In Only For Dolphins, Bronson serves up his usual brand of excessive escapism, but it is offset by just enough emotional depth to suggest that he is maturing as a person and an artist.
When Willie dove into “On the Road Again” to close the set, singing of “making music with my friends,” one could envision the same hopes for Farm Aid to resume its annual trek to an amphitheater somewhere in America and stoke the communal cause.
The Kentuckian’s message is one of both heritage and empathy — and the necessity of both.
The intimate emotions captured by Hannah are enhanced by Lomelda’s ability to be both revelatory and inscrutable in the same breath.
As anyone who is familiar with “Toots” Hibbert’s near sixty-year career could testify, he was an artist who wrote songs that were guaranteed to transcend the contexts of their particular place and moment.
“You’re always gonna be yourself, your unique self, so it’s important to incorporate the things that you really love.”
To Live & Defy in LA sees Gangsta Rap as an important way to understand how systemic racism has worked (and works) in America today.
This cover album is a pretty wild ride, yes, but Molly Tuttle navigates the course with supreme cool.
The Oxford band’s third album dispenses with personality in favor of bland trap pop.
For an hour and a half, Blu examines himself on Miles, trying to understand who he is and where he comes from.