Four concerts to catch in D.C. over the next several days

When Caroline Rose sings, “I just wanna write a song / That keeps you in my arms forever / Can you tell I don’t like change? I just want everything to stay the same,” they are being satirical. Not only is the song titled “Stockholm Syndrome” — the original toxic relationship — but Rose’s discography belongs to someone who doesn’t fear change. After abandoning the Americana of their first few albums for something more personal, Rose has explored the many facets of pop, whether indie-, hyper- or otherwise. The recently released “The Art of Forgetting” is confessional and cathartic, full of shimmery swells that match the lyrical mood. April 14 at 8 p.m. (doors open) at 9:30 Club, 815 V St. NW. 930.com. $26.

For years, DJ Drama’s “Gangsta Grillz” mixtape series was the ultimate co-sign: The Philly-born talent hosted key releases by Lil Wayne, Gucci Mane, Meek Mill, French Montana and more. In recent years, rappers who came of age to those tapes have tapped Drama for their own projects, attempting to cement themselves in that legendary lineage. The latest to do so is South Central spitter G Perico, who specializes in updating G-funk tropes and trademarks for a new generation. With lived-in lyrics, he has a gift for capturing not only the perks of street life but also its quotidian aspects. As he raps with an another-day-another-dollar sneer, “I got homies goin’ out, I got homies goin’ in / I got money comin’ out, I got money goin’ in.” April 14 at 9 p.m. at Union Stage, 740 Water St SW. unionstage.com. $25-$100.

Guitarist-songwriter Chris Forsyth spent his 20s immersed in New York’s experimental scene, delving into improvised music, avant rock and free jazz on the Lower East Side and studying guitar with Television co-founder Richard Lloyd. From that foundation, the Jersey-raised, Philly-based musician makes largely instrumental compositions that take rock traditions to new frontiers. “I think of myself as a rock guitarist but in an era when rock has lost its prominence as a popular music and is in a similar cultural position as jazz was in the 50s — it used to be popular, but now it’s art music,” he told Shindig Magazine. “The audience is smaller than it once was, but the music is getting more interesting.” April 20 at 7 p.m. at DC9, 1940 Ninth St. NW. dc9.club. $20.

Like the music of Andraé Crouch and Kirk Franklin before him, Tye Tribbett’s gospel is a contemporary one, using the sounds of the radio and the club to deliver a spiritual message. His latest album, “All Things New,” is true to its title, drawing from everything from trap to Afrobeat to R&B in a way that matches the sonic template of prevailing styles, if not the lyrical content. Tribbett and company are at their best when the distinction between the sacred and the profane is at its most slippery, like on “Be Alright,” a song that repurposes the hook of Kendrick Lamar’s “Alright” and makes the original’s religious undertones (“My rights, my wrongs; I write till I’m right with God”) more explicit. April 20 at 8 p.m. at Warner Theatre, 513 13th St. NW. warnertheatredc.com. Sold out.

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