Oldies – Concert: 12/9 – The Dream Syndicate @ Space Ballroom
Nov. 1st, 1968 (psych-blues)
The third album by psych-blues band Canned Heat, “Living the Blues,” marked a monumental change from small gigs to a feature and prime spot at the 1969 Woodstock. This double LP has a 41-minute live recorded song that takes up an entire record, “Refried Boogie, Pts. 1 & 2.” This was actually recorded in front of a live audience, and is largely a made-up mess, but this is what the people came to see. But the first disc marks a song that would later resonate with the whole movement after Woodstock. Though “Goin’ Up the Country” is now used in ads like GEICO, it was once famed as a rural hippie anthem. Canned Heat were early blues enthusiasts; the quill notes are actually a rewritten version of Henry Thomas’ 1928 song, “Bull Doze Blues,” but Canned Heat added some guitar and changed the lyrics. I very much recommend both versions, as it’s important to look at the primary sources and realize what changes were made and why. The crafted lyrics that made a movement. “Now, baby, pack your leaving trunk, you know we’ve got to leave today. Just exactly where we’re going, I cannot say, but we might even leave the U.S.A. ‘Cause there’s a brand new game that I don’t wanna play,” pointing to moving to Canada to dodge a draft, rebelling against government-mandated military service and wartime as a whole. But there is more than just blues, with some swing, in “Walking By Myself,” funk in “Boogie Music” and songs like “Parthenogenesis” that literally is a 9-part 20-minute song composed of: 1. Nebulosity, 2. Rollin’ and Tumblin’, 3. Five owls, 4. Bear Wires, 5. Snooky Flowers, 6. Sunflower Power, 7. Raga Kafi, 8. Iceberg, 9. Sonny Boy Blow. I cannot even explain what all those parts mean; it is the most experimental genre track I have ever listened to, and you just need to experience it for yourself. I recommend all the durable-length songs on this album, especially “Pony Blues” and “Sandy’s Blues.” Though this album can be seen as one without organization, I see an abundance of creativity and inspiration that overflowed into the audience, one love.
Nov. 2nd, 1979 (new-wave/punk)
Better known for her relationship with Mick Jagger in the late ‘60s, Marianne Faithfull returned to the music-making scene after a decade of absence for personal issues after their break-up including drugs, her weight, losing custody of her son, and even homelessness. This affected her vocal chords, returning to the scene with a raspier, deeper, raw, and more emotive singing than her earlier, lighter music, like her first famous single from 1964, “As Tears Go By,” which was written by Andrew Loog Oldham, Keith Richards, and Mick Jagger. “Broken English” diverges from her folk past completely, with blues, punk, new-wave, dance, and even uses synths. It has a similar cover style to Grace Jones’ Warm Leatherette, so I was excited about the dance potential, and I was not disappointed. Then, of course, there’s a cover of Lennon’s “Working Class Hero” with more anger and grit than Lennon has ever performed, and that’s because of the backstory of getting to this point from the ground up. The last song is a classic theme, but Marianne Faithfull does not hold back from letting all the cheating dirty laundry hang, and she has the right to drop this album with her fists swinging. This album is critically acclaimed for not only her ability to pick herself up after basically being used in the music industry, for example, she wrote some of “Sister Morphine,” a Stones song, and got no credit or money from it. Faithfull’s story is one of great success and strength, and this album marks that start for her. She made music all the way until her peaceful death in January 2025 at 78 years old, and her family even released an album this June, “Burning Moonlight,” which was the last four songs she ever worked on. You really need to listen to everything she made, from 1964 to 2025; she has told a unique story, her own. I truly recommend the album “Broken English” in its entirety, with “The Ballad of Lucy Jordan,” “Brain Drain” and “Why’d Ya Do It?” as my favorites.
