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      Have You Seen Paul McCartney’s Lost Bass Guitar? Tips Welcome.

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      For decades, mystery has surrounded the fate of the missing bass that accompanied the Beatles as they rocketed to fame. A new campaign is trying to find it. Before Beatlemania, there was the distinctive Höfner violin bass — the first guitar that Paul McCartney bought after becoming the bassist for the Beatles.That bass can be heard on some of the band’s most famous hits, including “Love Me Do,” “She Loves You,” and “Twist and Shout.”Mr. McCartney picked up the instrument in a Hamburg music store in 1961, and it accompanied the Fab Four as they rocketed to stunning success, becoming the most famous band in the world. But the guitar vanished eight years later.A new campaign is seeking to find the missing instrument, and hundreds of people have responded, hoping to help solve the decades-old mystery: Where is Paul McCartney’s missing bass guitar?“It’s a hugely significant instrument in its own right,” said Nick Wass, a semiretired consultant for Höfner, the guitar’s manufacturer, who has joined forces with two journalists to try and track the guitar down. “It’s the bass that made the Beatles.”“The bass was absolutely at the heart of the origins of the Beatles sound,” said one of the journalists, Scott Jones, who worked for the BBC. “The smallest pieces of information can often lead to the biggest breakthroughs,” he said of their appeal for tips on its fate.Mr. Jones’s wife, Naomi, is the other journalist behind what they are calling The Lost Bass Project.The three Beatles fans have urged members of the public to come forward with any information that might help. No tip is too small, they say, and they are promising to keep sources confidential. They say they have already received several credible leads since the project was launched on Saturday.The instrument’s treasured place in Beatles mythology is intertwined with the band’s story. After the departure of their original bassist, Stuart Sutcliffe, Mr. McCartney, who had been playing guitar, switched instruments to replace him during a residency in Hamburg in 1961. For that, he needed a new bass guitar.“I got my Violin Bass at the Steinway shop in the town center. I remember going along and there was this bass which was quite cheap,” he said in a 1993 interview with Guitar Magazine, adding that he had not wanted to go into debt and could only afford the Höfner, 500/1 guitar at the time. It cost about £30 pounds, or $38, he recalled. “And once I bought it, I fell in love with it.”Paul McCartney performing in 2017.Kamil Krzaczynski/Agence France-Presse — Getty ImagesMr. McCartney took the guitar back to Britain, where it accompanied the Beatles through hundreds of gigs — from the band’s early concerts at the Cavern Club in Liverpool, where they were spotted by Brian Epstein, who would become their manager, to the recording of their first two albums. It was repaired in 1964, according to the team behind the new search, and then used along with other bass guitars.But the last confirmed sighting of the instrument was in London in 1969, in video footage of the band members writing their final album, “Let It Be.” Rumors have percolated ever since about what happened to the instrument: The Lost Bass Project suggests that it could have been stolen or lost either from the basement of Abbey Road Studios, or from the Apple Corps recording studio on Savile Row.A representative for Paul McCartney declined a request for an interview. But Mr. Wass said he understood, from previous communications with Mr. McCartney, that he was keen to be reunited with the instrument. “He calls it the ancient one,” Mr. Wass said.Among the leads they had received, Mr. Jones said, were suggestions that the instrument could have traveled to the United States or Japan. But he added that all the leads need to be vetted. “Somewhere among that information there is going to be the answer,” he said.Other iconic instruments have been lost and found over the years — one close example being a Gibson acoustic guitar belonging to John Lennon, which was bought in 1962 and then lost the following year. Half a century later, it re-emerged and was sold at auction in 2015 to an anonymous buyer for $2.4 million.It is unclear what the market value of Mr. McCartney’s missing guitar would be, but the team behind the search insists that the effort is not for monetary gain, calling the guitar “priceless.”“We just want to know where it is,” said Mr. Wass. More

