Dillstradamus brings Dillon Francis and Flosstradamus together for a back-to-back built on wall-shaking trap, moombahton, and cheeky big-room chaos. Francis has long balanced pop instincts with Latin-leaning grooves, while Flosstradamus helped define festival trap’s clipped horns and snare rolls. The pair lean into edits and throwback anthems, stretching drops for maximum release. They take the stage at 8 pm Friday.

Fox Theater in Uptown Oakland is the East Bay’s gilded palace, a 2,800-cap room with soaring Moorish arches, deep bass clarity, and generous sightlines from the tiered floor. The GA pit has room to move, bars line the sides, and the balcony wraps tight to the stage. It sits a block from 19th St. BART, so getting in and out is painless even on packed dance nights.

Francis and Flosstradamus run their Dillstradamus set like a demolition crew, stacking trap drums, moombahton bounce, and prankster edits into a nonstop sprint. Francis brings the pop-polished hooks, Floss brings the hard-edge swagger, and both dig into classics and new heat. Music hits at 8 pm Friday, primed for peak-time energy.

Bill Graham Civic Auditorium is SF’s big-tent hall in Civic Center, a cavernous space that handles full-scale electronic production with ease. The GA floor is massive with room to breathe, and tiered seating upstairs offers a wide angle on the stage. Lights, lasers, and sub-heavy rigs all translate cleanly in the room, which is why so many touring dance nights land here.

Khalid brings his smooth, conversational R&B back to the Bay, leaning on the warm melodies that made American Teen and Free Spirit staples. His set moves from slow-blooming ballads to midtempo grooves, with that unforced tenor riding glossy synths and crisp drums. He has a knack for turning big outdoor spaces intimate without losing sing-along lift. Show at 8 pm Friday.

UC Berkeley’s Greek Theatre is a classic open-air amphitheater carved into the hillside. The stone bowl and gentle rake give clear sightlines, and the sound carries evenly from the pit to the upper steps. It is fully GA for this one, so earlier arrivals grab prime spots. Nights cool quickly up there, but the vibe is relaxed and focus stays on the stage.

FlipABeatClub’s WAV Forum captures the Bay’s beat scene in motion, with producers and DJs rotating through rapid-fire sets on SP-404s, MPCs, and laptops. Sets swing from dusty boom-bap to glitchy halftime and left-field bass, stitched by quick changes and crowd-minded blends. This month brings Bravo Domo, Tetsuo, Mr Anderson, and Roboplex. Doors at 8 pm, 21+.

Neck of the Woods on Clement is a neighborhood club that treats up-and-coming acts well. Downstairs is tight and loud with a compact stage, mirrored by a friendly bar and quick changeovers. The room draws a local, curious crowd and gives DJs space to experiment without losing the dance floor. It is easy to duck out for food on Clement and slide back in between sets.

Pomplamoose turns their inventive studio chops into a full-band show, folding soul, funk, and indie pop into tightly arranged medleys and deep-cut covers alongside originals. Jack Conte and Nataly Dawn lead with playful precision, swapping instruments while the rhythm section keeps everything nimble. It is an open-floor, 8 pm start with arrangements that reward close listening as much as moving.

The Fillmore remains SF’s most storied mid-size room, all chandeliers, wood, and a crisp PA. The open floor is standing room, with raised perimeters giving shorter fans a fair view. Staff runs a tight, no-drama operation, and the poster wall still feels like a living archive. It is the right scale for a band that prizes detail without losing groove.

Metalachi blends mariachi instrumentation with hair-metal theatrics, turning classic rock and metal standards into brassy, violin-laced sing-alongs. The group leans into showmanship without losing musicianship, swerving from Ozzy and Dio to Spanish-language favorites in full regalia. In a small room, the interplay pops and the jokes land sharper. Downbeat at 9 pm.

Cafe Du Nord sits beneath the Swedish American Hall, a low-lit, red-curtained basement with a vintage bar and a punchy sound system. The stage is close to the floor and the room caps small, so energy bounces quickly from band to crowd. It draws eclectic bookings, and staff keeps sets moving. Transit and late-night eats are easy along Market and Church.

A heavy Bay Area bill that runs the spectrum from hardcore grit to technical death metal precision. Fabricant brings dizzying riff architecture and whiplash time shifts, while Diablura and Of Time push darker, faster edges. Vicious Cycle anchors the night with bruising, old-school energy. Doors at 7 pm, music from 8, and it is all ages, which suits the scene’s community feel.

Downstairs at Neck of the Woods handles metal well. The room is compact enough for pit energy to translate, and the sound staff knows how to carve space for double-kick and serrated guitars. Bar lines move, merch tables tuck along the wall, and Clement Street gives everyone a quick breather between sets without drifting far.

A late-Sunday bill built around exploratory grooves, with improvising players folding jazz language into post-rock texture and beat-driven electronics. Sets at Brick and Mortar often morph as the night goes, and these projects thrive on that looseness. It is a 7:30 pm start, which leaves room for unhurried builds, quiet dynamics, and a few left turns before close.

Brick and Mortar Music Hall is a Mission workhorse, a 300-cap black box with a low stage, good monitors, and unfussy sightlines. The room favors players who listen to each other, and the sound crew keeps things clean without smothering edges. Bars are quick, patio airflow helps, and the Mission location makes post-show food simple.

A heavyweight regional Mexican bill lands at Oakland Arena. Los Tucanes de Tijuana bring decades of corridos and dance-floor norteño, El Fantasma adds his booming voice and banda swagger, and La Diferencia opens with polished romantic cuts. The night covers generations of styles at arena scale, with tuba thump, accordion leads, and full-tilt brass. Music starts at 7 pm.

Oakland Arena is the big room by the Coliseum, built for volume and spectacle. Sightlines are clean from the lower bowl, and the floor fills with families and dance crews on regional nights. BART access via the pedestrian bridge makes arrival straightforward, and the concourses move crowds smoothly between sets and snacks.

Luenell’s stand-up is unapologetically direct, mixing sharp storytelling with a mischievous, grown-folks bite. The Bay-raised comic brings Hollywood credits and road-seasoned timing, shifting from sex and money to family with a veteran’s control. Her recent special put that voice on a big stage without sanding down the edges. Early show at 7:30 pm.

Cobb’s Comedy Club in North Beach is a comfortable brick-lined room with cabaret seating, strong sightlines, and club-standard two-drink minimums. The stage sits high enough that back tables track every turn, and the sound is tuned for voice. It is an easy room for comics who work the crowd and stay nimble, and staff keeps the pace tight across multiple showtimes.