Rock
“Joni Mitchell Archives Vol. 4” is rich in what too many box sets skimp on: a wide-ranging spread of live recordings. In this case, they demonstrate how Mitchell’s songs evolved on stage as well as in the studio, documenting a genius at work.
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For the moment, bassist/ singer/songwriter Karina Rykman is pleased to be “riding an insane wave of adrenaline.”
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You can get away with being familiar with just an album or two, but Laura Nyro’s music always rewards repeated listenings, and following her mercurial career so thoroughly restores her to three-dimensional life.
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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.
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“Every record makes the setlist better because we get to keep the things that have really been killin’ and then do things that make you push yourself because these are songs that you haven’t played in several years.”
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Now, at least through mid-December, bassist Tony Levin – also a prolific photographer and blogger on tour — remains happy recasting King Crimson dreams each night with Beat
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Just weeks apart, two different groups have made their way to Boston on international tours – without Robert Fripp but with his blessing – their shows focusing on a specific era of King Crimson’s existence.
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Saturday’s finale of a two-night Roadrunner stand, the Dresden Dolls’ first Boston shows since 2017, raged as a celebration of camaraderie and catharsis.
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“We want everyone to come and let out a primal scream,” said Amanda Palmer of the Dresden Dolls.
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Most of the night’s visually tilted action took place within a tightly framed stage that made the presentation seem somewhat detached.
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