Music picks of the week

LCD Soundsystem, On tour If ever a group toyed with the idea of built-in obsolescence, it was LCD Soundsystem. Eight years ago, their great debut single, Losing My Edge, described the torments of a hipster who could see his hipness waning. Now having become a barometer of an ecumenical, danceable cool, it stands to reason that thirtysomething James Murphy should be anticipating the band's end. He's stepped out on his own with a soundtrack to Noah Baumbach's movie Greenberg, and has been hinting that the current, Bowiesque album This Is Happening will be their last. If it is, it'll be a noble act by a funny man. A track like the terrific, Blur-like Drunk Girls ("Drunk girls/Take an hour to pee …") is the best kind of epitaph fans could hope for. Tripod, Dublin, Tue & Wed; O2 Academy Brixton, SW9, Fri & 24 Apr John Robinson The Duke And The King, On tour With their all for one, one for all mentality, the Felice Brothers are among the most exciting prospects in rootsy American music: moderately dangerous, bound together by their love for American mythologies. Duly, one slightly fears for their health now that Simone Felice has departed for the Duke And The King. This group walk through similar landscapes, but on smoother trails, the work of Felice and collaborator Robert Bird Burke recalling the laidback reveries of Laurel Canyon singer-songwriters, circa 1971. The execution is mellow, but sincere passion burns beneath. Wedgewood Rooms, Portsmouth, Sat; Union Chapel, N1, Mon; Rescue Rooms, Nottingham, Tue; Hi-Fi, Leeds, Wed; Thekla, Bristol, Thu John Robinson Lou Reed's Metal Machine Trio, On tour Once thought of either as an example of musicianly truculence, or as an unlistenable contractual obligation, Lou Reed's Metal Machine Music has lately earned a surprising reputation as his most influential work. After homage was paid to this whirring and chirping double album by the experimental group Zeitkratzer, Reed himself started to cultivate its legend, leading to the formation of the Metal Machine Trio. A noisy and improvising unit, the band fit perfectly into the mould of the Ether festival at which they're playing (Mon), and also see Reed playing to his status, not as laconic poet of the gutter, but as enfant terrible. How bourgeois, in these times to be a singer-songwriter, playing the hits! Instead, Reed leaves reputation at the door and lays waste to expectations as his idols like Ornette Coleman still can do. A walk on the wild side, indeed. The Junction, Cambridge, Sat; O2 Academy Oxford, Sun; Royal Festival Hall, SE1, Mon John Robinson The Irish American, London Kings Place has come up with a neatly effective idea of inviting different musicians to plan weekly themed concerts. This week the curator is Darragh Morgan, violinist and member of both the Smith Quartet and the Fidelio Trio, who indulges his enthusiasms for the folk music of Ireland and the music of the American experimentalists and minimalists. The Smith Quartet give two concerts, one devoted to Philip Glass's quartets, the other, with pianist John Tilbury, to a performance of Morton Feldman's late masterpiece Piano and String Quartet. The Fidelio Trio's appearances include music by members of the New York-based Bang On A Can and contemporary Irish composers; Jennifer Walshe performs with the CoMA London Ensemble; while the series ends with traditional music from Ireland, Cyprus and Mali. Kings Place, N1, Wed 21 to 24 Apr Andrew Clements Wallace Roney, London Last year, as part of the 50th anniversary celebrations for Miles Davis's great Kind Of Blue album, the American trumpeter Wallace Roney took the Miles role in a recreation of that music in a band led by KOB drummer Jimmy Cobb. Central to the music, everything he played balanced individual charisma with absorption in the group's collective purpose. Roney's identification with Miles Davis's sound and his sensibility borders on the uncanny; the dying legend chose his best apprentice as sidekick and support on a swansong concert at Montreux in 1991. Roney's dramatically spiralling runs, wistful muted tones and telling pauses represent soulful empathy, not mimicry. For this trip, he and his saxophonist brother Antoine bring a fresh young genre-mixing ensemble featuring Rashaan Carter on bass, Aruán Ortiz on keyboards and the highly promising 17-year-old Kush Abadey on drums. Ronnie Scott's Club, W1, Mon & Tue John Fordham Julian Arguelles/Gwilym Simcock, London The evolution of former Loose Tubes musician Julian Arguelles into a kind of British Joe Lovano – as an improvising sax virtuoso strong on narrative shape, aware of many branches of the jazz tradition and with a powerful identity – has accelerated since 2000. He has worked with big bands and classical ensembles, with cutting-edge Americans Michael Formanek and Tom Rainey, and on multitracked solo ventures. For the Con Cellar's mini-festival (running to 25 Apr and featuring Partisans and Outhouse), Arguelles leads a quartet with pianist Gwilym Simcock, opposite a big band led by trumpeter Freddie Gavita. Con Cellar Bar, The Constitution, NW1, Fri John Fordham