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26 May 2022Pop Music Blogs
Everything is not so embarrassing, after all: after 108 years and 99 tears, Sky is back.
CL has shared the story of her unforgettable first encounter with Jo Se Ho! The singer appeared as a guest on the May 25 episode of tvN’s “You Quiz on the Block,” where she chatted with hosts Yoo Jae Suk and Jo Se Ho about 2NE1’s recent reunion and more. At one point during the […]
The post CL Apologizes To Jo Se Ho For Their Hilarious 1st Meeting At Taeyang And Min Hyo Rin’s Wedding appeared first on Soompi
Once again, Mnet’s “Queendom 2” was the most-talked about show of the week! The popular idol competition show has successfully continued its reign at No. 1 on Good Data Corporation’s list of the non-drama TV shows that generated the most buzz over the past week. The company determines each week’s rankings by analyzing data from […]
The post “Queendom 2” Reigns As Most Buzzworthy Non-Drama TV Show + 3 Groups Make List Of Top 10 Appearances appeared first on Soompi
Blancmange have announced details of a new album, Private View, and a return to the label that released the band’s debut album, London Records. Private View is out on vinyl, CD and digitally on 30 September 2022.
The album is being teased by a brand new single, Some Times These, a hook-heavy piece of electronic art-pop that combines Neil Arthur’s vocals with David Rhodes’ guitar and washes of immersive synths.
Benge returns as a key collaborator on album, while Rhodes (Kate Bush, Peter Gabriel, Scott Walker) returns as guitarist, having previously performed with the band on 1982’s Happy Families (as well as several other Blancmange albums).
Private View is set for release on London Records almost exactly 40 years to the day since they released their debut Happy Families.
In their post-punk early days, Blancmange made tape loops and experimental sounds with kitchen utensils, before developing into one of the definitive British electronic pop acts. Since reforming in 2011 (Luscombe had to leave shortly after for health reasons) Arthur has released a staggering 10 albums in the last decade.
“I don’t know whether I’m on a roll but I feel something in me has been released,” he says. “I used to hold back and I didn’t trust myself. While I’m still full of self-doubt I’m now quite comfortable with it. This is it. We’ve only got one time around the block, so make the most of it.”
The past is used as a trigger to create new ideas – one track, Here We Go Go, has been in Arthur’s head since 1980.
“A lot of people are frightened of the future and are quite happy to have a repeat of something that was done before,” he says. “But it’s just not for me. Looking forward you’ve got a hell of a world to try and navigate through at the moment. We’re all moving forward – so we’ve got to try and find some answers.”
An extensive UK tour throughout October, November and December will follow a performance at Grace Jones’ Meltdown in June, with a London show at the Islington Assembly Hall on 9 December.
You can pre-order Private View here.Private View tracklisting
What’s Your Name
Some Times These
Here We Go Go
Who Am I
Everything Is Connected
I Tried To Be You
Take MePRIVATE VIEW TOUR
17 June – Grace Jones’ Meltdown – Southbank Centre, London
6 Oct – The HMV Empire, Coventry – w/ Bernholz
7 Oct – The Junction, Cambridge – w/ Oblong
8 Oct – Subscription Rooms, Stroud – w/ Oblong
13 Oct – Arts Centre, Colchester – w/ Oblong
14 Oct – University Y Plas, Cardiff – w/ Oblong
15 Oct – Cheese and Grain, Frome – w/ Oblong
20 Oct – Sub 89, Reading – w/ Oblong
21 Oct – The Level, Nottingham – w/ Oblong
22 Oct – Glassbox Theatre, Gillingham – w/ Oblong
27 Oct – The Fleece, Bristol – w/ Alice Hubble
28 Oct – The Boilerroom, Guildford – w/ Alice Hubble
29 Oct – Tivoli Theatre, Wimborne – w/ Alice Hubble
4 Nov – Exeter Theatre, Exeter
5 Nov – The Brook, Southampton
10 Nov – The Mill, Birmingham – w/ Alice Hubble
11 Nov – Kanteena, Lancaster – w/ Alice Hubble
12 Nov – The Forum Theatre, Barrow-in-Furness – w/ Alice Hubble
17 Nov – Corn Hall, Diss
18 Nov – Gorilla, Manchester – w/ Stephen Mallinder
19 Nov – Hangar 34, Liverpool – w/ Stephen Mallinder
24 Nov – The Wardrobe, Leeds – w/ Stephen Mallinder
25 Nov – The Leadmill, Sheffield – w/ Stephen Mallinder
26 Nov – The Riverside, Newcastle – w/ Stephen Mallinder
1 Dec – The Lemon Tree, Aberdeen – w/ Stephen Mallinder
2 Dec – The Liquid Room, Edinburgh – w/ Stephen Mallinder
3 Dec – Queen Margaret Union, Glasgow – w/ Stephen Mallinder
9 Dec – Concorde 2, Brighton – w/ Stephen Mallinder
10 Dec – Islington Assembly Hall, London – w/ Stephen Mallinder
Marc Almond has announced his rescheduled tour dates for October 2022 adding extra dates in Liverpool, Buxton, York and Cambridge. Says Almond: “The fans have been so understanding and patient through the endless rescheduling due to the pandemic but now we have confirmed these dates I can’t wait to get back on stage.”
All the original dates are the same venues with the exception of the London Roundhouse show which is being moved to the London Palladium. All tickets bought from the Roundhouse will be refunded. Tickets bought on Ticketmaster will be automatically transferred to the Palladium show.
Almond will be singing songs from his last solo album, Chaos and a Dancing Star, released in March 2020, plus many faves from his extensive catalogue.
His last album was released to critical acclaim just before the pandemic and lockdown. The singer was able to perform a one-off concert in February 2020 at the Festival Hall with co-writer Producer Chris Braide, joined by guest Ian Anderson of Jethro Tull.
Marc Almond’s career, spanning over four decades, has seen him receive an Ivor Novello Inspiration Award in 2013, a Brit Award as well as an OBE in the 2018 New Year Honours for his services to arts and culture. His latest album with Soft Cell, *Happiness Not Included, was released earlier this year.
Tickets for the rescheduled dates (Manchester, Glasgow, Bexhill and Birmingham) are on-sale now and available from Ticketmaster.
The new dates in Liverpool, Buxton, York, and Cambridge, as well as the London date, will go on-sale on Friday 27th May.
All tickets for the rescheduled shows remain valid except for the London show unless purchased on Ticketmaster.
16 October London Palladium – * VENUE CHANGE
17 October Liverpool Philharmonic Hall – *NEW SHOW
18 October Manchester Bridgewater Hall
20 October Buxton Opera House – *NEW SHOW
21 October York Barbican – *NEW SHOW
22 October Glasgow Royal Concert Hall
24 October Bexhill De La Warr Pavillion
25 October Cambridge Corn Exchange – *NEW SHOW
26 October Birmingham Symphony Hall
After ten years of sponsoring the Super Bowl Halftime Show, Pepsi is out. The food brand is reportedly stepping aside as the NFL looks for a new brand to keep the masses entertained during the big mid-game festivities. Not looking to waste any time, the NFL is already in talks with several brands about taking over. Speaking to The Hollywood Reporter, an NFL spokesperson said: “The Super Bowl...
ATEEZ is making a splash on international music charts with their latest Japanese release! On May 25, ATEEZ dropped their second Japanese mini album “BEYOND : ZERO,” which features Japanese versions of several of their recent hits, as well as the brand-new song “The King.” Ahead of the album’s release, ATEEZ dropped the title track—a […]
The post ATEEZ Tops iTunes Charts All Over The World With “ROCKY (Boxers Ver.)” appeared first on Soompi
It’s crazy how quickly time passes in K-pop. When looking back at BVNDIT’s discography, I hadn’t even realized their last release happened over two years ago. That’s an entire lifetime for some groups, and a real hurdle for those still trying to establish themselves. So, it’s no surprise to see BVNDIT opt for a reinvention — or “Re-Original,” as they call it. New single Venom is a step in the right direction, even as it succumbs to a few familiar stumbling blocks.
I’m quite fond of Venom’s instrumental. The elastic beat kicks off with full gusto and never really slows. It contracts and stretches like a coiled snake, bringing an exciting energy to the track. When the pre-chorus adds guitar to the mix, the intensity amps further. These are the building blocks for a standout dance track and if nothing else, Venom will definitely get your head moving. That’s half the battle right there!
