“Who built the moon? Noel Gallagher did, and everyone else can just reach for it.” So says the release for the latest album by Noel Gallagher’s High Flying Birds, with all the boastful bluster we’ve come to expect from the former Oasis mastermind. Since Gallagher quit that band in 2009 after yet another fight with his brother, Liam, his puckish, controversy-courting remarks have made more headlines than his music — alt-rock that picks up where Oasis left off — which is to say, heavy with homage to his idols. He has described the glossy rock maximalism of “Who Built the Moon” as himself “in more colorful clothes,” an accurate — and surprisingly humble — assessment. Feb. 12 at 8 p.m. at the Anthem. $37.50-$329.
At the turn of the decade, Canadian soul singer Melanie Fiona established herself as one of R&B’s preeminent traditionalists. But with the blurring of the lines between R&B and hip-hop, artists like Fiona spent most of the past decade on the outside looking in. Thankfully — for Fiona and for fans of classic R&B — the tide is turning, with hits by such artists as Solange, Childish Gambino and Daniel Caesar changing the R&B landscape. As she told Rap-Up, “I’m a purist . . . and it’s nice when I can find artistry in a new wave that pays homage to classic soul.” Perhaps she can ride the same wave. Feb. 13 at 8 p.m. at the Howard Theatre . $30-$59.99.
For years, Sleigh Bells mastered a singular style of noise-pop, turning bubble-gum hooks, in-the-red riffs and block-rocking beats into a reliable formula. But after three albums, the band’s ear-bleeding alchemy was turning out more lead than gold. After a three-year break, Derek Miller and teen-pop survivor Alexis Krauss returned with “Jessica Rabbit,” adding electronic ambiance and synth-pop flirtations to the mix. Most important, they carved out more sonic space for Krauss’s airy vocals, and on last fall’s “Kid Kruschev” mini-album, her arena-size anthems spoke to the current moment: “My past is littered with the bones of men who were fools enough to sleep on me.” Feb. 14 at 7 p.m. at the 9:30 Club. $30.
After dominating the charts for the first half of the decade, bro-country — the much derided soundtrack of SEC tailgate parties — has been supplanted by straight-talking women, country gentlemen and neo-traditionalists. Just don’t tell that to Brantley Gilbert, the singer-songwriter responsible for some of bro-country’s biggest hits. Even as the style has fallen out of fashion, Gilbert has stuck to his guns, singing songs about weekend drinking with women in Daisy Dukes. But unlike his bro-country compatriots, Gilbert has always been more comfortable with midtempos and minor keys, and more likely to “take a shot for the regrets” than to do a keg stand. Feb. 15 at 7 p.m. at Eagle Bank Arena. $25-$59.75.