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      Meet MJ Lenderman, Southern Rock’s Tragicomic Poet

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      Hear tracks from his new album, “Manning Fireworks,” and more.Erin BrethauerDear listeners,One of my favorite albums of the year comes out today: “Manning Fireworks” by the North Carolina singer-songwriter-guitarist MJ Lenderman, a young artist with an old soul and a keen eye for observational detail that makes his canted portraits of small-town life come alive. I believe so strongly that Lenderman is worth your time that today’s playlist is an introduction to — or, if you’re already familiar, a refresher on — his music and his surrounding scene in Asheville.There’s a fine art to writing songs that are both comedic and heartbreaking, but Lenderman has the knack: His best lines smart like resounding wallops to the funny bone. “I wouldn’t be in the seminary if I could be with you,” he howls atop jangly, bittersweet chords on “Rudolph,” a single from the new album which you’ll hear on today’s playlist. I love that lyric because it showcases one of Lenderman’s songwriting superpowers, his sense of concision. There’s basically an entire tragicomic short story in those 12 simple words.The drollness and economy of his writing sometimes reminds me of the great folk singer Bill Callahan, so I wasn’t surprised when Lenderman mentioned, in Will Hermes’s recent Times interview, his love of Callahan’s earlier project Smog. Other Lendermanian touchstones include, to my ears, the shambolic blaze of Neil Young and Crazy Horse, the twangy sparkle of early R.E.M. and the sad-sack poetry of the Silver Jews frontman David Berman. But another thing I love about Lenderman’s music is the way he manages to carry the weight of rock history with both sincerity and an irreverent lightness. “Rudolph” and the final song on this playlist, “Knockin,” riff on Bob Dylan lyrics, while the new album’s closer, “Bark at the Moon,” is, in part, about playing the titular Ozzy Osbourne tune … on Guitar Hero.In addition to his solo work, Lenderman is the guitarist in the punky Southern rock group Wednesday and has also played on records by indie mainstays like Waxahatchee and Indigo De Souza. I’ve included tracks from those artists, too, to give a wider sense of Lenderman’s musical milieu.I don’t know what fans of Lenderman call themselves — Lenderheads? Lendermen? Lendermaniacs? — but regardless, count me among their ranks. Perhaps you’ll join us, too.Don’t move to New York City, babe, it’s gonna change the way you dress,LindsayWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: Sharon Eyal’s ‘R.O.S.E.’ Throws a Rave at the Armory

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      The choreographer Sharon Eyal turns the Drill Hall of the Armory into a club at which her dancers appear at intervals, behaving oddly.In recent years, several choreographers, mostly from Europe, have tried to put club culture and the experience of a rave onto a theater stage. Sharon Eyal’s “R.O.S.E.” goes further: It is a rave.For the production’s North American premiere, the back quarter of the Park Avenue Armory’s vast Drill Hall has been converted into a club. The huge volume of vertical space and the vaulted roof, high above, suggest a converted airplane hangar or factory. Seatless risers (with a small section of chairs reserved for those who need them) surround a central dance floor. In one corner, the D.J. Ben UFO expertly controls the sonic flow, as colored lights (designed by Alon Cohen and Brandon Stirling Baker) rhythmically pierce the haze from many angles.There is a cast of professional dancers, but they don’t appear until 45 minutes into the full three-hour experience. They perform for intervals of five to 15 minutes, then disappear for similar amounts of time, leaving the audience to entertain itself until the next appearance — dancing or watching others dance, perhaps buying a drink from one of the two bars.Those performers are an odd tribe, though the oddness will be familiar to anyone who has seen the work that Eyal, an Israeli choreographer, has been creating with Gai Behar, a rave producer, for the last decade or so. Heavy eyeliner streaks down their faces, as though they’ve been weeping. Their androgynous costumes (by Maria Grazia Chiuri of Christian Dior Couture) are like lingerie, lacy and artfully torn, some accessorized with matching cowls and cinch sacks.At first, they stick together in formations, opening up as rose petals do then snaking through the crowd and up and down the risers like a conga line of consumptives. Angular and so uptight they’re almost arthritic, they mince on the balls of their feet and strike mildly contortionist, Mannerist poses. They appear to have been broken and awkwardly glued back together. At one point, they do a clumpy kick line while connected hand to earlobe rather than arm over shoulder. But such flashes of wit are exceptions. Often the performers press knuckles to their cheeks, like clowns miming sadness.Like dancers in a club, they pulsate to the beat, rolling shoulders, cocking hips, pumping pelvises. But they don’t do this naturally. Rather, they resemble aliens trying imitate dancers in a club, mimicking the moves but missing the feel. Despite the lingerie and a few fetish gestures like hands on throats, they are devoid of eroticism. Even in solos, they don’t find any freedom of motion. The crowd may cheer them on, but they are trapped in Eyal’s aesthetic, unable to get down.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Nuanced, Unreleased Live Bob Dylan Cut, and 8 More New Songs

