Live music, next 30 days

All-ages Gilman punk/metal bill of unknown locals; cheap, fast, but nothing identifiable.

Outdoor DJ day party, dance-floor edits and hip-hop selections; no live instrumentation.

Appalachian old-time duo: fiddle, singing, country-leaning — stacks several of his listed negatives.

Coltrane tribute, but a jazz vocalist out front is the profile's clearest veto.

Community clothing-swap event with no named performers.

Free outdoor blues afternoon: guitar-forward and vocal-led, with a jam to close.

Wu-Tang-affiliated rapper; rap and spoken word are explicit non-starters.

Hazy psych-pop with guitars and vocals; mellow textures, little rhythmic bite.

Unidentifiable billing at a seated supper club; nothing to suggest his lanes.

Four unknown local alt-rock bands at a small bar; vocal-led guitar rock.

Norwegian indie-pop songwriter; melodic, polished, singer-centred — outside every core lane.

Wynton's big band, brass-heavy and swinging, but a large hall and daytime matinee.

Almost certainly Sean Rowe: baritone folk singer with guitar, slow and vocal-centred.

Jazz at Lincoln Center Orchestra with Wynton: serious brass and swing, seated, polished.

English neo-psych band, guitar and vocal hooks, mid-tempo; not enough rhythmic meat.

Major-label rap in a big hall; rap is a listed non-starter.

Hushed nylon-string songwriter; close to home but mellow, solo and vocal-led.

R&B/soul and house bill at a small bar; vocal and beat driven, unknown acts.

Likely The Frights, San Diego surf-punk: fast enough, but guitar and vocal led.

Small dive punk/hard-rock bill of unknowns; cheap, loud, nothing else to go on.

Open soundcheck with a virtuoso electric bassist; seated, but a partial performance.

Hair-metal triple bill, guitar-forward and vocal-led; close to home but the wrong polish.

Free outdoor funk/soul band; some horn potential but unknown and vocal-led.

Bass-led Miles centennial with percussion: electric fusion, jamming, virtuoso rhythm section.

Three unknown guitar-rock bands at the Chapel; no signal of complexity or drive.

Electronic festival night of drone techno and laptop work: machines, no drummer.

Technical death metal in San Jose: fast, intricate, virtuoso drumming; growled vocals, standing pit.

Latin jazz big band: percussion and horns out front, uptempo, seated outdoor show.

Livestream broadcast rather than a live in-person performance.

Laurie Anderson's spoken-word art piece with violins; Sexmob's horns are the only draw.

Oakland deep-cuts rock cover band for a dance crowd; fun, but standing and covers-driven.

Eight-piece Pink Floyd tribute; 70s prog lineage but slow, moody and guitar-led.

Prog Frog plays Yes/Crimson-flavored folk-jazz; the co-bill is violin-and-voice Celtic, seated room.

Beastie Boys' Mike D with a new band; hip-hop rooted, sold out, standing.

San Pedro melodic punk, fast and tense; cheap, small room, standing pit.

Free bar matinee with an unknown band and a DJ; nothing identifiable to go on.

Green Day members' cover band, free and outdoors: punk energy, but covers and standing.

Local garage-punk bill at a small bar; fast but unknown and vocal-led.

Same Miles centennial: bass-forward fusion, percussion, extended blowing, seated hall.

Arena pop-soul double bill; EWF's horns aside, it's polished, vocal-led and huge.

Synth-driven electro-rock with programmed beats; machine rhythms and vocals up front.

Issa Rae 'Insecure' cast panel/screening event, no live music billed.

Same Anderson/Sexmob art piece, closer and seated; still spoken word over violins.

Chris Cornell tribute night: grunge covers built around a lead singer's range.

Indie rock with vocal hooks and guitars; nothing in his rhythmic or harmonic lanes.

Record-store show with three unidentified local acts; no basis for a better read.

Large EDM festival: DJ sets, programmed beats, standing all day.

Indo-jazz funk trio: sax, keys and mridangam, rhythmically intricate, 80-seat seated room.

Small-bar singer-songwriter night; solo voices with accompaniment, the profile's stacked negative.

Free indie/alt-rock bar bill; unknown acts, guitar and vocal centred.

Carnatic-jazz fusion trio: sax, mridangam, keys. Instrumental, odd-meter rhythm work, 80-seat seated room.

Sierreño/corridos band with lead vocals and guitars; no instrumental or rhythm-section draw here.

Cloud-rap bill built on programmed beats and vocals; rap is a listed negative.

Third Eye Blind singer solo acoustic: one voice, one guitar, exactly the format you avoid.

Show is flagged cancelled.

Nashville raunch-rock band: grit and drive, but guitar-and-vocal fronted, small support unknown.

