Charles Lloyd and Julian Lage and Zakir Hussain served a loose, flowing 65-minute set with complementary facility that belied the novel circumstances.
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.
Yes, Newport Folk’s all about the music, but there’s also a collaborative heart at work — and virtual programming spurred donations for the non-profit’s mission to endure.
The solo format at Alexandra Palace recalled his recent “Conversations with Nick Cave” tours, a similar chance for the singer to deconstruct his songs at the piano, except that he never addressed an imagined audience beyond his lyrics.
Too many hip-hop artists stick to defined lanes, but Run the Jewels aspire to run rampant, with a growing sophistication as well as heart, wit, and rage.
Laurie Sargent and Billy Conway found their sanctuary under the big sky of rural Montana, and their art echoes the genuine nature of their lives, shared across the miles with their Boston base.
Not only is Fetch the Bolt Cutters the most stunning of Apple’s five albums, it’s the most impressive pop record of this young pandemic year, its bottled turmoil speaking to our own pent-up nerves.
Sigma Oasis is one of Phish’s better albums since the group reunited in 2009 after a five-year breakup.
The band has tackled the Trump era with an urgent political edge on two recent albums that have surely lost them a share of good ’ole boys who were part of earlier audiences.
Composer Steve Lampert wrote “Zigsaw” at the request of saxophonist Noah Preminger, whose group recorded it for one of 2019’s most provocative albums.