But when evaluating Venom as a whole, it’s just an okay dance track. This comes down to the actual song the composers have chosen to drape over this crackling instrumental. A few of its core elements are strong (the “venom, venom yeah” hook is sinfully catchy). But, the producers have the girls chanting and shouting and “na na na-ing” far too often for the melodies to stick. It seems we’re still stuck in the Dalla Dalla school of songwriting, which had its charms before the industry ran it into the ground. Venom’s sheer drive compensates for its lack of melodic imagination, but given a few changes this could have been an absolute banger.
Hooks 7 Production 9 Longevity 8 Bias 8 RATING 8
Let me begin this blog feature by saying that I completely approve of the newly released music video for latest album lead-in track, “For the Girls“. Even with important narratives to share. When creating, Hayley Kiyoko still leans into her fun side. She has given me plenty to both love and crack a wry smile over in her latest self-directed video clip. (A romantic, queer parody of America’s favourite dating show “The Bachelorette“).
“I love being a woman, and women have always been a massive influence on my life,” says Hayley. “‘” For The Girls” is an anthem celebrating that love, highlighting our strength, beauty, and vulnerability. The music video is meant to reflect that celebration with a sense of humour and an expansive take on whose romantic story gets told”.
The track has been out now for a few days, and I will admit I was uncertain how I felt about it on my first couple of listens. I must admit that the style of the track has caught me off guard. It is not something I was expecting to hear from her. Exuding, quirky, cute and sassy all rolled into one. Hayley delivers upon all of these vibes. The music video was working for me (and to be honest). I have repeatedly watched it many times over since the release on Friday.
Due to the hypnotic bassline and alluring syncopated rhythms. Now that it’s been five days, the song has also worked on me.
The arrival of “For the Girls” coincides with the announcement Hayley’s sophomore album “Panoroma” arrives on July 29th.
Alongside Calum Scott, Cat Burns and Ariōn. Hayley will co-headline London’s, Pride festivities at Proud and Loud: Celebrating 50 Years of Pride at Royal Albert Hall on June 4th. Tickets are available for purchase (HERE).
CNBLUE’s Jung Yong Hwa made a sweet show of support for his longtime friend Lee Joon! On May 25, Lee Joon’s agency Prain TPC revealed that Jung Yong Hwa had thoughtfully sent a coffee truck to the set of his new drama “Bloody Heart.” The agency explained that because Lee Joon doesn’t have his own […]
The post CNBLUE’s Jung Yong Hwa Shows Love For Lee Joon On Set Of “Bloody Heart” appeared first on Soompi
Rock Music Blogs
26 May 2022Rock Music Blogs
Dios is a relatively new three-man band with its formation taking place in 2021, but despite that, we keep seeing hit song after hit song! Now with the eight single Danmen (断面, Integral), we’re simply mesmerized by the beautiful and gentle melodies. The single just hit digital stores on May 25 and will be included […]
The post Dios mesmerizes with elegant single “Danmen”, theme song for “Kyouso no Musume” appeared first on JROCK NEWS.
This Complete List Of Soulfly Albums And Songs presents the full discography of Soulfly studio albums. The band was first formed in 1997. The group hails from the city of Los Angeles, California. The band is well known having performed at Ozzfest with Ozzy Osbourne. Their albums have featured guest appearances by musicians from the Deftones, Slayer, Slipknot and more. This Soulfly discography also includes every single live album. All these spectacular albums have been presented below in chronological order. We have also included all original release dates with each Soulfly album as well as all original album covers. Every
Issues with the statute of limitations have seen Ashley Walters' amended complaint dismissed.
The post Judge Dismisses Sexual Assault, Etc. Lawsuit Filed Against Marilyn Manson By His Ex-Personal Assistant appeared first on Theprp.com.
Wednesday 13 was supposed to visit The UK next month, unfortunately those plans have been altered. An official statement from W13 reads: "To my U.K. fans, I’m sorry to announce that I will have to cancel our appearance at the Download Festival this year. I tore my bicep last...
For his birthday on Tuesday (May 24), Ukrainian metalhead Vladyslav Stadnyk, who goes by the name Metal Pilgrim, received an unexpected surprise in the form of a chat with W.A.S.P. leader Blackie Lawless courtesy of BBC Radio 5 Live host Nihal Arthanayake. During the conversation, Lawless touched up...
Wildhearts frontman Ginger Wildheart – the man the Manics call “the great lost English songwriter” – on that band, working outside of the mainstream and why music really is the best medicine
Psychedelic rock band STONED JESUS is now releasing their first track "Porcelain" via Season of Mist. This new track is accompanied by a music video STONED JESUS created themselves and can be viewed below.
"Porcelain" can be pre-saved HERE.
Lead vocalist and guitarist Igor comments: "Porcelain" was one of the last songs I brought to my bandmates for the upcoming album, and they loved it instantly! In fact, we all loved this track so much that we decided we'd play it live even before the album's out, so now it makes all the sense to release it as a single. People told me it sounds like 2000s PORCUPINE TREE covering 2010s SWANS but to me it's just another amazing chapter in the STONED JESUS songbook. Hope you'll enjoy it too!"
The song is taken from the band’s new upcoming album which will be released via Season of Mist. Stay tuned for the release date!
Formed by Igor Sydorenko in Kyiv in 2009, STONED JESUS quickly progressed beyond their tongue-in-cheek moniker. The Ukrainian trio's second full length "Seven Thunders Road" converged doom, prog and grunge in their own recognizable way and the album's centrepiece, 13-min long "I'm the Mountain", boasts 15 million plays on YouTube.
STONED JESUS's next LP "The Harvest" sounded like a blend of MASTODON, PORCUPINE TREE and SOUNDGARDEN, and their charismatic live shows and relentless touring schedule helped to double and then triple their fanbase in mere months.
While being integral to the European psychedelic rock scene STONED JESUS helped popularize, creatively STONED JESUS never stopped pushing the envelope, taking influences for their newer material from such diverse acts like SWANS, THE CURE, KING CRIMSON and DEFTONES.
Lead-Vocals and Guitar: Igor Sydorenko
Bass and backing vocals: Sergii Sliusar
Drums and backing vocals: Dmytro Zinchenko
Don McLean has canceled his performance at this weekend’s National Rifle Association annual meeting in Houston in light of Tuesday’s elementary school shooting in Uvalde, Texas, where 19 children and two adults were killed by an 18-year-old gunman with an AR-15.
“Are you waiting for someone or something to run from?”
From the shadows of Melbourne, Australia comes The Sistine Guns, with a seedy new track about the rise and fall of a showgirl’s first gig.
Lyricist/vocalist Joel originally intended the story as an epic poem, but once bandmate Daniel presented the instrumental the song fell into place.
“Lil Miss Las Vegas is meant to mirror the birth of Jesus Christ,” says the band. “The limousines represent the three Wise Men bearing gifts, whilst the DJ acts as a kind of Baptist priest welcoming her to her new home on the stage. The song eventually leads to a character holding an image in hand looking down at the city below, to see James Dean preaching on the streets, Marilyn Monroe face down in a sink, and Elvis nailed to a cross above the city. This signifies the pattern and how this has all happened before and there’s more than one way to crucify a person.”
The Sistine Guns describe their sound as ‘chaotic yet addictive.’ Joel’s elastic-like vocals and Daniel’s intense guitar style bring forth elements of The Stooges, Pixies, and The Cramps, with PIL, some Dead Kennedys, and The Gun Club thrown in for good measure. With its punk guitar work and intense vocals, the track bleeds out with urgency, lamentation and a hope for redemption.
“It’s fast, it’s biblical, it’s dirty and poetic but ultimately it’s something we both poured so much of ourselves into and we are both so excited for anyone to take a ride through this moral underbelly,” they say.
Listen to the track below:
The post The Sistine Guns Have a Holy Night in Sin City with “Lil Miss Las Vegas” appeared first on Post-Punk.com.
