A-Trak, Peter Bjorn & John, The Decemberists, Thievery Corporation

A-TRAK
Like the Michael Phelps of scratching, it feels more appropriate to talk about DJ A-Trak as an athlete rather than a musician. After winning his first world championship at the age of 15, Canadian Alain Macklovitch was recruited to join the Invisibl Skratch Piklz, a popular DJ crew based out of the San Francisco Bay Area. From there, he went on to win a number of additional championships and the ultimate prize: an ongoing gig as Kanye West’s touring DJ. As one of the most respected indie hip-hop DJs of our time, A-Trak is recently behind Kid CuDi’s breakout hit “Day N’ Nite” and the CuDi/Kanye/Common collaboration “I Poke Her Face”. A-Trak has also saved many beats for his own album, Infinity +1, an electroacoustic mix that reveals his multifaceted inspiration. A-Trak makes dance music that flows smoothly despite its fragmented origins — and that’s how you know he’s a champ. (Friday, 5:45-7, Perry’s) –text: Diana Novak–photo: Matt Barnes / thatsthespot.com

PETER BJORN & JOHN
Made famous (first in Europe, and then in the States) by their ubiquitous feel-good whistle of 2006, those magnificent Swedes who sang of young folks and hiding out known as Peter Bjorn and John are still strumming their little hjartas out. Comprised of Peter Moren, John Eriksson, and Bjorn Yttling, this once obscure trio from across the pond have made incredible strides since first collaborating in Stockholm way back in 1999. Moren and Yttling first delved into their musical world back in their pimple-popping days during the ridiculous world that is high school and after they met the final name in their trio, their delectable indie pop sandwich was finally made complete. Then after a few years where the fellows were “just trying to make good music for their own amusement”, things exploded for the baroque rockers — and, as a result, you can still hear their breezy whistle just about everywhere you go. (Friday, 6:30-7:30, Citi Stage) –text: Benjamin Smithson–photo: Johan Bergmark

THE DECEMBERISTS
In what was not exactly a ringing endorsement for the way that fantasy rock operas usually translate on stage during a typical mid-August outdoor festival, Jethro Tull declined to play the inaugural Woodstock Festival in 1969. Then again, Led Zeppelin and The Doors also turned down the chance to perform at the historic “three days of peace and music” — yet hard rock is still well represented at today’s summer festivals which follow in Woodstock’s footsteps 40 years later. So perhaps Colin Meloy and his band of merry folklorists can find their niche at Lollapalooza after all. On the heels of their brilliant The Hazards of Love, a 17-song fable of epic proportions, the Portland-based chamber-pop ensemble finds itself expertly toeing the line between tongue-in-cheek antics and a full-on belief in their hyper-literate tales. It’s an awesome hybrid of silly storytelling and serious rock ‘n’ roll that even Mr. Tull in his heyday could never quite reach. (Friday, 6-7, Budweiser Stage) –text: Derek Wright

THIEVERY CORPORATION
The socially and globally-conscious production/DJ duo known as Thievery Corporation began in 1995 in Washington D.C., when Rob Garza and Eric Hilton met through their mutual love of club life. Their sound, dubbed “outernational”, offers a global scope with influences reaching from Jamaica, Latin America, Africa, Asia, and the Middle East. They are often joined by vocalists Sleepy Wonder, Lou Lou, Notch, Zee, and Verny Varela — who sing their socio-political-themed songs in many different languages including English, Spanish, Portuguese, French, Hindi, and Farsi. Their latest and fifth full-length, Radio Retaliation, which comments on the gradual loss of musical and informational freedom in the U.S., includes internationally renowned guest artists Femi Kuti, Seu Jorge, Anushka Shankar, Jana Andevska, and Chuck Brown. With the addition of supporting musicians and vocalists, the 15-piece live band provides a fun, energetic atmosphere for their otherwise serious music. (Friday, 6-7, Chicago 2016 Stage) –text: Ariel Sundel–photo: Andrzej Liguz / moreimages.net

