining the intimacy that comes with bedroom roots. (Nonesuch; Oct. 18.) — Joe C.

BRIC JAZZFEST Now in its fifth year, the BRIC Jazzfest works as both a gathering of the Fort Greene community and a keyhole into jazz’s future — with a particular eye on its developments in New York City. The festival at the BRIC House includes concerts, film screenings and other events throughout the week (Oct. 19-26) and culminates, as usual, in a three-night marathon from Oct. 24 to 26. Featuring a broad sampling of emerging and established talent, its lineup includes the saxophonist Ravi Coltrane, the vocalist Georgia Anne Muldrow, the drummer Makaya McCraven and the fusion band Kneebody. — G.R.

KING PRINCESS The singer and songwriter Mikaela Straus, 20, offers a proposition for pop stardom that is at once a throwback and thoroughly modern in King Princess. Her smoky pop-soul is self-made, guitar-based and diaristic, but she’s built a cult of personality on social media and Spotify, breaking through with electronic flourishes on songs like “1950.” Confident and plain-spoken, with built-in politics and sass — “I’m getting too cocky since everyone wants me,” she sings on the title track, “Cheap Queen” — King Princess will release her debut album on the hit-making producer Mark Ronson’s Zelig Recordings, in association with Columbia on Oct. 25. — Joe C.

MICHAEL KIWANUKA “I’m a black man in a white world,” was Michael Kiwanuka’s refrain on one standout track from his last album, “Love & Hate” from 2016. The title of his new one is similarly declarative. On “Kiwanuka” — a name chosen partly to center his Ugandan heritage — the British soul singer draws inspiration from artists including Fela Kuti and Bobby Womack, and zooms in on black identity and civil rights, with nods to Fred Hampton, John Lewis and other activists. (Interscope; Oct. 25.) — O.H.

ANNA MEREDITH Last heard as the soundtrack to the coming-of-age dramedy “Eighth Grade,” the music of the Scottish composer Anna Meredith is a minimalism that seems to find common ground between Steve Reich’s hypnotic rhythms and the quirky sounds of Nintendo games and Mark Mothersbaugh soundtracks. “FIBS” picks up where her 2016 debut, “Varmints,” left off, making it a virtual carnival of giddy looptronics and honking tuba riffs. (Black Prince Fury; Oct. 25.) — C.W.

NEIL YOUNG WITH CRAZY HORSE Neil Young has reconvened Crazy Horse, the band that can be his bluntest instrument, for “Colorado,” an album addressing environmental crisis, immigration alarmism and his own status as “an old white guy.” Crazy Horse’s fuzz-toned stomp reappears, but so does Young’s folky acoustic side. (Reprise; Oct. 25.) — J.P.

THE MABEL MERCER FOUNDATION’S NEW YORK CABARET CONVENTION The convention launches its 30th anniversary series on Oct. 28 with “The Sunny Side of the Street: Celebrating Dorothy Fields & Great Women Songwriters,” featuring jazz and musical theater luminaries such as Karrin Allyson, La Tanya Hall, Emily Skinner and Christine Andreas. Frank Loesser’s songs and Judy Garland’s repertoire are in focus Oct. 29 and 30, with cabaret mainstays Karen Akers, Liz Callaway, Marilyn Maye and Steve Ross among those honoring Loesser, while Natalie Douglas, Billy Stritch and operatic mezzo-soprano Stephanie Blythe join in remembering Garland. The festivities conclude Oct. 31 with “Thanks for the Memory: Celebrating 30 Years of Cabaret Conventions,” hosted by the Mercer Foundation artistic director KT Sullivan. — E.G.

BIG SEAN In the last decade, this Detroit rapper has transformed from a punch-line enthusiast popping up on Kanye West tracks to a practitioner of traditional rap lyricism in an age when it’s increasingly obscured by melody. (G.O.O.D./Def Jam; October.) — C.W.

THE DESERT SESSIONS Between 1997 and 2003, the Queens of the Stone Age leader Joshua Homme released a series of 10-inch records and CDs documenting “the Desert Sessions” — a series of shaggy yet propulsive songwriting collaborations with his Rolodex of alt- and stoner-rock luminaries, recorded in Joshua Tree, Calif. Homme returned to the desert late last year for “Volumes 11 & 12,” eight songs that feature one of the project’s most impressive lineup of players, including the ZZ Top vocalist and guitarist Billy Gibbons, the Primus leader Les Claypool, the Jack White drummer Carla Azar, the Warpaint drummer Stella Mozgawa, the Scissor Sisters’ frontman Jake Shears and more. (Matador; October.) — C.W.

