Rogers gave 'Alaska' the acoustic treatment, surrounded by a string quartet and slowing the song's tempo to folk-tinged crawl, providing a luxurious, introspective rendition.
Hart sounds right at home with the band, showcasing a great live charisma in her performance and a solid, intense vocal performance. Fans curious how she would fit with the band in a live context will certainly have any anxieties allayed.
Sessa's charming stage presence, irresistible Portuguese vocals, and the whole band's groovy sunshine energy made the entire room fall in love with the musicians from São Paulo.
Courtney Barnett celebrated the early release of her highly anticipated fourth album, Creature of Habit, with an intimate performance at Rough Trade in NYC, featuring five new songs and two older tracks.
Bomsori Kim is a 36-year-old, South Korean, classical violinist who plays from the soul. In Bomsori's hands, she takes people on a journey to the music of another century.
When Madeleine Peyroux was busking in Paris as a teenager, she was "discovered," suddenly became famous, and word spread that she sounded like Billie Holiday. That was some 35 years ago, and the musician we heard March 6 at Revolution Hall during the second night of the festival was a far different artist from that American-born teen phenom.
At only 10-yes, 10-years old, this Vallejo artist is already taking the Yay by storm with her flow. She's already impressed LaRussell, who saw her singing along to every word of his track, "Sprinkle Me," four years ago when she was six. This kid has got T-A-L-E-N-T!
Durand Jones and the Indications have built a following on modern soul that feels warm, textured, and deeply rooted in classic R&B traditions. Formed in Bloomington, Indiana, the band leans into rich harmonies, tight rhythm sections, and songwriting that balances vulnerability with groove.
Come early and make a night of it with happy hour from 5-7 pm before the show. Then settle in for an 70+ minute standup show featuring comics who've appeared at clubs and festivals including Cobb's, Punch Line, San Jose Improv, Rooster T. Feathers, Tommy T's, and more.
The truth is that I am mentally unwell. Despite this, I have pushed myself to continue with touring. As a result my mental health has only further declined. After discussions with my team, we have decided to cancel the remaining shows and take an indefinite hiatus from live music.
Heat, with legions of fans clutching bags toting pickets bearing their favorite member's face, comparing merchandise hauls like the spoils of war. Heat, under the blazing equatorial sun. And heat, on stage, when the nine active members of the 13-person group emerged to thunderous cheers.
Band of Skulls emerged from Southampton, England with a gritty, blues-soaked take on garage rock that felt both scrappy and deliberate. Their breakout album Baby Darling Doll Face Honey introduced a sound built on thick riffs, tight rhythm work, and a push-pull vocal dynamic that gave the songs real tension.
Whatever they are, it's clear Umphrey's McGee defies all genres. That's probably why this band draws an audience of hippies, rockers and "normies" with their collective jams and meticulous playing, combining the most unlikely of genres like electronic and metal with folk and soul.
Louisiana comic Pharis was a failed NFL lineman who went on to teaching, realizing that nobody hits harder than a 3rd grader. This Breakfast Club of teachers, born out of students who know what detention is, but can't spell it, relates to everyone who has ever suffered being a teacher, or student.
Opener "Islands of Men" shimmers with rapturous possibility. A steady drum beat punctuates the crowd's anticipation before Emily Green's guitar throbs to life, and then frontman Cameron Winter's vocals warble in the foreground, a tentative entrance that quickly builds into an infernal madrigal. As the opening tease explodes into driving chords-"Will you stop running away from what is real?"-a keyboard riff dances underneath the chaos.
The Feelies don't really tour, and it's even rarer to find them playing outside of the East Coast. Fans fly from all over the world to their shows, which are usually marathon sets that include lots of covers alongside their own classics.
When Berry Gordy Jr. founded Motown Records in 1959, only a select few had any clue about the cavalcade of indelible sounds, life-changing songs, and beautiful faces that were about to become part of the American soundscape.
In a full house at the 1,025-seat Toni Rembe Theater, there was an eruption of gasps and shrieks. The grown man to my right reflexively gripped the arm of my seat, sheepishly muttering an apology. In a distant aisle, I spotted one person get up and run out of the theater, their friend trailing closely behind.
"It was a shock - at 46 I didn't think it would happen to me," Michael said. "I was lucky that there was someone with me in the car and lucky that I had handed over the driving to my manager Bryan Buckley. The fact that I blacked out could have been a disaster."
Mariachi El Bronx, the mariachi alter ego of LA punk band The Bronx, are about to release Mariachi El Bronx IV, their first album in 12 years, this Friday (2/13) via ATO. They'll also be playing Kimmel tonight (2/12) and livestreaming their Tijuana album release show on Veeps on Saturday (2/14), and to help usher in the release of this new LP, Mariachi El Bronx vocalist Matt Caughthran has made us a list of five of his favorite albums of all time.
