Suki Waterhouse brings her glossy dream-pop and Brit-tinged indie rock to the Egyptian Room on Friday at 7:30 pm. Her smoky alto sits over gauzy guitars and punchy drums, folding 60s girl-group melody into modern pop sheen. After breaking through with Good Looking and a run of moody singles and tours, she has grown into a confident bandleader. The live set leans cinematic and dynamic, swelling from hushed torch songs to big, shimmering crescendos.

The Egyptian Room is the big, flat-floor ballroom inside Old National Centre, a GA space that fits a couple thousand without feeling faceless. Hieroglyphic motifs and tall columns frame a wide stage, and the sound carries best from center or near the board. Bars ring the room, lines move, and sightlines are solid if you step off the rail. Doors at 6:30 usually keeps entry smooth, with Mass Ave a quick walk for pre and post show.

Honestav hits the Deluxe on Friday at 8:30 pm with a sharp, melodic rap set that slides between tuneful hooks and double-time verses. The production leans low-end heavy and atmospheric, built for a small room to thump. He has carved out a following on the strength of candid storytelling and a quick, conversational delivery. Onstage he paces the room, keeping the energy up while the crowd handles the choruses.

The Deluxe is Old National Centre’s club-sized room, a tight, low-ceiling space where hip hop and indie bills hit hard. Capacity sits in the mid hundreds, with a wide stage, crisp PA, and a bar tucked along the wall. It is fully GA, so early arrivals grab the rail and latecomers still get clean sightlines from the raised back. Load-in and turnover are efficient, so sets tend to run on time.

Monkeys on a String pay devoted tribute to Dave Matthews Band, leaning into the knotty rhythms, violin lines, and extended grooves that made the originals arena staples. They stretch songs into patient jams without losing the hooks, nailing the dynamics on Crash-era singalongs and deeper cuts alike. The band’s chops make it a musician’s night out as much as a fan singalong, and they are comfortable settling into two long sets on a Saturday.

Turntable is a compact neighborhood room built for close-up shows, with a low stage, simple lights, and a mix that feels immediate rather than overblown. It books bar-band rock, country, and tributes on weekends, and regulars crowd the floor early to stake a spot. Drinks are quick from the corner bar, and the sightlines are best off-center where the ceiling opens up a touch.

Logic and G-Eazy split the Sunday night spotlight at White River, pairing Logic’s precision and introspection with G-Eazy’s sleek, West Coast bounce. Logic’s catalog swings from rapid-fire wordplay to sing-along hooks like 1-800-273-8255, while G brings nightclub swagger and big-chorus hits. It is a true co-headline built for a festival-scale stage, with both artists running full-production sets that keep the pace tight.

Everwise Amphitheater sits along the canal in White River State Park, a downtown outdoor pavilion with reserved seats up front and a big, friendly lawn behind. The skyline frames the stage at dusk, and the upgraded PA projects cleanly across the bowl. Clear-bag rules are enforced, and low-profile lawn chairs are allowed, which keeps sightlines open. Concessions are plentiful and the walk in from the park is straightforward.

Annie Leppert brings an intimate country set to Turntable on Sunday at 8 pm, leaning on a warm alto, steady acoustic guitar, and songs that read like candid letters. She writes with a storyteller’s eye, favoring uncluttered arrangements that let melody and phrasing do the heavy lifting. Onstage she keeps banter tight and the pacing unhurried, drawing the room in for the quieter moments before lifting into a few barn-burners.

Turntable’s living-room scale suits songwriter nights. The room’s PA is clean and vocal-forward, so lyrics land, and the staff keeps the changeovers quick. It is an all-standing floor with a few perches along the wall, and regulars know the sweet spot is a few steps back from the stage. It is a no-frills hang that treats small shows with care.

Derrick Stroup brings his rapid-fire Alabama cadence to Clowes on Friday at 7 pm, riffing on road life, small-town detours, and late-night Waffle House logic. His writing is tight and animated, bouncing from long-form stories to sharp tags without losing the thread. Fresh off a Netflix hour, he is working at a confident clip, and that auctioneer rhythm turns throwaway details into rolling laughs.

Clowes Memorial Hall on Butler’s campus is a classic proscenium theater with plush seats, wide aisles, and acoustics that flatter spoken word as much as orchestras. Sightlines are clear from orchestra to balcony, and the room’s natural reverb gives comics room to breathe without swallowing punchlines. Parking is organized and ushers keep the pace crisp, so start times tend to stick.

La La Land In Concert returns Saturday at 8 pm, screening the film while a full orchestra and jazz band perform Justin Hurwitz’s score live. The results are lush and immediate, from the brass fanfare of Another Day of Sun to the crystalline piano solos that anchor the quieter scenes. It is a rare chance to hear the arrangements bloom in a theater while the movie sweeps across the screen.

The Murat Theatre at Old National Centre is Indy’s ornate showpiece, a seated room with Moorish flourishes, a deep stage, and warm, enveloping acoustics. It is built for symphonic nights and theatrical detail, so live-to-picture scores land beautifully here. The lobby bars move fast, and the staff keeps the aisles clear, making for an easy night in a historic space.

Dokken and Lita Ford bring a straight-up 80s hard rock double bill on Sunday at 7 pm, loaded with harmonized guitar leads, big choruses, and unapologetic flash. Dokken’s set leans on radio staples and deep cuts that still punch, while Lita’s band fires through Kiss Me Deadly, Close My Eyes Forever, and riff-first favorites. It is a night built for hooks, tone, and crowd vocals.

In rock mode the Murat Theatre feels intimate for legacy acts, with seated rows that turn into a standing floor as soon as the lights drop. The mix sits warm and centered, and that deep stage gives the guitars space to breathe. Merch and bars are easy to reach at set break, and the neighborhood makes pre-show dinner an easy walk.

Paul Cauthen brings his Big Velvet baritone and country-soul strut to HI-FI Annex on Friday at 7 pm. He marries honky-tonk storytelling with fat synths and funk bass, turning twang into a dance-floor groove without losing grit. The band locks into pocket and lets Paul testify out front, rolling from wry ballads to barnstorming stompers like Cocaine Country Dancing that have become live staples.

HI-FI Annex is the outdoor counterpart to the Fountain Square club, a clean, concrete lot with a tall stage, big PA, and room to breathe. Sound is tuned to carry without slop, neighbors are close, and the crew has the changeovers wired. It is all GA with easy sightlines, quick bars, and food options all around the square for a summer-night flow.

Xavier Wulf takes over the Vogue on Friday at 8 pm with bare-knuckle, Memphis-rooted rap that moves the floor. A Raider Klan alum and Hollow Squad standard-bearer, he pares beats to their bones and drives straight through with a clipped, relentless flow. The shows run hot and physical, built on chant-ready hooks and adrenaline, with the DJ snapping transitions tight to keep the crowd in motion.

The Vogue in Broad Ripple is a historic art deco theater turned club, a thousand-cap room with a tiered floor, wraparound bars, and a punchy, bass-forward system. It is a sweet spot for hip hop and dance-heavy bills, with security dialed and staff seasoned. The neighborhood makes late-night eats and post-show wandering part of the ritual.