Oldies – Concert: 3/26 – Rosanne Cash @ Ridgefield Playhouse
Feb. 7, 1981 “The Gospel According to the Meninblack” by The Stranglers (synth punk/ dark wave)
Being not very familiar with The Stranglers, I was happy to dive into this album, “The Gospel According to the Meninblack,” because of all the other electric-synth-punk I recommend about how the world will turn apocalyptic. This album isn’t upbeat or danceable, barely has any hooks, and offers no breaks from the haunting drum and bass. This album pretty much failed commercially, but that doesn’t make me dislike it. I think it means even more when the band takes punk further, to a place where they don’t care if people will like the music; they didn’t make this album to please. And if anything, its purpose was the opposite. The vocals are cold, abrasive, and the whole tone of the album is alienating you from the familiar and safe. The themes of control, unknowing, and, of course, the “Men in Black,” but it’s less about actual aliens and more about being manipulated, watched, or at the whim of something you don’t understand. It’s not specific, like last week’s album, which pointed more to the government. This leaves room to interpret the media, large corporations, or merely the lack of control in our future; it’s meant to give you anxiety, and for me, it has. I was fooled by the opening song, “Waltzinblack,” because it sounds like a pixelated video game boss fight level, which I loved. Then, when we finally get into songs with words, “Just Like Nothing on Earth” is sung in an uneasy tone and pitched up, trying to reflect an alien watching us. “Turn the Centuries, Turn” is a second instrumental piece that sounds like the building up of hope, in my opinion, and is one of the rarer songs that follow actual musical composition and recognizable instruments. The Stranglers aren’t afraid to point at specific oncoming fears in 1981 either, for example in the song “Two Sunspots,” I see both the illusional alien invasion, but also a purposeful critique of global warming, talking in the lyrics about weather issues, start fires, but the song goes to pull the blind down and then “deny they exist,” maybe pointing at humanities own faults for Earth’s downfall instead of fake aliens. This same theme continues in the songs “Thrown Away,” talking about the waste of humanity, and “Meninwhite,” about religion and the people that promise to save your soul. The last song stands out from the rest, “Tomorrow Was the Hereafter,” wrapping up this existential dread with the message that you should live for today because there is no hope in the future. Overall, I love the message but the music less so, although the use of early synth in punk was groundbreaking, and the singer says that this was his favorite album and a huge standout in the 1981 rock scene that would go on to predict so much more of the post-punk and industrial music industry. As a warning, this music isn’t going to be your favorite or make you smile; this is unsettling on purpose and gives you a look into a parallel future that could’ve been our present. I recommend the songs “Waltzinblack,” “Two Sunspots,” “Four Horsemen,” and “Tomorrow Was the Hereafter.”
Feb. 8, 1972 “Root Down” by Jimmy Smith (soul-jazz)
At a time in musical history when jazz was made mainstream, transformed, and claimed by so many people, Jimmy Smith’s goal was to reconnect with the roots of Black music, where he includes blues, groove, church, and also street genres into an instrumental homage. Being named “Root Down” means staying grounded in who you are, even if there is a tornado around you. And guess what his frontline instrument of choice was? An organ! I was already a fan by the opening song. Being unedited, you already feel like you are sitting in the Blue Notes in Los Angeles (where it was recorded) in the audience and witnessing history, a full 12-minute blues piece of pure talent and heart. His organ takes front and center in the songs “For Everyone Under the Sun” and “After Hours,” showcasing its versatility to be a lead, bass, and harmony at the same time. Who knew that the organ and electric guitar could work so well together, both with guitar AND organ solos for “After Hours”? The main feature of this album, “Root Down and Get It,” is where his mission becomes clear, with funky drum snares, clear groove, and almost hip-hop-esque bass lines that make your body move subconsciously. This song would later famously be sampled by the Beastie Boys in their song “Root Down,” which further connects this bridge between jazz and hip-hop. The next song, “Let’s Stay Together,” reworks Al Green’s famous soul classic, of course with Smith’s organ, and gives true homage to contemporary Black popular music without pushing his jazz over it, and instead showing his respect by blending and connecting tradition. Being released in the early 70s, in the midst of the post-civil rights disillusionment, political mistrust, and the commercialization of Black music. Smith’s response isn’t a protest, but a reaffirmation of the music, community, and shared goals in cultural survival. The influence of this album rippled through jazz-funk and helped refocus fusion in a new, emerging musical world. This album would go on to be sampled by many, and proves that innovation doesn’t always mean moving forward; it can sometimes mean digging deeper into something that already exists. I recommend the whole 1 hour 8 minute album, but if you only have time for a few, I recommend “Root Down and Get It,” “Sagg Shootin’ His Arrow,” and “Let’s Stay Together.”
