Reviews, profiles and news about music in Chicago
We are likely to hear some songs that are abrasive or soft, atmospheric or propulsive. The songs are likely to be unfamiliar. But you are likely to find something meaningful from this multi-faceted band.
You can’t talk about Neptune’s Core without talking about the two sets of sisters that compose the band, or their relative youth, but what you should be talking about is their songs. Their songs belie their age, with an implicit world-weariness that is so authentic you would swear these kids have been around the block a few times.
Rufus Wainwright isn’t the first singer-songwriter to reinterpret earlier work through an orchestral lens. And much of Wainwright’s third and fourth albums, “Want One” and “Want Two”—whose twentieth anniversaries are the prompt for this new tour—is fully scored. But when Wainwright hits the Pavilion stage at Ravinia tonight, the Chicago Symphony Orchestra will be behind him.
British pop star Maisie Peters talks exclusively to Newcity about her upcoming performance at Lollapalooza, her No.1 album “The Good Witch” and touring with Ed Sheeran
With all these festivals, you might question if live music is even played indoors in August, but you’ll find your answer in the great lineups at the clubs, too.
Sample a little bit of each summer music festival to truly grasp the musical richness available in Chicago in the back half of July this year.
If you had to label it for the uninitiated, you might say ska is like reggae, sped up to twice the speed, and Blue Meanies often double that speed.
After thirteen seasons, Riccardo Muti took his last bow as music director in late June. July sees the CSO return to its summer home of the Ravinia Festival where Marin Alsop begins her third year as chief conductor…. It could be argued that the CSO would miss an extraordinary opportunity if they didn’t—or already haven’t—asked Alsop to be their next music director.
Burgeoning talents, living legends and more make up a diverse batch of can’t-miss dates on Chicago music stages.
The record isn’t a howl of nihilism or subversion; it’s a self-aware, often very witty reflection on ambiguity and shifting perspectives.
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