Matty T Wall From Western Australia, Matty T Wall, extraordinary blues guitarist, singer, songwriter and bandleader announces his new live album Live Down Underground, set to release June 3rd. The seven-time Independent Blues Award nominee and Western Australian Music Award-winner, has three back-to-back number one Australian blues albums, and a new album you [Continue]
Classical Music Blogs
26 May 2022Classical Music Blogs
26 May 2022SCENES IN TIN CAN ALLEYPIANO MUSIC OF FLORENCE PRICEJOSH TATSUO CULLEN
New! Pianist Josh Tatsuo Cullen performs music by Florence Price“Scenes in Tin Can Alley” released June 3, 2022 on Blue Griffin Records
“Cullen performed with an astounding mixture of coolness and intensity… with an unfailing sense of rhythm and drive” — Stuttgarter Zeitung
The music of Florence Price (1887 – 1953) is enjoying a renaissance. The 2009 discovery of a trove of manuscripts in the African-American composer’s abandoned summer home generated a lot of excitement and renewed interest in her life and work. The pianist Josh Tatsuo Cullen has recorded an entire album of her evocatively-titled music for solo piano, all specifically from that 2009 discovery. "Scenes in Tin Can Alley: Piano Music of Florence Price" (Blue Griffin BGR615) is released on June 3, 2022. The album includes the first commercial recording of several of these compositions, including Scenes in Tin Can Alley, Thumbnail Sketches of a Day in the Life of a Washerwoman, Village Scenes, and Cotton Dance.In the liner notes, Cullen writes:
I chose these works not only because they deserve to be heard, but because they spoke to me as an artist. As a person of mixed Japanese and European descent, I feel a strong connection to Price’s desire to honor and elevate the marginalized people of her own mixed-race heritage personified in Scenes in Tin Can Alley, Thumbnail Sketches of a Day in the Life of a Washerwoman, and Three Miniature Portraits of Uncle Ned.The composer Florence Price (1887–1953) is the first African-Americanwoman to have an orchestral pieceplayed by a major Americanorchestra: the Chicago SymphonyOrchestra performed her Symphonyin E Minor in 1933. Born in LittleRock, Ark., and educated at theNew England Conservatory, hercareer blossomed after she movedto Chicago in 1927. Her musicreceived widespread recognitionbeginning in the 1930s. Price wroteover 300 works, and herarrangements of spirituals wereoften performed by Marian Anderson,Leontyne Price and other singers.
25 May 2022CONCERT REVIEW:Atlanta Symphony Orchestra
May 21, 2022
Atlanta Symphony Hall, Woodruff Arts Center
Atlanta, Georgia – USA
Nicola Luisotti, conductor; Itzhak Perlman, violin.
MENDELSSOHN: Calm Sea and Prosperous Voyage, Op. 27
TCHAIKOVSKY: Romeo and Juliet Overture-Fantasy
BRUCH: Violin Concerto No. 1 in G minor, Op. 26
Mark Gresham | 23 MAY 2022
After performances of a different program on the previous two nights, guest conductor Nicola Luisotti returned to the Atlanta Symphony Orchestra podium for a one-night-only special featuring super-star violinist Itzhak Perlman, performing Bruch’s Violin Concerto No. 1 in the second half.
Having led the orchestra and a bevy of solo singers most admirably in a pair of single Acts from Verdi’s Rigoletto and Aida the two previous nights, there was much-anticipated interest in how he would do with the non-operatic fare.
The first half of the relatively short program was about the same length, comprised of two purely orchestral works: Mendelssohn’s Calm Sea and Prosperous Voyage, Op. 27 (“Meeresstille und glückliche Fahrt”), and Tchaikovsky’s Romeo and Juliet overture-fantasy.
Calm Sea and Prosperous Voyage is a concert overture that draws its inspiration from the eponymous pair of poems by Johann Wolfgang von Goethe. As in Goethe’s poems, the music first portrayed an utterly calm sea, which, rather than pleasantly peaceful, was considered cause for alarm for sailing ships. But in the second half, the wind finally rises, the ship continues its journey, and the music concludes with a fanfare of trumpets to suggest a triumphant arrival at the ship’s destination.
Like the Mendelssohn, Tchaikovsky’s Romeo and Juliet is styled an overture-fantasy after the eponymous literary work that inspired it: Shakespeare’s play. The music offers impressions of Friar Laurence, the warring Capulets and Montagues, and the titular lovers.
Luisotti and the ASO drew forth the requisite drama in each, to a modest but sufficient degree painting musical pictures in the listener’s imagination.
The awaited event of the evening came after intermission: the appearance of super-star violinist Itzhak Perlman as soloist for Bruch’s Violin Concerto No. 1, one of the most famous and popular violin concertos in all of the solo violin repertoire.
Perlman’s performance was sublime, as expected. It did not seem so much down Luisotti’s alley versus the two previous nights’ Verdi or even the first half of this program, despite his accomplished, insightful guidance of the orchestra as an accompanying ensemble. He was skilled at keeping the orchestral forces from overwhelming Perlman’s violin part, but there were times when Perlman was not playing the orchestra lept up in a fortissimo that was a bit startling and out-of-scope when it should not have been so extreme. But I must also express my personal bias: despite its immense popularity, this Violin Concerto is not one of my personal favorites.
Nevertheless, the audience came to hear Perlman, not necessarily the specific repertoire he was playing. The Bruch is considered a “safe bet” for presenters programming-wise for a “special” with a major star (just as Dvořák’s Cello Concerto was with the Yo-Yo Ma special earlier this season). Rarely is innovation to be expected of such a concert. Such is the way the industry works. ■EXTERNAL LINKS:
- Atlanta Symphony Orchestra: aso.org
- Nicola Luisotti: nicolaluisotti.com
- MItzhak Perlman: itzhakperlman.com/
Mark Gresham is publisher and principal writer of EarRelevant. he began writing as a music journalist over 30 years ago, but has been a composer of music much longer than that. He was the winner of an ASCAP/Deems Taylor Award for music journalism in 2003.RECENT POSTSThe post Perlman plays Bruch in ASO special first appeared on EarRelevant.Perlman plays Bruch in ASO special • 23 May 2022Pianist Orli Shaham among top national artists featured in revived Chamber Music Athens • 16 May 2022
25 May 2022
25 May 2022
Further to my example a few weeks ago of a seldom-seen bass clef in a trumpet part, in the first movement of Mahler’s Third. I’ve never been good at reading any but the treble and bass clefs, but I did have to study the more common C clefs in solfège class at the Longy School
25 May 2022
Montreal, May 25, 2022 – Back for a 7th season, the Stella Musica Festival, under the leadership of its Artistic Director and founder Katarzyna Musiał, aims to promote the achievements of women in music. This year, the three events of the festival will take place on Friday, June 3rd at the Kin Expérience as well as on Wednesday, June 8 at the Gesù. As in past years, this edition brings together...
25 May 2022
The Boulanger Initiative was founded four years ago with the objective of promoting the work of women and gender marginalized composers. Recently, I had the pleasure of speaking with Dr. Laura Colgate, Co-Founder and Executive Director of the Boulanger Initiative, to discuss the 2022 WoCo Festival, which is taking place this weekend.http://www.wbjc.com/wp-content/uploads/2022/05/WoCoFestival2022.mp3
25 May 2022
A chance encounter can sometimes become a memory one preserves for a lifetime. In 1982, on his way to America, Dr. Cavas Bilimoria—the NCPA physician and an amateur violinist with a deep adoration and sound knowledge of Western classical music—had a brief sojourn in Amsterdam. A spontaneous walk in the neighbourhood led him to the dawn of a story he now tells fondly. “I had no idea where I was going, but there it stood, mighty, right before me,” he says, describing the moment he stumbled upon the magnificent Concertgebouw. Dr. Bilimoria happened to land there when the musicians were out for a tea break. As he chatted with them earnestly, two gentlemen quietly listened to the conversation before finally approaching him. One of them was Sir Colin Davis, the English conductor, and the other turned out to be Herman Krebbers, the concertmaster of the Concertgebouw Orchestra (Queen Beatrix conferred the “Royal” title upon the orchestra in 1988) from 1962 to 1980, and a personal idol of Dr. Bilimoria. What followed was a conversation journeying from the history of the venue to a quick tour of the Grote Zaal.
The Grote Zaal is the exceptional Main Hall of the Concertgebouw, bejewelled with its world-renowned acoustics and a magnificent organ. It houses nearly 2000 viewers. Since its inception in 1888, the Concertgebouw—Dutch for ‘house of concerts’—has endured multiple renovations and restorative measures, in addition to those that prevent it from sinking into the damp Amsterdam earth. Through all transformations, the original plan of the Grote Zaal has remained unharmed and preserving its brilliant acoustics has been a top priority. In fact, the acoustics of the hall are so sacred that there is a thick layer of dust on the window frames which remains mostly untouched, as getting rid of it would temporarily affect the sound quality. A smaller, more intimate Kleine Zaal (the Recital Hall) is located behind the Main Hall. It is ideal for chamber music and lieder.
