
Nicole Atkins Welcomes the Pain and the Pop Grandeur on ‘Drama’
Six years after her last LP, noir pop singer-songwriter Nicole Atkins returns with a resplendent record that turns isolation into theater.

Six years after her last LP, noir pop singer-songwriter Nicole Atkins returns with a resplendent record that turns isolation into theater.

And So It Goes blends Liana Flores’ Brazilian roots with high-quality songs and outstanding vocals, wrapped in a modern jazz-pop style.

Paris Paloma tackles art, love, and everything in between through a feminist lens in her empowered sophomore album The Fatal Flaw.

Joan As Police Woman revisits her 2009 debut Real Life with warm, retro-modern arrangements, showcasing her skill as a songwriter and producer.

It’s a turbulent, often crazy world, but under the Park Hills Circle name, Maris O’Tierney is a warm, engaging respite from the world’s harsh realities.

For Rachael Sage, songs can do something few public conversations can. They create common ground before people retreat into fixed positions.

Indie folk artist Margaret Glaspy’s latest album, I Am Both, is a low-key masterwork of observational wisdom, lilting melodies, and sharp wit.

From the Vietnam War and mid-1960s sociopolitical turmoil to its 21st-century repurposing, P. F. Sloan’s folk-rock classic “Eve of Destruction” retains its eerie power.

This is a well-fleshed-out picture of how UK and Irish folk revival artists of the 1960s drew from and inspired their more widely recognized North American counterparts.

While it includes some fresh autobiographical details, Niall Horan’s Dinner Party is a rehash of boy band tropes.

What’s so striking about Ruth Garbus and her latest record is how musically adventurous, wondrous and revelatory it is in its maturity and self-acceptance.

Like a walk through an old cemetery at twilight, Pictish Trail’s Life Slime is a dark but often lovely experience.