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      Hear tracks by Linkin Park, Halsey, Queen Naija and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Bob Dylan and the Band, ‘Just Like Tom Thumb’s Blues’On Sept. 20, Bob Dylan will release “The 1974 Live Recordings,” the entire gigantic archive — 431 tracks — of his 1974 arena tour with the Band. Most of “Before the Flood,” the 1975 live album culled from that tour, had Dylan shouting brusquely through his 1960s classics. But he never performed a song the same way twice, and there’s far more melody and nuance in this version of “Just Like Tom Thumb’s Blues” from Madison Square Garden. With the Band in full rowdy roadhouse mode — J.R. Robertson’s twangy guitar jabs, Richard Manuel’s honky-tonk piano, Garth Hudson’s wheezy organ — Dylan delivers the lyrics in a long-breathed croon that merges defiance and tribulation. By the time he belts, “Goin’ back to New York City — I do believe I’ve had enough,” he’s earned the inevitable roar from the hometown crowd. JON PARELESCorinne Bailey Rae, ‘SilverCane’With the single “SilverCane,” Corinne Bailey Rae exults in the adventurous streak that she revealed on her 2023 album, “Black Rainbows.” It opens with a blast of noise and — over a parade-worthy drum thump — struts through an ever-morphing funk arrangement. The lyrics mention American towns (though Bailey is English) on the way to envisioning a future where “All the people shout hurray/There will be no more hate.” PARELESLinkin Park, ‘The Emptiness Machine’We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Oasis Fans Balked at High Ticket Prices. But Were They ‘Dynamic’?

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      A regulator said it was opening an investigation into Ticketmaster’s actions, but the company disputed that “dynamic pricing” came into play.The return of Oasis, the chart-dominating bad boys of ’90s Britpop, has been one of the biggest stories on the music beat this summer, with a slate of surprise reunion shows in Britain and Ireland selling out instantly over the last week.But the rush also introduced many fans to the frustrating vagaries of online ticketing, where the prices are not always what you expect (and they usually go up).Last weekend, after the first batch of shows went on sale, angry Oasis fans took to social media to complain that many tickets that had been advertised at 148 British pounds (around $195) ended up more than doubling in price to £355 (about $468) by the time they went to pay.The band came under fire, and in Britain — where the reconciliation of the group’s long-feuding leaders, Liam and Noel Gallagher, was front-page news — politicians readily took up the cause.“About half the country was probably queuing for tickets over the weekend,” Keir Starmer, the prime minister, said in Parliament on Wednesday when asked about the furor. “But it is depressing to hear of price hikes.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: This ‘Figaro’ Puts All Mozart’s Characters in One Voice