“When Krebbers guided me to a rehearsal happening in the Main Hall, I couldn’t help but marvel at the finesse of both the Concertgebouworkest (Royal Concertgebouw Orchestra) and the architectural genius. Krebbers especially asked me to sit in different spots in the hall. The sound was uniform everywhere, despite the hall being completely empty. The Concertgebouw acoustics are nothing like what I have experienced before; it was special,” recalls Dr. Bilimoria.
The reverberation time of Grote Zaal is 2.8 seconds without an audience, 2.2 seconds with a packed hall. This makes it perfect for the late-Romantic repertoire including works of composers such as Gustav Mahler. The longer reverb time results in a richer, fuller sound for larger orchestras such as those of the late Romantic repertoire, giving the sound more time to linger. Between the period of 1895 and 1945, the Concertgebouw became a hub for Mahler under Willem Mengelberg, the longest-serving principal conductor of the orchestra, who also had one of the longest conductor-orchestra relationships in music history. He is credited with making Mahler more popular and accessible in the Netherlands.Royal Concertgebouw Orchestra © Simon van Boxtel
It is therefore not surprising that what makes the Concertgebouw’s history so fascinating is its relationship with its principal conductors. In the 134 years since its inception, it has had only seven chief conductors. Willem Kes was the first, serving until 1895, to be succeeded by Mengelberg, who was ultimately let go due to his pro-Nazi leanings. His successor, Eduard van Beinum, took the orchestra on its first American tour in 1950. What Mengelberg did to make Mahler a household name in the Netherlands is what van Beinum did with Bruckner’s compositions. He served as chief conductor after World War II until his unfortunate demise on the Concertgebouw podium from a heart attack in 1959. He was followed by Bernard Haitink and Eugen Jochum sharing the post until Haitink became sole chief conductor in 1963. Riccardo Chailly, Mariss Jansons, Daniele Gatti then took the podium.
The Royal Concertgebouw Orchestra performs symphonic music across a broad ambit of canonical and avant-garde works, with mastery over Germanic and French schools.
Like all houses of performing arts, the Concertgebouw faced its share of challenges because of the pandemic. As the last quarter of 2019 came to a close, a state of disorder took over its functioning. Chief Conductor Gatti was asked to step down on account of allegations of ‘inappropriate’ behaviour. Several members of the top management were completing their tenures and approaching retirement. Along with this, severe obstacles in terms of catering to the changing demographic landscape of its audience arose. As older patrons were ageing, younger faces remained tough to attract, and audiences dwindled as a result. The shackles of the pandemic and the many lockdowns only made the situation worse.
To keep the show running, the Concertgebouw, like most venues in the world, went online to expand its digital presence. From interacting with its online audience to making its entire video catalogue between June 2020 and June 2021 available for streaming for free on its website, the organisation found ways to keep the arts alive.
In an amusing turn of events, as the Netherlands was undergoing a strict lockdown in December last year, an easing of restrictions for businesses like hairdressers and gyms—while museums, theatres and cinemas were asked to remain closed—sparked the most charming display of civil disobedience. The Concertgebouw orchestra played its repertoire as the snip-snap of scissors from the hairdressers giving people a haircut on stage, accompanied their music. “The orchestra played second fiddle to the hairdressers,” read the newspapers of the city. The Concertgebouw has time and again, in many ways, brought to the fore the power of performance.
Dr. Bilimoria has not got a chance to return to the Concertgebouw since his near magical rendezvous in 1982. The reminiscence of it, however, is a souvenir in itself that he cherishes. Like a time capsule, it takes him back to the magnanimity of music and the city.
By Aishwarya Bodke. This piece was originally published by the National Centre for the Performing Arts, Mumbai, in the May 2022 issue of ON Stage – their monthly arts magazine.
The post The Performing Arts Dispatch: The Royal Concertgebouw appeared first on Serenade.
25 May 2022
We’re coming to you from New York City today for the 2022 Concert Artists Guild Victor Elmaleh Competition Finalists Showcase.
Today’s stream features virtual performances by the 2022 finalists: cellist Sophia Bacelar, violinist Anna Im, bassoonist Eleni Katz, soprano Magdalena Kuźma, pianist Llewellyn Sanchez-Werner, Galvin Cello Quartet, the Johnston Brothers guitar duo, and Risus Quartet.
This year's Grand Prize winners will receive international management with CAG and London-based Young Classical Artists Trust, performances at both Merkin Concert Hall in New York and Wigmore Hall in London, and participation in the CAG 360 Leadership Development Program.This year's jury includes Jenny Bilfield, Sara Davis Buechner, Phillippa Cole, Anthony Roth Costanzo, Brandon Patrick George, John Glover, Jaime Martín, Tavia Nyong'o, Asadour Santourian, Kathy Schuman.The winners of the competition will be announced on May 26 at 12:00 PM (ET) — live on The Violin Channel.WEDNESDAY MAY 25 | 12:00 PM (EDT) 2022 CONCERT ARTISTS GUILD VICTOR ELMALEH COMPETITION | FINALISTS SHOWCASE NEW YORK CITY - NEW YORK
25 May 2022
Whereas the Dutch government seems to regard culture as a superfluous luxury, other countries cherish its intrinsic value. The Latvian Music Information Centre regularly presents new CDs by composers from Latvia. In 2021 it released Trumpets of Angels with six organ works by Indra Riše, named after the first piece on the CD. I asked Riše about her fascinations, the appeal of the organ and the Russian invasion of Ukraine.
When I first heard works by Indra Riše (1961) I was immediately hooked. Whatever instrument she writes for, her music always breathes a great naturalness and spaciousness. She has a special flair for composing for the human voice and when one day my chamber choir Amphion planned an Eastern European programme, I immediately proposed some of her songs. Both my fellow singers and the audience loved them. – To top it all off, Riše travelled all the way from Riga to attend our concert.*
Riše grew up in Dobele, about 80 kilometres south-west of the capital Riga. The provincial town has about 8,000 inhabitants and lies in the predominantly agricultural area of Zemgale. ‘But we also have beautiful forests’, emphasises the ever-cheerful composer, who nurtures a great love of nature. – When she came to our concert in 2018, she spent the night in a village in Brabant to avoid the hustle and bustle of Amsterdam.
As in many Baltic states, choral life flourished in Dobele, but remarkably, the young Riše did not like singing at all: ‘I avoided it as much as possible and only later became interested in choral singing. Not as a singer, but as a composer. At my mother’s instigation, I went to the local music school, where I learned to play the piano.’Stalin dictatorship
She was the only child of a single mother. ‘This was very common in Latvia at the time’, Riše explains, recalling how her family suffered under the Stalin repression. ‘My grandparents were among the first to be deported to Siberia in 1941, along with my mother of four and her sister of eight. My grandfather was put on transport to a labour camp in a cattle wagon, my grandmother and the two girls were sent in a completely different direction in another cattle car. She never saw her husband again.’
As if by a miracle, her grandfather survived the penal camp: ‘He returned to Latvia after 40 years – old and sick, but unbroken.’ Her grandmother was less fortunate: ‘Due to the harsh cold of the permafrost, she died of pneumonia at the age of 35; her grave is unknown. My mother and aunt remained in Siberia under the supervision of other deportees until they were allowed to return to Latvia 6 years later.’
Because of the many deportations and fatalities of the Soviet terror, there was a shortage of men: ‘Of the few who survived, many fled to the West, especially intelligent and enterprising people. This often left the women alone. My father already had a family of his own and did not want to take on extra responsibility. I know little more about him than that he studied forestry.’War against Ukraine: the agony of an empire
With such a background, many might become cynical, but Riše lacks any trace of cynicism. Though she does admit being highly disturbed by the Russian war against Ukraine: ‘It reminds us of our own recent history of extermination, deportation and 50 years of occupation. These are still fresh in our memory, so we support the Ukrainians as much as we can; we have taken in over 20,000 refugees.’