November 3rd, 1976 (heartland rock)
“Night Moves,” arguably the most influential song that came out of Bob Seger & The Silver Bullet Band’s ninth album, was, of course, inspired by the freedom of a young love he had when he was 19. Unfortunately, she had a boyfriend in the military, both knowing their love would be temporary and boundless. When he ultimately returned, he stole his girlfriend back from Seger and married her. For the imagery, he specifically mentioned one of my favorite movies, American Graffiti, making it so easy to write after his memories transported him back to the ‘60s. Which is exactly the theme of the music video: a drive-in, freedom, and also stars Matthew LeBlanc before he was in Friends. I think there’s this universal feeling. Seger’s lyrics and the melody go hand-in-hand in transporting you back to a simpler time. Many of us weren’t even alive in the ‘60s, but we can fundamentally understand a part of it through this song.
Global – Concert: 12/12 – The Wailers @ Toad’s Place
ROSALÍA’s new song “BERGHAIN” is getting a lot of attention, and for good reason. Named after the famous Berlin nightclub, the track blends heavy electronic beats with her unique and emotional vocals. It feels dark, cool, and powerful, like something you’d hear late at night in a packed club where everyone’s just moving with the music. The song shows how ROSALÍA keeps experimenting with different sounds while still keeping her distinct style. “BERGHAIN” is a reminder of how she can turn any genre into something that feels completely her own.
Making their Korean music debut, &TEAM has left a strong impression with their mini album “Back To Life.” Featuring more heavy rock-pop style songs like “Lunatic,” to the ballads like “Heartbreak Time Machine” and “Who Am I,” this group is here to stay in the charts for sure. Made up of nine members, the group made its initial debut in Japan in 2022, with an EP titled “First Howling: ME.” Whether you’re new to &TEAM or have been following them since their debut, this EP is one to keep on repeat. The group joins an elite few of those who have albums/singles that have sold over 1 million copies in both Korea and Japan, and they managed to surpass that milestone in just one day.
Back again with a new single, “Favorite Place,” Venezuelan artist Maye has captured our hearts with her soft vocals and smooth production. Maye creates a sound that’s both nostalgic and modern, perfect for slow mornings, study sessions, or late-night drives. The lyrics capture the feeling of being completely at ease with someone, where the “favorite place” isn’t a location but a person. It’s gentle, intimate, and effortlessly beautiful, reminding us why Maye continues to stand out in the indie-pop scene.
Hip-Hop/R&B – Concert: 3/20 – Cash Cobain @ Toad’s Place
On October 28th, in honor of the first anniversary of his hit album “Chromakopia,” Tyler, The Creator dropped a special single titled “Mother.” But real Tyler fans already knew what was coming; this track wasn’t totally new. It was originally an exclusive hidden gem on the “Chromakopia” vinyl, which sold over 66,000 copies in its opening week. “Mother” perfectly fits into the world of the album, continuing Tyler’s theme of love, gratitude, and reflection. The song centers around his relationship with his mom, sampling her voice memos in the most heartfelt, personal way. It’s emotional, raw, and beautifully produced, the kind of track that makes you stop and really listen. Honestly, it feels like a love letter wrapped in synths and nostalgia, reminding us why Tyler’s storytelling hits so deep every single time.
Noname teamed up with Devin Morrison to release a single titled “Hundred Acres.” Noname, who has been in the rap scene since 2010, is best known for her poetic delivery and her iconic feature on Chance the Rapper’s “Lost.” This marks her first single release since 2021, and fans have definitely been waiting for her comeback. This new single is 100% a banger. Noname’s verses are sharp yet effortless, packed with her signature introspective flow, while Morrison’s silky smooth vocals glide across the chorus like butter. Together, they create this dreamy, soulful balance that feels both nostalgic and refreshing. After such a long wait, this track reminds everyone why Noname’s voice is so essential in modern hip-hop, and why her return is absolutely worth celebrating.
Chy Cartier and Lil Yachty came together this week to drop not one, but two singles— “Here We Go Again” and “Easy Peasy” and OMG, I’ve been obsessed ever since. Personally, I love hearing these two together. Their voices contrast in the best way possible. Yachty’s laid-back, playful tone perfectly balances Chy’s sharper, more futuristic sound. “Easy Peasy” kicks off with a trippy, spacey vibe that instantly sets the mood, letting Chy Cartier totally shine. Then “Here We Go Again” comes in swinging, opening with a high-energy beat that feels made for a packed club. The bars go crazy, the production’s crisp, and the chemistry between them? Unreal. It’s giving pure fun, confidence, and replay value, the kind of collaboration you don’t even realize you need until you hear it.
