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      On Beyoncé’s Renaissance Tour, the World Is Her Ball

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      The pop superstar’s first solo outing in seven years draws on the dance-music cultures that inspired her 2022 album, and her work that led up to that ecstatic release.It was a crowd that had come to dance, dressed for a rodeo in the distant future: sparkling cowboy hats, silvery fringe, outré sunglasses and any other sartorial detail that represented “Renaissance,” Beyoncé’s dazzling seventh album and the occasion for her first solo tour in seven years. But as the imperial pop superstar took the stage at the Rogers Center in Toronto on Saturday night for the first North American show of her Renaissance World Tour, she reminded the club-ready audience just who was in charge. Because if they were prepared to move, she was going to make them wait a little longer.Setting the table for a two-and-a-half-hour performance that was visually spectacular, vocally ambitious and sometimes tonally confused, Beyoncé, 41 — clad in a glimmering chain-mail mini dress — began the show with a nearly 30-minute stretch of ballads and deep cuts that harked back to her past: an acrobatically sung solo rendition of the 2001 Destiny’s Child track “Dangerously in Love,” a bit of “Flaws and All” from the deluxe edition of her 2007 album “B’Day,” and the sparse, soulful “1+1” from 2011, which she belted atop a mirrored piano.Few seats in the stadium provided a legible view of Beyoncé’s expressive face, though the screen took care of that. The New York TimesIt was a both a display of her vocal agility and a curiously traditional way to start a show centered around an album as conceptually bold and forward-thinking as “Renaissance” — a sprawling, knowingly referential romp through the history of dance music, with an emphasis on the contributions of Black and queer innovators. Here, instead, was a stopover in Beyoncé’s Middle Ages.As a live entertainer, though, she has earned a fresh start. The Renaissance World Tour shows are some of Beyoncé’s first appearances since her dazzling, commanding performance headlining the 2018 Coachella festival (later released as the concert film and live album “Homecoming”), which served as a kind of mic-drop capstone to her career thus far. It would be futile to repeat that, and difficult to top it. The loose, fluid “Renaissance,” still said to be the first part of a trilogy, represents a new chapter in Beyoncé’s recorded oeuvre. And once the show finally found its center and, however belatedly, welcomed the crowd to the Renaissance, it heralded her maturity as a performer, too.The show’s look — as projected in diamond-sharp definition onto a panoramic screen — conjured Fritz Lang’s “Metropolis” by way of the 1990 drag ball documentary “Paris Is Burning.” After a lengthy video introduction, Beyoncé emerged from a chrome cocoon and vamped through a thrilling stretch of the first suite of “Renaissance” songs; during “Cozy,” most strikingly, a pair of hydraulic robotic arms centered her body in industrial picture frames, like a post-human Mona Lisa.In May, when Beyoncé began the European leg of the Renaissance World Tour, rumors swirled that she may have been recovering from a foot injury, since her choreography was a bit more static and less stomp-heavy than usual. The Toronto show did nothing to dispel that chatter, but it also showed that it doesn’t matter much. Perhaps because of some constraints, Beyoncé has embraced new means of bodily expression. She brought the flavor of ball movements into the show and served face all night, curling her lip like a hungry predator, widening her eyes in mock surprise, scrunching her features in exaggerated disgust.The full grandeur of the stage was not visible from many of the side seats, making the band and sometimes the dancers difficult to see.The New York TimesFew seats in the stadium provided a legible view of Beyoncé’s face, of course, though the screen took care of that. She played expertly to the cameras that followed her every choreographed move, aware of how she’d appear to the majority of the audience and — perhaps just as crucially — in FOMO-inducing social media videos. The stage itself was breathtaking, featuring an arced cutout section of the screen that made for playful visuals, but its full grandeur was not visible from many of the side seats, making the band and sometimes the dancers difficult to see.The screen, though, was the point. Beyoncé’s two solo releases before “Renaissance” — her 2013 self-titled album and “Lemonade,” from 2016 — were billed as “visual albums,” featuring a fully realized music video for each track. Again toying with her fans’ anticipation, she has still not released any videos from “Renaissance,” giving the previously unseen graphics that filled her expansive backdrop an added impact, and making them feel more weighty than a convenient way to pass time between costume changes.Many of the tour’s outfits struck a balance between Beyoncé’s signature styles — megawatt sparkles, high-cut bodysuits — and the futuristic bent of “Renaissance.” She played haute couture bee in custom Mugler by Casey Cadwallader and glimmered in a Gucci corset draped with crystals. But the night’s most memorable look — so instantly iconic that a few fans had already tried to replicate it, from photos of the European shows — was a flesh-tone catsuit by the Spanish label Loewe, embellished with a few suggestively placed, red-fingernailed hands.Throughout the set, Beyoncé wove interpolations of her predecessors’ songs throughout her own, as if to place her music in a larger continuum. The grandiose “I Care” segued into a bit of “River Deep, Mountain High,” in honor of Tina Turner, who died in May. The cheery throwback “Love on Top” contained elements of the Jackson 5’s “Want You Back.” Most effective was the “Queens Remix” she performed of “Break My Soul,” which mashes up the “Renaissance” leadoff single with Madonna’s “Vogue,” paying homage to the mainstream pop star who brought queer ball culture to the masses before her. (The merch on sale at a Renaissance Tour pop-up shop in the days before the show included a hand-held fan emblazoned with the song title “Heated” for $40. It sold out.)The show contained moments that sometimes felt conceptually cluttered and at odds with the “Renaissance” album’s sharp vision, like dorm-room-poster quotes from Albert Einstein and Jim Morrison that filled the screen during video montages. The middle stretch, arriving with a lively “Formation,” featured Beyoncé and her dancers clad in camo print, riding and occasionally writhing atop a prop military vehicle. There was a wordless, gestural power in the moment she and her entourage held their fists in the air, referencing a salute that had rankled some easily rankle-able viewers of the 2016 Super Bowl Halftime Show. But if Beyoncé was calling for any more specific forms of protest or political awareness — especially in a moment when drag culture and queer expression are being threatened at home and throughout the world — those went unarticulated.At the end of the long night, Beyoncé floated above the crowd like a deity on a glittering horse for “Summer Renaissance.”The New York TimesBeyoncé’s endurance as a world-class performer remained the show’s raison d’être; she is the rare major pop star who prizes live vocal prowess. By the end of the long night — and especially during the striking closing number, the disco reverie “Summer Renaissance,” when she floated above the crowd like a deity on a glittering horse — she extended the microphone to lend out some of the high notes to her eager and adoring fans. “Until next time,” she said, keeping the stage banter relatively minimal and pat. “Drive home safe!”Even when Beyoncé embraces styles and cultures known for their improvisational looseness, she still seems to be striving toward perfection — a pageant smile always threatens to break through the stank face. Commanding a stadium-sized audience, she was an introvert wearing an extrovert’s armor. That tension is part of both her boundless charm and her occasional limitations as a performer. And it makes moments of genuine spontaneity all the more prized.Naturally, #RenaissanceWorldTour was trending on Twitter long after the show, but one of the clips that went viral was unplanned. During a rousing performance of her early hit “Diva,” Beyoncé accidentally dropped her sunglasses. She fumbled them for a second, mouthed an expletive as they fell to the ground, and gave a sincere, shrugging grin before snapping back into the choreography’s formation. For a fleeting moment, she seemed human after all. More

