Country/Folk – Concert: 4/11 – Aaron Lewis @ Foxwoods Resort

Was there any question what my top pick was going to be? Megan Moroney released her much-anticipated, by me, third studio album, “Cloud 9,” this weekend. The album, which I have written about four times already, has 15 songs and two features from Ed Sheeran and Kacey Musgraves, respectively. First off, I would like to give a lot of love to the album cover. The ethereal Moroney stands on a ladder surrounded by pink clouds, hence the name of the album. It’s probably my favorite of her album covers, only rivaled by her debut “Lucky.” Outside of the four singles, I personally was a big fan of “Liars & Tigers & Bears” and “Wedding Dress.” The latter is the slowest on the album, so of course I’m a fan, and the former is probably the shining track. The song goes on about the struggles of being a celebrity and being a big name in the industry, something that isn’t covered too often in the country scene. It’s a beautiful song about trying to stay true to yourself in an industry of “Liars & Tigers and Bears.” Some of my favorite lyrics in the song include “If you sell your soul, we’ll help you break records” and “Don’t have a bad day, there’s cameras on you.” It’s a testament to Moroney’s songwriting skills that she’s able to make such a powerful and even emotional song with an admittedly silly name.  Outside of those two, I think the pairing of Sheeran and Moroney could have been a bit better. I am a sucker for a slower, miss you love song, and this one is really good. The only issue I have with it is that I don’t think it’s a great utilization of Sheeran’s voice. For someone as vocally powerful as Sheeran is, I just don’t think he gets to flex what makes him such a popular and talented singer. I do, however, really like “Bells & Whistles” with Musgraves. Though I like the song “I Only Miss You” better than this one, I think the collaboration of the two powerhouse women sounds great. This song is also a dream for Moroney, who grew up on Musgrave’s music and credits the GRAMMY winner as one of her biggest influences. The last three songs on the album were all solid on first listen, and will likely grow on me when I listen to them more. Especially “Waiting In The Rain,” which is either the second or third slowest song on the album, so I’m bound to like it. Overall, it’s hard to compare “Cloud 9” to any of Moroney’s previous work, as those albums have had years to resonate with me, but I really liked what I heard on first and second listen. It’s another masterful album from one of country’s most powerful female presences, and I’m excited to see the fan reaction to it as time goes on. My personal favorite predictions and “Liars & Tigers & Bears,” “6 Months Later,” “Wedding Dress” and “Beautiful Things.” 

“Prizefighter” threw me off for sure. Though I am not too familiar with many Mumford and Sons songs, I do know a few, and I thought I knew their sound. From what I’d heard in the past, their sound is fast-paced and upbeat, but after getting deep into this album, I didn’t get that vibe. A majority, if not all but three or four songs, are slow, which seems like a change of pace for the band. The album started strong with a great Chris Stapleton feature, before pivoting into some pretty forgettable songs. For an album that features so many big names, including Stapleton, Hozier, Gigi Perez, Gracie Abrams and many songs written by Aaron Dessner, the slow pace kind of makes it fall flat on its face. There were some songs I liked a lot, including “Conversations With My Son (Gangsters and Angels)” and “Badlands” with Abrams, but I think that’s because this album fits the style of what I like: slow. From what I’ve seen and read online, this album doesn’t match the trio’s style very well, and it’s a pretty underwhelming project all around, even despite the stacked feature list. 

The two Wyatts, Waylon and Flores, combined on “Didn’t Forget” this weekend, one of the few collabs for the latter artist. Outside of “Sober Sunday” with the Castellows and a few other collaborations, Flores is very particular with who he works with, likely meaning he has a lot of respect for Wyatt. This song is definitely unique for Flores, as to me personally, it doesn’t fit his style. But that doesn’t necessarily mean it’s bad. I always like to see artists, especially ones that I’m a fan of, change up their sound every so often, and that seems like the case for Flores here.

