Oldies – Concert: 3/21 – Cheap Trick @ Foxwoods

January 31, 2000 “XTRMNTR” by Primal Scream (industrial punk/ electronic)

In stark contrast to their last hit album, “Screamadelica,” which was more of an acid-house mix with synth, this largely political, loud punk is a new turn for Primal Scream. They were at the crux of a new punk genre that would later be adapted by artists like Nine Inch Nails and LCD Soundsystem, and even collaborated on the album with members of The Chemical Brothers, New Order, and a member of My Bloody Valentine. “XTRMNTR” is Primal Scream’s sixth studio album, but it marks its first venture into an “industrial” synth music style, and the political lyrics follow throughout the album. We open with a killer heading “Kill All Hippies,” establishing itself as the “other,” a push for progress, and taking hits at disco as it leads with harsh, technical beats. The second song, “Accelerator,” uses its voice to push fast into the future of industrialism, “into the future, into the future,” and doesn’t want those who dwell on the past to hold up progress, even if the progress isn’t necessarily good. Then the album title, “Exterminator,” outlines all the harsh realities of living in the 21st century, perfect for January of 2000, am I right? Control virus, hallucinatory programs, satellite sickness, TV junk, jails are concentration camps, judges bought off, exterminate the underclass, etc., are all topics that are becoming increasingly more relevant as the government tolerates “civil disobedience” less and less and exercises more of its power than it should. The most obvious hit “Swastika Eyes,” describes a feeling of knowing what someone is planning before reality sets in, for example planning an industrial military against the people or keeping an illusion of democracy when all along it was planned and calculated, again more and more relevant and these songs from 2000 really make me upset with how accurate and forewarning they try to be. And that’s exactly the point, this type of political album doesn’t want you to listen just to understand, it wants you to be in the streets with a megaphone yelling this yourself. The band tells you the flat truth to you, and uses songs like “Exterminator” and “Insect Royalty” to fill you with paranoia and mistrust, showing the truth of being stuck inside a system that you didn’t create but seemingly can’t escape, the hollowness of industry, consumerism, and money. This organism of evil seemingly has its own soundtrack and voice as well, both in “Blood Money” and “MBV Arkestra” there are instrumental builds up of intensity, drums, distorted noise, and uneasiness. There is one hopeful song, “Keep Your Dreams,” specifically for all the artists and dreamers out there. This album isn’t to say that the future is set in stone or all dystopian; it’s a call to action, and one of the calls is to keep your humanity about you. There is no better song to end the album with than “I’m 5 Years Ahead of My Time” because Primal Scream was perfectly able to turn the industrial technological revolution of distrust, adverts, and propaganda into 64 minutes of the darkest political reality we can describe right now. I recommend “Accelerator,” “Exterminator,” “Keep Your Dreams,” and “Pills,” but if you like political synth punk, the whole album has meaning to offer.

February 1, 1967 “Surrealistic Pillow” by Jefferson Airplane

Jefferson Airplane’s second album, “Surrealistic Pillow,” shaped early ‘60s counterculture and psychedelic rock in a way no one expected. Unlike later psych bands, there is still a very clear rock and roll influence in the melody and structure, and led by the new front-singer, Grace Slick, enhancing her voice. It was her vocals alone that took songs like “White Rabbit” and “Somebody to Love” to the platinum level and still to its relevance today. “White Rabbit” specifically was a complete genre-breaking song for Jefferson Airplane and basically anyone else in the mid 60s. A persistent militant drum beat following Slick’s strict orders of her voice and the illustrations that she’s describing were revolutionary and inspiring, especially for women like Kate Bush, Siouxsie Sioux, Patti Smith, etc. The more vulnerable songs, “Today” and “Comin’ Back to Me,” are quiet and non-confrontational, another part of psychedelic rock being introspective, and not just yelling the point of the song in your ear; it’s more abstract. The few “political” songs are almost comical, with “Plastic Fantastic Lover” as an ode to Marty Balin’s new stereo sound system, but the ambiguous lyrics are on purpose, of course. “She Has Funny Cars,” though less obvious, is also an attack or questioning of the materialism in American society. Why does everyone need the latest model if it does the same as the old one? There are a few really stand-out genre songs included, such as jazz in “In the Morning,” as a drum, piano, and harmonica piece; it mainly features jazz improv and instrumentals. And a lighter feature without noisy guitars, J P. P. Mc Step B. Blues, which sounds like a Simon & Garfunkel song. The rest of the album features 60s guitar picking, “⅗ Of a Mile in 10 Seconds,” “Go to Her,” and “Come Back Baby,” or more classic ‘60s pop folk in “How Do You Feel” and “My Best Friend.” This entire album is so critical to the booming of genres in the late ‘60s and early ‘70s; it is a clear presentation of at least four different styles and combinations of techniques that clearly define what one generation is thinking and aligns itself with the counterculture movement. I recommend “Somebody to Love,” “Go to Her,” “How Do You Feel,” and “White Rabbit.”