Icewear Vezzo dropped a new album this week titled “Purple Passion,” and let it be known, he did not miss. The 12-track project runs just over 35 minutes, but every second feels carefully crafted. Vezzo, who I honestly think is too underrated rappers right now, has been grinding for over a decade, consistently releasing at least one album a year since 2013. This album is another no skip moment, the kind of project that makes you wanna run it back as soon as it ends. Out of the 12 songs, three feature G.T., Finesse2tymes, and 2 Chainz, and my personal favorite is “Status” with 2 Chainz. Their voices blend so effortlessly, both smooth but still full of grit, creating this perfect mix of flex and flow. Overall, this album feels like proof that Icewear Vezzo isn’t just consistent, he’s evolving, and it’s about time people start giving him the recognition he deserves.
Country/Folk – Concert: 12/7 – Joe Jordan @ Toad’s Place
You guys get one pick from me this week. A little bit of a unique pick, in terms of platform, yesterday, Conner Smith released 10 new songs on YouTube. This release comes after Smith teased new music on his Substack a few days ago and again on his Instagram story while at the Tennessee Volunteers Football game yesterday. In an even larger Substack post titled “41 Minutes of Unreleased Music,” Smith reflected on this past year and confirmed the release of the YouTube video. This is the first piece of music Smith has released since October of 2024, except for a feature on Dylan Marlowe’s “Country In The Clouds.”
For some quick background on Smith, and my fandom of him, the 25-year-old young man has been singing since his teenage years, and has been releasing music on streaming for four years now. The Nashville, Tennessee native only has one album, “Smoky Mountains,” which was released in early 2024. That album, in my opinion, is a phenomenal debut. Songs like “Boots In The Bleachers,” “Meanwhile in Carolina” and the title track are absolute classics on my playlist, and take me back to my freshman year. However, the shining gem of that album is “Regret In The Morning,” the 12th song and my personal favorite of all time. The message of the song is pretty simple, based on the title, with Smith singing about how he doesn’t want to be someone’s “Regret In The Morning.” I resonate with this message a lot, which is why it is my favorite song of all time. I actually first discovered Smith thanks to a suggestion from my buddy Nick. The first couple of songs of his I listened to were “I Hate Alabama” and “Why I Can’t Leave.” As a Crimson Tide fan, the former song was very funny to me and an instant favorite of mine. When I first got Spotify, Smith was atop my Spotify Wrapped, with his song “Didn’t Go Too Far” taking my top spot. Some of his other releases are among my most-streamed ever, including “Orange and White,” a song he released about the Volunteers in the wake of the Tennessee-themed songs like Megan Moroney’s “Tennessee Orange” and Morgan Wallen’s “Tennessee Fan.” Songs like “Summer on Your Lips” and “Feathered Indians,” Smith’s Tyler Childers cover, were all on repeat at some point.
His music never fails to put me in a good mood, unlike many others. This past June, Smith was involved in a car accident that tragically killed one person. As someone who just experienced a life-altering event and someone who is very religious, Smith took a hiatus from music and social media. He went inactive for five months before finally breaking his silence in a heartfelt Substack post. If you wonder why I keep referencing Substack, it’s because I’m a member of his Storyteller’s Club, a group he created for some of his fans. After such a tragic event, Smith re-invented himself, announcing in the recent Substack post that he has dropped his record label and is going solo. And thus, the product is a 41-minute-long YouTube video.
The video itself was awesome. Set to a backdrop of rainy, foggy mountains, Smith grabs his acoustic guitar and a microphone and goes to town. No dialogue, no ads, just 41 minutes of straight music. Some of my favorite songs were “Ain’t Got Enough Faith,” the first song he played, “South of It,” the second and “Callin’ While I Can,” the eighth.