DAVE EAST The Harlem rapper Dave East continues in the undying lineage of New York rap: tongue-twisting lyrical gymnastics, unflinching tales of street life and co-signs from Nas (who originally signed him) and Styles P (who did an entire mixtape with him last year). However, East bucks that long tradition by not picking sides when it comes to beats and approaches; he is as comfortable on classic boom-bap as modern trap. “Survival” is due on Mass Appeal/Def Jam in October. — C.W.

GALLANT The singer Gallant runs a smooth balancing act without ever compromising. On his Grammy-nominated 2016 debut, he drew from the R&B sounds of the 1970s and ’80s but didn’t lose sight of contemporary pop trends: He tempered his stratospheric falsetto with his bountiful belt and found a middle ground between swagger and neurosis. The first taste of Gallant’s sophomore album, “Sweet Insomnia,” comes via the single “Sleep on It,” which recalls the early 2000s radio hits of Usher and Ginuwine. (Mind of a Genius/Warner Bros.; October.) — O.H.

CAROLINE POLACHEK Though she’s best known as the front woman of the art-pop group Chairlift, which called it quits in 2017, the singer, songwriter and producer Caroline Polachek has made music under numerous projects and guises (Girl Crisis, Ramona Lisa, CEP). She has also collaborated with fashion designers and even earned writing credits alongside Beyoncé. Still, her upcoming album, “Pang,” feels like a formal introduction to the world. The first release under her full name positions Polachek’s uniquely expressive voice in an adventurous blend of computerized textures. (Columbia; October.) — O.H.

TEYANA TAYLOR Last June, the former Pharrell protégé released her Kanye West-produced sophomore album, “K.T.S.E.,” four years after her debut. The record arrived a day later than scheduled and with the caveat that — according to Taylor — it wasn’t actually finished, because of outstanding sample clearances. A stunted but memorable showing of Taylor’s impressive, soulful vocals, the 22-minute set left many listeners wondering what could have been. Taylor will get her shot at a smoother rollout with her next album, slated for an October release. (GOOD Music/Def Jam.) — O.H.

‘ECM RECORDS AT 50’ AT ROSE THEATER Thanks to its insistence on clarity of expression — as well as clarity of sound — the German label ECM Records has, since 1969, helped shape the way we listen to jazz and contemporary classical music. Jazz at Lincoln Center will welcome an all-star lineup of ECM recording artists to the Rose Theater (Nov. 1-2) for a pair of concerts celebrating the label’s 50th birthday: the drummer Jack DeJohnette, the guitarist and pianist Egberto Gismonti, the pianist Vijay Iyer, the trumpeter Enrico Rava and more than two dozen others. — G.R.

HOOTIE & THE BLOWFISH That breeze running through your hair? That mist cooling your face? Hootie & the Blowfish are back. Twenty-five years after “Cracked Rear View” became one of the most popular — and most misunderstood — albums in pop history, the band is releasing “Imperfect Circle,” its first studio album since 2005, which includes a song written by the frontman Darius Rucker, now a country music star, with Ed Sheeran. (Capitol Nashville; Nov. 1.) — Jon C.

MIRANDA LAMBERT For the last three years, the country songwriter Miranda Lambert has been less “Platinum” and more roots, releasing the sparse Americana double album “The Weight of These Wings” and the vintage depressive “Interstate Gospel” with the power trio Pistol Annies. Her seventh album, “Wildcard,” returns Lambert to the feisty, cosmopolitan, funny, rock-centric songs that made her a superstar. A new collaborator, the producer Jay Joyce (Cage the Elephant, Little Big Town), updates her sound with a few electronic tweaks. (Vanner Records/RCA Nashville; Nov. 1.) — C.W.

MICHELE ROSEWOMAN The pianist Michele Rosewoman turned heads in 2013 with the release of “New Yor-Uba: 30 Years,” the debut album — three decades late — of her longstanding large ensemble, New Yor-Uba. Rosewoman’s wavelike, marbled arrangements of Afro-Cuban folkloric melodies and rhythms, for small jazz orchestra and three batá drummers, landed her in the spotlight for the first time in years, inspiring her to continue writing in the same vein. Working with the percussionist and folklorist Román Díaz, she wrote “Oru de Oro,” an extended suite exploring ancient rhythmic patterns associated with various orishas, or deities. That suite makes up the majority of “Hallowed,” a new album from New Yor-Uba. (Advance Dance Disques; Nov. 1.) — G.R.

