Rock
The apocalyptic overtones of the Mekons’ music come across as alarmingly real as ever.
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Roger Clark Miller’s latest solo electric guitar ensemble album showcases him at his best, blending avant-garde experimentation with familiar guitar rock textures.
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Chicago singer-songwriter and pianist Neal Francis has been riding a smooth retro groove since the late 2010s, thanks to his stellar fusion of funk, soul, R&B, and psychedelic rock.
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Here’s hoping that Adam Sherman and Robin Lane remain a creative item and continue to write and record new material. Both are in late-career resurgences and have devoted fans that fill the smaller clubs they typically perform in to the brim.
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“When I think about blues music, I think about the musicians that came before me and what they had to say, all of those amazing guitar players. They were really playing a form of protest music.”
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Anybody at Tuesday’s show who thought the members of Kraftwerk were just punching buttons at their static posts while audiovisuals surged automatically would be mistaken.
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The sheepishly affable Trey Anastasio wisely focused on music, allowing him to play a broader representation of his repertoire across two hours and 25 minutes.
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Timelines bounce a bit through the loosely organized, vignette-rooted book, where the back half casually weaves through a checklist of characters and tales not to be missed.
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The singer/guitarist rolls the dice every night, playing it loose and gritty with drummer Patrick Keeler, bassist Dominic Davis, and keyboardist Bobby Emmett, who deftly hack away at revolving song choices from White’s broad catalog and beyond.
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There are similarities between Randall Blythe’s music and his prose; both acknowledge the inescapable turmoil, darkness, and tragedy that bedevils everyone.
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