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      Is Aretha Franklin’s True Will the One Found in the Couch or a Cabinet?

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      A trial starting on Monday is to decide whether either of two handwritten documents represents the singer’s last wishes. Her sons have battled in court for years over the question.At first, Aretha Franklin’s family believed the division of her estate after her death in 2018 would be a straightforward task: Without a known will, the celebrated singer’s assets would be equally distributed among her four sons.But months after Franklin’s funeral, a family member found documents, scrawled by hand and outlining her wishes — one set under a couch cushion in her home in suburban Detroit, another in a locked cabinet — plunging the estate into uncertainty.In the four years since, Franklin’s sons have battled in a Michigan probate court over which of the conflicting documents should take precedence. On Monday, the issue heads to trial, with the precise distribution of Franklin’s remaining fortune, property and music rights at stake.“I think they all wish this had been settled a week after she passed away,” said Craig A. Smith, a lawyer for Edward Franklin, the singer’s second eldest son. “But they’re not blaming anyone — it is what it is.”At issue in the trial is which document best reflects Franklin’s wishes before she died, at age 76, of pancreatic cancer.Two of her sons, Edward and Kecalf Franklin, assert that the document found in a spiral notebook under the couch cushions, which is dated March 2014 and substantially favors Kecalf, should be considered primary. Another son, Ted White Jr., contends that the papers found in the cabinet, dated June 2010, should take precedence.The jury could also decide that neither document is a legitimate will, reverting back to an even division of the singer’s estate between her children, based on Michigan law. There is also a possible combined solution in which items from both documents would be taken into account.Franklin’s eldest son, Clarence Franklin, who has a mental illness and is under a legal guardianship, has long been a player in the legal jockeying, as the 2014 will would appear to cause him to inherit significantly less than his brothers. But in recent weeks, his representatives reached a settlement for an undisclosed percentage of the estate. As a result, they will not be taking a side in the trial, said Joseph Buttiglieri, a lawyer for Clarence Franklin’s guardian.A pathbreaking musician acclaimed as the Queen of Soul, Franklin won 18 Grammy Awards, had more than 100 singles on the Billboard charts, and left behind the trappings of a star: four homes, several cars, furs, jewelry and gold records. The total estate was estimated at about $18 million after she died, Mr. Smith said, though another appraisal suggested the figure might be lower.But Franklin, who was known to be intensely private about her finances, also left a significant tax liability. In 2021, her estate reached a deal with the Internal Revenue Service to pay off about $8 million in federal income taxes by setting aside a portion of any new revenue from music royalties or projects like the recent Hollywood biopic starring Jennifer Hudson.At the heart of the trial are more than a dozen pages of Franklin’s scrawled-out wishes, filled with crossed out words and insertions. The process of interpreting a deceased person’s intentions from the lines of a handwritten document can be a confusing, contentious process, one that made for a gripping story line in the HBO series “Succession.” In the show’s final season, the family patriarch’s heirs struggled to decode penciled-in addendums to his last wishes that were found locked in a safe.The effort to determine Franklin’s true desires has turned up three voice mail messages, recorded months before the singer died, in which she discussed another will that she had been preparing with an estate lawyer, Henry Grix.In the messages, which were played in court earlier this year, Franklin said she had already decided some details around her estate, including that she wanted her pianos to be auctioned off at Sotheby’s, but she noted that she was leaving other decisions for a future meeting at the lawyer’s office.Franklin’s estate after her death had an estimated value of $18 million, according to a lawyer for one of her sons.Pool photo by Paul SancyaTed White Jr., whose father had been Franklin’s manager and first husband, asked that the court favor documents that had been drafted by Mr. Grix, an experienced estate planning lawyer, in the final three years of the singer’s life, arguing that it was the most recent expression of her wishes. But the judge overseeing the case, Jennifer S. Callaghan, excluded the documents from consideration in the trial, citing testimony from Mr. Grix maintaining that he had been left with the impression that Franklin “hadn’t made up her mind” about the will.“It is clear to this court,” Judge Callaghan wrote in a May decision, “that the attorney who was retained to personally memorialize the Decedent’s estate plan did not believe that the Decedent had yet reached a final, complete plan.”That leaves two documents for the six-person jury to consider.In the 2014 document, three of Franklin’s sons — excluding Clarence — would receive equal shares of their mother’s music royalties, but the distribution of her personal property would be weighted toward Kecalf. According to the document, Kecalf would receive two of four homes and the singer’s cars, the number of which is not specified.In court papers, a lawyer for Kecalf Franklin argued that the 2014 document should be considered a legal will because it is the most recent handwritten document by Franklin outlining her plans. (There is a dispute over whether the singer officially signed the document. One side says a smiley face paired with “Franklin” represents her signature on the final page of the document; the other has disagreed.)The singer’s heirs have disputed whether the smiley face next to “Franklin,” included on one of two conflicting documents, constitutes a legitimate signature.Oakland County Probate CourtMr. Smith said that although his client, Edward Franklin, would benefit more financially if the wills were deemed invalid, his client supports the 2014 document because he believes “that’s what Aretha wanted.”In steadfast opposition to the 2014 will is Mr. White, whose lawyer, Kurt A. Olson, wrote in court papers: “If this document were intended to be a will there would have been more care than putting it in a spiral notebook under a couch cushion.”As evidence in support of the 2010 document, which specifies weekly and monthly allowances for the four sons, Mr. Olson pointed to the fact that it was notarized and that Franklin had signed each page.Mr. White has yet to sign off on the settlement reached around Clarence Franklin’s piece of the estate, and it will ultimately be subject to the judge’s approval.Witnesses in the trial, which is expected to last less than a week in Oakland County Probate Court in Pontiac, Mich., are likely to include some of Franklin’s sons; the person who notarized the 2010 estate document; a handwriting expert; and a niece of the singer’s, Sabrina Owens, who discovered the potential wills in 2019. Ms. Owens had initially served as Franklin’s personal representative — similar to the role of executor — until strife within the family prompted her resignation.Nicholas E. Papasifakis, a Michigan estate lawyer, currently serves as Franklin’s personal representative and is not taking a side in the dispute between the heirs.After the trial has concluded and the estate has been settled, there will still be issues that will require cooperation within the fractured family. Biopics or tribute concerts would require universal agreement, unless the heirs were to appoint a business manager to manage such decisions, said Mr. Smith, the lawyer representing Edward Franklin.“We’re hoping that everyone gets along a little better after this has been resolved,” he said. More

