Margo Price brings her Wild At Heart Tour to The Fillmore on Saturday at 8 pm, leaning into the twang-and-tear swagger that put her at the center of modern outlaw country. The Nashville songwriter writes with bite and tenderness, folding honky-tonk keys, pedal steel, and a little psychedelic haze into sturdy rock and roll. She tours with a full band that can snap from roadhouse stomp to slow-burn ballad without losing the grit.

The Fillmore is San Francisco’s storied ballroom in the Western Addition, a few blocks off Geary. Capacity around a thousand, immaculate sightlines, those chandeliers, and the poster room that tells the city’s music history on its walls. It is standing room with an open dance floor, friendly staff, and a punchy, balanced PA that flatters voices as much as loud guitars.

Brandi Carlile takes the Chase Center stage Friday at 7 pm, a powerhouse vocalist who bridges Americana, rock, and gospel lift. Multiple Grammys, the Highwomen, and a catalog built on big choruses and human-scale storytelling have made her an arena headliner without losing that band-in-a-room feel. Her tight crew locks harmonies hard, and she can flip a set from pin-drop piano to full-throttle anthems in a breath.

Chase Center in Mission Bay is the city’s modern arena, built for big productions and clear sightlines from the bowl. Trains drop off a short walk away, and the concourses move quickly even on sold-out nights. The sound is clean for a room this size, with video and lighting rigs that make arena shows feel cinematic. Concessions run pricey, but service is efficient and there are plenty of bars.

Spill Tab brings Claire Chicha’s genre-fluid pop to Cafe Du Nord on Friday at 9 pm, threading breathy melodies through crunchy guitars, elastic bass, and glitchy electronics. The LA-based French-Korean songwriter writes hooks that stick without sanding off the edges, shifting from confessional whisper to fuzzed-out catharsis. Montreal’s Afternoon Bike Ride opens with airy, downtempo indie that pairs neatly with Spill Tab’s left-field pop bite.

Cafe Du Nord sits beneath Swedish American Hall on Market, a low-lit, red-velvet basement with room for a couple hundred and a bar that turns sets into hangouts. It is tightly run, intimate, and loud in the right way, with a stage just high enough that every corner gets a view. Indie and electronic-leaning bills thrive here, and sold-out nights feel electric without turning uncomfortable.

Kyiv trio KAZKA celebrates 10 years at Cafe Du Nord on Saturday at 8 pm, bringing their electro-folk pop that marries traditional melodies with sleek, club-ready production. Fronted by Oleksandra Zaritska’s rich, emotive voice, they broke wide with Plakala and have kept pushing into darker synth textures and propulsive rhythms. Live, the set moves from aching ballads to dance pulses while keeping the folklore threads intact.

Downstairs at Cafe Du Nord, the room’s brick archways and close quarters make vocals bloom and percussion hit with satisfying punch. Staff keeps the flow smooth between the narrow bar and floor, and the sightlines around the horseshoe layout are better than you would expect. It is a classic San Francisco club for international pop and indie acts that play right in the crowd’s space.

Chicago duo DRAMA brings the Platonic Romance Tour to the Fox Theater on Friday at 8 pm, a sleek blend of R&B vocals and dance-floor pulse. Via Rosa’s bittersweet melodies ride Na’el Shehade’s house and synth-pop production, turning heartache into movement. They have a devoted crowd here, and the live show leans into four-on-the-floor grooves, glossy textures, and a steady build that lands in communal sing-alongs.

The Fox Theater anchors Oakland’s Uptown, a restored Art Deco palace with a cavernous floor, deep balconies, and one of the East Bay’s cleanest PAs. Capacity sits just under 3,000, but it still feels personal when the floor is GA. Bars on both sides keep lines workable, security is friendly, and the light show brings out the ornate details overhead. It is a destination room for touring electronic and R&B.

Indigo De Souza returns to The Fillmore on Friday at 8 pm with a set that splits the difference between tender confession and fuzz-pop release. The Asheville songwriter writes melodies that cut straight, riding wiry guitars, elastic bass, and drums that surge and recede under her elastic voice. Her last records widened the palette without losing intimacy, and the band can turn a whisper into a room-shaking chant fast.

San Francisco’s Fillmore remains the city’s best-sounding rock ballroom, a thousand-ish cap space with chandeliers overhead and walls lined with gig posters. It is open floor and standing throughout, with a roomy stage and a PA that keeps vocals clear even when guitars snarl. The staff moves the entry line quickly, and the neighborhood makes pre- and post-show food runs easy.

SASAMI reshapes her catalog at Swedish American Hall on Friday at 8 pm, trading distortion for strings, choir, and chamber textures. The LA composer and producer has a knack for heavy melodies, and in this setting the songs land with cinematic weight and surprising warmth. Expect re-orchestrated cuts alongside new material, with local producer Cheflee opening on a textural, beat-driven tip that suits the room.

Swedish American Hall sits above Du Nord on Market, a wood-paneled, vaulted room that rewards quiet dynamics as much as big swells. Seating is first come, first served, and the layout makes it feel like a civic hall turned listening room. Folk, indie, and experimental sets shine here, with natural reverb that flatters strings and voices. Staff is attentive, and the house mix engineers know the space well.

Seattle rapper Grieves hits The Independent on Friday at 9 pm, working that introspective, soul-laced style he honed on Rhymesayers. Clever wordplay rides warm keys, dusty drums, and guitar flourishes, landing closer to late-night reflection than chest-beating bravado. He is a nimble performer with a deep catalog, and the live band touches give the set more swing and color than the records alone.

The Independent in NOPA is the city’s most reliable 500-cap club, a low stage, quick bar lines, and a sound system that hits hard without smearing the mix. It draws touring acts across genres and treats locals well, too. Sightlines are solid from the back rail to the subs, and staff keeps turnover between sets tidy. It is a room built for energy and clean sonics more than frills.

Top Shelf Classics brings a Motown revue to Feinstein’s at 1 pm Sunday, a matinee run through hits that still light up a room. Tight harmonies, sharp choreography, and a crack rhythm section carry the Temptations-to-Supremes songbook without turning it into cosplay. This one offers concert-only tickets at $35, which is a rare price point for a polished cabaret production in the city.

Feinstein’s at the Nikko is a plush, seated cabaret tucked inside Hotel Nikko near Union Square. Tables line the room with clear sightlines to a low stage and a tuned house piano. The staff runs proper table service without disrupting the show, and sound is warm and intimate. The programming ranges from Broadway to jazz to tribute sets, and afternoon performances feel unhurried and comfortable.

Beth Stelling takes the Punch Line stage Friday at 7:30 pm, a sharp stand-up with a storyteller’s rhythm and deadpan precision. Her recent specials cemented a voice that can turn family history, bad dates, and small indignities into layered bits that build quietly then snap. She works clean without sanding off the edge, and her timing plays perfectly in tight rooms where laughs roll in waves.

Punch Line in the Financial District is the Bay’s classic brick-walled comedy room, intimate, low-ceilinged, and tuned for laughs. It seats just over 180 with a compact stage and a staff that knows how to keep service unobtrusive. The club runs a two-drink minimum and starts on time, and comics love the sightlines and the way the room rewards setup and payoff. It is a quintessential San Francisco night.