Scott McLennan
Little Feat is on the cusp of a rebirth – again.
The best way to honor all of those responsible for the Allman Brothers Band was to play like the Allman Brothers Band: be fierce, not nostalgic; be pleasing, not cloying; be generous, not self-indulgent. And The Brothers pulled it off.
Roger Clark Miller’s latest solo electric guitar ensemble album showcases him at his best, blending avant-garde experimentation with familiar guitar rock textures.
There are similarities between Randall Blythe’s music and his prose; both acknowledge the inescapable turmoil, darkness, and tragedy that bedevils everyone.
Predictably, Chuck Prophet’s brand of rustic rock ’n’ roll gets a bit of a makeover by the members of the Cumbia band ¿Qiensave? But let me reassure you — this is another gem of a Prophet album.
Bottom line: “Live at the Montreux Jazz Festival 2023” captures the manic, mercurial energy that transformed the man born James Osterberg into the legend that is Iggy Pop.
For the moment, bassist/ singer/songwriter Karina Rykman is pleased to be “riding an insane wave of adrenaline.”
In this overstuffed show, Sturgill Simpson presented himself as someone who, after too long away from the stage, was back because he was in love with playing for the sake of playing.
“We want everyone to come and let out a primal scream,” said Amanda Palmer of the Dresden Dolls.
Thanks in large part to the late Phil Lesh’s influence, the performances of the Grateful Dead developed a signature blend of composition and improvisation.
Arts Commentary: What Might the Kennedy Center Best Become?