‘Russia is a very dangerous and unpredictable neighbour, but for the moment everything is OK in Latvia. We listen to the latest news and cross our fingers for Ukraine. However, our country harbours many disloyal Russians, who (still) celebrate the Russian occupation of Latvia on 9 May. This is very distressing, and our government has decided to ban their annual meeting. It seems to me that this war is the agony of the great empire, which causes great destruction and sacrifice. Let’s hope it all ends in a fiasco.’
Composer Indra Riše: ‘Russia’s war against Ukraine seems to me to be the agony of the great empire. It causes great destruction and sacrifice. Let’s hope it will soon end in a fiasco.’Tweet
Despite the absence of a father, she had a happy childhood: ‘My mother was a chemical engineer. She had studied in Leningrad, and was an enthusiast for classical music. ‘During my school years, in the late 1960s and early 1970s, we took the train to Riga every weekend to go to the ballet, opera or theatre. We also visited as many exhibitions as possible. All in all, it was the best aesthetic upbringing imaginable, but as a child I absorbed it all rather unconsciously.’
The family was not rich: ‘We lived in a one-room flat with wood-burning stove. Yet we owned a piano, probably the only thing left from my deported grandparents; my grandmother had been an excellent piano teacher.’
From the age of seven, Riše was taught piano according to the strict Soviet education system: ‘First you had lessons for eight years at the children’s music school, then four years at the secondary music school and then another five years at the conservatory. This means I had seventeen years of full-time piano lessons. I had started because of my mother, but playing came easily to me and gradually I came to enjoy it more and more.’From performing to composing
In 1985 she completed her piano studies at the Jāzeps Vītols Conservatory in Riga. Not long after, she shifted her attention to composing: ‘During my piano studies I got to know a large repertoire of beautiful music. But increasingly I felt that I was limiting myself in a way by performing the music of others. My imagination demanded a different kind of expression, and by and by I started composing my own pieces. At first mainly for piano, but soon also for other instruments and ensembles.’
Initially she combined her professional practice as a pianist with composing: ‘But this was tough, and I only managed thanks to the unbridled energy of youth. At some point I understood that I had to choose one or the other.’ She decided on composition, and went to study with Pēteris Plakidis at the Riga Conservatory.
This turned out to be a bull’s-eye: ‘Plakidis was an exceptionally erudite musician and composer, and a walking encyclopaedia at that.’ Her teacher was not easy-going, though: ‘He was extremely strict and critical, and quick to find clumsy or meaningless passages in my compositions. But he taught me to solve such technical and orchestral weaknesses in a creative way. I enjoyed every lesson, he was a true master!’
She graduated in 1990, the same year in which the Latvian National Symphony Orchestra premiered her first orchestral work, Metamorfozes. The title is telling, says Riše: ‘At the time, I led a restless and active life, with the motto: today I am no longer who I was yesterday and tomorrow I will be different from today.’ Indeed, the twelve-minute piece is a succession of rapidly changing atmospheres, but the melodic richness that is so characteristic of her later style is already abundantly audible.Denmark: new musical territories
In 1993, she won a scholarship for a postgraduate course in Denmark. ‘In 1991, Latvia had regained its independence, and Denmark was one of the first countries to recognise us.’ The country offered young talents from the Baltic States a scholarship for further studies and launched a competition, which Riše won. Being accustomed to the strict hierarchy of the Soviet system, moving to Denmark felt like a relief: ‘I got more creative freedom and could spread my wings internationally.’
Musically, Riše entered a new and unfamiliar world: ‘In Denmark, contemporary music was very abstract and far removed from the classical tradition as I knew it. Because of our strong tradition of folk music and choral singing Latvian composers wrote in a more conservative style.’ In her new homeland Riše started experimenting with modernist techniques: ‘I dabbled in all of them, but after a while I decided this was not my way, and returned to a clearer and simpler musical language.’
Electronic music turned out to be quite inspirational though: ‘Its many possibilities have definitely changed my thinking about music.’ She employed electronic processes in several compositions, such as the naive-estranging Pictures of Childhood from 1996. A mezzo-soprano enters into dialogue with a wondrous array of recorded sounds, and her own electronically distorted voice. But above all, thanks to electronics, Riše has developed a skill for eliciting special timbres from acoustic instruments.Latvian sobriety
Throughout the years of experimenting with modern composition techniques and electronics, Riše has remained true to her Latvian roots. ‘I may have gained many new impressions outside Latvia, but my background and inspiration always shimmered through my music. Nowadays, I can honestly say that I belong to the contemporary Latvian composing scene, in which sobriety, simplicity and clarity of form predominate.’
Nature is an important source of inspiration: ‘It was created by God. You can look at it endlessly and be inspired by it.’ This reflects on the way she composes: ‘I don’t follow preconceived schemes or models, but work very intuitively. I go out and, like a snail, move my “antennae” to pick up vibrations from the universe, bringing them to earth in the form of music as it were. For music must come from the soul. If it comes from the head, I get bored.’
This sounds rather metaphysical, is she religious? ‘Yes and no’, she answers. ‘Yes, because something wonderful has been created, like the earth, nature, the sea, and so on. Something that was not man-made and of which I am just a small part. On the other hand, no, because I don’t need a church or religion to understand and accept all this.’Trumpets of Angels
Her CD Trumpets of Angels contains six compositions for organ. As a student Riše played the organ herself, and cherishes warm memories of this period. ‘It is a complicated instrument and practical experience helps enormously in understanding it. Organists are a separate group of people, very different from pianists, wind players or string players; I felt like part of a family. We helped and supported each other, and even today organists give me tips for improvements of a new score. I enjoy this two-way traffic between composer and performer.’
The album offers a fine sample of her skills. The title piece Trumpets of Angels for organ solo is dedicated to a deceased friend: ‘She was a radiant and spiritual personality. When she died, I imagined that an angel greeted her soul at the gates of another world, with jubilant trumpets.’ The six-minute piece opens with playful figurations in the highest registers, set against roaring chords in the low register. The succeeding tender interplay of musical lines seems to depict the gentle character of the deceased, after which the music dies away in peaceful quietude.
Composer Indra Riše: ‘I go out and, like a snail, move my “antennae” to pick up vibrations from the universe, bringing them to earth in the form of music. For music must come from the soul. If it comes from the head, I get bored.’Tweet
Indra Riše combines the majestic organ with other instruments and the human voice with obvious ease. As in Songs of Happiness, which she composed in honour of the Latvian poet couple Rainis and Aspazia. Riše: ‘They fought for Latvian independence and are national heroes, I much admire their poetry. Their 150th anniversary in 2014 was celebrated grandly in our country, and the state commissioned me to write this cycle. I chose five poems by Rainis, in fact disguised love letters to Aspazia.’
Illuminated by the Sun was composed for solo organ, yet I also hear woodblocks, exclamations similar to Wagner’s ‘hojotoho’ and birdsong. Did Riše use electronics here? ‘No’, she laughs, ‘I tried to treat the organ as an electronic instrument – without using electronics. I added two woodblocks to the instrument, which are played by the organist. And I used the voices of the organist and the registrant, who also operates a plastic nightingale filled with water. Thus I have tried to imitate sounds from nature, such as a storm, the cries of birds or people calling to each other in the woods.’Strength and endurance
In Interaction for organ and flute the organ only makes its appearance after five minutes. ‘I wrote it for the flutist Imants Sneibis, who draws an admirable wealth of colour from his instrument. At the time I was very inspired by the music of Kaija Saariaho, feeling attracted to the hushed tones and barely perceptible nuances that create an intimate, emotional atmosphere. The first five minutes are a monologue by the flute, after which it becomes part of a dramatic story together with the organ.’
The concluding Fire Ritual for solo organ harks back to an old Baltic ritual, says Riše: ‘This was organised four times a year. During the summer and winter solstices and at the spring and autumn equinoxes, when day and night are of equal length. In spring, people pleaded for success in tilling the land; in summer, they prayed to the sun; in autumn, they gave thanks for the harvest; and in winter, they burned away all negative energy, emotions and diseases.
Proudly: ‘I feel at home in these Latvian traditions, where strength and endurance are passed on from generation to generation.’
*On 11 June, Chamber Choir Amphion will sing ‘Lūgšana par mūsu zemi’ in Oranjekerk, Amsterdam. In this 4-part song Riše celebrates her homeland Latvia.