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      By singing men and women, nobles and servants, the countertenor Anthony Roth Costanzo takes the opera’s theme of human mutability to a chaotic extreme.Charles Dickens was celebrated for solo public readings in which he would give voice to a novel’s full cast of characters. I’ve watched the great actor David Greenspan take all the roles in Eugene O’Neill’s sprawling play “Strange Interlude” and, earlier this year, saw Eddie Izzard do the same in “Hamlet.”But when the countertenor Anthony Roth Costanzo has a go at a similar feat — performing Mozart’s “The Marriage of Figaro” as a one-man show at Little Island — it is an altogether different ambition.An opera singer’s repertoire is usually firmly circumscribed. Sure, transposition can nudge unfriendly music into a more comfortable key. And sure, some mezzo-sopranos can sing some soprano parts, and vice versa. But while Dickens, in a reading, could shift from Scrooge to Tiny Tim simply by adjusting an accent or affecting a growl, it’s another story for one person to hit the notes of both Susanna and the Count in “The Marriage of Figaro,” let alone invest both with beauty and power.A vocal range can be wide, but it’s not infinite; a singer’s identity tends to be pretty fixed.It’s that fixity that Costanzo, who has recently been named the general director of Opera Philadelphia, means to have some fun with. Mozart and his “Figaro” librettist, Lorenzo Da Ponte, might well nod along: The opera is full of characters pretending to be other people, even other genders. Human mutability is one of the main themes.Costanzo — with his director, Dustin Wills, and his arranger and conductor, Dan Schlosberg — takes this to a challenging, chaotic extreme. In this much-trimmed 100-minute “Figaro,” Costanzo sings all the parts, or enthusiastically tries to: men and women, nobles and servants, high notes and low.I was misleading earlier, however: This isn’t precisely a one-man “Figaro.” It’s more of a one-voice version, with a handful of actors joining Costanzo onstage for much of the relentlessly high-spirited performance, playing main roles, some cast across gender, and impressively lip-syncing along with Costanzo’s sung Italian. (Toward the end, there are also sweet — and audible — contributions from a few child members of the Young People’s Chorus of New York City.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      20 Pop and Jazz Albums, Shows and Festivals Coming This Fall

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      Anticipated debuts and long-awaited follow-ups are due this season. Our critics plucked out a list of the most notable.Some of the year’s buzziest artists (Charli XCX, Chappell Roan) are headlining tours and festivals this fall, and a bevy of new albums from established stars (Shawn Mendes, Jelly Roll) and up-and-comers (Flo, Nemahsis) are on the way. Dates and lineups are subject to change.SeptemberNILÜFER YANYA The British musician Nilüfer Yanya makes pensive, intricately layered songs that revel in unexpected textural jolts. On “Like I Say (I Runaway),” the lead single from her third album, “My Method Actor,” the deadpan, Sade-like cool of Yanya’s vocals is interrupted by a sudden eruption of PJ Harvey-esque guitar distortion. A melodically rich meditation on identity, desire and the reverberations of heartache, “My Method Actor” is a confident and hypnotic follow-up to her 2022 release, “Painless.” (Sept. 13; Ninja Tune) LINDSAY ZOLADZNEMAHSIS Nemahsis — the songwriter Nemah Hasan, who has Palestinian roots — sings about seizing her tangled identity as an independent artist, a Muslim, the daughter of immigrants and a self-questioning but determined individualist. On her debut album, “Verbathim,” her producers include Drake’s regular collaborator Noah (40) Shebib, with songs that can be folky or test the electronic edges of hyperpop. (Sept. 13; Verbaithim) JON PARELESSEXYY RED Fresh off several high-profile collaborations with Drake, Sexyy Red, the 26-year-old St. Louis rapper, makes the leap to headlining arenas on her Sexyy Red 4 President tour, on which she’s playing songs from her latest mixtape, “In Sexyy We Trust.”. That’s one way to kick off election season. (Sept. 17; Barclays Center) ZOLADZSexyy Red’s tour started in late August and comes to Brooklyn in September.Torben Christensen/Ritzau Scanpix Denmark, via ReutersCHARLI XCX AND TROYE SIVAN Most live performances by the British pop singer, songwriter and producer Charli XCX tend to feel more like semi-legal warehouse raves than highly choreographed arena shows, but the breakout success of her sixth album, “Brat,” means that, on the Sweat Tour that she is headlining with the Australian pop star Troye Sivan, the 32-year-old industry veteran will be playing some of the largest venues of her career. Bid farewell to Brat Summer in style starting Sept. 14 in Detroit. (Sept. 23; Madison Square Garden) ZOLADZWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Classical Music and Opera This Fall: Programs, Premieres and More

