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The Devil Makes Three1:45-2:30 PlayStation stage California roots trio the Devil Makes Three have a nice diversity to their reconstructionist old-timey sound on their four studio albums (which front man Pete Bernhard maintains on his two solo records)—there’s a hint of punkiness, a bit of bluesiness, and more than a little of the down-home stoniness of Jerry Garcia’s acoustic work. All these elements come together best in their live show, which they demonstrated with last year’s Stomp and Smash (Milan), a document of two 2006 performances with guest fiddler Chojo Jacques. It’s like the lazy storefront picking they’re prone to catches fire when you put them in front of a real audience instead of just imaginary old men in overalls. Also Sat 8/4 at Double Door with headliners Trampled by Turtles, sold out, 21+. —Monica Kendrick
Walkmen3:00-4:00 Sony stage The Walkmen‘s breakthrough single, 2004’s Gang of Four-on-steroids banger “The Rat,” introduced the wider world to the band’s terse, concentrated postpunk fury, driven by Matt Barrick’s choppy, off-kilter drumming and topped with Hamilton Leithauser’s throaty slur. For a decade now they’ve been showing us a thing or two about cool New York swagger—a decade they celebrated this January at Metro with a tenth-anniversary party for their debut album, Everyone Who Pretended to Like Me Is Dead. On their most recent full-length, Heaven (Fat Possum), they’ve grown up, but they don’t let up. The bite has maybe softened a tiny bit, but the songs are as dense and tightly coiled as ever. Also Sun 8/5 at Lincoln Hall, sold out, 18+. —Luca Cimarusti
Jack White8:15-10:00Red Bull Soundstage In the White Stripes, Jack White worked masterfully with scale, building huge sounds from just one guitar and a drum kit in an ever-shifting balance. After taking a five-year break from being a front man—in the Raconteurs and the Dead Weather, he’s just another member of the band—he plays mad scientist again on his first solo album, Blunderbuss (Third Man/Columbia). In some ways it’s White’s take on classic rock, with more conventional full-band instrumentation on most of the songs—though I don’t know if there’s a precedent for the lineup of acoustic guitar, clarinet, and Wurlitzer on “Love Interruption.” His guitar solos are still weird, thankfully, twisted by digital pedals whose tonal fuckery makes his ax sound like it’s been sucking helium. Blunderbuss doesn’t pack the punch of the White Stripes, but White’s songwriting is just as strong and forceful, his singing is better, his range is broader, and his cover of Little Willie John’s “I’m Shakin’” is so much fun I could listen to it all day. —Peter Margasak
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