Superheroes don’t always wear capes, or so the saying goes. Sometimes they blend into the black backdrop on a stage and cast their powers over a crowd through the vibrations of their guitar strings. Indie rock singer-songwriter Mitski radiated this power, her chin raised and legs placed firmly in a powerful stance, regal as she watched over her kingdom at the High Noon Saloon this past Thursday.
Expectations were high as I waited outside of the Orpheum Theater last Wednesday, excited to see what Mat Kearney would perform for his stop in Madison.
Declan McKenna first caught the world’s attention, and my own, for his 2015 hit, “Brazil.” The song was written in protest of the worldwide soccer organization, FIFA, and their awarding of the 2014 FIFA World Cup to Brazil.
Lorde kicked off her “Melodrama” North American tour in Milwaukee earlier this month with Tove Styrke and Run the Jewels.
Keys N Krates stole the stage last Wednesday at the Majestic with their classic trap bass and beats.
Judah & The Lion brought energy and positivity to the Orpheum last Tuesday night, but the openers were truly what made the performance memorable.
Vince Staples and Tyler, the Creator brought their North American tour to Madison this past Thursday, where each performed in front of a packed crowd at the Alliant Energy Center’s Exhibition Hall.
Most people know Walk the Moon from their acclaimed, overplayed pop hit “Shut and Dance.” If you don’t know the tune, you must have done a pretty good job at avoiding every radio station for the past four years. However, few are aware that “Shut Up and Dance,” though a relentlessly catchy tune, is not the band’s best song.
In Chicago’s Vic Theatre, the room went dark and the crowd came alive. We knew what this meant — Hippo Campus was finally ready to perform, and we were more than ready to listen.
In a dizzying and intense performance, Portugal. The Man rocked the sold-out Overture Center Sunday night.
We all have that one relative: the scruffy-looking type who keeps to themselves at family gatherings and clearly doesn’t want to be there.
While sporting flannels and hoodies, the hip musicians of Whitney transported audiences away from the thick air of the Majestic Theatre.
The premature cold breezing through Madison seemed to subside as hip hop artist Noname graced the stage with her warm spunk at the Majestic Theatre on Monday.
Louis the Child brought energy and positivity to their set at the Orpheum Friday night, with the end result being four hours of exceptional EDM. The first of three opening acts was Party Pupils, a Chicago-based house duo made up of singer Max and producer RyanEXOE.
Chicago-based rapper Noname — despite her stage name — clearly made a name for herself in Madison, because she will return to a local stage Monday for the third time within a year.
Kamasi Washington, a California based jazz saxophonist and composer, and his phenomenal band enchanted Madison with a beautiful performance of classic jazz woven into an aura of experimentation and spirituality.
The last time Foo Fighters played in Madison, George W. Bush was president, “Brokeback Mountain” won film of the year and I was somewhere navigating middle school.
Norwegian black metal moguls Mayhem put on a dramatic exhibit at the Majestic Theatre Tuesday night, playing the entirety of their highly influential 1994 debut album, De Mysteriis Dom Sathanas. Known for using pseudonyms for their stage aliases, the active lineup featured one founding member, bassist Necrobutcher, who was absent from the group during the record’s production.
I was introduced to Slowdive by a close friend on a road trip more than two years ago. Zigzagging through the dry hills of southern California in May, I was intrigued by the group’s mellow psychedelia. My occasional listening and modest fanhood provided a gateway into the shoegaze genre, but my expectations for their live act were inadequate. Witnessing their profound showcase served to reinforce the value of seeing live music.
For the moment, we see some connection between the beat and body. How easily it becomes repetitive to know where music will transition for quick appraisal.