Is “experimental pop” an oxymoron? Doesn’t pop music, by definition, stick to familiar tropes and tools established long ago as the most effective vehicles for driving succinct, catchy songs with accessible subject matter? Lindsay Powell — well equipped with skills as a multi-instrumentalist and a naturally gifted vocalist — has long toyed with pop music via projects like Ga’an, Festival and Skyblazer. With her latest fully solo undertaking, Fielded, the term “post-apocalyptic pop” has come up on occasion, and perhaps there’s no better way to describe her brand-new LP Ninety Thirty Thirty (out April 23 via Captcha Records). With walls of synthesizer, thick electronic beats and whirring, far-out sounds aplenty (plus a very satisfying saxophone solo on “Eve of a New Moon”), Ninety is a not-too-distant relative of releases by post-modern pop manipulators like, say, Grimes and CocoRosie — and Cocteau Twins and Björk before them. Like all of the aforementioned, Fielded meshes the beautiful and the melodious with the strange and the unlikely. But also like all of the aforementioned, Fielded is truly its own thing, toying with pop tropes and tools, donating its own idiosyncrasies to the ceaselessly growing mass that is Western pop music. Powell has lived all over the place, but she currently calls Nashville home, and tonight’s show marks the only Music City appearance in a long string of tour dates with like-minded synthy songstress Gel Set. —D. PATRICK RODGERS
It's prog-pop, it is. Locals Nudity — who recently released their "Supernatty" 7-inch — will also appear in support. Show kicks off at 9 p.m., and $5 will get you in.