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      Osvaldo Golijov’s Lorca-inspired opera comes to New York, and the pianist Igor Levit plays with the Cleveland Orchestra, among other highlights.The Metropolitan Opera’s gamble on contemporary work continues. Celebrations of big anniversaries for two musical innovators, Charles Ives and Pierre Boulez, are worth seeking out. And Carnegie Hall will host world-class orchestras. But don’t expect Gustavo Dudamel, the New York Philharmonic’s next music director, to be a fixture yet; until 2026, he is dedicated to the Los Angeles Philharmonic, which opens Carnegie’s season with a three-night residency. Here are highlights from this fall’s performance calendar. (Locations are in Manhattan unless otherwise specified; dates are subject to change.)SeptemberATLANTA OPERA Not quite 50 years old, this company is bucking the belt-tightening, season-shrinking trend in American opera. It is presenting “La Bohème” (updated to the Covid-19 pandemic) and “Rent,” the Broadway musical that transplanted Puccini’s classic to the AIDS era, both staged by Tomer Zvulun, its artistic director, and Vita Tzykun. (Sept. 18-Oct. 6; Pullman Yards, Atlanta)‘INDRA’S NET’ How about a hopeful perspective on our divided times? The invaluable Meredith Monk created and will perform in “Indra’s Net,” the conclusion to a trilogy of works about our relationship with the natural world and inspired by Buddhist and Hindu legends. (Sept. 23-Oct. 6; Park Avenue Armory)Meredith Monk’s “Indra’s Net,” performed here at the Holland Festival, is coming to the Park Avenue Armory in September.Ada Nieuwendijk‘THE LISTENERS’ Missy Mazzoli, who is working on an operatic adaptation of George Saunders’s “Lincoln in the Bardo,” first brings another work with literary inspiration to Opera Philadelphia: “The Listeners,” with a libretto by Royce Vavrek, based on Jordan Tannahill’s unsettling novel about the search for meaning and a cultish leader who claims to have answers. (Sept. 25-29; Academy of Music, Philadelphia)OctoberLOS ANGELES PHILHARMONIC Gustavo Dudamel will be at the podium for three nights to start Carnegie Hall’s season: with Lang Lang in Rachmaninoff’s Second piano concerto; with Alisa Weilerstein in a new cello concerto by Gabriela Ortiz; and with the Mexican singer-songwriter Natalia Lafourcade. (Oct. 8-10; Carnegie Hall)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Rich Homie Quan, Melodic Atlanta Rapper, Dies at 34

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      The rapper, who was at one time affiliated with Young Thug, had a 2015 hit with “Flex (Ooh, Ooh, Ooh),” which spawned a dance craze.Rich Homie Quan, an Atlanta rapper who played a role in the city’s thriving hip-hop scene in the 2010s, died on Thursday at a hospital in Atlanta. He was 34.His death was confirmed by the Fulton County Medical Examiner’s Office, which did not provide a cause.A melodic rapper who broke out in one of the country’s most fertile rap scenes over a decade ago, Rich Homie Quan has more recently become a character in the sprawling gang conspiracy trial in Georgia centered around Young Thug, the Atlanta superstar.Quan’s early career was closely tied to that of Young Thug; the two were members of Rich Gang, a group assembled by Bryan Williams (a.k.a. Birdman), one of the founders of the label Cash Money.Their slow-rolling debut single from 2014, “Lifestyle,” was a Hot 100 hit and has been certified platinum. The pair later fell out over what Quan said were issues around ego and money, and parts of their feud have spilled over into testimony at the trial.In 2013, Quan broke out solo with “Type of Way,” a song about ambition and romance that the Michigan State football team adopted as an anthem. In The New York Times, the critic Jon Caramanica wrote about the track, proclaiming Quan part of a new generation of rappers “who deliver lines with melody and heart, like singers on the verge of a breakdown.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More