Oldies – Concert: 4/6 – Graham Nash @ Ridgefield Playhouse

Feb. 21, 1968 “Child is Father to the Man” by Blood, Sweat & Tears (jazz-rock/ pop rock)

This was the debut album of a band founded by Al Kooper, who, after seeing Maynard Ferguson live, decided to live out his dream of having a horn section in a band. “Child Is Father to the Man” is an album by Blood, Sweat and Tears that didn’t get the recognition it deserved in 1968. This unique jazz-fusion has horns, strings, keyboards, and even a backup chorus to make you feel surrounded in layer after layer of support. The opening, “Overture,” features violins and tambourines over echoing, taunting laughter. This theatrical track sets the musical themes that will reappear later, and points to the rest as follows in this work of art, instead of just music. The title itself is actually borrowed from a 1802 William Wordsworth poem, which is about how childhood experiences shape your adulthood, further noting the academic and intellectual tone. The first real song, “I Love You More Than You’ll Ever Know,” is my favorite and the most emotional centerpiece of the album. It’s built on restrained vocals, a slow-burning bass, and a chorus that swells with the music. This was the only Blood, Sweat & Tears album to feature Al Kooper as lead vocalist and primary creative, and you can tell his influence is all over it. Kooper had already made a name for himself playing the organ on Bob Dylan’s “Like a Rolling Stone” and expanded outward on his experience by experimenting with his horns as central features. You can tell on songs like “Morning Glory” and “My Days are Numbered” that the horns represent an urgency, with sharper rhythms and tensions that build and break up the high horn and low piano. You can get a hint of the psychedelic experimentation through the ‘60s in the song “Without Her,” which combines elevator music with the somber quietness of being alone, but I think it’s very fun. “I Can’t Quit Her” is a great jazzy-piano piece about your love being a drug and getting withdrawals or cravings for it throughout the day, which is cute but also not, I guess. One of the most striking songs is “House in the Country,” first of all because it seems to be announced by Donald Duck, but secondly, it is reviving the theatrics of the opening song. This brassy drama sounds like an angry symphony, with sarcastic commentary and acting to balance out the first romantic half of the album. Meanwhile, the next song, “The Modern Adventures of Plato, Diogenes and Freud,” leads into an even more theatrical piece, which I’m pretty sure is satirizing the emerging world of psychiatrists and therapy. The concluding song, “Underture,” is a romantic song that I suppose wraps up the album nicely, and has a distinct, clear message, unlike the “Overture.” Make makes “Child is Father to the Man” so important that it is so varied that it lays the groundwork for jazz-rock for commercial success. For example, Chicago would soon follow a similar horn-driven format and achieve massive success. Ironically, Blood Sweat & Tears themselves would reach their commercial heights only after Kooper left the band, but this debut leaves his mark with an experimental and artistically daring musical past. This tension between genres and instruments really pushes the boundaries of what the jazz identity is or what it’s supposed to sound like. I recommend “I Can’t Quit Her,” “Morning Glory” and “ I’ll Love You More Than You’ll Ever Know.” 

Feb. 22, 1993 “New Wave” by The Auteurs (art rock/ indie pop)

I am over the moon to be talking about art rock (or I would personally classify as part shoegaze) again through all this rock, synth, and electronic music, although I love that too. The Auteurs dropped their debut album “New Wave” right as Britpop arrived in 1993, and in the same cultural window that would soon be dominated by bands like Blur and Oasis. Luckily for us, Luke Haines seemed far more interested in breaking down the aspects of pop culture rather than participating in it. My favorite albums are ones that are focused on personal introspection, alienation, and, of course, cynicism wrapped in elegant guitar pop. The opening track, “Show Girl,” was released as a single leading up to the debut, and it sets the tone as glamorous but darker. Haines writes about damaged beauty and fleeting flame with a surprising detached coldness for a debut album. The guitars jangle in a way that nods to The Smiths or even sets the stage for Oasis to pair it with an emotionally absent British voice. There are a lot of popular social critiques, like “Junk Shop Clothes” about the stereotyping of recycled clothes, “Don’t Trust the Stars” about looking up to celebrities, “Valet Parking” about the everyday burden of driving, and “Idiot Brother” about dysfunctional families. There are a few more rock-leaning instead of shoegaze, like “Early Years” and “American Guitars.” These songs are riff and drum-heavy, with clean but sharp guitars that stand out against the lack of distortion. The most light and airy song is definitely “Starstruck,” which leans into themes of fame and obsession with a little triangle ringing in the back. The glamour of “New Wave” always feels temporary, but it’s an emotional restraint that gives the album the longevity it needs without seeming too commercial or fake. What makes this such a compelling debut is the refusal to fully commit to the light-heartedness that Britpop would soon embrace. The Auteurs approached youth culture with a skepticism that is reminiscent of many other indie artists emerging in America at the time, an intelligent look inward without being pretentious about the world. “New Wave” is a complex debut that feels both in and out of its time. It’s able to capture the ‘90s British mood before the spectacle of shoegaze while still holding its sharp, rock, clear, emotional complexity that makes it powerful. Although Haines would probably object to being cornered by the label of Britpop, his debut was a direct response to the shiny world of show business that was calling to him. Although The Auteurs were doomed to finish only four more albums, this album broke the early ’90s scene, and the impact is noticeable in so many mid-90s British bands. I recommend “How Could I Be Wrong,” “Starstruck,” “Show Girl” and “Bailed Out.” 

