That midsummer night, David Berman kept at his post at the crook of the bar. White light on face, halation, white reflected on smudged lenses, halo.
Sting’s solo catalog boasts more than a dozen studio albums. He may not rack up the hit singles like he once did, but he remains a compelling writer, musician and performer.
In its rousing rendition of “Television,” IDLES decried body negativity (“The bastards made you / not want to look like you / so you pay through the nose / to look like someone else”) without the faintest whiff of victim-blaming. Listening to these lyrics while looking at the IDLES’ Lollapalooza audience was more than a bit mind bending. How often do you see thousands of white men—the crowd had an obscenely high bro quotient—wildly applauding a set list that is effectively a feminist manifesto?
Julian Casablancas has an inimitable voice that has not so much aged well as not aged at all, and Hammond’s guitar work remains glorious. You don’t have to dance at a Strokes show but you do need to move: the band’s best tracks are fast, fierce and over before you know it, the abrupt ending being something of a Strokes signature.
Hancock’s Miles Davis Quintet-backed piano chops, alongside Washington’s artful sax, assures a genre-bent night of jazz and beyond.
An organization programming underrepresented composers from many different cultures not normally associated with classical music.
Jewell’s next release, “Gypsy,” is due in August and is described in advance press as “personal and sometimes political.”
“Small venues and multiple venues provide spaces for bands to experiment, and to fail. Our bottom line is nurturing creativity.”
Despite its myriad of influences and momentary lapses, Cage the Elephant has created something new and not at all derivative with its new album, “Social Cues.” There’s a splash of cynicism where there used to be ache and urging.
This is a block party in the same way that the Chosen Few Picnic is a picnic.