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      Just Like a Woman: Female Artists Cover Bob Dylan

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      Hear versions by Marianne Faithfull, Joan Baez, Nina Simone and more.Joan Baez and Bob Dylan in 1963.Rowland Scherman/Getty ImagesDear listeners,In 2016, when Bob Dylan became the first singer-songwriter to receive the Nobel Prize for Literature, The Guardian asked six female artists to talk about his work. With his wild, Einsteinian coif, Romantic poet adoration and cryptic, sometimes ornery nature, Dylan is often held up as an emblematic example of the modern male genius. We’ve heard plenty about him from men over the years; refreshingly, The Guardian let some brilliant and fascinating women have their turn. “My mother always thought that Dylan was somewhat misogynistic,” the singer-songwriter Suzanne Vega said, “but I don’t see that. I see a whole range of female characters in his music from goddesses and queens and women revered and then also women used, abused.”When adding footnotes to the republished version of an incisive 1967 essay she’d written about Dylan, the great cultural critic Ellen Willis came to a slightly different conclusion. “Here and elsewhere in this prefeminist essay I refer with aplomb if not outright endorsement to Dylan’s characteristic bohemian contempt for women (which he combined with an equally obnoxious idealization of female goddess figures),” she wrote, adding that she’d since come to view these tendencies more critically. Still, these observations didn’t dilute her appreciation of Dylan’s work, nor the rigorous scrutiny she brought to it throughout her life. She was simply asserting something that has often become lost in more recent times — that “talking back” to a piece of art isn’t the same as dismissing it. It is much more often a way of keeping it alive.For today’s playlist, I wanted to put together a kind of musical version of that Guardian piece: a collection of Dylan songs interpreted by women. It’s not meant to be comprehensive; while putting it together I was reminded that there are a lot of great Dylan covers by female musicians, so apologies if your favorite didn’t make the list. (Though feel free to let me know.)As Willis put it, memorably, at the end of that previously mentioned essay, “In a communication crisis, the true prophets are the translators.” She was talking about Dylan, of course. But I think of the following artists — like Marianne Faithfull, Joan Baez and Nina Simone — as translators in their own right, too.Listen along on Spotify as you read.1. Cher: “All I Really Want to Do” (1965)Cher’s debut single, produced by her then husband Sonny Bono, was this jangly cover of the opening track on “Another Side of Bob Dylan” — a kind of one-person duet between the masculine and feminine ends of Cher’s vocal range. As she writes in her highly entertaining 1998 biography “The First Time,” “No one believed it was just me, because I did both the high part and the low part at the beginning of each verse.” She also recounts, later in that chapter, how she ran into Dylan in a New York recording studio as her version was climbing the charts. He told her that he dug what she’d done with it, which, Cher writes, “made me feel like floating away.” (Listen on YouTube)2. Joan Baez: “Simple Twist of Fate” (1975)By the time she released her 1975 album “Diamonds and Rust,” Baez had been recording gorgeous, reverent covers of material written by Dylan — her folk musical peer, collaborator and former flame — for more than a decade. Her rollicking cover of “Simple Twist of Fate” is something else, though: playful, self-assured and even a little sassy, especially when she uses a laughably nasal Dylan impression in the second half of the song. Writing the haunting title track off “Diamonds and Rust,” a poetic remembrance of her ’60s romance with Dylan, must have freed her up to have some fun with his material. (Listen on YouTube)3. Marianne Faithfull: “It’s All Over Now, Baby Blue” (1971)In 1965, shortly after the release of her debut single “As Tears Go By,” Faithfull spent some time hanging in the Savoy with Dylan and his entourage, while D.A. Pennebaker was filming “Don’t Look Back.” At one point, Dylan played Faithfull his latest album: “Bringing It All Back Home.” Six years later, when her voice had begun maturing beyond light pop fare and into that seen-it-all croak, Faithfull recorded her own version of the album’s final track, “It’s All Over Now, Baby Blue.” She’d revisit the song again many years later, too, on her 2018 album “Negative Capability.” (Listen on YouTube)4. Nico: “I’ll Keep It With Mine” (1967)It’s a rare experience, getting to hear a song’s muse sing and interpret material that was written about her. (Allegedly, as we must add with any speculation of what or who a Dylan song is “about.”) But such is the poignancy and power of Nico’s rendition of “I’ll Keep It With Mine,” which she recorded for her 1967 debut solo album, “Chelsea Girl.” Dylan wrote the song while traveling around Europe with a pre-Velvet Underground Nico during their brief 1964 romance, and though he attempted to record it for “Bringing It All Back Home” and, later, “Blonde on Blonde,” he ended up saving it for release on his bootleg collection. Nico’s version, then, is probably the best known: The signature, heavy-cream richness of her voice makes it sound impossibly melancholy, but there’s a buoyancy to her cadences that conveys the sweetness and devotion to companionship at the heart of the song. (Listen on YouTube)5. Bettye LaVette: “Ain’t Talkin’” (2018)I discovered this smoldering cover just a few months ago, after reading about it in Greil Marcus’s great 2022 book “Folk Music: A Bob Dylan Biography in Seven Songs.” (Always read Greil Marcus on Bob Dylan.) One of those seven songs is the creepily somnambulant “Ain’t Talkin’,” from Dylan’s 2006 album “Modern Times,” though Marcus rightly praises this reworking by the beloved soul singer Bettye LaVette for enlivening the composition with her unique sensibility. He quotes LaVette, speaking of this and a few other Dylan covers on her 2018 album “Things Have Changed”: “I wasn’t going to tributize him.” Instead she was looking to make the songs “fit into my mouth,” as she put it, “just as if they’d been written for me.” Mission accomplished. (Listen on YouTube)6. Mavis Staples: “Gotta Serve Somebody” (1999)The story goes that Dylan — a huge fan of the Staples Singers — proposed marriage to a young Mavis Staples when his career was just getting off the ground; she turned him down because she wasn’t yet ready to settle down. (She told The Guardian in 2016, “I often think what would have happened if I’d married Dylan.”) Musically, though, the two linked up throughout their lives: Staples joined Dylan for a 2003 duet of his 1979 gospel song “Gonna Change My Way of Thinking,” and in recent years they’ve toured together repeatedly. Staples’s blazing solo version of “Gotta Serve Somebody,” from a 1999 Dylan tribute, revels in the gritty rasp and bottomless depths of her one-of-a-kind voice. (Listen on YouTube)7. Marianne Faithfull: “Visions of Johanna” (1971)I simply could not choose just one Marianne Faithfull cover! And then I realized I didn’t have to! (Listen on YouTube)8. Emmylou Harris: “Every Grain of Sand” (1995)Emmylou Harris’s voice strains and nearly cracks open with exalted feeling on her passionately sung cover of “Every Grain of Sand,” a standout from Dylan’s spiritually minded 1981 album “Shot of Love.” It’s a welcome spotlight on a less appreciated stretch of Dylan’s songwriting. (Listen on YouTube)9. PJ Harvey: “Highway 61 Revisited” (1993)PJ Harvey dredges up the darkness in “Highway 61” with this wild version that appeared on her landmark 1993 album “Rid of Me.” Gone is the whimsical slide whistle; taking its place is Harvey’s torrential storms of guitar distortion and menacingly whispered vocals, making Dylan’s cheeky biblical sendup sound more like a nightmare. (Albeit a very cool one.) (Listen on YouTube)10. Nina Simone: “Just Like Tom Thumb’s Blues” (1969)On her 1969 album “To Love Somebody,” Nina Simone completely reimagines “Just Like Tom Thumb’s Blues” in both arrangement and tone. The version Dylan made famous on “Highway 61 Revisited” is charmingly cluttered, chock-full of layered instrumentation and reference-stuffed lines. But Simone clears almost everything out, building something extraordinary out of little more than quietly played piano, hand drums and that magnificently weary voice, turning Dylan’s surrealist fresco into a deeply felt hymn to the down-and-out. (Listen on YouTube)I’m going back to New York City, I do believe I’ve had enough,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“Just Like a Woman: Female Artists Cover Dylan” track listTrack 1: Cher, “All I Really Want to Do”Track 2: Joan Baez, “Simple Twist of Fate”Track 3: Marianne Faithfull, “It’s All Over Now, Baby Blue”Track 4: Nico, “I’ll Keep It With Mine”Track 5: Bettye LaVette, “Ain’t Talkin’”Track 6: Mavis Staples, “Gotta Serve Somebody”Track 7: Marianne Faithfull, “Visions of Johanna”Track 8: Emmylou Harris, “Every Grain of Sand”Track 9: PJ Harvey, “Highway 61 Revisited”Track 10: Nina Simone, “Just Like Tom Thumb’s Blues”Bonus tracksTina Turner’s cover of “Tonight I’ll Be Staying Here With You” is — alas! — missing from most streaming services, but if you dig around I bet you can find it on YouTube. Ahem.Also, on this week’s Playlist, Taylor Swift rewrites her back pages, plus new songs from First Aid Kit, Anohni and the Johnsons and more. More

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      Taylor Swift Revises a Lyric on ‘Speak Now (Taylor’s Version)’