February 22nd, 1977 “Hotel California” by Eagles (soft rock/ country rock)

“Hotel California” isn’t just my favorite Eagles’ song; it’s unarguably one of the best songs that has ever been written. By this point in their career, the band was already moving past their early country-rock closeness into something more polished and modern, and this song became the proof that it was working. It has the warmth and melodic ease of folk/country, but with the underlying tension/ swing of rock and even reggae. The song opens with the instantly recognizable eight-measure guitar progression played by Don Felder that goes on to develop in the middle of the song for the famous guitar solo that wraps up the last 2:10 of the song until it fades. The riff immediately puts you in a dreamlike mood, like you are teleported to driving on a desert highway at sunset with no real destination. The lyrics are the other half of the Eagles’ genius, which has sparked decades of interpretation and debate. Many hear it as a metaphor for the seductiveness of a Californian life and the music industry during the ‘70s, but recognizing that fame and indulgence can quickly turn into a trap. You are surrounded by luxury, but also trapped inside it. Thankfully, the song never fully explains itself, which means any listener’s interpretation could be correct. And of course, the closing dual guitar solo by Don Felder and Joe Walsh is legendary in itself. Rather than competing for power, their guitars intertwine in a conversation that feeds off each other. It’s very emotional without needing words and very technical without losing its comfort. “Hotel California” is more than just a perfect song; it’s a cultural turning point in the late ‘70s, where the optimism of life is starting to fade, and is both a celebration and a warning to the glamour of a previous era. This song continuously shocks every new generation and will continue to be a Godly snapshot into the ‘70s musical past in a time that favored heart and creativity over technical copies.

Hip-Hop/R&B – Concert: 6/3 Kid Cudi @ The Meadows Music Theatre

Baby Keem released his newest album titled “Ca$ino.”  This album is 13 songs long and includes features from various artists, including Kendrick Lamar,​ Too $hort, and Che Ecru. This is his first album since “The Melodic Blue (Deluxe),” which was released in 2022.  On its release day, “Ca$ino” earned 13.8 million streams, the highest first-day streaming numbers of Keem’s career. Fans were clearly ready. The album feels bold, energetic, and confident, packed with banger after banger while still showcasing Keem’s experimental edge. He balances chaotic production, sharp flows, and unexpected beat switches in a way that feels his. Out of the 13 tracks, I’ve already added nine to my playlists, which honestly says everything. My absolute favorites so far are “Ca$ino,” “House Money,” “Circus Circus Free$tyle,” and “Dramatic Girl,” each one highlighting a different side of his artistry. After the release of his album, Keem announced a tour, which will begin in the middle of April. He is also headlining Gov Ball in June, which I am looking forward to going to! Overall, “Ca$ino” feels like a statement release, proof that Baby Keem isn’t just building momentum, he’s fully stepping into his own lane.

New Jersey Native SZA released a single titled “Save the Day”, which is on the soundtrack for the new movie “Hoppers.” This is the first solo single release by SZA since “Saturn” in 2024, making the drop even more exciting for fans who have been patiently waiting. “Save the Day” carries SZA’s signature sound, smooth vocals, emotional depth, and effortless control, but this time with a more cinematic feel to match the movie setting. The production feels larger and more dramatic, yet still allows her voice to remain the centerpiece. It’s the perfect balance between staying true to her artistry and adapting to a soundtrack format. I’ll be honest, songs made specifically for movie soundtracks don’t always land the way we hope they will. But this one absolutely does. “Save the Day” feels intentional, polished, and worthy of standing on its own outside of the film. It’s another reminder of why SZA continues to be such a powerful presence in R&B.

