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Although the South by Southwest Festival has put Austin, Texas on the musical map, the city’s other major festival, operating since 1976, has showcased some hot talent itself. This two-disc DVD set features recent performances by 28 acts, ranging from danceable art-punk bands like Bloc Party (“This Modern Love”) and Kaiser Chiefs (“I Predict a Riot”) to such young and veteran singer-songwriters as Rachael Yamagata (“Be Be Your Love”) and John Prine (“Lake Marie”). Bonuses: interviews and mini-documentaries. June 20

With its 2004 debut, Hopes and Fears, Keane took a lot of knocks for its emotive pop style, often getting labeled “Coldplay lite.” But the British pop trio, led by singer Tom Chaplin and pianist Tim Rice-Oxley, is aiming for a tougher, darker and more diverse sound on it sophomore album. “Is It Any Wonder?” which questions Britain’s role in the Iraq war, is a forceful rocker, while “Leaving So Soon?” has shades of Rufus Wainwright and the organ-drenched “Hamburg Song” stands out as a gorgeous, plaintive ballad. June 20   

It’s well known that France has never been a bastion of decent pop and rock. One exception has been the electronica duo Air, which contributed a fine soundtrack to the Sofia Coppola film The Virgin Suicides. Phoenix, which once shared a label with Air and occasionally served as the duo’s backing band, is another. The group, led by singer Thomas Mars, revels in giddy power-pop and dreamy West Coast rock on songs like the hooky “Consolation Prizes” and the French saluting “Napoleon Says.” C’est tres cool. June 13

The members of Hamilton, Ont.’s The Marble Index wear their Clash influences proudly on their ripped sleeves. The mod-rock trio even recruited Scott Shields, who worked with Clash frontman Joe Strummer’s Mescaleros, for its sophomore release. And just as The Clash dabbled in dub, Brad Germain and the boys utilize reggae’s one-drop rhythm on the new album’s tracks like “Let Me Be the One.” While some songs like “Same Schools” sound suspiciously Stroke-ish, most of the album boasts a fresh, feisty edge. June 13

On its excellent debut album, Decent Days and Nights, England’s Futureheads rivaled Scotland’s Franz Ferdinand for twitching, thrashing, just-can’t-stop dance-pop. The Yorkshire band’s followup is a more ambitious and measured affair. Although “Return of the Berserker” is undeniably frenetic, mid-tempo songs like the joyful “Skip to the End,” the choral-laced “Worry About it Later” and the touching title track, about Manchester United’s 1958 Munich air disaster, tackle mature, refreshingly thoughtful topics. June 13   

Like Matt Damon in The Talented Mr. Ripley, Daryl Palumbo is a master of reinvention. With his previous band, Glassjaw, the New York singer channeled Perry Farrell of Jane’s Addiction for an alt-metal pose. On Head Automatica’s first album, he imitated Duran Duran’s Simon LeBon for some dance-rock posturing. Now, Palumbo is mining the power-pop sounds of Elvis Costello and Nick Lowe. While songs like “Graduation Day” and “Lying Through Your Teeth” pack a punch, it all feels too calculated, even deceitful. June 6

Before Björk, there was no female pop star as mystifying and yet mesmerizing as this singular British artist. This 90-minute documentary features rare interviews with Bush, stellar videos, from “Wuthering Heights” and the superb “Cloudbusting” to the recent “King of the Mountain,” commentary from critics and a skill-testing interactive quiz. Those seeking deeper insights into this enigmatic artist may be disappointed, but love hounds seeking an audio-visual fix of all things Kate should prepare to be Bushwhacked. June 6

Her Pips have peaked, but the veteran Knight soldiers on with songs associated with her musical heroines. Produced by Tommy LiPuma (Diana Krall) and Phil Ramone (Ray Charles), this classy collection features the former Motown vocalist applying her elegant pipes to Lena Horne’s “Stormy Weather,” Dinah Washington’s “This Bitter Earth” and Mahalia Jackson’s “Come Sunday.” Although Knight never met Billie Holiday, her soulful takes on “The Man I Love” and “God Bless the Child” do even Lady Day proud. June 6          

She’s one of Canada’s most diverse artists, a singer, poet, actress and erstwhile circus performer (Cirque du Soleil’s 2003 erotic cabaret Zumanity). So it’s no surprise that Starr’s fourth release, her most commercial to date, should run the gamut from blues and rock to her “hippie hop” brand of provocative urban music. The edgy “Step Back” and the flowing “Rock the Boat” are stirring missives from the racial and sexual battlefields, while “La Le Lala” is breezy pop and the title track a sexy rocker worthy of Liz Phair.  

It’s a long way from the dream-pop of her band Stars and its signature song “Your Ex-Lover is Dead.” But Millan, leaning more to twang than the torch of labelmate Feist, has clearly been aching to croon some lonesome country tunes. Her long-awaited solo debut, featuring bluegrass musicians Dan and Jenny Whiteley and members of Broken Social Scene, is full of plaintive songs like “Come Home Loaded Roadie,” “Pour Me Up Another” and “He Brings Out the Whiskey in Me” about love, loss and, yup, the bottle.