Todd Haynes’s documentary about the Velvet Underground spotlights how sound can challenge—and change—society.
A rare live performance of the jazz legend’s masterpiece, A Love Supreme, was thought to be lost to history. But it wasn’t.
Is the collapse of genre boundaries and the erosion of fervent musical loyalties a good thing?
How could a singing competition show that features holographic contestants be this dull?
To convict the R&B singer, prosecutors focused on his network of enablers.
“I hope she does whatever she wants to do—even if that is going to the gas station without shoes on.”
He understands better than almost anyone how to turn angst into a hit.
The rapper embraces his caricature on his new album, but being in on the joke turns out to be pretty boring.
On Donda, the rapper conveys all the imagery of surrender, but little of the weight.
On Solar Power, Lorde surrenders to normalcy—and finds transcendence.
Why are so many pop stars doing everything but releasing new music?
Lorde heads to the beach. Lana Del Rey sings of peace. Billie Eilish is happier than ever. But it doesn’t quite sound like a celebration.
Anti-gay bigotry is on the defensive in hip-hop right now.
Just as concerts return, a new film reveals the cynicism and cultural rot that led to one of the most notorious shows ever.
If your entire collection is on a streaming service, good luck accessing it in 10 or 20 years.
The story of Dr. Luke and Doja Cat shows how the industry relies on consumer passivity. But audiences can still stand against alleged abusers.
The pop star wants to live on her own terms. To do that, she had to give one more brutal performance.
The generation that grew up with Rebecca Black’s “Friday” isn’t just nostalgic for that novelty tune—it’s making music inspired by it.
Jon M. Chu, the director of In the Heights and Wicked, is finding a new edge in an old genre.
Two decades later, Radiohead’s experimental Amnesiac might be the band’s best record.