Melbourne minimalist folk-pop/baroque-pop project; soft, song-led, no rhythm-section muscle.

Jam band with long improvised funk-rock stretches; guitar-led and polished rather than heavy.

Mellow acoustic surf-folk singer-songwriter in a big shed; the opposite of drive.

80s arena rock fronted by a singer, slick guitar behind it; close to home and seated.

Seven-piece Louisville prog/jazz-fusion psych outfit; busy arrangements, odd act, small club.

Irish hip-hop/dance-pop trio over programmed beats; rap and machines both count against.

Cheap local heavy/punk bill at a dive; bands unidentified, energy likely but unverified.

Taiwanese ukulele virtuoso doing radical instrumental rearrangements; tiny seated room, but a plucked solo act.

Rap package in a large amphitheater; rap and programmed beats are listed negatives despite nearness.

Instrumental prog-metal Star Wars covers: odd meters, no vocals, covers taken somewhere new.

Celtic-tinged folk-rock with earnest lead vocals; country lean and no rhythm-section pull.

Andean experimental duo, drone and texture over pulse; avant-garde leaning counts against.

Gentle indie-folk songwriting fronted by vocals; no drive, no instrumental interest.

Free roots festival; Sierra Hull and Los Lobos are the draws, but it's mostly country and standing.

Ten-dollar DIY punk matinee with four unidentified local bands; energy likely, quality unknown.

Jazz vocalist fronting a band; two of your listed negatives stack on this one.

Small Berkeley bill of unidentified local indie/punk bands; nothing points to your lanes.

Atlanta indie-folk duo built on lead vocals and atmosphere; slow and song-led.

Cabaret room booking under a very common name; almost certainly a vocal/piano set.

You already rated Snarky Puppy a B and called them antiseptic; big room, high prices dock it.

Bass-and-drums duo: distorted bass carries everything, fast and aggressive, vocals secondary.

Same jazz-vocalist engagement, late set; vocalist out front is the sticking point.

Bay Area rapper; funky live backing but rap and spoken delivery are listed negatives.

Outdoor benefit with eight mostly unidentified local acts; no clear instrumental or heavy draw.

Ten-dollar Gilman punk bill, four unidentified bands; punk energy is the only known positive.

Jazz vocalist again, early set; a singer out front outweighs the band for you.

Secret Chiefs 3's instrumental odd-meter mayhem plus Igorrr's baroque-breakcore; brilliant but dissonant and machine-driven.

Reverb-heavy indie rock with long jams but a vocal-led, mid-tempo core; big standing room.

Old-time string band and country songs; country-sounding and vocal-led throughout.

Fourth Cyrille Aimée set of the run; jazz vocalist, same double penalty.

Single-name headliner the catalogue can't resolve; nothing indicates an instrumental or heavy set.

Free roots festival day; Punch Brothers are the virtuoso draw, the rest is country and folk.

Themed Gilman showcase with a host and unidentified performers; unclear it's a band-driven night.

Experimental noise-rock bill; texture and dissonance without the drive you need.

Young indie-pop duo, vocal harmonies over light backing; no rhythm-section interest.

Two unidentified local rock acts at a dive bar; no signal either way.

Solo fingerstyle acoustic guitar virtuoso; skillful, but guitar-forward and mostly gentle.

Hazy, slow psychedelic soul with a singer out front; mellow is the whole point.

Electric violin lead over looped electronic backing; violin lead and machines both count against, despite being in San Jose.

Fast and aggressive, but heavy on electronics and shouted vocals rather than players.

Second Fillmore night of the same vocal-led psych-indie band; jams don't offset the mid-tempo core.

Electronic-meets-traditional project the catalogue can't place; pricey and unverified.

Polished electronic dance-soul with vocals and choreography; no improvisation or grit.

Reverb-soaked post-punk/darkwave with vocals up front; steady drive but little instrumental depth.

Jam-rock with extended solos but reverb-soaked vocals out front; guitar-led, mid-tempo, large standing room.

Son Lux: moody electronic chamber-pop, programmed beats and vocals; slow textures over drive.

Technical death metal with ferocious drumming, but guttural vocals throughout and a hard pit.

Jazz vocalist doing Carmen McRae's Monk songbook; Monk tunes help, singer out front doesn't.

Strummy folk-rock plus a country singer in a huge shed; nearby, but nothing else fits.

Cheap local punk/hardcore bill, fast and angry but all four acts unidentified.

Unidentified solo-billed act at a small indie room; most likely a vocal songwriter.

Late set of the same Monk-songbook vocal program; jazz singer out front is the blocker.

Techno DJ duo at 2am: machine rhythms, no players, no improvisation.