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      Jimmy Buffett Died of Rare Form of Skin Cancer

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      The singer’s website said he had Merkel cell carcinoma for four years and died at his home on Long Island.Jimmy Buffett died of skin cancer at his home in Sag Harbor, N.Y., on Long Island, according to a statement on the singer-songwriter’s website.After Mr. Buffett died on Friday at age 76, his site announced the death but did not give a cause or specify where he died. In an update over the weekend, the website said that he had Merkel cell carcinoma for four years. A rare and aggressive form of skin cancer, Merkel cell is diagnosed only about 2,500 times a year in the United States, and until recent years it had carried a life expectancy of five months.Mr. Buffett’s 1970s hits like “Margaritaville” and “Cheeseburger in Paradise,” which mingled country-rock with bits of calypso melodies and had wry lyrics about the carefree life of boating and loafing at beachside bars, made him a cult hero on a huge scale.He sold at least 23 million albums in the United States alone, according to the Recording Industry Association of America, on par with Jimi Hendrix and the Beastie Boys. And Mr. Buffett’s annual tours — in which he usually appeared barefoot, in a comfy T-shirt or Hawaiian button-down — were hugely successful, drawing millions of fans who sang along, drank prodigiously and called themselves Parrot Heads.Mr. Buffett was one of pop music’s most successful and ambitious businessmen, building a huge empire on the brand of good times and island escapism that he sang about in his songs. That included Margaritaville restaurants and resorts, footwear, drink mixes and a 2018 Broadway jukebox musical, “Escape to Margaritaville.”This year, Forbes estimated his net worth at $1 billion, with $570 million attributed to his tours and recording and $140 million in planes, homes and his shares in Berkshire Hathaway — the holding company whose chairman and CEO is multibillionaire investor Warren Buffett, who had been a longtime friend. More

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      Folk Implosion Returns With ‘Music for Kids’

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      Lou Barlow and John Davis made tracks for the 1995 cultural flashpoint. They split after a 1999 LP, but reunited during the pandemic, and made plans to release more songs.By the early 1990s, Lou Barlow was used to getting some weird fan mail. The lyrics he wrote for his band Sebadoh seemed to excavate the loneliest and weirdest secrets of his inner world — subject matter that invited Barlow’s listeners to form an unusually close relationship to its singer. He didn’t think much of it when one of those fans, a teenager named Harmony Korine, sent him the full-length script for a pretty out-there movie he’d written called “Kids.”“It seemed kind of extreme, but I was used to it,” Barlow recalled in a video interview. He began corresponding with Korine, who wanted Barlow to write the music for his film, which was not some pipe dream but actually in an early state of production. Korine, he said, had a clear vision: “He obviously knew what he was talking about.”Directed by the photographer Larry Clark, “Kids” would indeed become a cultural flashpoint upon its 1995 release for its colorful, and arguably exploitative, depiction of wayward New York City teenagers caught up in drugs and sex. It would serve as a launching pad for Korine’s own directorial ambitions, and the careers of the actresses Chloë Sevigny and Rosario Dawson. And for many viewers, the “Kids” soundtrack was an introduction to some of the stranger artists in then-contemporary American independent music: the outsider singer-songwriter Daniel Johnston; the mysterious post-rock practitioners Slint; and the Folk Implosion, Barlow’s eclectic band with John Davis, who ended up scoring a good chunk of the movie.An incomplete version of that soundtrack is available on some streaming platforms, but it cannot be heard as it was initially presented. (Multiple songs — different ones — are missing on Apple Music and Spotify; the LP isn’t on Tidal or Amazon Music.) A Domino publicist said in an email that Universal — the parent company of London Records, which first released the “Kids” soundtrack — no longer held the rights to any of the music, and that “a partial selection had become available erroneously.”But now, the Folk Implosion’s contributions to that soundtrack will be reissued on Sept. 8 via Domino Records as “Music for Kids.” It contains all the original compositions the band made for the movie, many of which have never been available on streaming, as well as a grab bag of sonically similar Folk Implosion recordings from subsequent albums. “Music for Kids” also doubles as a flagship release for the duo’s reunion. Davis left the band in 1999 on unfavorable terms; today, they’re working on new Folk Implosion recordings, and making plans to perform together.