Four Tet, The Handsome Family, Peter Bjorn & John, Simian Mobile Disco

FOUR TET
As the brainchild of U.K. musician Kieran Hebden, Four Tet has served as the most visible face of Hebden’s “folktronica” genre throughout the past decade. But the pioneering producer also has his hands full in a wide range of unrelated genres such as hip-hop and jazz. The abstract quality of his songs separates Four Tet from typical laptop-produced fare. In 2003, Hebden released the full-length Rounds that garnered attention from the indie community all the way up to Radiohead, for whom he opened that year. In 2005, he released Everything Ecstatic and last year followed it up with Ringer. Hebden’s also known for remixing tracks of venerable musicians from Andrew Bird to Aphex Twin. On the song “As Serious As Your Life,” Hebden meshes a funk bassline, drums, crashing cymbals and samples transforming into a toe-tapping track, while “Ribbons” integrates ethereal bleeps and beeps. More recently, he’s been collaborating with seminal jazz drummer Steve Reid. (Appearing with Leo 123 at Sonotheque on April 17) –text: Garin Pirnia–photo: myspace.com/sirbizirb

THE HANDSOME FAMILY
Having recently relocated to New Mexico from Chicago, Brett and Rennie Sparks may have found a region more aesthetically in sync with the haunting, old Western morbidity of much of their music. But in the ways that matter most, The Handsome Family will always be a Chicago band. During their lengthy tenure here, Brett & Rennie were bedrocks of the local Americana and indie scenes, releasing records on the Carrot Top label, recording a live album at Schubas, and always lending a hand to other Chicago artists. (Andrew Bird, for example, still plays their “Giant of Illinois” as a part of his live act.) This month, the Sparks will make their triumphant return to Schubas for two dates in promotion of their eighth LP, Honey Moon. The mood might be a little different this time around, though, as Honey Moon marks The Handsome Family’s surprising transition from murder ballads to love songs — perhaps in celebration of their twentieth year of marriage. (Appearing with Marissa Nadler at Schubas on April 18 & 19) –text: Andrew Clayman–photo: Mark Owen

PETER BJORN & JOHN
It’s hard to tell if Swedish new-wave popsters Peter Bjorn & John carefully selected their moniker in order to reflect the acronym of a tasty and long-popular sandwich. Abbreviations are in these days…and so are peanut butter and jelly sandwiches. With a little luck and continued listener patience, PB&J (the band) could remain in pop culture’s good graces for almost as long as the sandwich. In the time since the trio released Writer’s Block three years ago, frontman Peter Moren has produced his own solo album, released a mostly instrumental album and is about to debut the band’s fourth studio album, Living Things. On it Moren’s warm hand-on-heart voice remains front and center while the quirky beats and stirring keys accompany decidedly lo-fi pop producing. It’s not yet clear if Living Things will contain anything nearly as catchy as breakout album Young Folks, but you can bet your dancing-ass that we’re about to find out. (Appearing with Chairlift at Metro on April 23) –text: James H. Ewert Jr.–photo: Johan Bergmark

SIMIAN MOBILE DISCO
Electro-fused ensemble Simian was at its best when the foursome’s melodies were propelled by James Ford’s cannon-like drums and James Anthony Shaw’s rigid keyboards on songs such as “Grey”, “LA Breeze”, and “Little Black Gun”. So when the band fizzled in 2005, it was all too appropriate that those key members would resurface months later under the similar moniker Simian Mobile Disco, transforming their suppressed DJ hobbies into a full-on project. Early remixes along with Ford’s growing résumé as a producer (including albums by Klaxons, Arctic Monkeys, Last Shadow Puppets and Test Icicles) positioned the pair as both a vital force in control room electronic wizardly as well as outdoor festival free-for-alls. It’s this dual persona as studio junkies with rock ‘n’ roll hearts that makes Simian Mobile Disco not only a must-hear act, but a must-see one as well. (Appearing at Metro on April 17) –text: Derek Wright