February 9th, 1979 “Tragedy” by the Bee Gees (Disco)
Normally overshadowed by the “Saturday Night Fever” songs, by 1979, the Bee Gees were virtually untouchable. Disco wasn’t just a genre anymore; it was the sound of an entire cultural movement, with the Gibb brothers at the forefront. “Tragedy” sits right in the middle of that movement as one of the most dramatic, maximalist pop singles of the era and a perfect look into how far the Bee Gees pushed studio technology at their peak. During this time of electronics, layered vocals, and futuristic production, it’s hard to relate it to such smooth songs as “Stayin’ Alive” or the romance in “Too Much Heaven,” and this song relies on the building and releasing of tension and hints toward the switch to 80s new wave. I swear every time I listen to this song, I hear a new background noise or instrument that is drowned out by the high vocals. Also, a side note that everyone should know, the Foo Fighters released an entire half-album of Bee Gees and Andy Gibb covers, called “Dee Gees/ Hail Satin,” and Dave Grohl sounds eerily like Barry Gibb. The Foo Fighters are dressed head to toe in ‘70s fashion and don’t hold back their thundering rock instruments. If you get anything out of my weekly this week, please discover the Dee Gees and Jimmy Smith. <3
Hip-Hop/R&B – Concert: 5/29 Don Toliver @ PeoplesBank Arena
On Feb. 6, J. Cole released a new album titled “The Fall-Off,” which he announced on Jan. 14. This album includes 24 songs, seven of which include stacked features. These features include: Future, PJ, Tems, Erykah Badu, Petey Pablo, Burna Boy, and Morray. When this album was released, it was named the second most listened to rap release of 2026, right behind Don Toliver’s “Octane.” J. Cole fans have named this album his best, and I definitely agree. My favorites so far are “Two Six,” “SAFETY,” “Poor Thang,” “WHO TF IZ U,” and “Drum n Bass.” Each of these songs started so strongly and immediately became a top pick for me. In my opinion, this album is a no-skip album, and I cannot wait to take another listen.
EsDeeKid is back with his first single release of 2026 titled “Omens,” and it feels like a confident return. From start to finish, the track screams EsDeeKid, staying true to his signature vibe while still sounding fresh. The production matches his energy perfectly, creating a dark, atmospheric mood that pulls you in right away. What makes “Omens” stand out is how effortlessly he commits to his sound; there’s no overthinking, just confidence and consistency. It’s the kind of song that feels made for late-night listeners, letting the beat and his delivery do all the work. As his first release of the year, “Omens” sets a strong tone for what’s to come and shows that EsDeeKid knows exactly who he is as an artist.
448Gotti, a smaller rapper with only 10,000 monthly listeners on Spotify, released a single titled “Avenue.” Originally from Dallas, Texas, Gotti has been consistently dropping singles since 2024, slowly building momentum with each release. Going into this track, I honestly wasn’t sure what to expect, but I was pleasantly surprised. “Avenue” comes in with high energy and delivers over two minutes of straight bars, keeping the intensity up the entire time. Gotti’s delivery feels confident and focused, making it clear that he’s serious about his craft. The beat is hard-hitting without being overwhelming, allowing his flow to really take center stage. For a lesser-known artist, this track stands out as a strong showing of potential and makes “Avenue” a release worth paying attention to.