25 May 2022
Kronos Quartet, Rinde Eckert, Vân-Ánh Võ: “Mỹ Lai” (Smithsonian Folkways Recordings) David T. Little, Royce Vavrek, The Choir of Trinity Wall Street, NOVUS NY, Mellissa Hughes: “Am I Born” (Bright Shiny Things) Back in September 2016—in an only slightly saner world—novelist Lionel Shriver gave a keynote at the Brisbane Writers Festival. The festival’s organizers had […]
Country Music Blogs
26 May 2022Country Music Blogs
God bless the late, great Charlie Daniels.
It’s been almost two years since we lost Charlie back in the summer of 2020, but his music’s still as relevant as ever – especially his commentary on the madness of the world in “Simple Man.”
“I ain’t nothin’ but a simple man
They call me a redneck, I reckon that I am
But there’s things goin’ on that make me mad down to the core
I have to work like a dog to make ends meet
There’s crooked politicians and crime in the street
And I’m madder than hell, and I ain’t a-gonna take it no more”
I mean, tell me those words aren’t just as relevant today as they were back in 1989 when the song was first released. Hell, they may be even more true today.
Well Heath Sanders just posted the latest in his “Garage Sessions” series of acoustic videos, and in this one he covers what he calls one of his favorite Charlie Daniels songs.
And like just about everything else he does, Heath sang the absolute hell out of it.
That’s the good stuff.Heath Sanders Releases Video For Steamy Viral Hit “Some Other Kind Of Love”
And while we’re talking about Heath, he also recently released a video for “Some Other Kind of Love,” a tenderhearted love song that fans were begging him to release after he teased it on TikTok.
Co-written by Heath along with Jeremy Bussey, Houston Phillips, Jay Brunswick, “Some Other Kind Of Love” features Heath’s trademark gritty, powerful vocals that turned everybody’s heads in the first place, as he sings about finally falling in love with somebody and realizing that there’s just something different about this one than all those times before:
“I’d settled down, I’d given up
My old heart had had enough
Now you’ve got me wonderin’ what that was
Cause baby this is some other kind of love
So much more than a feelin’
Some other kind of love
It ain’t wanted, girl it’s needed
You can call it fate, call it luck
All I know is we found us
Some other kind of love”
Speaking about the song, Heath said that love is a lot like music, and that both give you that special feeling when you find that person – or that song – that’s different from all the others:
“Seems to me, everyone has their own unique way of expressing love. We all show it differently, we all feel it differently but it’s something each and every one of us share. It’s in our souls….
I think it’s a lot like music. You can find it everywhere, but it’s those songs that stand out, the ones that stand the test of time, that really give us something to hold onto.”
Yeah, go ahead and add this one to the baby-makin’ playlist.
Denny Hamlin‘s been around NASCAR for quite awhile now.
The driver of the #11 FedEx Toyota for Joe Gibbs racing made his debut in the NASCAR Cup Series back in 2005, and has been in the series full time since 2006.
With 47 wins under his belt and top ten finishes in over half of his Cup Series starts, Hamlin is consistently in the conversation for the best driver who’s never won a championship (at least not yet).
But how many more chances will he have? Hamlin’s already won a race this year and locked himself into the playoffs to compete for the championship this year, but at 41 years old he’s the third oldest full time driver left in the Cup Series.
So how many years does Hamlin have left as a full-time driver?
That’s exactly the question that Dale Earnhardt Jr. asked Hamlin this week on his podcast, The Dale Jr. Download.
Junior pointed out that Cup Series drivers usually retire around Denny’s age, and that “statistically” he’s only got about 2 more years left of his prime. And although Denny says he’s not ready to put a timeline on when he steps out of the seat, he knows how he wants to go out:
“I’ve definitely thought about it. I talked with my crew chief yesterday about this and I said ‘I’m going to win my last start.’ And hopefully it’s meaningful. Hopefully it’s a meaningful start…
I just don’t want the performance to decline to where I don’t think I can win every week.”
But even when he does retire, Denny won’t be stepping away from the sport. He’s still the co-owner of 23XI Racing along with Michael Jordan, which currently fields cars for Bubba Wallace and Kurt Busch.
So would Denny want to drive for his own team before he retires?
He would – but he doesn’t want to.
Denny’s one of the rare drivers these days who has raced for the same team for his entire Cup Series career. And not only that, but he’s had the same sponsor with FedEx the whole time too. And he wants to keep it that way.
When asked by Dale Jr. whether he would leave Joe Gibbs racing and end his career driving for his own team, Denny said that he would rather retire from the team he’s been with his whole career – under one condition: He wants to keep FedEx on board.
“I think that I would like to retire at Gibbs with FedEx, because it’s so unique to have a sponsor that has been a part of the sport as long as they have and backed me as long as they. There’s just no way I could leave them…
I would like to retire at Gibbs with FedEx.”
But Denny also acknowledged that some things are out of his control:
“If things change then things change and then you’ve got to reevaluate.”
Denny’s been quite the polarizing figure in NASCAR, and has his share of both fans and haters. But in recent years he’s become one of the most outspoken drivers in the garage area too (like just this past week when he said that Ryan Blaney should have been black flagged after the window net debacle at the All-Star Race).
I’m sure he’d like to win a championship before he retires – although there are some Hall of Fame drivers like Mark Martin who never won a championship.
But Denny isn’t ready to hang it up just yet. And if FedEx sticks with him, he won’t be driving for his own team either.
And even though I’m not really a Denny Hamlin fan, his Joey Logano impression is still an all-time classic.
Nashville bartenders have got some talent – and not just at getting bachelorette parties shitfaced.
If you remember a few years ago we had a post go viral of a bartender named Kristin singing the hell out of some Carrie Underwood and Miranda Lambert as she was behind the bar slingin’ drinks.
Well Kristin’s not the only bartender in Nashville who’s got pipes.
Jake Puliti, a musician and singer himself, also works as a bartender at Big Machine Distillery in downtown Nashville. And when the lead singer of the band, Cian Pedersen, hopped offstage and handed the microphone to Jake, he absolutely crushed a cover of Chris Stapleton’s “Tennessee Whiskey” from behind the bar.
(Yes, I know David Allan Coe recorded it first. But Jake was obviously covering Chris Stapleton’s version).
The bar was clearly loving it, and so is everybody in the comments of the video.
Just goes to show you that there’s still a ton of talent in Nashville, not just bands doing shitty Journey covers in bars owned by pop country artists.The post Nashville Bartender Is Given The Mic And Absolutely Crushes Chris Stapleton’s “Tennessee Whiskey” first appeared on Whiskey Riff.
"It would be disrespectful and hurtful for me to perform for the NRA at their convention in Houston this week," McLean says.
"It would be disrespectful and hurtful for me to perform for the NRA at their convention in Houston this week," McLean says.
After his Grammy success in 2017, Sturgill Simpson became a little more well known to the general music-loving public, but to the hardcore country music fans, it’s a name that’s been in the mix for about a decade now.
Do you remember the first time you heard his voice on a song? Do you remember saying, “holy shit, this guy sounds like a modern Waylon Jennings.”
You weren’t alone… but Sturgill did not take too kindly to those comparisons.
Sturgill was compared to the man so much that he ended up just covering Waylon Jennings’ “Waymore’s Blues,” but my God, is it amazing.
Here’s a young Sturgill covering it at a bar in Texas in 2014:
“I get so fucking tired of hearing how much I sound like this guy, I just decided to start playing one of his songs.”
I know Sturgill doesn’t like the comparison, but man can he sing the hell out of some Waylon.
Seeing where he is now, and seeing the venues he was playing just eight years ago is pretty wild too… he’s come a long way.
From small venue in Georgia, to making history as the first artist to be nominated for best country album and best rock album by the Grammys some years later…
Go off, King.
And the crazy part…. he might be done with all of it.Sturgill Simpson Confirms “Dood & Juanita” Is His Last Solo Album
Sturgill has said in the past that he planned on making five records and then calling it a career… but would he really?
And in a recent interview, Sturgill said he was sticking to it.“I don’t want to say I’ll never make another record, but this five-album narrative was really clear when I moved to Nashville. My wife really helped me carve that out, in terms of how to go about the beginning, middle and end for each chapter. But then after that, I am not sure. I love the studio. I like sleeping in my bed. I like seeing other people succeed. And I really love helping other people succeed—people like Tyler or Margo or Lucette or anybody else who would be willing to work with me. I can’t think of any other greater way to use the knowledge or experience—or whatever you want to call it—that I’ve gained from the last seven or eight years, then by helping other people who I’m already impressed with make more music that will improve the musical landscape, as opposed to just 20 more Sturgill records.”
