By the end of the two-and-a-half-hour set, the entire band was rocking in lockstep.
Watching Dirty Projectors open for the National is both annoying and edifying.
Melody is the connective tissue between Tame Impala and their audience.
When White takes a solo, he’s usually on his toes, his audience likewise, thanks both to magician-worthy stage surprises and to the consistent vitality of tunes both new and old.
In a “manifesto” about her latest tour, Madonna insists that the guns and violence that open the show are metaphors.
The show’s trippy backdrop projections were at turns mesmerizing and convenient.
Luke Jenner and company turned in a remarkably assured performance, without any of the out-of-practice awkwardness one might’ve expected.
The old stuff? Well, Polly Jean Harvey seems happy to keep it that way.
As singer-songwriters go, Dan Bejar is a case study of ironic distance.
You’d be forgiven for thinking the coverage of LCD Soundsystem has gotten out of hand lately.
Comparisons to Eminem are inevitable, but Marshall always kept artifice close at hand, whether it was animated beats or equally cartoonish alter egos.
With just two albums, Swedish pop group Little Dragon has twined strands of dance-pop and R&B into an imaginative brand of electronic music.
The Atlanta-born songstress managed to offer an interminably absorbing show with a performance that belonged on a far bigger stage.
Like their self-titled debut, the xx’s live show is a case study in straddling a fine line.
You couldn’t help but sympathize with the event DJs at the Manchester Academy last Tuesday night.
This review isn’t about the business side of things. It’s about the music.
Robyn has reached the point in her career where she’s no longer obligated to dust off her ‘90s hits.
The Electric Factory, with its naked wires, exposed backstage, and lamely raw industrial architecture, is perhaps the perfect venue for an artist like Jónsi.