Her 17-date Brooklyn residency forgoes many of the greatest hits and fleshes out her Madame X secret-agent character to spectacular effect.
The brattiness has dimmed. Their influence is wide. Their new album is very, very catchy.
After alleging that her ex-husband, Ryan Adams, derailed her career, the singer released her first single in a decade to address the feeling of losing control.
The late singer Ric Ocasek conquered the mainstream with oddball energy and an understanding of how machines can amp emotions.
It’s preposterous for Lana Del Rey and other musicians to deny that they’re playing characters. But in this pop landscape, that denial might be necessary.
The songwriter’s cybernetic new album, Charli, is a complement to the mainstream, not an invasion of it.
The ubiquitous singer/rapper’s third album, Hollywood’s Bleeding, goes darker but not deeper.
The supergroup puts a feminist spin on familiar traditions while still maintaining a classic feel.
The onetime child star is telling himself that he’s not alone in his struggles—and that his fans aren’t either.
Heavy and beautiful, the singer’s new album, Norman Fucking Rockwell, tells of women holding on in desperate times.
Beyoncé’s “If I Were a Boy” trick gets repeated on Swift’s Lover, but to illustrate sexist double standards with regard to reputations rather than relationships.
Missy Elliott’s brain-bending aesthetic coursed through standout, surreal performances from Lizzo and Miley Cyrus.
The first collection of new music from the rapper since 2005, Iconography doesn’t quite do what Elliott is known for: pushing boundaries.
The latest episode lays bare how Logan Roy always wins.
The pop star pushes herself in surprising ways on her new album, to mixed but often moving results.
The legendary metal band is returning after a 13-year absence, and while its sound isn’t in, its disaffected embrace of spirituality is.
Atlantic writers look ahead at India’s moon landing, WeWork’s giant IPO filing, Taylor Swift’s Lover, and more.
Angry though a bit too orderly, The Center Won’t Hold can’t help but be heard in the context of the beloved punk trio becoming a duo.
The band’s folk-pop experiments sound like gorgeous, nonsensical conversations on the state of the world.
The singer for Silver Jews and Purple Mountains brilliantly described how restlessness can curdle into isolation.