Mocking Kenny Chesney is easy. I’m guilty of clowning on the country star’s flair for corny melodrama. My otherwise positive review of his concert at Arrowhead Stadium contained an unhealthy heaping of snark.
Not only do I admire Songs For the Saints, Chesney’s 43-minute meditation on the aftermath of the storms that have ravaged the Caribbean, I’ve repeatedly listened to the new album for pleasure. Chesney’s platitudes may be trite, but they’re reassuringly sincere.
When I was younger, I often made the mistake of conflating an artist’s fan base with his or her art. I know better now. The staggering number of red MAGA hats and vomiting miscreants at Chesney’s appearance at Arrowhead Stadium doesn’t diminish my appreciation of songs like “Better Boat”.
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Charlie Puth obliterated my modest expectations at Starlight Theatre on Thursday. I reviewed the concert for The Kansas City Star.
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I write weekly concert previews for The Kansas City Star.
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I reviewed the Myers Swingset’s The Instrumental One at Plastic Sax.
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Tommy Peoples of the Bothy Band has died. (Tip via BGO.)
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Lorrie Collins of the Collins Kids has died. (Tip via BGO.)
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Jack Williams, a musical Zelig, has died. (Tip via BGO.)
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Travis Scott’s crass crossover attempt Astroworld is tediously generic. RIYL: consumerism, Young Thug, celebrities.
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Where We Come From (Chicago x London Mixtape) exemplifies everything I love- as well as everything I loathe- at the burgeoning intersection of jazz and hip-hop. RIYL: bragging about lack of preparation, Nubya Garcia, jam sessions. Here’s an explanatory video.
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I’m fully aware that music nerds like me are supposed to rave about Kaveh Rastegar’s Light of Love, but the preciousness of his fusion of jazz, funk and indie-rock irritates me. RIYL: Kneebody, nerds, Chris Dave.
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What fresh hell is this?.
(Original image by There Stands the Glass.)
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