The industry has been proclaiming the importance of Black lives while continuing to ignore Black women.
The band formerly known as the Dixie Chicks has changed its name in light of the growing rejection of racist symbols and phrases.
Rough and Rowdy Ways, the singer’s first album of original music in years, reminds an anxious nation that all things are eventually doomed.
HBO Max’s On the Record details sexual-assault allegations against the rap mogul Russell Simmons—and homes in on the lives derailed by sexism.
The pop star’s daring album How I’m Feeling Now tries to make online hedonism match the real thing.
I don’t know when it will be safe to sing arm in arm at the top of our lungs. But we will do it again, because we have to.
The Mountain Goats’ latest release is authentically a product of this pandemic, but it’s also nicely indifferent to it.
Fetch the Bolt Cutters, the singer’s first album in eight years, argues that confinement can intensify one’s connection to the greater human whole.
The Foo Fighters front man picks a song for your every quarantine mood.
Listening that revolves around headphones, singular geniuses, aesthetic subcultures, and record-industry behemoths is not what’s generating heat right now.
The Fountains of Wayne front man, who died of complications from the coronavirus, made big songs about small triumphs.
Is it any coincidence that the No. 1 song in the country is about loneliness and empty streets—or that it’s making people dance like Richard Simmons in their bedrooms?
The country musician, who died Friday at the age of 81, was never better than on “Islands in the Stream,” his monumental duet with Dolly Parton.
What good are songs about touch and sweat during a pandemic?
The 25-year-old rapper’s new EP, Suga, makes it easy to root for her—and for her potentially industry-shifting lawsuit against her label.
The pianist McCoy Tyner, who died last week at 81, played with John Coltrane and developed a simple but revolutionary sound.
Riz Ahmed’s The Long Goodbye is the latest hip-hop album to address the state of the U.K with deep sorrow and scorching anger.
A new book showcases a collection of photos that captures the band’s last concert in England—they were in their pomp, on their mission, and fully charged.
The irrepressible single is a return to form not only for the singer, but also for her genre.
The singer’s new album, Miss Anthropocene, combines angsty music styles with a supposedly environmental purpose—but mostly to indulge the thrill of submission.