If the music industry put as much effort into being fair to their customers as they put into taking their money, everyone could participate in the rocking world.
Emily Remler took a particularly clear-eyed view of her work. She didn’t want to be judged by a lesser standard because she was a woman in the overwhelmingly male world of jazz.
One of Saint-Saëns’s most important operas, Proserpine, has recently been given its world-premiere recording, and the result is a revelation.
Billy Joel remains in fine voice and his versatile bandmates provided his songs with grace and fire power that fleshed out his casual but punchy onstage prowess.
The Who – arguably the third cog in British rock royalty behind the Beatles and the Rolling Stones – delivered more than a nostalgic run through the hits at Fenway Park on Friday.
Prog legend Rick Wakeman is grumpy — becoming a septuagenarian means he can no longer party like it’s 1969.
Semyon Bychkov and the Czech Philharmonic do justice to a lot of Tchaikovsky’s orchestral music, while John Eliot Gardiner and the London Symphony play Robert Schumann’s famously-dense orchestrations with clarity. But Michael Stern’s account of The Planets completely lacks mystery.
Julia Wolfe’s Fire in my mouth is one of 2019’s most memorable recordings; Donnacha Dennehy’s The Hunger, a meditation on the Irish potato famine of the mid-19th-century, leaves an indelible impression; Derek Bermel’s Migrations is a grand celebration of one of America’s great living composer at the top of his game.
Fontaines D.C. are gonna be big, or at least as big as a real rock band can be these days. And they’re making it all look effortless.
On the same week that heavy prog-rockers Tool scored the No. 1 album in the country, it was great to see Jack White let down his wavy black hair, smile a bunch, and kick out the jams with his buddies.