The Key

FRIDAY, NOVEMBER 11
Noel Gallagher has proven himself to be quite multifaceted. This past month, Gallagher released his self-titled, debut album, Noel Gallagher’s High Flying Birds—which was met with anxious speculation from music critics who expected to hear Oasis-esque pop tunes. Yet, to some people’s surprise (and possible dismay) the music veers away from that of the Britpop sensation he was once a part of; the album leans more towards radio rock than the ballad-y pop heard in “Wonderwall.” He’s also maintained his reputation for thoughtful songwriting, allowing the album to rely heavily on his lyricism. Noel Gallagher’s High Flying Birds does have a clear Oasis influence, but overall he has managed to disassociate himself with his fast-paced, tabloid-ridden past and create a sound all his own. Noel Gallagher’s High Flying Birds performs with The Hours at 8 p.m. at the Academy of Music; tickets to the all-ages show are $25–$95.—Caitlyn Grabenstein

Also Playing: Purity Ring + Phonographiq at The Barbary (7 p.m., all ages, $10–$12); Wooden Shjips + Birds of Avalon, Moon Women at Kung Fu Necktie (8 p.m., 21+, $10); Manchester Orchestra + White Denim, The Dear Hunter at Electric Factory (8 p.m., $27); Cloud Nothings + Arches, It’s A King Thing at Johnny Brenda’s (9:30 p.m., 21+, $8–$10)

SATURDAY, NOVEMBER 12
Kurt Vile’s lyrics are anything but coy. Songs off of his fourth full-length album, Smoke Ring For My Halo, are blunt and seemingly political, embodying an f***-the-man attitude. But, this past week, Vile’s response to the backlash he received for allowing his song to be in a Bank Of America commercial showed a different side of the local rock guitarist. Frankly put, he doesn’t have any interest in other people’s opinions; he’s simply a guy who is going to do what he wants. It might not have been the type of recognition he wanted, but it gave him an opportunity to clear a few things up. (At the very least, it got a few more people to pay attention to his music.) Kurt Vile might not be known for his poetic eloquence or anti-corporate politics, but he does have the ability to take the truth and throw it in your face. Kurt Vile performs with Blues Control and Far-Out Fangtooth at 8 p.m. at Union Transfer; tickets to the all-ages event are $14–$15. —Caitlyn Grabenstein

Also Playing: Fitz And The Tantrums + Walk The Moon at Theatre Of Living Arts (7 p.m., $32); Joan Baez at Keswick Theatre (8 p.m., $39–$59); Sharon Little + Julian Velard, Claire Wadsworth at Milkboy Philly (8:30 p.m., 21+, $12–$15)

SUNDAY, NOVEMBER 13
Just when you expected Beirut’s Zach Condon to write more music based on esoteric traveling adventures, he didn’t. Though acclaimed for his arty Francophile persona in 2007’s The Flying Club Cup and later for his wanderings in the creative hub of Oaxaca, Mexico in 2009’s March Of The Zapotec, Condon has now translated his eclectic indie-meets-world music to the more hometown-inspired sounds of Beirut’s latest album, The Rip Tide. The first sign that this record isn’t as inspired by distant travels? It’s first single, “Santa Fe,” which is named after the very town where the first form of Beirut was conceived five years ago. As a result, The Rip Tide offers a more approachable—one might daresay mainstream—alternative to Beirut’s past records. The Rip Tide isn’t completely stripped of all former eccentricities, though; between accordion-driven ballads and brassy melodies, Condon clearly can’t shake off the aftertaste of his wanderlust. Beirut performs with Basia Bulat at 8 p.m. at the Electric Factory; tickets to the all-ages show are $30.95 ($25 ticket + US $5.95 fees). —Marielle Mondon

Also Playing: Trombone Shorty And Orleans Avenue at Union Transfer (8:30 p.m., all ages, $25); Office Of Future Plans + The Young, BELLS? at Kung Fu Necktie (8 p.m., 21+, $10)