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      Hear tracks by Prince, Rauw Alejandro, First Aid Kit and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage, and The Amplifier, a twice-weekly guide to new and old songs.Taylor Swift, ‘Better Than Revenge (Taylor’s Version)’“Speak Now,” from 2010, was Taylor Swift’s third album, and it is now the third to be rereleased as a rerecorded “Taylor’s Version.” But all along, the album was a declaration of independence: It was the first she wrote entirely on her own, as a rebuttal to critics — perhaps like the one she cuts down on the sugary, spicy “Mean” — who suggested that Swift’s co-writers had a bigger hand in her previous successes than she’d let on. “Speak Now” remains one of Swift’s best and most sharply penned albums: The line “You made a rebel of a careless man’s careful daughter,” from the chorus of the great opening track “Mine,” is often held up as an example of Swift’s lyricism at its most expertly concise.But “Speak Now” is an album of excesses, too; some of them are glorious — like the epic kiss-off “Dear John” or the romantic grandiosity of “Enchanted” — and some of them are the authentic artifacts of a 19-year-old’s somewhat myopic sensibility. “Mean,” which punches down, is guilty of that, and so is the acidic rocker “Better Than Revenge,” which has the most significantly revised lyrics in a “Taylor’s Version.” “He was a moth to the flame, she was holding the matches,” Swift sings on this 2023 update, a clumsier and less direct lyric than the original: “She’s better known for the things that she does on the mattress.” The change is unfortunate, and perhaps the beginning of a slippery slope of self-editing. The previous lyric was sanctimonious and nasty, yes, but it was also a historical document of Swift’s point of view at 19, and that of many young women who, being raised in a misogynistic society, are taught to blame the other girl before they learn how to curse “the patriarchy.” LINDSAY ZOLADZFirst Aid Kit, ‘Everybody’s Got to Learn’First Aid Kit is a duo of Swedish sisters, Johanna and Klara Söderberg, whose vocal harmonies are so perfect they can seem unreal. They have thoroughly studied 1970s Laurel Canyon folk-pop, with its gleaming, precisely blended electric and acoustic guitars. “Everybody’s Got to Learn,” from the expanded version of the 2022 album “Palomino,” sounds like parental advice from Fleetwood Mac. Over earnest folk-rock guitars and what grows into a hefty girl-group beat, the song reflects on the missteps that lead to maturity — “The blues and the bliss/you’ll hit and you’ll miss” — and promises, “You’re gonna see this through.” JON PARELESPrince, ‘All a Share Together Now’The latest find from Prince’s vault is “All a Share Together Now,” a song he recorded in 2006 but never released in any form. Prince sings about generational responsibilities — “the debt of the ones before us must be paid” — in a taut, bare-bones funk workout built around a jumpy bass riff. Live drums kick the beat around and a note-bending guitar teases out terse licks that are simultaneously lead and rhythm. It’s a homily disguised as a jam. PARELESRauw Alejandro, ‘Cuando Baje el Sol’Rauw Alejandro’s new album, “Playa Saturno,” eases back on the electronic experiments of his 2022 album, “Saturno,” in favor of earthy, party-ready reggaeton. But in “Cuando Baje el Sol” (“When the Sun Goes Down”), Alejandro and his fellow producers complicate the reggaeton thump with plenty of spatial and sonic mischief. Sampled and warped vocals, echoey synthesizers, turntable scratching and eruptive percussion all ricochet around his promises of hot times after sunset. PARELESKaisa’s Machine, ‘Gravity’Is “Taking Shape” — the latest album by the bassist Kaisa Mäensivu and her quintet, Kaisa’s Machine — a journal, or a workbook? Original tunes like “Shadow Mind” (a listless ballad) and “Eat Dessert First” (the LP’s eager, clattery final track) bespeak a confessional urge, but they can’t help spotlighting Mäensivu’s conservatory chops and wily compositional tactics. When wizardry takes the wheel — especially in jazz, and especially today — the voice underneath it can end up muffled in the trunk. Mäensivu deserves credit for seeking a healthy balance. “Gravity” is the album’s only track without a piano, slimming down this band of young aces to just bass, drums, guitar and vibraphone. Moving at a fast, nine-beat clip, Mäensivu’s bass line squares up firmly in a minor key, easing you into a space of feeling before the tune’s harmonic center starts shifting around. GIOVANNI RUSSONELLOAnohni and the Johnsons, ‘Why Am I Alive Now?’The title is a plain-spoken survivor’s lament, ostensibly about living through a time of environmental collapse: “I don’t want to be witness,” Anohni wails, “seeing all of this duress, aching of our world.” But within the context of Anohni and the Johnsons’ piercing new album “My Back Was a Bridge for You to Cross” — which features a photo of the band’s namesake, the gay activist Marsha P. Johnson, on its cover — that question is also haunted by the ghosts of the queer community. By the end of this loose, mournful soul song, Anohni finds a hopeful answer to that titular inquiry: She’s here to tell these stories, to draw attention to these causes, to sing this song. ZOLADZLittle Dragon featuring Damon Albarn, ‘Glow’Surrounded by swirling, twinkling, glimmering arpeggios, Little Dragon’s Yuki Nagano sings about sheer rapture: “Glowing in the dark to find streams of stars to taste.” Midway through, and inexplicably, Damon Albarn arrives from a different, bummed-out dimension, with apologies for being “Under the spell of the eyes that paralyze.” Having provided a little ballast, he vanishes in a download spiral and Nagano returns, still glowing and utterly unperturbed. PARELESFito Páez featuring Mon Laferte, ‘Sasha, Sissi y el Círculo de Baba’Fito Páez, Argentina’s most celebrated — and perpetually eccentric — rocker, decided to remake all the songs on his definitive 1992 album, “El Amor Después el Amor” (“Love After Love”), three decades later for the album “EADDA9223,” joined by duet partners including Elvis Costello, Nathy Peluso and Marisa Monte. “Sasha, Sissi y el Círculo de Baba” — a tale of passion and crime — used busy disco-funk guitar back in 1992. But the new version — trading vocals with the dynamic, torchy Chilean belter Mon Laferte — uncovers the retro bolero underlying the song. With reverb-laden guitar and a trumpet obbligato, Páez and Laferte revel in the drama together. PARELESTkay Maidza & Flume, ‘Silent Assassin’The Australian electronic music producer Flume usually juxtaposes bouncy, consonant chords with a little noise. But the track he brought to the Australian rapper Tkay Maidza is pure irritation: buzzes, distortion, wavery tones, a drone that bristles with dissonance. Maidza tops it with a speedy, shifty, percussive boast, racing through lines like “I’m a jigsaw, not a quick fix” and “I’m tactical, no attachments/I’m doing it for the passion.” From any angle, it’s combative. PARELESPJ Harvey, ‘Lwonesome Tonight’Polly Jean Harvey meticulously constructed a narrative, a sound and a language — based on the local dialect in Dorset, where she grew up — for “I Inside the Old World Dying,” her first album since 2016. The music is folky but fringed with electronics; her vocals are high and eerie, nearly disembodied. In “Lwonesome Tonight,” she sings about encountering a mystically charismatic figure: “Are you Elvis? Are you God?/Jesus sent you, win my trust,” she sings, and at the end she’s left wondering: “My love, will you come back again?” PARELESBrian Blade & the Fellowship Band, ‘God Be With You’Over the past quarter-century, Brian Blade’s Fellowship has come to feel more like a brotherhood than an ensemble, accruing a repertoire of original music that will stand the test of time along with an unmistakable sound: a mix of country, jazz and gospel that exudes a feeling of choral warmth, despite not using any vocals. But beyond that, they’ve stood up against (and basically outlived) a few insidious trends in jazz: When so many fine improvisers seemed be reconciling themselves to a future where the audience might become an afterthought, Blade and Fellowship had no time for that. The group’s fifth album, “Kings Highway,” begins with “Until We Meet Again,” a slowly seductive Blade original that makes reference to a William G. Tomer hymn; it ends with “God Be With You,” a short and elegant rendition of the Tomer piece itself. We can only hope that those valedictory titles aren’t telling us something about Fellowship’s future. RUSSONELLO More