February 2, 1981 “Once In A Lifetime” by Talking Heads

This is one of the very few songs that I can’t say has a true genre. When I heard it for the first time, I wasn’t even sure it was a song. “Once In a Lifetime” by the Talking Heads off of “Remain in Light” has a looping backtrack, Afrobeat-inspired rhythms, and the repeated voice lines also act as instruments in some sense, directing most of the variation. David Byrne’s preaching in the beginning and between the loops becomes a question about how our lives become a repetitive, meaningless routine, both telling us and telling ourselves. This song fits in very well with the overarching theme of “Remain in Light,” combined with the context of songs like “Seen and Not Seen,” you piece together that the idea of identity really becomes a question if we form ourselves or if we are just products of the world around us, and if we can change. Talking Heads always point to a deeper meaning to their music, but the fact that these songs can be so danceable while still reflecting on whether life has meaning at all is an art in itself. If you have never heard the song, you probably find my description of the song inadequate or vague, but please listen, I swear you won’t regret it. This is a song everyone must know.

Global – Concert: 4/18 – Romeo Santos & Prince Royce @ Peoplesbank

This new album, “Kiss Big,” has been awaited by fans of Reddy for months, since the first single Align was released back in September. Hailing from Dublin, Ireland, Ailbhe made her debut exactly ten years ago this month in 2016 with her single “Distrust.” Known for her indie-folk style, she is on tour right now with upcoming stops in New York, New Jersey, London, and, of course, her home city, Dublin. Kiss Big contains nine songs, each containing its own unique flair that is so clearly the style that fans know Reddy for. 

Starship’s newest girl group, KiiKii, made their debut back in just a year ago, bringing a new concept and hooking netizens with their visuals before they even released their first single, “I DO ME.” Since then, they’ve had three other releases before the new Y2K mixed media concept they’ve adopted for this comeback, releasing “404.” The group debuted with the current youngest leader within the K-pop community, Jiyu, who was just 18 at debut. Fans are loving “404,” as the music video has brought a new category to the K-pop world, with the main focus being not only on the group members but also a level of mish-mash, almost newspaper/scrapbook style of a video. It gave the group a new look, and the dance is already trending across social media, truly embracing the “new era” theme of the song.

A legendary sample in “Tokyo Drift” is brought back to life and given a second chance at charting with the new boy group, ONE OR EIGHT. Known best for their remix of Rihanna’s “Don’t Stop The Music,” the group has made headlines with about 90% of their music being in English, featuring only a few lines in Japanese. Signed with the American label, Atlantic Records, they are the first global boy group to do so within the J-pop/K-pop Methodology. The group gave the classic sample from Fast and Furious a whole new sound with their production and lyrics, making it even more catchy. With their group still technically counting as rookies in the music world, their stage presence and performance quality would easily sway you to think they are seasoned veterans.

Hip-Hop/R&B – Concert: 5/28 Khalid @ Hartford Healthcare Amphitheatre

On Friday, Jan. 30, Don Toliver released his highly anticipated album, “Octane.” This album includes 18 songs, five of which include insanely stacked features. These features include: Yeat, Rema, Travis Scott, Teezo Touchdown and SahBabii. Before this album release, Toliver dropped “Tiramisu,” which is one of my favorites from the album, with my other two favorites being “Gemstone” and “Callback.” Each of these songs has an incredibly strong start, which made me instantly fall in love.  For the rest of the songs, I’m not sure if I love them. However, as a big Don Toliver fan, I might just need to take a few more listens to truly get the vibe.  

NLE Choppa released a new single titled “Shotta Flow 8.” This song starts strong and hard-hitting, with Choppa instantly getting his words in. NLE Choppa is known for being able to conquer anything, releasing tracks with completely different sounds. The aggressive production paired with his sharp delivery makes it clear that this track is meant to demand attention from the very first second. Unlike much of what’s currently dominating the rap game, “Shotta Flow 8” feels raw, intentional, and unapologetic. What makes this single stand out is how effortlessly NLE Choppa balances familiarity with growth. While the track stays true to the energy and intensity that fans expect, it also showcases his ability to evolve without losing his identity as an artist. Choppa has never been afraid to experiment with different sounds, flows, and themes, and this release further proves his versatility within the genre. Overall, “Shotta Flow 8” reinforces NLE Choppa’s place in the rap scene as an artist who refuses to be boxed into one style.  His confidence, adaptability, and willingness to push boundaries continue to set him apart, making this single not just another release, but a statement.

