Katy Kirby’s ‘Cool Dry Place’
Katy Kirby opened for Waxahatchee during stretches of her triumphant 2022 Saint Cloud tour—the album that soundtracked my early pandemic lockdown (and likely yours). I...
Sarah McLachlan’s ‘Surfacing’
My hopeless romantic streak started young—we’re talking second grade—so by the time I turned 12, I was well-versed in the high drama of longing. I’d...
Charley Crockett’s ‘The Man from Waco’
When I first saw Charley Crockett swagger across the stage, at the rescheduled 2021 MerleFest, I knew I was a goner. As the audience trickled...
Wintersleep
Considering that Halifax-based indie rock band Wintersleep has become one of my favorites, it’s sort of funny how I first heard about them. I owe...
Florence + the Machine’s “The Bomb”
I loved one who desired another. It was a punishing thing, but I didn’t quite understand the complexity of that pain until I heard “The...
NNAMDÏ’s ‘Brat’
As genre slowly dissolves into the ether thanks to people’s increasingly omnivorous listening habits—fueled largely by the cross-current of streaming—music has come to sound a...
All Hail King Stitt
When I first started collecting vinyl, I was exceptionally—almost stupidly—lucky. I dug up randos, took a chance, and ended up procuring LPs that would go...
Listening for the Echo
What a quiet year it’s been. Musicians have soldiered on, gamely offering live streams and pre-recorded concerts, but the dearth of real, in-person shows has...
Phoebe Bridgers’ “Savior Complex” Video
Artists regularly release music videos, but now that we’re decades out from the golden age of MTV and its elder millennial cousin TRL, their impact...