Country/Folk – Concert: 3/20 – Avery Anna @ Mohegan Sun Wolf’s Den
The final single from Megan Moroney’s upcoming album, “Cloud 9,” is the much-teased title track. Beginning with an iconic strum that was first teased when the album was, “Cloud 9” seems like a fun track to begin the album. Moroney wrote via Instagram, “this one’s for the lover girls,” which is a somewhat uncommon message in many of her songs. Except for “Sad Song For Sad People” on “Lucky” and “Third Time’s The Charm” on “Am I Okay?,” Moroney doesn’t write too many traditional love songs. There are also the more popular “Am I Okay?” and “Tennessee Orange,” which could both be seen as love songs, but still, it’s uncommon for a Georgia native. I think it’s apt that this song will open the album, as it prepares listeners nicely for the emotional rollercoaster that is sure to be the rest of the album. However, there’s a good chance I could eat my words, and the album is just a lot of fun. I honestly would be happy with whatever route it goes down, but I am a sucker for her slower songs. I imagine I will have a lot more to write once the album is released, so for now I will leave it at that. This song really impressed me, and I have a feeling it will stay in the middle tier of my favorites once the album is released later this month.
As the No. 1 Dylan Davidson propaganda pusher in the state of Connecticut, I had to include his newest release, “Escape Artist.” Davdison has been teasing this song for months now, even playing it on tour with Avery Anna this past winter. Getting to hear this song live made me even more excited to hear it on streaming. He frequently mentions this song as having an early 2000’s feel to it, and I can totally see that. It reminds me of something by the Fray, the Script, or even Augustana, which I heard him cover in concert as well. I’m not sure this song will trump the likes of “Wine Night” and “You, Me, and the Dogs” in my Davidson rankings, but I’m excited for any new music from him. Hopefully, he drops an EP or an album soon!
Michael Marcagi, whom I was only somewhat familiar with before writing this, released his debut album, titled “Under the Streetlights.” Marcagi recently hit the music scene, releasing his first song in 2023 and his second song, “Scared to Start”, in early 2024. It is his 2024 release that put him on the map, as it currently sits at over 700 million Spotify Streams. On first listen, I really liked this album. The opening track, “Move On,” was probably my favorite, tied with “Thanksgiving Eve.” That is likely due to both songs being slower, while the majority of the album is fun and fresh. I got major Backseat Lovers vibes from this album, especially on “I Should Know Better” and “Anna Lee.” Both songs sound like they could be on “When We Were Friends,” as their liveliness helps to bring this album to life. I also really liked “Rocksteady” with Jade Bird, as her voice reminded me of Carter Faith. I am curious what fans of Marcagi will think of this album, but I imagine they will like it. His career seems off to a blazing start, and I’m excited to see what will become of it in the future.
Carter Faith, whose recent album “Cherry Valley” cracked No. 18 on Rolling Stone’s 100 Best Albums of 2025, released her cover of Addison Rae’s “Fame Is A Gun” this weekend. Faith’s album really impressed me as well, as it was one of my top picks last semester. The entire album is phenomenal, and it made me even more of a fan than I was prior. I was actually set to go see Faith in concert last week, but I messed up the date and didn’t make it home in time. While I love girl pop as much as the next person, I have never dove into Rae’s music, mainly because of the reputation I had of her prior. I never disliked Rae, but in my eyes, she will always be a Covid TikTok sweetheart, and I can’t picture her as a risque pop star. However, I know she has her fans, and I respect her for that. Faith’s cover of the song is honestly really solid. This is the second week in a row I’ve put a cover on the weekly, and it’s because they have both really impressed me. Two very different artists covered two very different songs, but both Faith and Lizzy McAlpine crushed it. In this song, Faith reminds me of Jessie Murph, so if you’re a fan of any of those three artists, I would highly recommend this.