“There’s a core spark to it that feels almost genetic,” Davis said in a separate video interview.Their collaboration as the Folk Implosion was, in fact, inspired by a fan letter that a teenage Davis wrote to Barlow in the late ’80s, when Barlow was living in Westfield, Mass. At the time, Barlow was beginning to gain attention for his work in Sebadoh, following his stint as the bassist in the alternative rock band Dinosaur Jr. His experience with the indie music scene had made him acutely aware of its limitations, and in Davis, he found a cerebral collaborator who wasn’t afraid to talk freely about the creative process.“John, he’s an actual intellectual,” Barlow said. “Him being a fan of my work really made me feel safe — that I could just start talking.”Their mutual openness led the Folk Implosion in a very different direction. Contrary to Dinosaur Jr.’s grungy guitar heroics, or Sebadoh’s homespun singer-songwriter recordings, Davis was more comfortable pushing Barlow to experiment with rap and R&B production methods. Most of their songs originated as drum and bass compositions before they layered in samples, loops and nontraditional instrumentation.The Folk Implosion’s “Music for Kids” includes the group’s songs from the movie and additional tracks.Domino Records“We were trying to poke fun at the pieties of this very white indie-rock world, and be open to other influences,” Davis said. He described a dynamic in the underground scene where white musicians, fearing accusations of cultural appropriation, stayed away from historically Black genres altogether. The Folk Implosion was inspired by groups like Devo and Public Image Ltd., who freely combined disparate styles into their own creations. As Barlow put it, “we really felt like everything should be melded together.”Following a whirlwind trip to New York City, where Barlow got a firsthand look at the particular method of Korine and Clark’s madness, he and Davis convened at Boston’s Fort Apache Studios to work on the soundtrack. As the movie was being completed, they were mailed VHS tapes of scenes. The percussively frantic “Nasa Theme” was written for when Sevigny’s character, Jenny, ventures to N.A.S.A., an all-ages dance party at the once-thriving Club Shelter. The jaunty “Cabride” was meant to accompany Jenny as she rides in a taxi cab after learning she has tested positive for H.I.V.Not all of these compositions made it into the film: “Cabride” was cut in favor of a jazz song that Clark preferred. Others, like the haunting “Raise the Bells,” which plays over a lonesome montage of early morning New York City, were pulled right from Barlow’s existing discography. “A lot of things they chose to actually put in the movie, we recorded on a four-track at my house,” Davis noted, including the melancholy yet ascendant “Jenny’s Theme,” which appeared multiple times in the film.A scene from the 1995 film “Kids,” which would become a cultural flashpoint upon its release.MiramaxBut the two never seemed to encounter much resistance as they worked on the soundtrack, which they made without a restrictive budget. (They were paid a flat fee: “I know our lawyer thought it was low, whatever it was,” the band wrote in an email.) The lack of guardrails led to its biggest single, “Natural One.” Conceived for a scene where a group of teenage girls talk frankly about their sex lives, the song was ultimately left out of the final cut. (In its place, Korine inserted a Beastie Boys track.) Nonetheless, the Folk Implosion refused to consign it to the archives.“We didn’t know it would be popular, but we knew that we’d done something very good,” Davis said. After the movie was finished, they received some extra money from London Records that allowed them to add vocals and complete the song. Upon its release and promotion, “Natural One” reached an unlikely position of No. 29 on the Billboard Hot 100.The surprise hit invited plenty of attention from curious labels, appropriate in a post-Nirvana era when plenty of big-money contracts were handed out to underground acts. The Folk Implosion signed with Interscope, but the ride wouldn’t last long. Barlow found himself in the untenable position of having to reassure his Sebadoh bandmates that his attentions weren’t divided, which became increasingly difficult.