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      Coco Lee, ‘Crouching Tiger, Hidden Dragon’ and ‘Mulan’ Singer, Dies at 48

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      A pop star across Asia by her early 20s, Ms. Lee reached international recognition with an Oscar-nominated song in 2001.Coco Lee, a Chinese American singer and songwriter best known for performing an Oscar-nominated song in the film “Crouching Tiger, Hidden Dragon,” died on Wednesday. She was 48.The cause was suicide, according to a statement from her sisters, Carol and Nancy Lee, who did not say where she died. Ms. Lee was taken to a hospital on Sunday after she attempted suicide at her home, they said.“Coco had been suffering from depression for a few years but her condition deteriorated drastically over the last few months,” her sisters wrote. “Although Coco sought professional help and did her best to fight depression, sadly that demon inside of her took the better of her.”Ms. Lee had built a successful career as a pop singer in Asia, but she was best known to American audiences for singing the song “A Love Before Time” in the 2000 film “Crouching Tiger, Hidden Dragon.” The song was nominated for an Oscar in the best new original song category, and she performed it in front of a television audience of millions at the Academy Awards ceremony in March 2001.“Combining the flavor and texture of Eastern music with the orchestral color and sensitive lyrics of Western culture, the magic of this stunningly beautiful film is truly realized in this evocative love ballad,” the actress Julia Stiles said as she introduced Ms. Lee’s performance.Her career as a recording artist began after she finished as the runner-up in a singing competition hosted by the television broadcaster TVB in Hong Kong in 1993, shortly after she graduated from high school. Ms. Lee entered the competition on a whim, she told The San Francisco Chronicle in 2000, and stumbled upon success.“I was timid as a kid,” she said. “I would hide in the bathroom and sing in the shower. I always predicted my older sister Nancy would be the singer. She’s beautiful, talented and she’s got nice legs. I had no idea it would be me.”But being selected as runner-up in the TVB contest led to the release of her debut album with a Taiwanese record label in 1994. “My goal in the singing business is not to stay in one place,” she told a reporter for The South China Morning Post in 1997, saying that she wanted to work in Asia and the U.S.In 1999, Ms. Lee released her first full English language album, “Just No Other Way,” which featured pop and R&B songs. One track, “Before I Fall In Love,” was included on the soundtrack for the Julia Roberts film “Runaway Bride.”Ms. Lee’s career also expanded beyond music. She voiced the lead character in the Mandarin version of Disney’s 1998 animated film “Mulan,” in addition to singing the movie’s theme song, “Reflection.”Ms. Lee, who was born on Jan. 17, 1975, in Hong Kong, moved to the United States and attended middle and high school in San Francisco, where she was crowned Miss Teen Chinatown in 1991. She briefly attended the University of California at Irvine, intending to study biology and become a doctor, but dropped out after her freshman year, she told The Chronicle.In their statement, Ms. Lee’s sisters noted that this year marked the 30th anniversary of the launch of her accomplished singing career. Ms. Lee was “known to have worked tirelessly to open up a new world for Chinese singers in the international music scene,” they wrote, highlighting her “excellent live performances.”In addition to her sisters, Ms. Lee’s survivors include her husband, Bruce Rockowitz, and two stepdaughters. A complete list was not immediately available.Her last single, called “Tragic,” was released in February. In a post to her social media at the end of 2022, Ms. Lee acknowledged having had an “incredibly difficult year” but encouraged her followers to spread positivity and “be an influential figure to inspire people.”If you are having thoughts of suicide, call or text 988 to reach the 988 Suicide and Crisis Lifeline or go to SpeakingOfSuicide.com/resources. More

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      Popcast (Deluxe): Olivia Rodrigo Returns, Fall Out Boy Denies History

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      Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:The new single by Olivia Rodrigo, “Vampire,” and a discussion of the directions her career may be takingThe Grimace Shake memes dominating TikTok and Instagram, and the “Barbie”/”Oppenheimer” corporate meme face-offA question about the legacy of “The Hills”Fall Out Boy’s updating of Billy Joel’s “We Didn’t Start the Fire”New songs from Sampha and VeezeAnd trying the Grimace Shake for snack of the weekConnect 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. More

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      Blackbraid, a Black Metal Musician With Native American Roots