Iggy & the Stooges, Kings of Leon, Peter Bjorn & John, The Wailers, John Paul White

IGGY & THE STOOGES
Their promotional material proudly proclaims: “The Stooges were the first punk band because they really didn’t give a shit.” A handful of ’60s groups have been given the somewhat loosely-defined honor of being the “first” to purvey something now considered modern and dynamic, often with conflicting designations. Yet regardless of whoever claims to have “invented” punk, garage and metal, Iggy Pop and the Stooges grabbed the torch and ran through the decades like crazed banshees escaping the long, cold arm of the law. Since 1967, Pop’s guttural, scratchy, primal growl and the Stooges’ sonic thrashing — riotously decadent guitar riffs combined with manic, punchy drums, stirred about with drug-addled lyrics of revelry and disillusion — have been the opiate of choice for many hard-core fans. Back together after a long Pop solo stint with new album The Weirdness and enjoying a resurgence in popularity, they continue to rattle sensibilities. (Sunday, 4:15-5:15, Bud Light Stage) –text: Clara Rose Thornton

KINGS OF LEON
The brothers Followill (Caleb, Nathan, Jared and cousin Matthew) have been tearin’ up the world of underground rock as Kings of Leon for some time now. These days, the name is synonymous with a fuzzed-out, balls-to-the-wall Southern rock swagger that has proven itself not quite so easy to replicate. As anyone fortunate enough to witness the Kings’ set at last July’s Summerfest in Milwaukee will tell you, the band seems extremely anxious to have the world hear what they’ve diligently constructed in their Tennessee practice space. And, for them, the third time is indeed a charm. Because Of The Times, their latest for RCA Records, depicts a band ready to present themselves as they really want to be. An ambitiously diverse record, it combines KOL’s rock sound of yore (circa 2003) with the sparse but frenzied approach of 2005’s Aha Shake Heartbreak. Non-believers take heed, one day BOTT may very well be considered a classic. (Sunday, 4:15-5:15, AT&T Stage) –text: Mike Scales–photo: James Minchin III

PETER BJORN & JOHN
Perhaps it’s time to send a platter of cupcakes and a big thank you card to Sweden. We should have done it for The Knife and Jose Gonzales, but it’d be a downright travesty if that little Scandinavian country didn’t get some kudos for Peter Bjorn and John. PB&J (who are quite literally three guys with those names) have put out three full-length albums and a basket-full of EPs since they came together in 1999. It’s hard to peg them with any one genre, since the best parts come from completely different territory. Peter Morén’s vocals are simple and melodious, recorded in the airy style made famous by the Beach Boys. The music, on the other hand, is a nod in the direction of Joy Division and a wink at the Talking Heads. Nothing about the music really screams “Swedish,” except that it’s yet another catchy indie band. So, thank you Sweden. Keep ’em coming. (Sunday, 5:00-6:00, Citi Stage) –text: Mark Byrne

THE WAILERS
The original Wailers formed in 1963 in Kingston, Jamaica and consisted of a clean-cut Bob Marley (with an almost comically ironic low-top fade haircut), Bunny Wailer, Junior Braithwaite, Beverley Kelso, Cherry Smith and Peter Tosh. Band names throughout the years changed from The Teenagers to The Wailing Rudeboys to The Wailing Wailers, but the sound stayed firmly rooted in ska, rock-steady and reggae. After myriad reformations and Marley’s tragic death, they’re still going strong. (Sunday, 5:00-6:00, PlayStation Stage) –text: Clara Rose Thornton

JOHN PAUL WHITE
Further evidence of the South’s capacity for more than just twang, Alabama native John Paul White soothes the soul with his intensely poetic, highly inspired and mostly acoustic music. Although he provided a sweetly melodic cover of ELO’s “I Can’t Get It Out of My Head,” for “The O.C.”, his original music and lyrics are absolutely decadent. He toured with Travis earlier this summer, a match from music heaven. White’s an act to sit back and relax to. (Sunday, 4:15-5:00, BMI Stage) –text: Jen Fischer