SUDAN ARCHIVES The songwriter who calls herself Sudan Archives builds tracks by layering her voice, her violin, computer-manipulated sounds and eccentric beats, and has been releasing songs and EPs since 2017. Her first full-length album, “Athena,” shows her ever-increasing sophistication, both musical and emotional. (Stones Throw; Nov. 1.) — J.P.

LUKE COMBS Between 2017 and 2019, Luke Combs was a country hit-making machine, with six singles hitting No. 1 on the U.S. country airplay charts thanks to giant choruses, evocative details and his husky voice. The last of those, “Beer Never Broke My Heart,” which will appear on his second album, breaks from those glossy power ballads with a swampy hard rock riff that sounds peeled from the opening of Alice Cooper’s “Lace and Whiskey.” (River House Artists/Columbia Nashville; Nov. 8.) — C.W.

VANESSA WILLIAMS & FRIENDS AT THE LORETO THEATER Decades before #MeToo, a former Miss America defied a sexist smear campaign to emerge as one of the ’90s’ classiest pop-soul stars — then forged a Broadway career, digging into Kander and Ebb, Sondheim and Horton Foote. On Nov. 18, Vanessa Williams will lend her elegant vocals, and bring guests, to “Thankful for Christmas: A Benefit for the Sheen Center for Thought & Culture” at the Loreto Theater. That Sheen Center venue will also welcome the Merz Trio Salon (Sept. 24), the pianist George Winston (Dec. 3- 4), the vocal ensemble New York Voices (Dec. 6) and the Irish acoustic group Lúnasa (Dec. 7). — E.G.

JASON ALDEAN Between his Alabama-meets-Aerosmith arena-country explosions, Jason Aldean and his longtime producer Michael Knox are still flirting with ambitious textures, drum loops and rap-adjacent flows on his ninth album, “9.” Still, Aldean isn’t straying too far from the dirt road, with hard-strumming tales of heartbreak, small towns, good ol’ boys and boots that are far from spotless. (Broken Bow; Nov. 22.) — C.W.

‘COME ON UP TO THE HOUSE: WOMEN SING WAITS’ This 12-track tribute album features the leading lights of indie folk and Americana performing the timeless, flickering-streetlight anthems of Tom Waits. His late-’70s, early-’80s barfly era — covered here by the duo of Shelby Lynne and Allison Moorer, Patty Griffin, Corinne Bailey Rae and more — is a well-traveled path for covers. So the most illuminating part is the five tracks turning the 1999 rustic weeper “Mule Variations” into a modern songbook, with takes fragile (the Portland trio Joseph), assured (the indie-folk veteran Aimee Mann), dreamy (Australia’s Angie McMahon) and various shades of devastating (both Iris DeMent and the indie-rock star Phoebe Bridgers). (Dualtone Music; Nov. 22.) — C.W.

LUCY DACUS If “Historian,” the 2018 second album from this Richmond, Va.-based musician, proposed the emergence of a vital young songwriter and exceptionally elegant lyricist, her work as one-third of the supergroup boygenius corroborated the story. This year, Dacus’s output has slowed but not halted: She’s dropped a handful of holiday-themed singles, including a rockified cover of Edith Piaf’s “La Vie En Rose” for Valentine’s Day and “Forever Half Mast,” a song of uneasy patriotism, timed around the Fourth of July. Additional tracks celebrating Bruce Springsteen’s birthday, Halloween, Christmas and New Year’s are in the works; the full set will be released as an EP. (Matador; November.) — O.H.

LIL BABY In the two years since the Atlanta rapper Lil Baby got out of prison and learned to write a song, he has already put out seven mixtapes and dozens of guest verses; recorded and performed with Drake, Future and Meek Mill; and twice reached the Top 10 on the Billboard Hot 100. Though he has not released a project since last November — a veritable eternity in this timeline — his ubiquity has only increased this year, from “Saturday Night Live” to shoe commercials, raising the stakes for his next collection of regret-tinged, Young Thug-indebted confessional street rap. (Quality Control/Motown/Capitol Records; November.) — Joe C.

KESHA Kesha’s career hit a roadblock in 2014, when the buzz around her music was eclipsed by her legal battle with her onetime producer, Dr. Luke. She returned in 2017 seeking a fresh start with “Rainbow,” an album that riffled through genres and moods, showing flashes of the giddy, bizarro persona she built her early career on. Its follow-up will include songwriting collaborations with Tayla Parx, Imagine Dragons’s Dan Reynolds and Nate Ruess of Fun. and production by John Hill and Jeff Bhasker, among others. (Kemosabe/RCA; November.) — C.G.