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      Sgah’gahsowáh, the artist behind the one-man band, combines the genre’s traditional heavy sounds with a focus on nature. His new album, “Blackbraid II,” is out Friday.Black metal has long been associated with the gray skies, snowy landscapes and Norse mythology of Scandinavia. Most people know it, if at all, as the musical genre associated with church burnings and gory homicides in early 1990s Norway. (Those events were documented in the book “Lords of Chaos,” which was adapted into a 2019 feature starring Rory Culkin as the misanthropic, occultist musician Euronymous.)But black metal has expanded and diversified, so much so that the genre’s latest success story, the one-man band Blackbraid, hails from the Adirondacks and draws on its founder’s Native American roots rather than Vikings and medieval weapons.“I didn’t want to do something ingenuine or be some Indigenous guy who’s writing about Thor and Odin, stuff I have no personal connection to — I want to make a traditional-sounding black metal album, but write something that I can actually identify with,” Blackbraid’s creator, who goes by Sgah’gahsowáh (Mohawk for the witch hawk), said in a video conversation a couple of weeks before the release of his new album, “Blackbraid II,” on Friday.That record does sound fairly traditional, and relies on black metal’s classic building blocks: shrieked vocals, barrages of ferocious blast beats, guitars buzzing like angry bees.Yet there is also elbow room within those parameters, and on “Blackbraid II” you can hear a delicately strummed acoustic guitar here, a traditional flute there. Catchy riffs, most notably on the single “The Spirit Returns,” coexist with ambitious tracks like the 13-plus-minute “Moss Covered Bones on the Altar of the Moon,” which waxes and wanes like an epic saga.Pretty impressive for a one-man band: Sgah’gahsowáh (mononymic aliases are very black metal) composes the material and plays all the instruments except for the drums, which are programmed by his friend Neil Schneider. (Schneider also recorded, mixed and mastered the new album. Blackbraid expands to a five-piece live.)Sgah’gahsowáh grew up not too far from where he lives now, and started both playing guitar and listening to metal in the late 1990s and early 2000, when he was, as he put it, “barely in middle school.” He did not go for the styles that are popular in the United States, however, like thrash, which is exemplified by Metallica and Megadeth, or death, a brutal assault that came of age in Florida swamps.“A lot of black metal is just about being depressed or sadness, and a lot of it is based in the solitude and somberness of nature,” he said, adding that growing up in the woods “and also being a moody teenager,” that resonated for him. “And I just liked the music better,” he said.After a few fruitless efforts on his local scene, he created Blackbraid as a solo endeavor and released his first single, “Barefoot Ghost Dance on Blood Soaked Soil,” in February 2022. Fast-forward 18 months, and Sgah’gahsowáh, an album under his bullet belt and another about to come out, was speaking a few days after playing at the prestigious European festivals Hellfest and Copenhell. Next up is Midgardsblot, a fest held at a former Viking settlement in Norway in August.“I left my job last year, in April or May, so it’s just about a year of me doing Blackbraid for a career,” he said. (He worked as a carpenter.) “It’s kind of crazy.”Black metal’s longstanding interest in history, myths and paganism made it a good fit for Sgah’gahsowáh.Hiroko Masuike/The New York TimesNaturally, any rapid rise brings out the doubters, particularly in a genre as passionately niche as black metal, where ultra-limited releases are a badge of authenticity.“I read that someone thought he was an industry plant and I was like, ‘Dude, black metal isn’t even big enough to have industry,’” Schneider said, laughing, in a video chat. Blackbraid is not signed to a label and the music is self-released.While it is not remotely mainstream-adjacent, over the past two decades black metal has expanded in the U. S., where the domestic strain is referred to as USBM. Within that, a Native American scene has been percolating with such projects as the California label Night of the Palemoon and bands like Pan-Amerikan Native Front, Ends Embrace and Ixachitlan.“Black metal has definitely become much more diverse in the last 10, 15 years,” Daniel Lukes, co-editor of the recent collection “Black Metal Rainbows,” said in a video interview. “It has become a place where people feel comfortable expressing their identity, whether it’s gender identity or ethnicity. A band like Blackbraid is certainly part of this opening up. On the other hand,” he continued, “a relationship to ethnicity or Indigenous identity or tradition or heritage has been in black metal from the start.”Black metal’s longstanding interest in history, myths and paganism made it a good fit for Sgah’gahsowáh — who picked his stage name to honor the land where he lives rather than a specific ancestry, as he was adopted. (His friends call him Jon, but he is cagey about revealing his last name, allowing that it’s easy to find online; he also is discreet about his town’s location, to protect his family’s privacy.)“There are so many displaced Native Americans all over this continent and it’s a very common misconception that all of us grew up in a reservation and had access to tribal communities,” he said. “That’s kind of how I look at it with Blackbraid — I want to empower those people as well as all the people that are enrolled and living on reservations.”“Almost everything I write is a product of nature,” Sgah’gahsowáh said.Hiroko Masuike/The New York TimesSgah’gahsowáh also connects black metal with Indigenous traditions via his early use of the highly stylized black-and-white facial makeup known as corpse paint; his current look draws less from Scandinavian designs.“When you look at traditional war paint across the Americas, there’s no difference between that and corpse paint,” he said. “I’ve always thought of it as war paint for Blackbraid anyway. It’s so perfectly intertwined in the black metal aesthetic already.”One of the reasons Blackbraid’s audience is expanding is that he taps into a big source of inspiration for black metal that happens to be very much on many people’s minds: our connection with the natural world and our ecosystems.This has long been a part of the Northern European scene (cue countless songs about winter and videos of men traipsing through snowy vistas) and it has thrived within a segment of USBM, led by eco-minded bands like the precursor Agalloch, Wolves in the Throne Room and Panopticon. “Sacandaga,” from the first Blackbraid album, has lyrics like “The passage of time, it slows to a soft whisper/Like wind in the pines as the creek flows softly by,” and the accompanying video is filled with shots of majestic forests and mountains.“Almost everything I write is a product of nature,” said Sgah’gahsowáh, who describes himself as “a woodsman who likes fishing and stuff,” as well as an avid hiker. “I want to empower Indigenous people, that’s another huge thing, but when it comes down to it, it’s really about nature.”He added: “I want to take that relationship and somehow translate it into my music, let people feel that as well — especially people that may not really get to spend much time in nature, or live somewhere where it’s not as accessible. I really want that to shine through in my music the most.” More

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      Andrew Ridgeley on George Michael and Life After Wham!