In “Callin’ While I Can,” Smith sings of his over-the-phone halftime conversations with his father. He sings about just checking in and tells of how his life has been pretty much the same. But he enjoys just talking to his father, calling him while he still can. One of the most powerful songs was “Industry Plant,” a song that could be seen as a shot at Smith’s former record label. He sings all about how the money and fame might seem awesome right away, until you wake up and realize you’re inauthentic and simply an “Industry Plant.” This song shows just how much Smith has grown and how he’s not afraid to stray away from the limelight. These songs remind me a lot of Chase Rice, as both of them are now independent artists. They have both embraced a new era of music, and I’m very excited to see how Smith’s independent era goes.
He closes out the video with a cover of Zac Brown Band’s “Free.” It’s hard to match the greatness of the original, and while I don’t think Smith outperformed it, he did a really good job with it. Ultimately, a 41-minute YouTube video will be hard to return to on a frequent basis, as I can’t just click on the song like I would on Spotify, but I’m okay with that. I am very excited for Smith’s new music and very excited to see the path he goes down. He has teased the release of some of the songs to streaming, so hopefully that comes in the near future. For now, though, I’ll enjoy the new music and stay tuned to all the new things he has in store. Just a phenomenal release front-to-back.
Rock/Alternative – Concert: 12/30 – Creed @ Mohegan Sun
“We Are Love” by The Charlatans was a very strong return for the band as their first release since 2017. The English indie rock band has always been known for its ability to blend or switch between the different styles and genres of the British music scene. Whether it is the indie dance sounds of Manchester or a more upbeat Britpop sound, The Charlatans can handle it all, and they prove it again in this new album. The new album is very balanced, but it still does not shy away from more experimental sounds, with the album sometimes carrying a psychedelic and atmospheric feel. If you are a fan of The Charlatans or really any Manchester music, then there will definitely be stuff on here that you enjoy.
Inhaler is back with a new single after their new album earlier this year. The new single “Hole In The Ground” has been described as “a yearning anthem blending melancholic hooks, layered guitars and gauzy atmospherics underpinned by a hypnotically pulsing groove,” in a statement from the band. The song tackles themes of resilience, hope, and growth in the middle of difficult circumstances. There are hints of classic ‘80s indie-rock that can be heard, with it sounding like there may have been some inspiration from bands like The Smiths or The Pixies. The song is another strong release from the band that definitely fits in well with the rest of their discography.
“Cold” by Sex Mask is a blend of post-punk, indie-punk, and new-wave that is very high-energy. The song has a very raw sound that features consistent jagged guitars that are driving throughout the song, which really adds to the energy. The lyrics tackle themes of obsession and impulsiveness, with the constant driving guitars creating a cyclical feeling. This cyclical feel can also kind of create a little bit of a darker and slightly unsettling quality to the song that adds a lot of character to the track. “Cold” is the lead single from the band’s upcoming EP, set to be released later this year.
Pop/Indie – Concert: 12/9 – Foreigner @ Toyota Oakdale Theater
Clara Mae wrote a fun pop-country response to Dolly Parton’s Jolene titled “No Jolene.” In this pop version Mae says this other woman can try to take her man but she is no Jolene. She compared the other woman’s struggles to Parton’s Jolene. Mae is known for her previous involvement in the Swedish band ‘Ace of Base’ known for songs like “The Sign.” Mae’s solo work reflects her talent on her own.
This past week Grace Power released her album “Witching Hour” on Halloween. I really enjoyed the song “Underworld”. It has a bit of an Alice In Wonderland feel but also touches on mental health. I really enjoyed the darker elements in this song and I can’t wait to listen to the rest of the album.
Lastly, Grace Enger brings back some elements of fun pop with her song “Running Back To You”. I really like the drums at the beginning of this song before the vocals come in, I think it sets the tone really well. While this song does involve a breakup I feel like the chorus and general sound have elements of 2010’s fun summer pop. The comeback of fun pop from artists like Audrey Hobert this year has been so fun to watch and I think Grace Enger, while different, is making some new fun pop sounds.