Ty Dolla $ign and Leon Thomas teamed up to release a new single titled “miss u 2,” and it might honestly be my favorite drop of the week. The release comes just four months after Ty Dolla $ign’s hit album “TYCOON”, showing that he’s not slowing down anytime soon. Going into this track, I wasn’t sure how their voices would blend, but they sound incredible together.  The single opens strong with Ty Dolla $ign’s smooth, instantly recognizable vocals before easing into a chill, relaxed groove that carries throughout the rest of the song. Leon Thomas complements him perfectly, adding a soulful richness that elevates the entire track. “Miss u 2” feels effortless and emotionally layered without trying too hard. It’s the kind of song that fits any late-night playlist, calm, reflective, and easy to replay. Together, Ty Dolla $ign and Leon Thomas prove that this collaboration was not only unexpected but genuinely one of the standout moments of the week.

Rock/Alternative – Concert: 3/26 – Kids That Fly @ Space Ballroom

Foo Fighters have released the second single off their upcoming album “Your Favorite Toy.” The title track of the album has a bit of a new sound for the band with a fuzzy distortion effect on the vocals of Dave Grohl, but at the same time, it still feels like Foo Fighters. The song is high-energy, fast-paced, and upbeat, like many other Foo Fighters songs. The album releases in April, and Grohl said in a statement that this song “was the key that unlocked the tone and energetic direction of the new album.” Based on the first two singles and that statement from Grohl, it is safe to assume that the album will be full of punchy and fast songs that will be perfect to bring the energy to their stadium tour this summer. 2026 is a big year for Foo Fighters fans, and it is off to a good start.   

Dropkick Murphys is currently on their St. Patrick’s Day tour with another Boston-based band, Haywire 617, as the openers. On the tour, fans have been able to purchase a Dropkick Murphys and Haywire 617 split EP that includes three new songs and recordings of the bands covering each other. Earlier this month, the two bands released the single “Citizen I.C.E.” from this EP, and now the title track “NEW ENGLAND FOREVER” has been released to streaming. As the title of the song suggests, the track is a hometown pride anthem from the two Boston-based bands. The song has the sound you would expect from the bands; the track is mostly led by Haywire, but still has the feel of a Dropkick Murphys song. The rest of the EP will be available on streaming platforms on St Patrick’s Day this year, and so far, the first two singles have shown that this is a pairing that works very well.  

“Angel Wings” by PRESIDENT introduces a little bit of a new sound for the band that is still rooted in metal, but this song has moments where the distorted guitars and heavy drums take a step back to highlight the vocals, giving off a little bit more of a pop sound at certain moments. This song constantly goes back and forth between these pop moments and heavier metal sections. The contrast does well to highlight the emotion behind each section, flipping back and forth between sadness and anger. This single is the first release from the band since their debut EP in September of 2025, and you can tell that the band is finding their sound now, with this song having a much bigger focus on the vocals. PRESIDENT is still a very fresh face to the modern metal scene, but I feel like the band is already showing a lot of potential.

Pop & Indie – Concert: 6/2 – Trousdale @ Space Ballroom

Eileen Alister sounds like a perfect mix of Olivia Rodrigo and Maisie Peters. Her single “What’s a Girl Gotta Do?” is her wondering what she needs to do to get the boy she likes. There are moments where it’s less singing and more like she’s yelling something, which I think both Peters and Rodrigo have done a few times. I thought this song was really good and pretty catchy. If you enjoy this song, her EP “Room Service” just came out!

Hey now, hey now, Hilary Duff’s album “luck…or something” is not what my dreams are made of. Unfortunately, I wasn’t a fan of this album; the songs just weren’t my vibe. I covered the album’s two singles, “Mature” and “Roomates,” earlier in the year, and I really enjoyed them. While I didn’t love the album as a whole, I did enjoy some of the songs, like “Future Tripping,” which touches on anxiety and worries about what’s coming. “Holiday Party” was another one I liked, it’s about her intrusive thoughts involving her partner with other women. Overall, I probably wouldn’t listen to this album again, but I might revisit some of the songs I liked.

Remy Bond’s single “Cherry Red Balloon” sounds like it’s in another world. The way the audio is layered is really cool and leaves a dreamy vibe. I was looking at the description of this song on Genius and it said it was about her experience with certain drugs. I think the dreamy sound isa really cool way to portray her feelings. The lyrics talk about feeling freer, and I think the use of a balloon in the title adds the floaty feeling. I think the song is pretty cool, and I like the dreamy vibe a lot.