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      Rage Against the Machine, Roaring On

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherFor most of the past two months, the 1990s agit-rap-rock band Rage Against the Machine has been playing its first shows in more than a decade. It has been a roaring return, but one that was slightly derailed by an injury that the frontman Zack de la Rocha sustained during the show’s second stop, in Chicago, forcing him to perform seated for the remainder of the tour.It did not blunt the impact of the music, though. The group’s messaging feels particularly well-suited to the political moment, and the physical rush of its performance feels like a corrective to much of contemporary rock.On this week’s Popcast, a conversation about Rage Against the Machine’s comeback tour, the ways its message has evolved in a shifting political climate, and whether legacy bands need to update their act for a revival — or if it’s better to leave it intact.Guests:Andy Greene, senior writer at Rolling StoneJoseph Patel, former music journalist and a producer of “Summer of Soul (…Or, When the Revolution Could Not Be Televised)”Connect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Beyoncé’s ‘Renaissance’: The Speed Round

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherBeyoncé’s “Renaissance” has been in the Top 5 of the Billboard album chart for two weeks, and its single “Break My Soul” has led the Hot 100 twice in a row. It is one of the year’s commercial success stories, and also one of its most ideologically provocative albums.On this week’s Popcast, a series of conversations relating to themes brought up by “Renaissance,” including the ways in which queer influence gets mainstreamed, the challenges of writing criticism about superstars, and the ethics and legalities of songwriting credits.Guests:Naima Cochrane, a music journalist and consultantJason P. Frank, a writer for VultureKiana Mickles, a New York staff writer at Resident AdvisorPatrik Sandberg, a former editor of V and CR Fashion Book who writes about music for Interview, i-D and othersConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      A Renaissance in American Hardcore Music

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherAmerican hardcore music is experiencing a creative burst at the moment, owing to bands including Gulch, Scowl, Drug Church, Drain, Mindforce and End It. The scene has its own network of YouTube channels, podcasts and websites that catalog it. And last month’s Sound and Fury Festival in Los Angeles was a powerful statement of purpose.There have been some recent precedents for this current moment — the ongoing crossover success and musical evolution of the Baltimore band Turnstile; the way the California act Trash Talk made inroads into hip-hop, skating and streetwear communities. But these have been moments in which outsiders took a gander at hardcore. Right now, the center itself is growing and thriving.On this week’s episode, a survey of contemporary hardcore bands, a look at the genre’s purposely porous boundaries, and a discussion of the hardcore scene as music, ethic and feeling.Guests:Tom Breihan, senior editor at StereogumChris Ryan, editorial director of The Ringer and co-host of The Watch podcastConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      The Robust Return of Beyoncé

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherBeyoncé’s seventh solo album, “Renaissance,” is a rich tribute to the long history of Black dance music, from disco up through ballroom house. It functions both as collage and history lesson, and also captures an evolution in her songwriting and personal presentation toward more modern directions.For Beyoncé, who is 40, it is a strong midcareer pivot that asserts her singular place in pop music, capable of essentially disappearing for several years then re-emerging on her own terms, and still finding her audience.On this week’s Popcast, a deep dive on Beyoncé’s new album, her push-and-pull between tradition and futurism, her relationship to queer music communities and the ways in which she reframes understanding of authorship and ownership.Guests:Joe Coscarelli, The New York Times’s pop music reporterWesley Morris, a critic at large at The New York TimesJon Pareles, The New York Times’s chief pop music criticSalamishah Tillet, a contributing critic at large at The New York TimesConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Lizzo’s Complicated, Joyful Pop

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherLizzo’s second major-label studio album, “Special,” another collection of up-tempo disco-pop empowerment anthems, just arrived at No. 2 on the Billboard album chart. Its single “About Damn Time” also climbed to No. 1 on the Hot 100, securing her place as one of pop’s established stars.But “Special” is also a reminder that she is one of pop’s most idiosyncratic performers, too. Lizzo’s throwback-minded anthems are full of internet-primed catchphrases, and she remains a peppy outlier in a pop music landscape dominated by performers who largely traffic in melancholy, not joy.On this week’s Popcast, a conversation about Lizzo’s career, her relationship with empowerment culture and optimism in pop music. Also, a segment celebrating the life of the classical music scholar Richard Taruskin, who recently passed away.Guests:Justin Charity, senior staff writer at The Ringer and co-host of the Sound Only podcastLindsay Zoladz, who writes about music for The New York Times and othersWilliam Robin, an associate professor of musicology at University of Maryland, College ParkConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      ‘Elvis’ vs. Elvis

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherThe Baz Luhrmann biopic “Elvis” has been one of this summer’s box office success stories, demonstrating the ongoing appetite for stories about Elvis Presley, one of pop music’s dynamic and contentious figures, as well as the cinematic power of Luhrmann’s vivid, overwhelming style, which is optimized for the big screen.The film is loyal to Presley (Austin Butler), and uses his manager, Colonel Tom Parker (Tom Hanks) as a narrator and also a moral foil. It emphasizes Presley as a performer and cultural agitator more so than as a person, while combining or rewriting historical moments to serve the larger narrative.On this week’s Popcast, a conversation about Presley’s career, how the film smooths out the rough edges of his story, and the role that fantasy and imagination play in remembering pop culture heroes.Guests:A.O. Scott, co-chief film critic of The New York TimesAlanna Nash, author of “The Colonel: The Extraordinary Story of Colonel Tom Parker and Elvis Presley,” “Baby, Let’s Play House: Elvis Presley and the Women Who Loved Him” and several other booksConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      What’s Next for Jack Harlow?

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherThe rise of Jack Harlow has been one of hip-hop’s most curious narratives over the past two years. So far in 2022 he’s had a huge pop hit, “First Class,” and released his second major label album, “Come Home the Kids Miss You,” which debuted at No. 3. He is one of hip-hop’s biggest emerging stars, and one whose aims are purely centrist.He is also white, and this is, necessarily, fraught territory; Harlow’s album rollout has not been without hiccups. But more interesting are his aims — not to be a crossover pop star who bypasses the hip-hop mainstream, but to make a version of hip-hop much different than his Black peers, and be accepted for it.On this week’s Popcast, a conversation about Harlow’s musical decisions, the touch-and-go aspects of his album rollout, and the long history of white rappers and the varying degrees of embrace they’ve achieved.Guests:Hunter Harris, author of the Hung Up newsletterLarisha Paul, who writes about music for Billboard, The Fader and othersPeter Rosenberg, a host on New York’s Hot 97 (WQHT-FM) and a host of the “Juan Ep Is Life” podcastConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Drake Hits the Nightclub

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherIn the past, Drake has been focused on rewiring hip-hop with melody. But his seventh solo studio album, “Honestly, Nevermind” — which arrived as a surprise, with an elaborate nine-and-a-half-minute video for the track “Falling Back” — is an unanticipated pivot toward the dance floor. Drake has long included moments like this on his albums, but they rarely shaped the narrative. But now, for the first time, production that is hard-knocking and up-tempo is reshaping his sound.Is this just a logical turn for a pop star who has typically made pop from different component parts? Is it a reaction to the growth of drill music, the prevailing gritty hip-hop subculture? Or is it an acceptance of the exuberant freedoms of midcareer middle age?On this week’s Popcast, a conversation about Drake’s evolution and production choices, the ways in which he toys with the expectations of his listeners and the dance music subcultures he’s experimenting with.Guests:Joe Coscarelli, The New York Times’s pop music reporterLawrence Burney, arts and culture editor at The Baltimore Banner and the founder of True LaurelsConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More