At the time Sturgill had pretty much finished his new album, but the future of Stu in the country music world appeared to be in more of a producer capacity.
However, now that “Dood & Juanita,” Sturgill’s 5th studio album, is out… has anything changed?
Not really… but sorta.
According to a new interview with Rolling Stone, Sturgill is making good on his promise that this is indeed his final Sturgill album.
“This is the last Sturgill record. I always said there would be five, and I wondered if I’d go back on that.
But it really has cemented every step of the way how much I don’t want to carry all that weight.
Going forward, I’d like to form a proper band with some people who I really love and respect musically and be a part of something truly democratic in terms of creativity.
Not having to stand up there behind my name would allow me to be even more vulnerable, in a way.”
So while we haven’t heard the end of Sturgill Simpson the musician, it seems as though we have heard the end of Sturgill Simpson the solo recording artist. He also added that he has a few band members (and band names) in mind.
And if there was one more thing you were wondering about, he says that he’s content to never play an arena show ever again.
“I don’t care to step into an arena ever again. I don’t want to play shows where the first rows are 50 yards away.”
Of course, prior to the pandemic, Stu was just beginning a massive area tour with Tyler Childers, a show with a such a demand that some cities were offering multiple dates. Unfortunately, he was just 12 shows in when COVID hit, and the entire live music world was put on pause.
But if you were hoping to see that tour rescheduled… doesn’t look like that’s on the docket.
At the end of the day, whether it’s solo artist Stu, band member Stu, producer Stu, actor Stu…. whatever he has his hand in, you can bet your ass I’m going to be paying attention.
Even Stu going to Waffle House with Stephen Colbert:
“You remind me of a Sunday…”
Taking it WAY back on this one.
All the way to back porches, bug spray and cold cans of PBR…
We’re flashing back to a fresh faced Tyler Childers performing one of his all-time great tunes, the heart-melting “Shake The Frost.”
Recorded sometime around 2013, Tyler kicks the performance off with an impromptu line from the Donna Summer classic “She Works Hard For The Money,” before taking a swig of that PBR and beginning the song.
Joined by his pal Patrick Stanley, who sings harmonies and the second verse, it’s about as raw and wholesome as it gets. Just two kids making music for the love of the game.
Flash forward to today, Tyler is playing venues slightly larger than back porches, although I suppose you could consider Red Rocks one… giant… back… porch?
Ok, maybe that’s a bit of a reach, but the dude was selling out arenas with Sturgill Simpson before COVID hit, and I guarantee you he could do it again by himself if he really wanted to. Seems like he doesn’t these days, and with a baby on the way, who could blame him?
Throw in some Gold and Platinum records and nearly a decade later, you’re looking at one of the best things to happen to country music in my life time.
And it all started right here.
County Music News and Videos
- Brooke Eden Partners with RIAA for “Music Matters”
- Craig Morgan to Perform on National Memorial Day Concert Special on PBS
- 2021 – HCM Daily News – May 25th, 2021
- 2020 – HCM Daily News – May 25th, 2020
- 2019 – Blake Shelton scored a #1 single with “God’s Country”
- 2018 – John Rich opened his bar in downtown Nashville called Redeck Riviera
- 2011 – Scotty McCreery won American Idol, with fellow country singer Lauren Alaina coming in second
- 2011 – Scotty McCreery‘s debut single “I Love You This Big” was released
- 2011 – Lauren Alaina’s debut single “Like My Mother Does” was released
- 2005 – Carrie Underwood won American Idol
- 2005 – Garth Brooks proposed to Trisha Yearwood
- 2004 – Julie Roberts released her debut, self-titled album
- 2004 – Lonestar released their album, Let’s Be Us Again
- 2002 – Alan Jackson hits #1 with his song “Drive (For Daddy Gene)” which stays at #1 for 4 weeks
- 1991 – Doug Stone hits #1 with “In a Different Light”
- 1951 – Marty Robbins signed a record label deal with Columbia Records…the partnership lasted 31 years
- Jessi Colter
- Tom T. Hall (d)
- None Today
- Bandwagon – Jillian Jacqueline
- This Heart Belongs in Texas – Cameron James Smith
- Warning Label – Morgan Ashley
- None Today
This Week’s Notable Events
Date/Time Event 05/26/2022
DelFest – Cumberland, MD
Allegany County Fairgrounds, Cumberland MD
Kenny Chesney, Carly Pearce – Hunstville, AL
Orion Amphitheater, Hunstville AL
DelFest – Cumberland, MD
Allegany County Fairgrounds, Cumberland MD
DelFest – Cumberland, MD
Allegany County Fairgrounds, Cumberland MD
Eric Church, Brothers Osborne, Parker McCollum – Milwaukee, WI
American Family Field, Milwaukee WI
DelFest – Cumberland, MD
Allegany County Fairgrounds, Cumberland MD
Also check out…
- Events Calendar
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- Album Release Dates
- Single Release Dates
- Artist Interviews
- Concert Photos
- Artist Database
- State-by-State Country Music Coverage
- This Date in Country Music History
- Shop Country Music Store by SFCM
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- HCM Twitter Feed
- Special Offers
Slated to perform are some of the biggest names in country music including:
- JOHN RICH- MICHELLE WRIGHT- JOHN BERRY- RHONDA VINCENT- WENDY MOTEN- JOHN FORD COLEY- T. GRAHAM BROWN- TWITTY & LYNN- THE ISAACS- WILLIAM LEE GOLDEN AND THE GOLDENS- DARIN & BROOKE ALDRIDGE- RICHARD LYNCH- ROB KURTZ- MAKENZIE PHIPPS- PAIGE KING JOHNSON
The event will be hosted by TG and Kelly and Nashville's sweetheart, Devon O'Day will be the evening's emcee.
Tickets are $40 and can be purchased here.
The voting for the next charts is now open! Please consider voting for both! COUNTRY: https://s.surveyplanet.com/w2ycrv1i ROOTS: https://s.surveyplanet.com/jcie38tv Voting closes Thursday, May 26th at 6am Eastern US Time
India Music Blogs
26 May 2022Indie Music Blogs
26 May 2022
We have finally arrived at the penultimate moment – the last single before the release of the highly-anticipated full-length album from the dynamic flute duo Steve Markoff & Patricia Lazzara. We’ve been treated to a dazzling collection of covers from these talented flutists starting in November 2021, all in preparation for the release of By Request this June. As the name suggests, all of the songs featured on this upcoming album have been requested by friends and fans of the duos. This final single release is especially sentimental as it was requested by Steve’s wife – Boz Scaggs’ Look What You’ve Done To Me was their wedding dance 39 years ago this year.
Many have referred to Look What You’ve Done To Me as a timeless track, but in its original iteration, the strong ’80s synths certainly tie it to the decade in which it premiered. In the Markoff & Lazzara version, we strip away much of the era-centric production and focus on the purity of the arrangement – and this is much to the benefit of the track. The soft and smooth nature of the original remains, but as we’ve seen many times before, the flutes create emotional, ethereal tones that just simply cannot come from any other combination of instruments. It’s a nod to the arrangement skills of the duo, demonstrating yet again a true understanding of the strengths of their instrument and how to most effectively use them to their advantage in nearly any genre.
Performance-wise, this is simply quintessential Markoff & Lazzara. There is nuance in the melody, there are perfectly blended harmonies, and there is the ever-present rich and rhythmic beauty from the tones of Allison Brewster Franzetti. Perhaps the most notable moment is the crescendo that occurs between 4:00 and the end of the track, taking us from simple, understated lows to an all-time high in intensity at the final chorus nearly effortlessly. It is another affirmation that these two create music that is simply delightful and endlessly enjoyable to listen to, time and again.
This rendition of Look What You’ve Done To Me captures the essence of the original while still maintaining room for their own artistry – a sentiment that seems as though it could stand as the tagline for this upcoming album. But now there’s nothing left to do but wait, and reflect on the incredible singles that have brought us to this moment. If the work Steve Markoff & Patricia Lazzara have done on the tracks leading up to this full-length release is any indicator, By Request should truly be a remarkable work of art. Mark your calendars now for the release date of June 21st – a beautiful and exciting way to kick off the summer season.
