Rock
The Strokes are finally growing up — and their maturity is a sight to behold.
Darkness is pervasive in this Cowboy Junkies album, but it is not all-encompassing.
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Sigma Oasis is one of Phish’s better albums since the group reunited in 2009 after a five-year breakup.
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Childish Gambino is hamstrung by ambition, but 3.15.20 still contains a bevy of enjoyable songs, including one or two tracks that brush against brilliance.
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Bob Dylan’s new song not only articulates the madness that undermines the American experience, but supplies a certain kind of corrective, a tonic, for that kind of insanity.
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The new album demonstrates just how versatile a singer/songwriter Mike Mattison really is.
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Ironically, Mixing Colours is best experienced by taking in its video presentations.
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At its best, The Slow Rush features catchy, energetic, and danceable tracks at the service of lyrical ruminations on dark topics, such as uncertainty and the inevitable passage of time.
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Adam Sherman, Cambridge-based musician, voice teacher, and vocal coach never went away.
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At 70, Marcia Ball is a non-stop pro, particularly at pacing. Early barn burners gave way to the slow blues of “Just Kiss Me.”
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The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues