Country/Folk – Concert: 5/6 – Gladie and Noun @ Space Ballroom

Joshua Slone, a name relatively new to the country/folk scene, released a live rendition of his debut album “Thinking Too Much” to coincide with his upcoming headlining tour.  Though I did not review “Thinking Too Much” when it was released in October of last year, I really wish I did, because I would have never known back then how much of an effect this album would have on me now, so this review will mostly be about both renditions. Though it took me a couple of months to fully digest the album, as it’s over an hour long, I have since found many songs from the project I’ve come to adore. Mainly, the title track “Thinking Too Much,” and other favorites like “Last Night I Realized I’m In Love With You,” “If I Don’t Have You So,” “Regret It” and “Adeline.” Beginning with the title track, it’s kind of embarrassing how much I listened to it over winter break. Considering I never really heard the album until early December, the song has ballooned to my second-most-streamed of all time, with nearly 600 minutes. I find it funny that I love this song so much, considering its nearly five and a half minute length, but the softness of Slone’s voice rising at points in the song, and lyrics I can relate to, combine into what will undoubtedly be my top tune of 2026, no debate. “Last Night I Realized I’m In Love With You” contains quite possibly my favorite first verse in any song ever. It’s a testament to Slone’s songwriting that just about every song on this album has a lyric or part of the song I’m in love with. If you like folk artists with a lone tone voice, like Noah Kahan in a way, you would really like Slone. He’s not only an artist I discovered over winter break, but one that I truly fell in love with. His songwriting is top-tier, and he will surely become a bigger name as he drops more music. Though “Thinking Too Much” wouldn’t rank in my top ten albums of all time, it features two of my favorite songs of all time, and for that, I would say it’s had a profound impact on my life and my third year of college. The live rendition, though it’s the same 16 songs as the original album, gives me a different rendition to listen to if I ever wanted to, and for that, I’m grateful. 

In past interviews, Ty Myers has described how much he loved John Mayer, and how much the guitarist has influenced his music, and boy, can you notice it on his newest album “Heavy On The Soul.” The pressure was on Myers to deliver a stellar sophomore album following the surprise success and rise of “The Select” and “The Select (Deluxe,” his debut album that helped put him on the map. Featuring hits like “Thought It Was Love,” “Ends of the Earth” and “Drinkin’ Alone,” “The Select” saw Myers still trying to find his sound, even if the album itself was a success. Think early Morgan Wallen, actually, where you could hear what would later become his sound, but he hadn’t quite found it yet. I truly think Myers found his sound with this second album, whether that be to people’s amusement or disgust. Myers went full Mayer on this album, as the album has a lot of changeups and a smooth sound that only Myers’ voice could bring. Some of my personal favorites include “Through A Screen,” “Message to You,” “Bad Guy” and “Good Morning Paris,” the latter of which he has teased on social media but finally released with the album. What makes this album such a breath of fresh air is that it’s Myers experimenting with his own sound, as I mentioned above. Often, when an artist is young, they experiment until something becomes a hit, and then they stick with that sound until they experience burnout. I’ve noticed it in the country genre with a favorite of mine like Conner Smith, or even in pop music with someone like Sabrina Carpenter. While I’m a big fan of “Manchild,” there’s no denying that Carpenter took what made a song like “Espresso” popular and just copied her homework, but changed some of the answers. I love that Myers is experimenting with his sound and delivering his fans something new and fresh at such a young age, as he still hasn’t reached his 20th birthday. He has one of the brightest futures in the genre, provided he sticks with it, but if not, he has a fan in me, and I will follow wherever his career takes him.

Not going to lie, I’m not too familiar with Mt. Joy. I know their name and know they have opened for Kahan in the past, but outside of that, not much. They released a new single, “Is Joy Easy,” which they have promoted a lot on Instagram over the last few weeks. Writing in one post: “An attempt to reframe joy. A song in two parts. The anticipation that consumes us and builds a home for fear, and the bliss of living in the moment.” This immediately intrigued me, and I knew I had to put it on my weekly. A two-part song? You don’t hear of that too often. Overall, I really liked the song, and I think it was worth all the teasing and pre-release hype. The lyrics are very simple, telling the story of a woman named Mary attending a party, presumably nervous to see someone and make small talk, and asking the title question. It’s a surprisingly deep song disguised as something fun and whimsical, and I’m a fan of it. I am going to listen to it more, and maybe some of their other music, and decide if I want to dive deeper into their stuff. Overal,l though, a well-marketed single that piqued my interest immediately, which can be hard to do for bands and artists I’m unfamiliar with. 

This weekend, Thomas Rhett released his cover of “Georgia On My Mind,” most famously sung by Ray Charles, in collaboration with ESPN and The Masters. The song has been the anthem of the all-important golf tournament for many years now, as The Masters is hosted at Augusta National Park in Georgia, and Rhett was given the chance to put his own spin on the classic. It is, of cours,e quite hard to replicate the vocals and overall legendary status of the Charles cover, but I don’t think Rhett’s version is that bad. Rhett was the smooth-country voice of the 2010’s, so a cover of a smooth song like this makes a lot of sense for him. Though he has since aged out of hits like “Die A Happy Man” and “Unforgettable,” and has focused a lot on his family life and his oddball friendship with fellow genre-tweener Teddy Swims, Rhett still surprises me. He can still put out songs that remind me of his older sound, even if he’s not firing on all cylinders like he once was. If you are a golf fan, or just an avid TV watcher and aren’t familiar with this cover yet, do yourself a favor and learn it. You will likely be hearing it a lot as we roll into April.

Oldies – Concert: 5/29 – Little Feat @ College Street Music Hall

March 28, 1992 “Funky Divas” by En Vogue (dance-pop/R&B pop)

After just earning a Grammy nomination for their debut album, En Vogue opens their second album, “Funky Divas,” behind the stage with them, in their dressing room. I always love intros to albums like this because you know they designed the album about more than music, it’s about immersing the fans and creating a unique experience. We are then introduced to them as they step on stage to sing the opening song, “This Is Your Life.” While having a funky, modern beat, the vocals incorporate aspects of soul and swing into a seamless blend. The second song, “My Lovin’ (You’re Never Gonna Get It),” is more hip-hop heavy, but still has a back-up harmonizing band carrying a lot of its weight. It is also considered their greatest hit, with a verse in the center that I think a lot of people will recognize, on top of being built on a James Brown riff off “The Payback.” The same energy carries into “Hip Hop Lover,” which has a strong modern beat built on silky, timeless vocals. One of the most defining songs on the album is “Free Your Mind,” which is a rock song with distorted guitars and yelling vocals for the first time. This theming of prejudice and stereotypes isn’t handled like the other songs, and they don’t hold back from expressing their voice in every genre, and they have the versatility to do it. On the other hand, “Give Him Something He Can Feel” is a silky soul cover of an Aretha Franklin song, again showing off hits in every genre category while they shoot into the spotlight. The control, emotion, and layering of their voices show that their talent is timeless. My last proof of their vintage quality is their cover of “Yesterday,” yes, there is a synth and piano beat, but I honestly saw the song in a whole new light when it’s presented like this instead of The Beatles. The song “Hooked On Your Love” is eerily similar to “Hooked On a Feeling,” maybe it’s because I just wrote a weekly on it, but also the beat and lyrics it feels like a R&B pop version of that classic as well. The last two songs are a funkiful conclusion, “Love Don’t Love You” and “What Is Love” are less about the actual meaning of love, and more of a reminder that love is more ambiguous and common than you think. Even in “Love Don’t Love You,” it’s not about love attacking you or being hurtful, it’s acknowledging that the risk comes with the reward, and love doesn’t pick and choose. The last track is a prayer, sending positivity, happiness, and peace into the audience in Jesus’ name. I think this prayer grounds the whole album that came before it in a more positive light and that there is depth and sincerity behind the groove. Now, as someone who isn’t particularly religious, I still think that track is a unique conclusion to end the experience that is “Funky Divas” and helped cement them as one of the fastest-growing pop groups of the early ‘90s. This album is definitely full of replay value because of the diversity and timelessness in every song, I recommend “Giving Him Something He Can Feel,” “Free Your Mind” and “My Lovin’.” 

March 29, 1979 “Breakfast In America” by Supertramp (prog/art-rock)

Supertramp had long built their progressive reputation through their past five albums, but their sixth would prove to be the most successful. “Breakfast In America,” as you can tell by the title, is basically a critique of American Culture though the eyes of a British band. The opening track, “Gone Hollywood,” begins with a slow piano that builds a cinematic story around chasing fame. While this album would follow a more commercially-digestible musical background, the lyrics and depth in their theming far transcended mainstream music. The second song, my favorite, “The Logical Song,” is immediately recognizable with the chords of an electric piano. This song deserves recognition for both its genius in the light organ-sounding piano, synth, drums, and even violin, plus the theming of becoming a cog in the machine and losing your childhood self in the process. The contrasting themes, the ups and downs with trumpets, and the introspection about humanity are a mix that only Supertramp could execute perfectly and consistently throughout the album. The instruments constantly taking turns, taking on new sounds, and being almost free form is something that reminded me of Talking Heads, but it realistically portrays the sounds of confusion. After that is “Goodbye Stranger,” which is a slow build of piano and light cymbal tapping, but the payoff is well worth it. Once we are at least a minute and a half into the six-minute song, we hit the recognizable chorus of a high vocal taking the stage. The theme plays with the detached nature of Americans, seeing people as temporary or hollow. Then we have the title track, “Breakfast in America,” which features a minor piano chord as the main instrumentation, a spooky change in tone. The lyrics idealize the glamorous American life, and the beat is bouncy, but you can’t shake that minor piano chord. That is the antithesis of American life being glamorized, if you have it all, then it means it is built on people who are doing the work and have nothing. The annoying minor chord ruining the whole positivity facade is something you can’t shake, and it wouldn’t be America without it. The second half of the album is where songs are the most honest, and in “Take the Long Way Home,” the piano, vocals, bells, and harmonica come together to create a blues-sounding theme of disappointment and reflection on your life. “Lord Is It Mine,” “Just Another Nervous Wreck,” and “Casual Conversations” are all slow, low-tempo, and self-pitiful, so they are not my favorite, but with the pretty comes the ugly, and that is a huge point of this album. The last song, “Child of Vision,” brings that energy back, with the keyboard and synth headlining the instrumentation. This song, as I see it, is a branch of hope to the audience and future generations. Specifically in America, hoping not to fall to the commercialization and capitalism, and to be true to yourself and find purpose outside of money and what the world says. This album allowed Supertramp to experiment in their extension into the modern pop world, while still maintaining a unique depth to every song they made. I recommend “The Logical Song”, “Goodbye Stranger”, and “Breakfast in America.” 

(Single) March 30, 1976 “Try Me, I Know We Can Make It” by Donna Summer (disco)

Released on her third album, “A Love Trilogy,” “Try Me, I Know We Can Make It” is not just a song, it’s an entire side-long 18-minute experience. Summer’s producers were fully aware of the original purpose of disco, and leaned into the mixing, repetition, and getting lost in the groove. This decision made it clear that they favored club and dance use over the song being played on the radio in your car. And that makes sense, considering her producers were Pete Bellotte and Giorgio Moroder! The length gives DJs so much to work with, remix, build up, and fade in and out of. Instead of the vocals carrying a narrative, they are more used in a Daft Punk style, as a repetitive instrument. What makes this 18-minute experience not boring is that there are subtle shifts in instrumentation, changes in energy, and moments where the song holds back before building up again. It keeps the people moving and engaged without needing a hook or big chorus, and that is a large feat. This is the perfect ending to this week, without needing a deeper meaning or any catchy lyrics, the structure and producer decisions in this single represent a need outside of streaming services, the need to dance. I recommend putting this song on in the morning while you’re getting ready, or at your next house party, because the length and groove are just subtle enough to add a bounce in your step without stealing your attention.

Hip-Hop/R&B – Concert: 5/16 – G Herbo and Hunxho @ Toyota Oakdale

The time is now, Kanye West, or Ye, finally released his long-awaited album, “Bully.”  After many bees flew through the studio, ifykyk, and many teasers, fans were finally graced with this 18-song album.  This is West’s first album since “DONDA 2” in 2025.  Features on his album include: Travis Scott, Andre Troutman (2x), CeeLo Green, Don Toliver and Peso Pluma.  After all of the controversy with West, I was quite hesitant to listen. My favorites after the first listen are “THIS IS A MUST” and “LAST BREATH,” which features Peso Pluma. However, the rest of the album was not insane for me.  Don’t get me wrong, it was not bad per se, just nothing else except those two songs really stuck out to me. Overall, I am happy that the album was finally released, and I’m hoping fans get more music and fewer tweets.  

Yeat released an album titled “ADL,” his first album since 2024. This album is 21 songs long, making it about an hour and two minutes long, which is pretty long for a hip-hop album. I have never truly gotten into Yeat’s music, however, this album was actually pretty fire. This album includes features from NBA Youngboy, Elton John, Don Toliver, BNYX, Julia Wolf, King Kylie, Kid Cudi, Swizz Beatz and Joji. There was only one song on this album that I did not enjoy; other than that, I was pretty blown away by “ADL.”  This album has really made me look into Yeat’s discography more than I have before.  

