He’s sporting a gray beard befitting his age (74) and status as one of pop’s most enduring arena attractions. Neil Diamond is even making new music. Last year’s “Melody Road,” a batch of schmaltzy originals with understated production by Don Was, didn’t create the reaction that Diamond’s two Rick Rubin-produced collections, “12 Songs” and “Home Before Dark,” did in the ’00s. But he will still offer a few new numbers along with a jukebox full of classics including “Sweet Caroline” and “America.” (8 p.m. Sun., Xcel Energy Center, $65-$150.) Bream



After a two-year hiatus in which he managed to get arrested multiple times for drug charges and allegedly attacking his ex-wife, Puddle of Mudd frontman Wes Scantlin has re-emerged with an all-new lineup of his Kansas City-reared post-grunge band. They’re road-testing songs for a new album and reviving older hits including “Blurry” and “She Hates Me.” Saliva and Saving Abel open for them under the banner of the annual 93X Icebreaker concert. (7:30 p.m. Fri., Myth, all ages, $25.) Chris Riemenschneider


Breakups are tough. Especially when one party is a huge media company. But Nashville rockers Jeff the Brotherhood seemed relieved (if a tad bitter) to be “dropped from the clutches of the demented vulture that is Warner Bros!” as they put it in a February press release. The sibling duo’s eighth album, “Wasted on the Dream,” was finally released on its own Infinity Cat label, featuring cameos from Jethro Tull’s Ian Anderson, Best Coast’s Bethany Cosentino and Diarrhea Planet members. The guitar-fueled album teems with Weezer-y pop-rock hooks and scuzzy garage riffs. Bully, France Camp and Stereo Confession open this free-with-RSVP show, part of Red Bull’s Sound Select series. (8 p.m. Fri., 7th Street Entry, www.redbullsoundselect.com.) Michael Rietmulder


On this year’s album “Ain’t in No Hurry,” his third for St. Paul’s Red House Records, Jorma Kaukonen sounds casual and comfortable, interpreting classics like “Brother Can You Spare a Dime” and spinning long-winded original yarns like “Bar Room Crystal Ball.” On record, he’s joined by former Dylan guitarist Larry Campbell and his longtime Jefferson Airplane/Hot Tuna collaborator Jack Casady. (7 & 9 p.m. Sat., Dakota Jazz Club, $35-$42.) Jon Bream


St. Louis Park native Peter Himmelman returns to promote “The Boat That Carries Us,” his 2014 Kickstarter-funded album. After nearly 20 recordings, the Los Angeles resident remains a singer with the passion of Elvis Costello and a songwriter with literate but accessible lyrics. He crafts an alluring soul-tinged roots-rock sound, with the help of the world-class rhythm section of drummer Jim Keltner and bassist Lee Sklar. (7 p.m. Sun., New Century Theater, $25-$50.) Bream


As down-tempo, designed-for-the-dance-floor music goes, it doesn’t get much more affectionate and complex than Caribou. Canadian Dan Snaith is the critically acclaimed musician, producer and DJ behind the lush and understatedly soulful electronica project. He’s touring in support of last year’s excellent full-length “Our Love.” With 15 years of digital-pop production under his belt, Snaith increasingly applies his love for soul and jazz in each new release. Egyptrixx opens. (8 p.m. Sun., First Avenue, $17-$20.) Alex Nelson


Veteran Austin, Texas, singer-songwriter Robert Earl Keen rounded up some of his pals, including Natalie Maines, Lyle Lovett and Peter Rowan, to record this year’s “Happy Prisoner: The Bluegrass Sessions.” He adds Texas attitude to covers of songs associated with Bill Monroe, the Carter Family and Richard Thompson, but there is no question that Keen respects this repertoire. The Roosevelts open. (7 p.m. Mon.-Tue., Dakota, $40-$50.) Bream


Synth-pop innovator George Lewis Jr., who records as Twin Shadow, has taken hits from indie purists for jumping from 4AD to Warner Bros. Records and slicking/amping up his sound exponentially for his third record, “Eclipse.” As if his brand of anthemic, new wavey ’80s pop wasn’t sugary and commercial in the first place. Lewis and his band brought a little more urgency and sonic oomph to the new tunes at last month’s South by Southwest Music Conference and are ready to play much bigger venues than First Ave. Carrot-headed Swedish popster Erik Hassle opens. (8:30 p.m. Mon., First Avenue, $16-$18.) Riemenschneider


Disappears, an alt-rock quartet from Chicago, attracted attention for its unique blend of krautrock, shoegaze and garage rock. Their twisted experimental music deals with themes of dystopian modernity, touching on things such as eternalism and roboethics. Opening is local noise-pop outfit the Chambermaids. (8 p.m. Mon., Turf Club, $10.) Nelson


The overwrought reaction to Shawn Mendes at December’s Jingle Ball suggested that tween girls are falling for this 16-year-old Canadian Internet phenom. Yes, he’s big on Vine but his performance that night and his several singles suggest he’s a not-ready-for-prime-time Ed Sheeran wannabe. Jacquie Lee opens. (7 p.m. Tue., Northrop Auditorium, $32.50-$37.50.) Bream