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      “The only thing I ever wanted to do from the age of 14 was to be in a band,” but he is content with the duo’s short career, which is chronicled in a new documentary.If you weren’t a teenager in 1984, it might be hard to understand this, but here goes: There are Gen X-ers who remember where they were the first time they saw the video for the Wham! clap-along pop anthem “Wake Me Up Before You Go-Go.”In it, George Michael and Andrew Ridgeley, the heartthrob frontmen of Wham!, wear big smiles and beachy short shorts as they perform their infectious bop — titled after a note Ridgeley had once left on his family’s refrigerator — for a small crowd of adoring fans. There were fingerless gloves, neon face paint, white “Choose Life” T-shirts that had nothing to do with abortion: It was a new-wave dance party for cool kids who thought Mötley Crüe sucked.Ridgeley, who turned 60 in January, remembers making it as great fun.“It was our first video with an audience,” he said during a recent video interview from his home in London. “The atmosphere was really quite excitable and exciting.”Ridgeley and his bandmate are the subject of “Wham!,” a new documentary that premieres on Wednesday on Netflix. Directed by Chris Smith, it charts the British group’s climb to pop stardom, beginning with its ferocious appearance on the music show “Top of the Pops” in 1982, through the global success that followed the albums “Fantastic” (1983) and “Make It Big” (1984), and finishing with the 1986 farewell concert in London.The film, which is itself directed like a power-pop video, explains how the duo’s modern mix of disco, funk, pop and soul, in songs like “Young Guns (Go for It),” “Careless Whisper” and “Freedom,” helped make Wham! one of the biggest pop groups of the late 20th century, even though it lasted just four years. Unlike bands that split over artistic or personal disagreements, Wham! didn’t have a rise and fall. “It was just a rise and they called it a day,” Smith said.They didn’t break up either, said Ridgeley, but rather “brought Wham! to a close in a manner of our own choosing.”Michael and Ridgeley at the height of their early popularity.NetflixFans might be disappointed to learn that in the documentary Ridgeley is heard but not seen as he appears today: debonair and patrician, with silver hair and a still-cheeky smile. Smith said it would have thrown the film’s mythic aspirations off balance if Ridgeley were on camera but not Michael, who died seven years ago at 53.After Wham!, Ridgeley told me, he and Michael were “no longer living in each other’s pockets” as they had done since they were kids. But their bond was fixed.If Ridgeley is tired of being known mostly for his friendship with Michael, he didn’t show it. He brightened when chatting about Michael, whose loss left Ridgeley feeling “like the sky had fallen in,” as he said in 2017. But he didn’t seem into talking much about his life now, other than to say he enjoyed cycling.The documentary includes archival media coverage and tons of concert footage, including scenes of groundbreaking shows in 1985, when Wham! became the first Western pop group to perform in China.But it’s Ridgeley’s mother who supplied the most personal treasures. Since her son’s grade-school days making music with Michael, she kept about 50 meticulously organized scrapbooks stuffed with photos, reviews and other ephemera. They include snapshots from the mid-1970s when Ridgeley first got to know Michael as Georgios Kyriacos Panayiotou, the son of a Cypriot father and a British mother.Ridgeley was also the son of an immigrant father — his dad was Egyptian — and a British mother, and he hit it off immediately with the boy he called Yog, a nickname he used often in our interview. The scrapbooks paint a vivid portrait of boys who loved Queen and “Saturday Night Fever” and desired to make music a career.“The only thing I ever wanted to do from the age of 14 was to be in a band, write songs and perform,” Ridgeley said with a 14-year-old’s enthusiasm in his voice, adding that fame and celebrity “were never a motivating factor for either of us.”Ridgeley said he and Michael knew Wham! would have a finite life span because Michael’s songwriting began “developing and evolving in a way and at a speed” that Wham! couldn’t accommodate. In November, Michael will be inducted into the Rock & Roll Hall of Fame.Since Wham!’s heyday, Ridgeley has battled the perception that he’s famous only because he was in a duo with a more talented artist. The documentary makes a case in his favor though, tracing how Ridgeley, a guitarist, collaborated with the composer and performer Michael.Still, Ridgeley acknowledged that his musicianship wasn’t in the same league as Michael’s, “one of the finest, if not the finest, singing voices of his generation,” he said, sounding like a proud brother.Ridgeley said his bond with Michael endured even after Wham! ended.NetflixWhen Michael came out to him after they filmed the video for “Club Tropicana” (1983), 15 years before he did so publicly, Ridgeley said he supported him with love and a shrug. Michael was more freaked out by how his father might react than how the public would, Ridgeley said; had Michael come out during the Wham! years, Ridgeley said he and fans would have had his back.“I didn’t think it was going to affect our success, and in the long term it probably wouldn’t,” he said. “It would have been difficult for a while for him, there’s no doubt about that. It would have required management by us all. But after the initial sensationalism, it’s on the table isn’t it?”After Wham!, Ridgeley released a 1990 solo album that flatlined and he did a short stint as a Formula 3 driver, but he has otherwise stayed out of the limelight. The British tabloids have kept breathless tabs on his love life — including his 25-year relationship with Keren Woodward, a former member of another ’80s pop group, Bananarama — much as they did when they gave him the Wham!-era nickname Randy Andy.Ridgeley didn’t pursue fame further because being in Wham! gave him “everything he wanted,” said Shirlie Kemp, a friend from school and a Wham! backup singer. Not just professionally.“I don’t think I ever met anyone else who was on par with George the way Andrew was, intellectually and with a sense of humor,” said Kemp, whose husband is Martin Kemp of the ’80s band Spandau Ballet. “It was the best relationship I’d ever seen George have with anyone.”Ridgeley said “few stones remain unturned” as he’s worked the past five years on projects that are all-things-Wham! In 2019, he published a memoir, “Wham! George Michael & Me,” and had a cameo that year in the romantic-comedy “Last Christmas,” which was inspired by the group’s eponymous chart-topping holiday single. Later this month comes “Echoes From the Edge of Heaven,” a Wham! singles collection.He still seems to be in awe of what he and his best friend made together.“I could never quite really get that we had achieved the same kind of success as the artists that we revered like gods when we were growing up,” he said. “We were playing Wembley Stadium, the same place Elton John played. You can say, ‘I am the same.’ But in your own mind, you’re never the same.” More