Rod Wave released an emotional single titled “Feed the Streets.” Though the track runs just two minutes and 58 seconds, it leaves a lasting impact through its raw and devotional delivery. The song features a unique beat that differs from his usual production, yet it still complements Wave’s signature flow and soulful tone. What truly stands out in his new release is Rod Wave’s ability to turn personal pain into a powerful narrative. His lyrics reflect themes of struggle, loyalty, and perseverance, allowing listeners to connect with his experiences on an emotional level. Even with a shorter runtime, the song feels complete, as every line carries weight and intention.

Country/Folk – Concert: 3/14 – Photos for Brandon Lake @ Mohegan Sun Arena

When some of country music’s biggest names come together, such as Morgan Wallen, HARDY, Eric Church and Tim McGraw on “McArthur,” most people get excited. However, I was very skeptical. Being a fan of Wallen’s, I know he has collaborated with HARDY and Church multiple times in the past, but this is his first time working with McGraw. All four artists teased the song earlier this week, posting the names of fictional “McArthur’s” to their social platforms. With the release of the song, we found out the significance of those names, in what is actually a very heartfelt story about family and death. The song opens with McGraw, then Church, HARDY and Wallen, respectively, all singing about their “McArthur.” It’s meant to be a song about passing down generations, and how professions and attitudes can change. McGraw’s John McArthur is a traditional blue-collar worker who will die on the job site. Church’s Junior fought and died in Vietnam, leaving behind his wife and a son he never met. HARDY’s Jones is the son who spent his life in the workforce so his son could go to college. Wallen’s Hunter is the living McArthur, looking to sell the property his father worked on before him. All the stories tie together in the chorus, with the telltale lyric being “When you pass on, what you gonna pass down?” What makes this song so interesting to me is the artists behind it. You have Wallen, who is very careful with whom he collaborates. He and HARDY are two of the biggest names in the current country scene, whereas Church and McGraw dominated the 2000s and 2010s. Initially, it seemed like a weird grouping, but I didn’t realize how much I needed this song. One of my favorites of the year, and I know it will continue to stay that way.

“The Great Divide” is the first single from Noah Kahan’s upcoming album of the same name, and boy, is it a good one. The album, set to release on April 24, has 17 songs and an unknown number of features. This single is Kahan’s first step away from his record-breaking “Stick Season,” which launched him into folk music superstardom. It is also his first solo work since the same album, as all of his previous singles have been collaborations with Kelsea Ballerini, James Bay and The Lumineers. This song is sure to please all of Kahan’s fans, and even some of his non-fans, as it has been teased in the past. I am obviously unaware of the other songs he plans to release as singles, but this seems like a great one to start with. Some of my personal favorite lyrics include the telltale line “I hope you settle down, I hope you marry rich,” and “I hope you’re with someone who isn’t scared to ask.” “The Great Divide” just has all the elements that make Kahan a true treasure right now: a catchy chorus, some solid lyrics and just enough emphasis in his voice for the song to come off as authentic.

My second title track pick, Ella Langley’s “Dandelion,” is a song that impressed me, but isn’t an absolute favorite. This song directly follows her smash hit “Choosin’ Texas,” which currently sits at No. 6 on the Billboard Hot 100. I might be the only person in the world that doesn’t care for the song, and I’m willing to stand on that opinion, but I digress. Though it seems like everyone these days is comparing Langley to Megan Moroney, thanks to their contrasting looks and complicated love triangle with Riley Green, I have appreciation for both of their music. Anyone who knows me knows I love Moroney more than just about anyone, but I also like a lot of Langley’s music, specifically “girl you’re taking home” and “made it out of mexico – acoustic.” I think in the grand scheme of things, I like Langley’s music a little less, but that doesn’t mean it’s bad. That’s exactly how I feel about “Dandelion.” I am still quite excited for the album to come out in April, and this song helps to increase my excitement. I’m just expecting a little more from Langley on said album, and I hope we get it.