Free bar show; one act may be a local post-progressive band, the rest unknown.

Weather Report material with a strong band, but Kurt Elling singing is a named no.

Fleetwood Mac tribute nine miles away; faithful vocal pop-rock, no reinvention.

Instrumental band plays NES soundtracks live to a speedrun: odd meters, unusual, guitar-heavy.

Idol-era pop-rock singer with acoustic guitar; polished, hook-driven, vocal-centered.

Smooth indie-pop/R&B songwriter; polish and vocals, no rhythm-section interest.

Free outdoor East Bay punk bill: fast and snotty, but vocal-led and standing.

Six-band punk/hardcore matinee in a deli; energetic and small, mostly unidentified acts.

Emo/post-hardcore package; vocal-driven, but it is literally in his home city.

Scrappy synth-punk and angular post-punk; drive and grit, but singer-fronted and slight.

Hammond-organ-led Garcia-band jamming: long improvisations and keys up front, but loose and guitar-centric.

Record-store bill of unidentified indie/shoegaze-sounding acts; no rhythm-section draw evident.

Free afternoon bar show with a pit warning; all three acts unidentified.

Comedy show, not a live music performance.

Latin pop singer-songwriter; vocal-forward, mid-tempo, polished. Outside every lane here.

Heavy Kansas City post-hardcore paired with two goth/darkwave bands; mood outweighs drive.

Punk/hardcore with real urgency, but shouted vocals lead and shoegaze support drags it mellow.

Shoegaze-metal with screamed vocals in a big standing room; texture over drive.

Bass-and-synth trio with no guitar, which helps, but cold and deadpan rather than driving.

Loop-based experimental shoegaze; repetition and haze rather than pattern rigor or drive.

Actor-fronted indie rock, guitar and voice; nothing in the rhythm section to hold him.

Fiery acoustic piano trio, virtuoso pianist with bass and drums, in an 80-seat room.

Small emo/indie bar bill; unidentified acts, vocal-led by the look of it.

Indie punk / noise pop by reseller description; act unverified and price oddly high.

Darkwave built on drum machines and synths; slow, moody, no live rhythm section.

Reggaeton and Latin trap in an arena: rap vocals over programmed tracks.

Late set, same piano trio: driving acoustic jazz with a working rhythm section, seated.

British pop/disco vocalist in a big standing room; voice and production, not players.

Mexican vocalist with a brass-stocked band; the singer is the whole show.

Jakob Dylan's roots-rock band nine miles out; vocal-led, mid-tempo, guitar-centric.

Hushed folk songwriting, slow and earnest; also sold out.

Funk band built on a virtuoso bassist and tight drumming; hooky vocals and a big lawn.

Hyperpop/digicore: processed vocals over programmed beats, no live rhythm section.

Rapper over prerecorded beats; rap and spoken word are a listed no.

Free oddball roadhouse fest, mostly folk and outsider acts; unusual but not his lanes.

Six unidentified acts in a deli, reading as emo and roots; nothing to grade on.

Grammy-winning pianist's Afro-Cuban bebop sextet: horns, heavy percussion, brother Luques on bass.

Schwarzenegger-themed action-rock: fast, loud and deliberately absurd in a small bar.

French electronic pop producer; programmed grooves and light vocals, dance-floor setup.

Comedy show, not a live music performance.

Riot grrrl duo reuniting after 32 years: raw and fast, but voice-and-guitar minimal; sold out.

Afro-Caribbean jazz pianist's sextet: small-group drive, strong rhythm section, 80-seat seated room.

Record-store bill of local singer-songwriter indie folk; vocal-led, low drive, little instrumental interest.

Eleven-act all-ages DIY punk matinee; punk energy is a plus, but unknown bands, standing, 48 miles.

Dinosaur Jr: loud guitar-hero alt-rock with slack vocals; far, standing floor, pit warning.

Americana harmony trio; folk/country lean, mellow tempos, voices out front — off his lanes.

Minimal bass-drums-vocal trio; bass is up front but the feel is sparse, mellow and vocal-led.

Taiwanese city-pop/soft-rock band: smooth, mid-tempo, vocal-led — little drive or grit.

Free Monk-repertoire jam session led by a jazz bassist; improvisation-heavy, tiny seated room, variable players.

Australian jangly indie rock, polished and hook-driven; guitar-and-vocals with little rhythmic complexity.

Same Dinosaur Jr bill, but 18 miles out in a small seated theater — loud guitar rock, drowsy vocals.

Gentle folk-pop singer-songwriter; soft, vocal-centered, no rhythmic or instrumental payoff.

Brooklyn art-rock band, loose and adventurous but very vocal-led; big room, sold out.