Nomadic husband-wife doom duo Jucifer basically lives in a RV, roaming from city to city with their eardrum-annihilating live show. Their latest album, “District of Dystopia” (recorded in the RV), finds the two in earth-scorching form. Over her sludged-out guitar, frontwoman Gazelle Amber Valentine demonically shrieks all the sociopolitical hostilities one would expect from a D.C.-inspired concept album this aggressive. (9 p.m. Tue., 7th Street Entry, $10-$12.) Rietmulder


It’s likely that whatever relevancy Ryan Cabrera enjoys comes from dating Ashlee Simpson and Audrina Patridge. Nevertheless, his 2004 single “On the Way Down” was a total jam and odds are fans will hear it on the Radio Revival Tour, where he’s joined by Secondhand Serenade, an emo band of equal semi-significance. Both acts split from their labels and have fresh tunes to play. Nick Thomas from the Spill Canvas and alternative bands Wind in Sails and Runaway Saints open. (5:15 p.m. Tue., Amsterdam Bar & Hall, $20, all ages.) Nelson


Damien Rice spent a soul-searching seven years between albums and finally hooked up with marquee producer Rick Rubin, only to release a record that sounds a lot like his other two. No complaints, though. The gushing Irish folkie bleeds all over “My Favourite Faded Fantasy,” which comes 12 years after his cultishly adored debut “O.” A band that doesn’t seem to exist anywhere on the internet, Galagalactic, opens. (8 p.m. Wed., Northrop Auditorium, $45-$55.) Riemenschneider


After serving up a big helping of DIY stoner pop on her first two albums, Colleen Green gets a little more ambitious on this year’s “I Want to Grow Up.” The 30-year-old L.A. rocker is acerbic, blasé and self-aware on this collection of minimalist guitar pop. She sounds like the Bangles fronted by a slacker Liz Phair, but she really doesn’t want to grow up. Upset, Kitten Forever and Bruise Violet open. (8 p.m. Wed., Triple Rock, $5.) Bream


A seven-year wait between solo albums apparently didn’t deter fans of Jose Gonzalez. The Swedish singer-songwriter (who also plays in Junip) has sold out two shows in support of his new “Vestiges & Claws,” another unassuming effort of pretty, understated indie-pop. Despite some long-winded, very circular, contemplative songs, his third solo album has been receiving lots of attention on 89.3 the Current. Opening is Icelandic singer Ólöf Arnalds. (7:30 p.m. April 16-17, Cedar Cultural Center, sold out.) Bream


East Coast hip-hop star Mike Seander, better known as Mike Stud, is something of a Renaissance man. Before he made a name for himself distributing GarageBand recordings of rap songs he wrote in his downtime, Seander was a record-breaking pitcher at Duke University. An honor-roll scholar who also boasts impressive basketball skills, he earned a degree in sports management, but his trajectory changed when the video for “College Humor,” his party-centric first single, netted more than 1 million YouTube views. Several viral singles, a couple of mixtapes and 50 million YouTube hits later, Seander is signed to Atlantic Records and touring in support of his 2014 full-length “Closer.” DJ Fader opens. (8 p.m. Fri., Skyway Theatre, $22.) Nelson


Kid Ink’s background as producer-turned-rapper is both his biggest strength and weakness. The L.A. emcee wields melodies better than most, lacing his bars with a singsong-y smoothness, as on double-platinum single “Show Me,” which helped thrust his 2014 major-label debut to No. 1 on iTunes. Earworm-y as they may be, his tracks are fraught with punchless punch lines and lazy metaphors. When at his best, Ink’s polished tunes on his new “Full Speed” LP are simultaneously club- and airwave-friendly. But without the distractions of a nightclub or detoured commute, they feel flat. With Bricc Baby Shitro, Luke Christopher and J Plaza. (8 p.m. Sun., Mill City Nights, $27, all ages.) Rietmulder


The last “American Idol” champ to have any commercial impact, Scotty McCreery is carving out a nice little career in country music. His chart performance — both albums and singles — won’t threaten Carrie Underwood’s post-“Idol” success but with his deep voice, likable, aw-shucks personality and modest radio exposure, McCreery, 21, will have a solid run on the casino circuit. (8 p.m. Sat., Treasure Island Casino, $32-$42.) Bream


Even though her profile and stature have increased, superb R&B stylist Bettye LaVette has remained loyal to the Dakota, where she made her Minneapolis debut in 2004. Reunited with producer Joe Henry for this year’s “Worthy,” she gives penetrating readings of songs by Bob Dylan, the Beatles and the Rolling Stones. No one can make you feel pain like LaVette does. (7 p.m. Thu., Dakota, $45.) Bream


Like any jazz clarinetist, Anat Cohen is well-versed in the Swing Era history of the music — she’s paid her tribute to Benny Goodman. But what makes the Israeli-born Cohen a perennial winner of both the critics and readers polls in Downbeat is her open-hearted yet commanding virtuosity. Her new release, “Luminosa,” features Brazilian music through the prisms of the soulful Milton Nascimento and that country’s urban New Orleans-inflected choro style. But there is also an acoustic cover of electronica DJ Flying Lotus’s “Putty Boy Strut,” and a tribute to jazz impresario George Wein (“Wein Machine”) delivered by Cohen on tenor sax. Her quartet includes her longtime keyboardist Jason Lindner and the highly reputable rhythm section of bassist Linda Oh and drummer Adam Cruz. (7 & 9 p.m. Sun., Dakota, $20-$30.) Britt Robson