Dan Deacon is us. We are Dan Deacon. The idea of all-surrounding, reflective community plays itself out to perfection at a Dan Deacon concert. Not content to follow the usual rules of stage vs. crowd, Deacon has helped invent a new style to engage the audience by literally becoming one with them. In most venues, this means performing from the ground enveloped by cheering and dancing masses that pay for a ticket yet end up becoming part of the show. Deacon runs in and out of the audience with the nobody-is-watching enthusiasm of a junior high kid. The concert turns into a nerdy, underground free-for-all in which we all stop watching and start participating — which is to say, dance. And dancing is hardly a problem when you consider the vitality of the music provided by this cartoon-esque Baltimore DJ and his "Crystal Cat." (Appearing with Jimmy Joe Roche at the Lakeshore Theater on Jan. 25 and with Girl Talk for two shows at Metro on Jan. 26) --text: Tim Slowikowski

Now touring for their fourth full-length album, Happiness Ltd, Hot Hot Heat should be more than comfortable performing the new material. After all, the Canadian foursome began writing, crowd-testing, and recording all the new songs two years ago during their tour for their previous album, the acclaimed Elevator. Less upbeat than its predecessor, Happiness Ltd. is more like a movie with dramatic, full-sounding songs (padded with additional instruments, including a string arrangement) that take the listener on an emotional journey. Despite the depressing theme of heartbreak present in all the songs, HHH attempts to balance the melancholy ("Good Day to Die") with optimism ("Let Me In") without sacrificing clever wordplay and playful melodies. Sometimes described as dance-punk, HHH live up to the expectations of concert-goers by delivering high-energy shows that leave the crowd dripping with their own hot hot heat — even, we hope, in January. (Appearing with Editors and Louis XIV at The Vic on Jan. 25) --text: Ariel Sundel

Alice Peacock offers up intimate insights in her latest release Who I Am, which she describes as a product of soul-searching and self-gratitude. Originally from Minnesota but now living in Chicago, the rock/acoustic musician recorded her album in two weeks at Hollywood’s Sound Factory, proudly presenting the tracks as live and unrehearsed sound recordings that allowed her to explore her artistry without restrictions. Influenced by The Beatles, Joni Mitchell and James Taylor, Alice uses her guitar, piano sequences, soft drums, violas and cellos to create mellow-toned material that sounds soothing even when she sings about destroyed relationships. (Appearing at the World Music Company on Jan. 26) --text: Jackie Bernardo

It would be easy to write Xavier Rudd off as a simple hippie surfer who sings songs about love and peace. But Rudd is also a hard-working multi-instrumentalist who plays live as a one-man band. The Australian singer/songwriter is well-known for his mastery of slide guitar, stompboxes, djembe and didjereedoo, the ancient trumpet of the Aborigines (Rudd is a circular breather and can play the instrument for hours). But he is probably even better known for his ability to play most of his instruments simultaneously in a live setting. Rudd is currently touring in support of his latest release, White Moth. It features Rudd’s signature, infectious blend of folk, reggae, and world melodies and rhythms. Like his previous releases, White Moth confronts an array of issues, from the environment to First Nations. An outspoken champion of Aboriginal rights, Rudd includes guest vocals from several indigenous singers and music groups on the album. (Appearing with Mishka at The Vic on Jan. 22) --text: Caroline Evans

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