Sziget, Europe’s biggest party and music festival, is back in full swing, with visitors from 103 countries and artists from 54 countries, but also some major structural changes.
The Shore’s Light Years boasts a seductive intimacy typically reserved for baroque pop, while still flexing its arena-rock Britpop swagger. Too bad nobody ever heard it.
With Disney deep in her past, pop star Hayley Kiyoko’s Panorama navigates queer relationships with self-assuredness, packaged in accessible pop hooks.
Losing Olivia Newton-John this week made for summer dreams ripped at the seams. Like so many of you, she was my first love.
Emotionally Amanda Shires’ Take It Like a Man interlaces heartache and disappointment with the profoundly temporal joys of new beginnings and aches of desire.
Funky alt-rock stalwarts Red Hot Chili Peppers have ace guitarist John Frusciante back for his third tour of duty, an exciting development for longtime fans.
On Les Racines, Malian guitarist Vieux Farka Touré looks in many directions at once, and while doing so, shares integral parts of his musical world with us.
In Kate Bush’s 1985 embrace of the Other in “Running Up That Hill” resonates with Gen- Z’s ethos by questioning the binaries of our programmed genders.
We are seeking essays for our September 2022 All Things Reconsidered series. These essays analyze classic albums in music history.
Glitch-hop pioneer Thavius Beck talks about Public Enemy, the Bomb Squad, and LEO, an album heavy with his baritone boom and pumping, catawampus beats.
Producer John Farrar and the creative team behind Physical recall how Olivia Newton-John brought a Grammy-winning sensation from the studio to the screen.
If you’re a smart, historically-minded music critic or essayist, let your voice be heard by the quality readership of PopMatters.
