Live Music Picks: February 8-14 

• Masahiro Shimazaki

THURSDAY 2/8
Cashmere Cat, MØ, Darius
Magnus August Høiberg—aka Grammy-nominated Norwegian DJ/turntablist/producer Cashmere Cat—cut his teeth as an EDM guy at EDM festivals, and his music is more designed for bedroom introverts than frenzied club crowds. But he's earned widespread acclaim for working with mainstream acts like 2 Chainz, The Weeknd, Ariana Grande, Kanye West, Charli XCX, Selena Gomez and Ludacris. So let's be real: Mr. Cat has had his paws in a number of questionable musical projects. That said, he's a muted and subtle producer, a world-class turntablist and super-impressive live performer, so don't write him off based on who's used his beats. Co-headliner MØ (real name Karen Marie Aagaard Ørsted Andersen) is an electro-pop producer out of Denmark, and she's perhaps best known for featuring on Major Lazer's 2015 monster hit "Lean On." And speaking of questionable collaborations, she's worked with Australian rapper Iggy Azalea. Ick. Darius opens. (Howard Hardee) The Depot, 400 W. South Temple, 7:30 p.m., $25 presale; $27 day of show, all ages, depotslc.com

• Daniel Dorsa

Diet Cig, Great Grandpa, The Spook School
When you hear Alex Luciano's cute voice and caustic thoughts get into your head, you're dead. Diet Cig's frontwoman is a diabolical pixy, relentlessly playful-vulnerable-defiant-honest-doubtful-certain-wacky-serious ... Oh, screw this. Ejaculating adjectives pales, pitifully, against the music. On "Sixteen," from the New York duo's first full-length album, Swear I'm Good at This (Frenchkiss, 2017), over fuzzy-somber chords, Luciano sings, "When I was 16/ I dated a boy/ with my own name/ it was weird/ in the back of his truck/ moaning my own name/ while tryin' to fuck." She laments how Alex the Dick trashed her reputation the next day, then lets a chord ring to a one-second silence. Dusting herself off, she double-time strums, asking drummer Noah Bowman—surely with a brilliant twinkle in her eye—"Ready?" Together they finish the sadly victorious story, where Luciano resolves to never be treated that way again. The ensuing 11 tracks are just as endearing, with Luciano and Bowman eating tacos for breakfast every day and celebrating her "Barf Day." And, most charmingly, warning that, "I am bigger/ than the outside shell of my body/ And if you touch it without asking/ then you'll be sorry." By Swear's end, you're a fiend, craving drag after desperate, greedy drag of Diet Cig. Until you're dead. (Randy Harward) Kilby Court, 741 S. 330 West, 7 p.m., $13 presale; $15 day of show, all ages, kilbycourt.com

• Michelle Grace Hunder

Dizzy Wright
This show was originally supposed to be a double-bill featuring Joyner Lucas, which would have been dope because he's a rapper with impeccable lyricism, furious flows and a penchant for vivid storytelling. Over the past few years, he's notched a viral hit with his timely song "I'm Not Racist," and scored some high-profile gigs, including serving as the cypher during the 2015 BET Hip-Hop Awards, and he's never shied away from tackling sensitive subjects such as suicidal ideation and abortion (on the song "Forever," Lucas tells his son that if it had been up to him, he wouldn't exist). Alas, he recently dropped from the bill, leaving only Dizzy Wright to take the mic. The Las Vegas-based MC (real name La'Reonte Wright) doesn't have Lucas' flashy technical skills, but rather assumes the role of a thoughtful, reflective rapper who takes a breezy and laid-back attitude toward America's social and political turmoil. While hip-hop fans might lament Lucas' absence, Dizzy's plugging his second full-length of 2017—State of Mind 2 (Still Movin'), another weed-fueled joint. So you can still expect thought-provoking lyrics and smooth productions from him, just through thick plumes of green fog. (Howard Hardee) The Complex, 536 W. 100 South, 7 p.m., $24.50 presale; $30 day of show, all ages, thecomplexslc.com

• DaMovieMan via Wikimedia commons

FRIDAY 2/9
Caroline's Spine
Phoenix alternative rockers Caroline's Spine toured relentlessly for four albums, building a respectable following before signing with Hollywood Records in 1997. After two albums, they left the label, playing only sporadically and reissuing older material while pursuing solo and side projects. In 2007, they reunited, undertaking a short sold-out tour before main man and multi-instrumentalist Jimmy Newquist seemed to claim the band for his own, hiring new players and issuing the ironically titled Work It Out (7th Kid, 2008). The album found Newquist still churning out the dark, smart, anthemic music that, back in the day, appealed to the contentedly force-fed radioheads, but was smart and different enough for less-snooty hipsters. It's the last music they released, and the band's web presence is scanty, existing only to pimp the pre- and post-Hollywood catalog. But the "enter site" button points to an animation that passes over a bridge into an open sky. What this signifies is anyone's guess. But maybe Newquist has noticed that nowadays, the self-contained indie way is more viable than ever. (RH) Liquid Joe's, 1249 E. 3300 South, 7 p.m., $22 presale; $25 day of show, 21+, liquidjoes.net

• Gregory Downs

SATURDAY 2/10
Brother Chunky, Sunhouse Healers
Brother Chunky, aka Mike Barclay, has been serving heaping plates of funky blues for more than a decade. At around the halfway mark (2013), Barclay issued his debut album, and Stuff, which showed off his slinky, swampy guitar work and goofy humor. Five more years of playing and writing find Barclay's music stronger and more realized on his second album, Down Low (brotherchunky.bandcamp.com). Whereas on and Stuff he sounded like Steve Miller after running laps, Barclay's found the low end of his vocal range these days, and uses it—along with more emotion and personality. It suits him, especially when paired with dirty muscular riffs on tracks like "Get on Down the Road." He still inhabits his jolly, self-deprecating character, endeavoring to show his audience a great time, but seems even more serious about his music. Some weak spots remain, such as a tendency to lapse into same-y, ho-hum lyrical phrasings, but Barclay's finding his groove, en route to becoming a real local blues heavyweight. (RH) Pale Horse Sound, 1989 S. 1100 East, Ste. A, 8 p.m., $13-$15, all ages, palehorsesound.com

• Todd Collins

Ginger Bess
In the ever-changing arena of popular music, there are still a number of people keeping traditional jazz standards alive and vital. In Northern Utah, Ginger Bess is part of a new generation well-versed in the repertoire of the Great American Songbook and adds her own personal imprint. Her unadorned yet dynamic vocal style is reminiscent of Rosemary Clooney, to whom she bears more than a passing resemblance. Songs like "My Funny Valentine" and "In the Cool, Cool, Cool of the Evening" get the full treatment, with her small jazz combo supporting her with tasteful accents. When not performing, she keeps busy as the music director of Kidstage at Village Theatre in Issaquah, Wash., as well as teaching voice at Utah State University and Weber State University. Originally from Brigham City, she has performed all over the country, and done a lot of musical theater, which bolsters her credibility and stage presence. You should attend to witness a stellar example of how great songs never go out of style. (Brian Staker) Ogden Eccles Conference Center, 2415 Washington Blvd., Ogden, 6 p.m., $40-$75, oeccutah.com