Turn on a country radio station these days and after a while you’ll feel like you’re listening to the same song about trucks and beer over and over again. A full run-through Florida Georgia Line’s new album, “Anything Goes,” produces pretty much a similar experience; only a couple of slower tracks offset the list of rollicking country songs about back roads and day drinking that all seem to blend together around about the halfway mark.
Like much of Weezer’s post-“Maladroit” output, “Everything Will Be Alright” represents a lighter, frothier version of the band. Not that there’s anything wrong with that, as Cuomo’s the kind of songwriter who can produce earworms on autopilot. At the least, the entire album is agreeable, if not remarkable, but Cuomo’s lyrics are another matter.
Tonight, for the grand finale of Olin Business Week, fondly termed “Olinpalooza,” season eight “American Idol” winner Kris Allen is coming to The Gargoyle.
Walking into Chaifetz Arena this past Saturday to see Chance the Rapper perform, I was completely unsure of what to expect. His musical style is intriguing, to say the least. It encompasses elements of gospel, classic soul, blues-rock, juke, acid jazz and house. Rather than being buried by all the different styles, Chance the Rapper seems to make it work.
If you don’t remember scream-singing along to B*Witched’s1998 hit single “C’est La Vie” (admittedly, this is less likely if you weren’t a girl), then you probably missed out on a large part of childhood.
Did anyone ask for this? Anyone? You? You asked for this? Listen, I get it. It sounds crazy enough: a collaboration between Tony Bennett and Lady Gaga, singing jazz standards no less.
Sir Sly’s debut is immensely impressive in that it was able to build beautifully upon an already flawless EP. The band’s sound can only be characterized as brilliant darkness.
On its stunning debut album, “Funeral,” which celebrated its 10th anniversary last Sunday, Arcade Fire spun the pain of loss (the album’s name was inspired by the pervasive familial deaths that occurred while recording it) into its childhood hopes and dreams, creating something that’s both deeply personal and widely relatable.
The songs of Karen O’s first solo album, “Crush Songs,” are hardly perfectly shaped, but they reveal an honesty and love that is sometimes hard to capture in any other way.
Although LouFest this year was filled with high-energy sets from bands as disparate as Trombone Shorty & Orleans Avenue and Grouplove, the budding festival that is beginning to fully come into its own pulled it off. Here are four of our writers’ favorite shows from the weekend, proving that LouFest is nothing if not about solid, live music in a beautiful setting.