Lizzy McAlpine released her version of “House of the Rising Sun” this weekend, most famously covered by the Animals. McAlpine’s version, however, comes courtesy of Joan Baez, who put her own spin on the song in the early 1960s. I recently discovered a lot of McAlpine’s music, as I decided to listen to her two most recent albums over break. I think what I appreciated about them most is how different they were, as “Older” is very slow with a lot of interesting messages, whereas “Five Seconds Flat” has a lot of good changeups and some of my favorite songs by her, primarily “firearm” and “erase me.” I think her take on Baez’s cover is REALLY good. Her voice works really well with the flow of the song, and she believes it does too, as she mentions in an interview her appreciation for songs that can strip down their production and still be good. That is exactly what McAlpine does, as the only instrument I hear in the background of this song is a slow-strumming guitar. I think it would be bold of me to consider this one of my favorite covers ever, but it’s definitely one I was a fan of on first listen, and one I recommend to any fans of the song or of McAlpine herself. 

I am not too familiar with John R. Miller, so this pick comes thanks to a suggestion by Jim! I REALLY like Miller’s voice. It distinctly reminds me of someone I have heard before, but I just can’t quite put my finger on it. Maybe a little Bob Dylan, maybe some Springsteen, I’m not really sure, but I like it. I’m a big fan of this song too, and it has inspired me to listen to more of his catalog.

Rock/Alternative – Concert: 3/19 – The Chats @ Toad’s Place

Dogpark has released their newest EP, “Corporate Pudding.” The EP is six tracks long and three of the songs, “September,” “I Don’t Mind,” and “75$72” were released as singles in 2025 for buildup. I talked about these singles in past weeks when they were released, and one of the things I’ve noticed is how the band has really figured out their sound. They’ve come into the variety of the indie-rock sound, and Eamon More’s vocals can be almost hypnotic at times. The whole EP is loud with heavy grooves, and the whole project is very cohesive. The album addresses many of the mental struggles and pressures of corporate America and how they can damage the creative mind. If you are a fan of indie-rock like The Strokes or The Cure, then I highly recommend this new Dogpark. 

“I Used To Go To This Bar” by Joyce Manor is the latest album from the California pop-punk band, and the band continues to find highs even seven albums and a decade and a half since their beginning. One thing that many pop-punk bands run into when they get older and progress in their career is that their music becomes too polished, and it feels too pop with not enough pop, almost making it feel corny. Joyce Manor does not have that issue, as this album is very catchy and continues to feel relatable, as a lot of the songs deal with the emotions we experience in everyday life. If you like pop-punk or emo music, I highly recommend checking out this album.

“When A Flower Doesn’t Grow” is Softcult’s first album, and it is also my first introduction to the band. Right from the start, I was very impressed. The album has a very shoegaze sound, but the band describes themselves as “riotgaze,” which can definitely be heard in many of the tracks. The sister duo does well to blend their soft and tender sound with a more angry or violent sound, and they do it extremely well. There are some songs like “I Held You Like Glass,” which is an acoustic song that talks about healing from trauma, or there are others like “Tired,” which is a track that could be on a punk album that talks about anger and frustration towards misogyny, with both being equally well done. The album has so much range and so much emotion, and I highly recommend it to anyone who’s a fan of any shoegaze, punk, or grunge.

Pop & Indie – Concert: 3/27 – Aly & AJ @ Toads Place

I really liked Paris Paloma’s song “Good Girl.” The song is about her relationship with herself, and I think it was beautifully done. Starting with spoken word was a really good choice for this song because it sets the tone and meaning of the song perfectly. I’m a big poetry fan, so I was thrilled by the beginning, but I’m interested to know other people’s opinions on it. I also really enjoy the building instrumentals during the spoken word portion. I think it helps the transition into the musical part feel super smooth. 

Anna Justen’s single “Cutting Board” is a depressed breakup song, which works out since it’s my favorite kind of music. I like that the first and last lines of the chorus are very similar because it makes the “I don’t want you” part hit harder. The verses describe depression and the lack of care she feels. I like how this song manages to depict the lonely and sad feelings of a breakup in a depressed way instead of showing anger. 

STELLA LEFTY’s latest release, “Slow Dancin,” is a perfect blend of pop and country. Despite being an indie-pop artist, this song definitely sounds country, especially the instrumental breaks. Some of the verses remind me of Kelsea Ballerini’s writing on her older albums. I really like how this song sounds, and it’s pretty catchy. Lefty writes about wanting someone for a short period of time, not a whole relationship, as either a one-night stand or occasional fling. I like this song a lot.