Perhaps no one has had a better vantage point for the recent crossover of Latin and Caribbean music into the worldwide mainstream than Farruko. The 28-year-old Puerto Rican singer-songwriter-rapper broke through at the top of the decade, with a pliable voice and a versatile ear that allows him to straddle a wide range of styles, from reggae and reggaeton to dance hall and Latin trap. He has collaborated with veterans Daddy Yankee and Sean Paul as well as such new stars as Bad Bunny and J Balvin, and his latest team-up, with Pedro Capó for the beach-ready “Calma,” is his biggest hit yet. Aug. 23 at 8 p.m. at Wolf Trap. $40-$150.
As the frontwoman of roots rockers Alabama Shakes, Brittany Howard has wowed audiences with her raw, powerhouse vocals and riff-ready guitar playing. But as she turned 30, Howard wanted to step out on her own to tell her story. “I’m pretty candid about myself and who I am and what I believe,” she said in a news release, “which is why I needed to do it on my own.” Due in September, Howard’s solo album “Jaime” revisits Motown and Stax (“Stay High”) and gets Funkadelic (“History Repeats”) as she forges a new path alongside Shakes bassist Zac Cockrell, drummer Nate Smith and jazz boundary breaker Robert Glasper. Friday and Aug. 24 at 8 p.m. at 9:30 Club. $55.
True to their name, Flatbush Zombies sound like the reanimated, after-dark versions of rappers that prospered in their Brooklyn hood during the days of what’s known as rap’s Golden Age. The trio — made up of rappers Meechy Darko, Zombie Juice and Erick Arc Elliott (who also produces their beats) — is not alone; there are a handful of rap crews in New York, including Joey Badass’s Pro Era collective and the duo the Underachievers, that are also focused on dense lyricism and denser beats. Both groups have linked with the Zombies to form Beast Coast, bringing New York’s rap revivalists all under one umbrella and on one stage. Aug. 25 at 7 p.m. at MECU Pavilion (Baltimore). $35.50-$51.
A song is like a message in a bottle: a desperate dispatch thrown into unforgiving seas, awaiting a curious passerby. But as soon as the bottle is opened, the message inside starts to oxidize and change. No one knows this better than Sting, who wrote the Police’s “Message in a Bottle” 40 years ago. He’s continued playing songs like that across his long-running solo career, but has refused to keep the songs as static memories. In 2010, he released “Symphonicities,” an album that attempted to revitalize old favorites, and he did the same thing again this year with “My Songs” — an album that includes “Message in a Bottle.” Aug. 26-28 at 8 p.m. at Wolf Trap. Sold out.