Conventional wisdom holds that the live music scene suffers a prolonged hangover after the holidays. A peek at the calendar proves that false.

Though it will be challenged to replicate the blockbuster spoils of 2023, the new year is off with a proverbial bang. Looking for big-name entertainment? Travis Scott, Madonna, Playboi Carti, Zach Bryan, Eagles, Olivia Rodrigo and Bad Bunny all have at least one date at United Center before the Cubs and White Sox open their seasons. In terms of frequency, Mitski tops the list with a sold-out four-night stand at Auditorium Theatre starting March 21.

Of course, winter demands a certain coziness. That means many of the season’s live gems pop up at intimate clubs and smaller spaces — places where the connection between artist and fan becomes closer. Here are 10 such concerts that should be on your shortlist.

L’Rain (Jan. 19 at Schubas): Taja Cheek, who plays as L’Rain, couldn’t care less about mainstream fame. A multi-instrumentalist and multi-hyphenate who splits time between her role as a musician and art curator, the critically acclaimed Brooklyn native prizes shape-shifting structures that defy simple categorization. And obviousness. Located amid a swirl of classical, folk, rock and atmospheric palettes, her humor tends to thinly conceal pointed commentary and reveal contradictions. In sound and spirit, the vocalist exemplifies the open-mindedness of the annual Tomorrow Never Knows series that runs at Schubas and three other venues through Jan. 21. 9 p.m. at 3159 N. Southport Ave.; tickets $25 (18+) at lh-st.com

Armand Hammer (Jan. 25 at Lincoln Hall): Vital storytelling and thought-provoking messages don’t come much sharper than via the offbeat deliveries of Armand Hammer. The name of the New York-based rap duo’s latest album (“We Buy Diabetic Test Strips”) reflects the tandem’s heightened conscientiousness. Referring to an underground economy in which insured patients sell their medical supplies to the less fortunate, the moniker also captures the themes of inequality and uncertainty that worry members Elucid and Billy Woods. Speaking of Woods: One of the most gifted MCs in the biz, he edges closer to household-name status with each release. 9 p.m. at 2424 N. Lincoln Ave.; tickets from $23 (18+) at lh-st.com

Brittany Howard (Feb. 6-7 at Thalia Hall): Apparently, Brittany Howard was just warming up during her celebrated stint in Alabama Shakes. Nearly five years after issuing a solo debut that revealed her to be a sonic alchemist in hiding, the powerhouse vocalist returns with “What Now.” Scheduled for release less than a week before this two-night stand, the all-analog LP plays on both the anxiety of contemporary times and Howard’s propensity to bounce from one style to another. If you go, expect to hear an ace band: Howard’s keen ear matches her fervent curiosity. 8 p.m. at 1807 S. Allport St.; tickets from $60.50 (17+) at ticketweb.com

Living Colour (Feb. 8 at Bottom Lounge): Given the flood of music documentaries — many of which profile subjects of debatable merit — how does a trailblazing Black rock band continue to get overlooked? So it goes for Living Colour, whose versatility, vision, intelligence and skill in its late ‘80s/early ‘90s heyday equaled that of its strongest contemporaries. Though the quartet splintered in the shadows of the so-called “alt-rock” movement, its resume includes two brilliant LPs, a slot on the inaugural Lollapalooza tour and a six-string wizard in the form of Vernon Reid. Reconsideration of its import is long overdue. 7:30 p.m. at 1375 W. Lake St.; tickets are $35 at bottomlounge.com

The Kills (Feb. 14 at Riviera Theatre): “Love, we’ll probably make it burning at the stake,” sings Alison Mosshart on The Kills’ first effort since 2016, “God Games.” Not the kind of Valentine’s Day romance that brings to mind candlelit dinners or gourmet chocolates. But completely in line with the rambunctious ethos, magnetic chemistry and rough-hewed desperation that have allowed Mosshart and guitarist Jamie Hince to remain a draw since their ascendance during the early 21st century garage-rock renaissance. Onstage, The Kills demonstrate why they outlasted a majority of their forgotten peers. 8 p.m. at 4746 N. Racine Ave.; tickets from $45 (18+) at axs.com

Jamila Woods (Feb. 23 at Vic Theatre): On her outstanding third album, “Water Made Us,” Chicago native Jamila Woods presents music’s most overwrought topic — love — with original, eye-opening perspectives that illuminate its highs, lows, rewards, hurts and the various complexities in between. Utilizing her considerable talents as a singer and poet, Woods transforms jazz- and R&B-laden tunes into steps on a balanced journey that ultimately warms the soul like a down jacket. Bet on this show to feature local collaborators who, akin to Woods, push the city’s creative culture forward. Fellow Chicagoan Kara Jackson opens. 8 p.m. at 3145 N. Sheffield Ave.; tickets from $29.50 at axs.com

Cat Power (Feb. 27 at Cahn Auditorium): Forget gray areas. Chan Marshall, aka Cat Power, possesses a knack for inspiring reactions of the black or white variety. A longtime favorite of the indie-rock community, the vocalist reminds others of hipster pretension — including late Tribune contributor Chrissie Dickinson, who said Cat Power “evinced all the charisma of a mumbling, dotty aunt” in an eviscerating 2013 show review. Fitting, then, that Cat Power arrives in Evanston to interpret one of history’s famously contentious performances: Bob Dylan’s 1966 Royal Albert Hall concert. 8 p.m. at 600 Emerson St., Evanston (sold out)

Jason Isbell and the 400 Unit (Feb. 29 and March 1 at Salt Shed): Ho-hum. Another year, another fantastic album (“Weathervanes”) and Ryman Auditorium residency in the books for Jason Isbell. A personnel change in his trusty 400 Unit band aside, the singer-guitarist enters ‘24 on another high. The 44-year-old Isbell is an old soul who makes crafting unforgettable melodies look effortless and slippery turns of phrase accessible. His unassuming presence and understated approach further explain why the best songwriter to chronicle the human condition in the last 20 years often seems taken for granted. Do so at your own peril. 8 p.m. at 1357 N. Elston Ave.; (sold out) www.saltshedchicago.com

Aimee Mann (March 2 at Cahn Auditorium): Aimee Mann has been distilling relationship issues, witty observations and emotional traumas into sharp, well-defined pop songs ever since President Ronald Reagan served his first term. Still, her work feels like it sprang into existence yesterday. The timelessness owes to Mann’s ability to identify universal themes, relay them in conversational manners and maintain an independent streak. Humorous and solemn, sarcastic and surprising, Mann recognizes that life is messy and skirts tidy resolutions. Her fare documents those facts in profound manners. 8 p.m. at 600 Emerson St., Evanston (sold out)

Mary Timony (March 6 at Empty Bottle): Mary Timony’s three-plus decades of industry experience functions as evidence that life as a working musician skews more toward the harsh realities of AC/DC’s “It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll)” than the lighthearted cynicism of the Byrds’ “So You Want To Be a Rock ‘n’ Roll Star.” The influential singer-songwriter-guitarist, who in prior phases anchored the butt-kicking bands Autoclave, Helium, Wild Flag and Ex Hex, stops in town at a spot with which she’s very familiar in support of “Untame the Tiger,” her first solo LP in 15 years. 9 p.m. at 1035 N. Western Ave.; tickets $22 (21+) at ticketweb.com

Bob Gendron is a freelance critic.