New Jersey native, Fetty Wap, is back from prison, and just released his first album since the sentence, and dare I say it was worth the wait? “Zavier” includes 17 songs, clocking in at just under an hour. The album strikes a balance between laid-back and engaging, creating a sound that feels relaxed without ever becoming dull.  What stands out most is how intentional the project feels. His delivery feels more controlled and reflective at times, almost as if his time away influenced not only what he’s saying, but how he’s choosing to say it. There’s a sense of maturity woven throughout the album, even in its more upbeat moments. At the same time, the consistency of the tracklist keeps the listening experience smooth from start to finish. The songs transition well, creating a cohesive vibe that makes it easy to play straight through without feeling the need to skip around. While some tracks may blend together due to the overall chill tone, this also works in the album’s favor, reinforcing its laid-back atmosphere.  Fetty Wap clearly didn’t take his return lightly, using this project to remind fans exactly who he is and why they’ve been waiting for him. 

Chief Keef also released an album this past week titled “Skeletor.” In contrast to Fetty Wap’s album, this album is loud and hype, yet in the best way possible. This 14-song album is Keef’s first album release since 2024, and it does not disappoint. Starting the album off with “Breaking Down” created the strongest opening I could ever hope for with this album.  From there, Keef keeps the momentum going, delivering track after track with his signature raw delivery and hard-hitting production.  Songs like “Harry Potter” and “Talking Ish” were previously released as singles, but they still fit seamlessly into the album and don’t take away from the overall experience at all. “Skeletor” feels like a confident return for Chief Keef, staying true to the sound that built his fanbase while still keeping things fresh and exciting.  It’s the kind of album that definitely earns its place as one of the standout hype projects of the week.

Rock/Alternative – Concert: 7/11 – Dinosaur Jr. @ College Street Music Hall

Sublime have announced their first new album since 1996, and the first album with new frontman Jakob Nowell. With this announcement, the band also released the title track “Until The Sun Explodes,” which is now the second single from the albu,m as “Ensenada” was released last year. Jakob Nowell is the son of the former frontman Bradley Nowell, and Jakob has spoken a lot about wanting to make sure that any new tours and projects truly honor and respect his father’s legacy, and so far, he has done amazing. Jakob sounds extremely similar to his father, which makes live performances of old songs sound fantastic. I was fortunate enough to cover a Sublime concert at the Westville Music Bowl last year, and his vocals were easily the highlight of the night for me. This new song again really captures that classic ‘90s ska-punk and reggae vibes and has me really excited to see what the rest of the album has to offer later this year. 

Paul McCartney announced his first album in six years, titled “The Boys of Dungeon Lane,” and alongside the announcement came the first single from the album, “Days We Left Behind.” The song is very nostalgic, with an acoustic guitar backing McCartney as he sings about his past and the day he’s left behind, with the first lyrics of the song being “looking back at black and white reminders of my past.” The song definitely has a tinge of sadness, but is very sentimental and feels like a love letter to Paul McCartney’s life from Paul himself. Some of his newer albums may have left some fans wanting more, but regardless, whenever Paul McCartney releases new music, I will be excited for it.

DON BROCCO have released their fifth studio album “Nightmare Tripping.” I talked about one of the singles earlier this semester in the weekly, and the rest of the album was very similar. The title track featuring Nickelback was my introduction to DON BROCCO, and right away I was impressed by their mix of metal, electronic and pop, and the way they incorporated all of them so well. The album has a very unique electronic hardcore sound that is really interesting. The album is full of energy and feels harsh, but it’s a lot of fun, and it was a great introduction to the band.

Pop & Indie – Concert: 6/13 – Young the Giant @ Hartford Healthcare Amphitheatre

The 20th Anniversary Hannah Montana special was not what I expected it to be. Main cast members didn’t make appearances, and there was a random appearance from Chappel Roan. It was a very nostalgic special, but it wasn’t great outside of the performances. My favorite part was the debut of the new Hannah/Miley song “Younger You.” It’s the perfect bridge from her life as Hannah to where she is now. The lyrics are like a letter written to your future self, asking questions and wondering if you do the same things. It’s a good tribute to the show and Miley’s past self; it feels like she’s letting go of that era but not forgetting it. If you’re a Hannah fan or just grew up with the show, you should definitely listen to the song. It hits harder in the special with clips from the show, though. 

Conan Gray released his single from “Wishbone (Deluxe)” titled “The Best.” To be honest, I don’t listen to him outside of “Heather” and “Vodka Cranberry,” but this song might convince me to give him a try. I like his writing style a lot and I haven’t really given his music a fair chance. “The Best” is about needing answers. He can’t let go and wish the best for someone else until he has the information he needs. I thought this song was really good and I like how it starts softer and builds.

RAYE released her album “THIS MUSIC MAY CONTAIN HOPE”, and I liked the song “I Know You’re Hurting.” I think RAYE’s voice is gorgeous, and it sounds soulful. It’s definitely not my usual genre, but I like the emotion and her voice. If you’ve liked her previous music or like more of a soul feel, I definitely recommend it.