“For all the success I was having, I still had a pretty remarkable lack of confidence,” he said. And Davis became conflicted about participating in mainstream entertainment, which exacerbated his own anxiety about becoming a public figure.Barlow, left, and Davis in 1999. After the release of an album that year on a major label, Davis left the band.David Tonge/Getty ImagesSlowly, their relationship started to fray. Davis ended up quitting the band after the release of “One Part Lullaby” in 1999, their only record for Interscope. They would not speak for over 20 years. But near the start of the pandemic, they became Facebook friends. “I started thinking to myself, ‘What if Lou died, and we never talked to each other again?’” Davis said. After a handful of online interactions, they reconnected over the phone, where they hashed out some of those longstanding issues. They raised the possibility of collaborating again, which led to the “Kids” reissue and their upcoming plans for the Folk Implosion.In a joint interview, they displayed a lively and easygoing dynamic: lots of laughter, lots of smiles. Davis was a very deliberate and politically conscientious speaker on his own — he made frequent reference to writers such as bell hooks and Imani Perry — but he appeared lighter in Barlow’s company. The two freely completed each other’s thoughts, and made instant reference to what the other was more likely to remember about the past.“It’s virtually the same,” Barlow said, of their resumed friendship. As Davis listened on, he explained he was “happy to change the ending” of what had been a sad conclusion to an otherwise fruitful experience.“I don’t think anything’s actually finished until we’re gone,” he said. “I would like to think of us in terms of folk or jazz musicians — people who keep playing music until they dropped dead.” Working with Davis again, he said, had reminded him of the excitement of their initial collaboration. “I could never predict where those songs would end up,” he said. Now, as their new songs have taken shape, “they always surprise me.” More

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

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      Buzzy debuts (Chappell Roan, Evian Christ) and anticipated follow-ups (Jorja Smith, yeule) are due this season.After a summer dominated by blockbuster tours by Taylor Swift and Beyoncé, this fall the music business gets back to the business of releasing albums. Longstanding acts are returning with new LPs (Dolly Parton, Wilco, Usher), and long-awaited follow-ups are arriving, too (the Streets, Sampha, Nicki Minaj). Dates and lineups are subject to change.SeptemberSAM RIVERS CENTENNIAL Amid the hardscrabble realities of 1970s New York, Studio Rivbea was a crucial crack in the pavement where creative life flourished. A downtown loft run by the esteemed saxophonist Sam Rivers and his wife, Beatrice, Rivbea — and its resident big band — gave musicians young and old a space to rehearse and perform on their own terms. Craig Harris, Joseph Daly and Steve Coleman all spent formative time there in the ’70s, and they’ve come together to organize a big-band performance in recognition of Rivers, who would have turned 100 this month. (Sep. 22; Mt. Morris Ascension Presbyterian Church) — Giovanni RussonelloSOUL REBELS One of New Orleans’s best-known exports, the Soul Rebels carry forward the classic brass-band tradition by infusing it with plenty of modern-day flavor across the spectrum of Black American music. Their upcoming four-night stand at the Blue Note includes guest appearances from the golden-age rap eminences Rakim and Big Daddy Kane (Sept. 21); Ja Rule (Sept. 22); G-Eazy (Sept. 23); and a potpourri of contemporary-jazz heavyweights, including James Carter and Elena Pinderhughes (Sept. 24). — RussonelloKYLIE MINOGUE For decades, Kylie Minogue has been making dance floor manna that pingpongs between curiosity and undeniability, This year, she released one of her best — “Padam Padam,” a gay nightclub anthem that spawned slang and memes and, over time, a pop crossover. Minogue’s new album, on its heels, is “Tension.” A Las Vegas