Rock/Alternative – Concert: 3/18 – Angry Samoans @ Space Ballroom
Boston rock legends Dropkick Murphys worked together with Boston punk newcomers Haywire 617 to create a protest song that very directly tells you their opinions on ICE with their single “Citizen I.C.E.” The song calls the agency “power hungry” and “poorly trained” with “no accountability.” Punk music has always been used to send political messages, and this is another great example of two bands using their music to voice their opinions on modern issues. It’s angry, loud and in your face for the entire song and really just feels like classic ‘80s hard punk. If you are a fan of Dropkick Murphys, I highly recommend checking out this song.
Green Carnation has released the first single from the second album in their “Dark Poem” trilogy. The new single seems to be the title track of part two, called “Sanguis,” with the album set to release in April. The track is very similar to the music from part one: “The Shores Of Melancholia” with powerful drums, melodic guitars and gloomy vocals. I am very excited to see what Green Carnation does with the rest of this trilogy. So far, the band has made a very interesting, fresh take on doom metal.
The Black Keys have released a cover of Ike Turner’s “You Got To Lose” as a single, building up to their new album “Peaches!” that releases in May. You can tell that the song is a cover of a rock song from the ‘50s, just in the way it has a slight rhythm and blues and country feel to it. Turner is a pioneer of rock and roll, but his legacy is often overshadowed by his controversies with drug abuse and the way he treated his wife, the iconic Tina. The Black Keys do a fresh modern take on the song, and if you are a fan of early rock and roll or The Black Keys, this song is definitely worth checking out.
The Southern California alternative rock band Young the Giant has released a new single, “Different Kind Of Love.” The single is the first release from their new album “Victory Garden,” which is releasing in May. The band has called the album “an ode to radical empathy,” and this song definitely establishes that tone, with the song feeling very optimistic and uplifting. The band definitely still carries their 2010s alternative rock sound, similar to bands like Foster the People or The Lumineers, and if you are a fan of that style of music, I highly recommend this song.
Pop & Indie – Concert: 5/23/26 – Charlie Puth @ Mohegan Sun
The Muppets are back and better than ever. Kermit, Miss Piggy, and friends were joined by Sabrina Carpenter, Seth Rogen, and Maya Rudolph for The Muppet Show’s epic return. So far, the only song available on Spotify from the pilot is the “Muppet Show Theme,” and I would honestly listen to it on repeat. The first episode did have a lot of good covers that I hope make it to streaming.
Hello Sister is a band of three sisters I follow on TikTok after first watching them on America’s Got Talent. They do a lot of great covers, but they also make their own music. Ranging in ages from 17 to 20, their talent is really impressive. “Little Lover” is their latest single about a breakup. I recommend giving this song a listen and checking them out on TikTok.
“Sunday Best” is Nick Jonas’ newest solo album. I had high hopes for this album because the Jonas Brothers have had some great new music in the past few years. I’ve honestly never had any interest in any of their solo careers, so I wasn’t sure what I would think, but I genuinely really enjoyed this album. I’m literally in love with the second track titled “Handprints,” I think this song is about his daughter because she’s mentioned at the beginning of the song, and things like slowing down time and handprints are normally associated with children. The only thing I don’t like about this song is how short it is. I feel like I need to share the first half of the chorus with you because I’m obsessed with it: “But I know, know in the back of my mind / Winter’s a season away / And you hate the cold, so I’m asking the leaves if they’d kindly not change.” The whole album is great, but this song will be in my head for a long time. If you like the Jonas Brothers, I would definitely give this album a listen.
Maisie Peters released her fourth single from her upcoming album “Florescense,” set to release May 15. “My Regards” is like a letter to everyone who wants her man. Peters’ is in her lover era and she has every right to brag about it. I definitely prefer her last album, but I think this single is giving me hope that I’ll like this one as well.
Sombr, fresh off the Grammy’s stage, released a single, “Homewrecker,” that may just be one of my favorite releases from him. It’s about knowing you’re better for someone than their current relationship, but not being able to do anything. I really liked the lyrics in this song. I’m looking forward to more new music from him this year. The music video also came out and stars Quenlin Blackwell and Milo Manheim.