BELOW: Listen to Look What You’ve Done To Me and connect with their website and social media platforms. Please support Steve Markoff & Patricia Lazzara by visiting them online, and playing, downloading, and/or purchasing their music, or attending a live show! And, as always, thank you for supporting real music!
(Want to have your music reviewed on The Ark of Music? Click HERE.)Follow, stream, download & connect with STEVE MARKOFF & PATRICIA LAZZARA online:
26 May 2022
Slowly sauntering through moody blues, Kiefer Luttrell’s performance on “The Wind” is a folk song with a unique sound. Based in Nashville, Tennessee, Luttrell changes up many of the instrumental stylings of classic country with something a lot more modern, and a lot more West Coast. “The Wind” doesn’t feel just like a Southern blues song, it feels more exploratory than that.
Rather than a more acoustic choice, Luttrell opts more for this beautiful and dreamy piano chord. This is a recurring sound in “The Wind”. All through the piece, there’s these drifting notes that hover over slow percussion. Gentle reverb and the progression in the chorus feels evocative of the 90’s pop sound, but is juxtaposed with the more traditional vocal sound from Luttrell. There’s these moments, like in the instrumental segment after the chorus, that feels like a space-pop or a beach rock song. Then, when the lyrics come back in, a guitar firmly places us back in a more Americana sound. It feels strange, but not at all unpleasant. I find the more folk segments of “The Wind” are carried by Luttrell singing, discussing someone lost and wishing for that wind to return. But as he finishes, a reverb laden guitar delivers this haunting whammy that slowly fades into a windy ambiance. These little moments are genius, keeping me hooked between each verse.
I admit that growing up in the South has soured my opinion of country and folk. I love the genres, and they were some of the first musical experiences I had, but exposure can kill. I find Kiefer Luttrell’s work, and especially “The Wind”, to breathe some life into a musical genre that is both very expressive and in need of fresh insight.
When did you first start playing an instrument? Back then, did you think you’d be making music like this?
I first started playing guitar when I was 18 and learned on an old Gibson acoustic guitar my grandfather gave me when I was 14. I definitely don’t think I could’ve predicted I’d be making music like this back then.
What are the components of a ‘good’ song in your mind? When you sit down to write, what are the must-haves?
A good song to me starts with the words. If the words can’t draw me in, I’m out.
Who encouraged you to begin songwriting? Was it an event, or someone in your life?
I started songwriting out of a general interest in writing, which is why when I went back to school after the army I graduated with a bachelors degree in English. Also, John Prine and Sturgill Simpson. I watched Sturgill’s NPR tiny desk concert and that really set a bar for me to reach as a songwriter.
Do you have an ultimate goal with your music, or is singing and songwriting more about the journey than destination?
My ultimate goal is to continue making albums that are meaningful until I have nothing left to say. I don’t care about fame or money. I just want to make great art and that will always be my priority.
I see you served in the Green Berets for a time. Without your experiences there, do you think that your art and your music would be the same as they are now? And, thank you for your service.
I certainly wouldn’t be creating the type of music I am without having served and deployed. When I first ventured out from my small town in Kansas working in a factory to try and become a Green Beret, I didn’t think it was possible. Achieving that award really opened my eyes that if I have discipline and focus on what I want to be, the only who can hold me down is in my head.
The post Kiefer Luttrell on “The Wind,” Guitar Playing, and the Green Berets appeared first on Two Story Melody.
26 May 2022
Dario is a great master of the modern jazz scene to the heights of which he reached thanks to his in-depth study of guitar art in inseparable connection with his Latin American roots. His technical guitar playing also conveys the author's longing for home. Dario is currently based in New York, where he distributes Latin American music in its best interpretation through his art projects.
Dario Acosta Teich's creative path began at an early age when his father showed him the first chords. Since then, he has always been close to music and music lived in his heart. He received a great base by studying with the best Argentine and Israeli composers and taking the best skills from every collaboration with the great musicians of today.
The album 'FOLKLORE' is also full of such big collaborations. After all, real masters of their craft, world-famous musicians were invited to record it. The record is filled with jazz motifs and Latin American rhythms. Its experimental nature and authenticity are undeniable. Indeed, with such a record we can start getting acquainted with Latin American music and its wonderful folklore heritage.
Listen to the album 'FOLKLORE' from Dario Acosta Teich on Spotify below and appreciate the huge musical contribution to the cultural space of Argentina and the World.
26 May 2022
Only the voice and the piano are involved in this beautiful ballad that tells about a special person in the life of each of us thanks to whom we want to live and create.
Anindya Mukherjee perfectly conveys the aesthetics of romanticism and spiritual inspiration. His voice has a beautiful timbre that sounds amazing in the tune. Piano accompaniment gracefully accompanies every word of this bright song.
The track 'You' is a real gift to all lovers of a beautiful song where love and goodness are glorified. Anindya Mukherjee is a talented composer who creates fantastic song art.
Listen to the single 'You' from Anindya Mukherjee on Spotify below and enjoy this elegant ballad.
25 May 2022
Quelle Chris' new album, 'DEATHFAME', is a sonic treatment produced by Quelle himself, along with Chris Keys and Knxwledge. The record carries on like an incredible lost tape found at some Baltimore flea market. It explores, unflinchingly, every moment of the trials the early 2020s have brought to all of us. While he is currently […]
25 May 2022A Ghost Remains
Kelly Newton is an emerging singer, songwriter and guitarist from Louisville, Kentucky. She made her professional solo recording debut in 2017 with the album “Lady Liberty.” That record introduced a talented artist writing deeply personal songs that examine the perils of surviving the human condition. She has a vibrant Indie-Folk sound, colored with shades of Rock, Pop and Americana.
“A Ghost Remains” is the brand new album from Kelly Newton, released world wide via all major streaming services on May 13, 2022. The 7 song collection finds Kelly alone with her songs and guitar. The beautifully recorded solo acoustic record is an intimate 15 minute set of songs about life, love and transitions.
From the shades of gray and graveyard metaphors of “Zombie Song” to the excited and anxious energy of “Maybe,’ ‘ with just six strings and some clever twists of phrase Kelly Newton paints vivid and infinitely relatable scenes. She delivers touching and earnest love songs with immediately memorable melodies on tracks like “Because of You” and “A Castle Colassal.”
“Million Miles’ ‘ is a real highpoint. Kelly peppers the short escape fantasy with an infectious Country/Pop hook. Similarly, on the title track “A Ghost Remains” the singer lends her Indie-Folk vibe to a wistful and melancholy Pop torch song and spices it up with some nice bluesy transitions. Throughout the album Newton weaves different musical styles into her unique brand of Folk.
Check out “A Ghost Remains” below, or listen on your favorite streaming service. You can also hear the title track on the Deep Indie Songwriters playlist and “Million Miles” on the Deep Indie Dive. Follow the links below to connect with Kelly Newton. Get on her socials and get in the loop on all of the music to come from this talented and versatile songwriter.
The post Kelly Newton Examines Life, Love And Letting Go On The New ‘A Ghost Remains’ appeared first on The Static Dive.
25 May 2022
Artist: Keeka The Brave
Song: The Messenger
Genres: #postrock #instrumental
Influences: Tycho, Lymbyc Systym, Boards of Canada
Location: Florida, United States
Release date: February, 2022
Comment: Having received classical training in percussion and after years performing as a drummer in live gigs or as a DJ/electronic music artist, it makes absolute sense that the work of Keeka The Brave –the musical project of American musician, producer, and songwriter: Elon Hiers–, sounds so cool and fresh. The Messenger, for instance, blends post-rock guitar lines with ambient synths and sophisticated beats. Inspired by the beaches near Jacksonville, this mesmerizing track will be part of Keeka The Brave‘s debut EP. Check it out!
Featured on the following mixtapes:
25 May 2022
"Down With The King – Official Movie Trailer #1 [HD]" Synopsis: In "Down With The King", rap star Money Merc (Freddie Gibbs) has been sent by his manager, Paul (David Krumholtz), to a rural house in the Berkshires to focus on his next album. Disenchanted with his music career and the 24/7 upkeep that such fame […]
25 May 2022
After closing out 2021 with a collab project with DJ Green Lantern, 'Broken Glass', OT The Real is back with a new collaborative drop with Statik Selektah. OT & Statik's 'Maxed Out' features appearances from Freeway, Shaq, Gillie Da Kid, Wallo, and Merkules. OT & Statik just released a new visual for their Freeway-assisted track […]
25 May 2022