This week's music previews

The Low Anthem, Belfast & Glasgow A widely circulated fact about Fleet Foxes is that they want to emulate their parents' record collections. The Low Anthem – also tipped for a Foxy breakthrough – seem to be trying similar with the music of their great-grandparents. That's the conclusion you may reach on hearing the band's album, Oh My God, Charlie Darwin, a record which reflects their take on evolution. In the band's songs, frail humanity faces likely extinction, while their folky arrangements demonstrate survival, having endured down the generations. US college radio, unsurprisingly, has taken the band to heart and Springsteen's a fan, too. They seem to be at work on lasting stuff; 70 years or so will tell if they managed it. Black Box, Belfast, Wed; Old Fruitmarket, Glasgow, Thu & Fri John Robinson John Turville Trio, On tour Pianist John Turville is a hard young man to pin a label on: he performs in everything from tango bands to electric-Miles ensembles. But with his new trio album, Midas, and this long tour, he presents the clearest picture yet. Comparable in skills, enthusiasms and vision to Gwilym Simcock and Kit Downes, Turville remains closer to the jazz tradition than either; in some passages on Midas, it's only the contemporary polyrhythms of Ben Reynolds that show the session wasn't recorded between the 60s golden age of Bill Evans and 80s maturing of UK pianist John Taylor. With an approach towards harmony and improvisation recalling John Taylor, he's a promising newcomer to the UK piano jazz fold. Hive, Shrewsbury, Sat; Brunswick, Hove, Sun; Dempseys, Cardiff, Tue; St Marys Chambers, Rossendale, Wed; Jazz Bar, Edinburgh, Thu; Links Hotel, Montrose, Fri John Fordham Oliver Knussen/BCMG, London & Birmingham For years the Wigmore Hall programmed very little contemporary music, yet slowly things are changing. This week, Luke Bedford is inaugurated as composer-in-residence in a concert which also sees Birmingham Contemporary Music Group's overdue debut there. Oliver Knussen conducts the programme, which includes Bedford's Good Dream She Has, a rapturous commentary on Milton's Paradise Lost commissioned a couple of years ago. It's placed alongside the London premiere of another bespoke BCMG piece, Helen Grime's A Cold Spring, and three early classics from Harrison Birtwistle, Peter Maxwell Davies and Alexander Goehr. Wigmore Hall, W1, Sun; CBSO Centre, Birmingham, Mon Andrew Clements Adam Green, On tour History may well record Adam Green as one of music's most successful flakes. A man of idiosyncratic talents, he has a spectacular knack for being in the right place at the right time: whether it's supporting on the Strokes' debut British tour of 2001 as one of the Moldy Peaches, or appearing on the bestselling soundtrack of the movie Juno with the same group, the New Yorker has a jaw-dropping ability to have his wry compositions turn up at just the right moment. Happily, though Juno has brought him success, it's not marked a notable change in Green's work, seeming only to reconfirm his faith in his erratic path. It's a commendable, and characteristic decision: following a string of varyingly accomplished solo albums, his new one, Minor Love, finds him in rich voice, and sounding – on occasion – like Lou Reed. The Academy, Dublin, Tue; Queen's Students' Union, Belfast, Wed; Stereo, Glasgow, Fri John Robinson Miike Snow, On tour As Lady Gaga has proved, inside every behind-the-scenes talent is a flamboyant egomaniac dying to burst out. With Miike Snow – not an individual, but a Swedish band – the opposite seems true. Having made a name for themselves as the duo behind Britney Spears's Toxic, Christian Karlsson and Pontus Winnberg joined with US songwriter Andrew Wyatt not to hog the limelight, but to be involved with music that's less showy than their day job necessitates. So it is that Miike Snow operate in the less than densely populated field of unassuming electro. Tracks from their debut album suggest there's wisdom to their plan. Tabernacle, W11, Wed; 02 Academy Oxford, Fri John Robinson Daniel Barenboim, London Daniel Barenboim's cycle of the Beethoven piano sonatas at the Festival Hall was the highlight of London music in 2008, guaranteeing that his return this month to play the five concertos is eagerly awaited. Characteristically he's conducting all the concertos from the keyboard, and arrives this week with the orchestra that he has very much made his own over the last decade, the Berlin Staatskapelle, which divides its time between the concert hall and the orchestra pit of the Berlin Staatsoper. It's one of Europe's finest and most distinctive bands, and to hear it play not only Beethoven, but also the works by Schoenberg that Barenboim has paired with each of the concertos, promises to be a real treat. The series begins on Friday with early Beethoven and early Schoenberg, the first piano concerto preceded by Pelleas und Melisande, Schoenberg's lushly expansive symphonic poem, composed just before he took his first steps into a total new musical world. Royal Festival Hall, SE1, Fri Andrew Clements