I’m just gonna say it: who has the financial capital and industry clout to revive Lilith Fair? With feminism re-entering daily discourse as the #MeToo movement exposes the rank sexuality of power, and as music festivals make moot the role of calendars in indicating the arrival of summer…how has Lilith Fair not made its foregone return?
Somebody please get on that, and, when you do, please make Lisa Hannigan a headliner. Swan is one of her latest, released in June, and it’s lovely. It hooked me from the first line: “And what he wanted was a house, to fill the house with things he loved.” This might be the perfect epitaph on my headstone, with a quick pronoun replacement of course. Somebody please get on that…in the (hopefully distant) future.
There are few musicians I’m more devoted to than Gregory Alan Isakov. I’ve seen him live numerous times, and the poster they doled out at his last Fillmore show is one of the few I’ve deemed worth the framing price.
Evening Machines, his forthcoming album, is officially released October 5th, but a few singles are now streaming. “Caves” has been a replayer for me this week, and, in my attempt to put my money where my mouth is and buy more music, I’ve pre-ordered a special autographed copy.
Cat Power is one of my true first loves. My early 20s would not have existed if it wasn’t for Cat Power. I’ll be seeing her for the umpteenth time with The National next month, and I almost can’t contain my excitement.
Here’s to lifelong loves. I promise you, they do exist.
Max Garcia Conover is from Portland, Maine, and he releases weekly songs through Patreon that are beautiful. Beautiful in the way that poetry makes truth immediate and gives it shape. Beautiful in the way that it reminds us how music is a living, daily ritual. Beautiful in the way it reinforces constancy and the importance of repition to creating something worth having–a body of work by which he will be remembered fondly.
I hope he finds himself in California soon, so I can find my way to this concept performed live.
Some songs are as delicate and fragile as they are strong and lovely. Perhaps it’s the secret depressive in me that so authentically connects to music that warbles with vulnerability. Or maybe that’s just the undercurrent that makes good music, and it’s natural to like good music. Regardless, this track isn’t new…just new to me. I like it very much.
What I like most about Mike Viola’s music is that it feels unique, a la Elvis Costello. So many songs and albums sound the same these days, and, while it’s clearly influenced by vintage songwriting structures, his approach feels fresh at a time when 80s synth pop is dominating a market that wasn’t alive to remember the 1980s. It certainly feels honest. These are things I appreciate.
If you’re wondering if you should keep listening, maybe his pedigree will intrigue you. Viola co-wrote the theme song for That Thing You Do, and also composed much of the music you heard in Judd Apatow’s Rock Hard: The Dewey Cox Story. He’s worked with Ryan Adams, The Monkees, Jenny Lewis, and Rachael Yamagata. These are also things I appreciate.
Greg Hughes and Tess Murray make enjoyable music. I love the synthy, outer space surf western vibes that emanate from this new track; it’s very next-horizon. Their new album, Slow Air, has been on constant rotation when I’m working: the perfect music to make the research less stultifying. I love music, and I love workflow grooves, and Slow Air is the tits.
Californians can see them live this Fall: at the Casbah in San Diego on October 30th; at Resident in Los Angeles on November 1st; and at Neck of the Woods in San Francisco on November 2nd. Go see them.