residency will follow, starting in November. (Sept. 22; BMG) — Jon CaramanicaKylie Minogue got a boost from another club anthem this year, “Padam Padam.”Don Arnold/Getty ImagesCHAPPELL ROAN Over the past year, the pop singer Chappell Roan has been releasing a string of theatrically intimate singles that touch on relationship awkwardness with uncommon candor. The music on her debut album, “The Rise and Fall of a Midwest Princess” — which touches on wobbly ’80s new wave and ’90s singer-songwriter pop-rock and ’00s dance-pop — suggests a singer less beholden to style than to ensuring she says the exact thing she needs to say. (Sept. 22; Amusement/Island) — CaramanicaYEULE The songwriter, singer and producer yeule embraces extremes on “Softscars,” the follow-up to “Glitch Princess,” from 2022. Nothing is predictable on an album that holds guitar ballads, a piano waltz, bristling rock guitar riffs, gleaming electronics, hyperpop tweaks and bluntly distorted beats. The songs consider pain, love, technology and carnality, the experience of a 21st-century life that’s simultaneously physical and virtual. (Sept. 22; Ninja Tune) — Jon ParelesJOHN ZORN’S NEW MASADA QUARTET Opportunities are few to hear the saxophonist, composer and downtown jazz doyen John Zorn simply throwing down, in the company of improvisers that elevate him. That’s what happens when he gets together with the New Masada Quartet, which plays music from Zorn’s 613-piece “Masada” songbook (composed based on aspects of Jewish folklore and theology) and features the guitarist Julian Lage, the bassist Jorge Roeder and the drummer Kenny Wollesen. (Sept. 26 through Oct. 1; The Village Vanguard) — RussonelloCHERRY GLAZERR On the bluntly titled new album “I Don’t Want You Anymore,” Clementine Creevy, who leads the indie-rock band Cherry Glazerr, wrestles with a clearly toxic relationship. As the songs go style-hopping — explosive grunge, chugging synth-pop, hints of funk and jazz — the obsession persists. (Sept. 29; Secretly Canadian) — ParelesDARIUS JONES The avant-gardist Darius Jones has such a distinctive sound on the alto saxophone — widely dilated, yet so rough it could peel paint — he could make a living off his tone alone. But he also has a fiercely innovative streak as a composer. Now he returns with a wide-ranging new album showing off both sides of his talent, “Fluxkit Vancouver (Its Suite but Sacred),” with a string section in prickly repartee with Jones and the commanding drummer Gerald Cleaver. (Sept. 29; Northern Spy/We Jazz) — RussonelloONEOHTRIX POINT NEVER Daniel Lopatin has built a two-lane career: as a producer creating cavernous backdrops for hitmakers like the Weeknd, and recording on his own as Oneohtrix Point Never, exploring changeable, ambiguous soundscapes. His new Oneohtrix Point Never album, “Again,” is largely instrumental, incorporating orchestral arrangements, glitchy electronics, stray vocal samples, artificial intelligence and countless other elements that are subject to change at whim in dynamic, inscrutable tracks. Lopatin has described the music as “crescendo-core.” (Sept. 29; Warp) — ParelesJORJA SMITH “Falling or Flying” is only the second studio album by the English songwriter Jorja Smith, but she has been prolific as a collaborator with Kali Uchis, Burna Boy, Drake, FKA twigs and others. She’s fond of minor chords and lean, moody grooves that hint at soul, jazz and Nigerian Afrobeats; they suit her aching but supple voice, as it projects both sympathy and resilience. (Sept. 29; Famm) — ParelesJorja Smith has become a frequent collaborator in the gap between albums. Her second LP arrives in late September.Alex Pantling/Getty ImagesWILCO To make its 13th studio album, “Cousin,” Wilco brought in an outside producer for the first time since 2007: the Welsh songwriter Cate Le Bon, who opens folk-rock into electronica. She encouraged Wilco to extend the sonic experimentation it opened up on its 2002 album “Yankee Hotel Foxtrot.” As Jeff Tweedy sings about desolation, loss and obstinate hope, the music carries roots-rock into disorienting and illuminating territories but still sounds handmade. (Sept. 29; dBpm) — ParelesOctoberUSHER Some of the most viral performance clips of this past summer have belonged not to Taylor Swift or Beyoncé, but to Usher, whose Las Vegas residency has been a celebrity magnet and also a showcase for grown-folks-business R&B. His new music continues to delve into the sticky-situation soul that helped make him a superstar two decades ago. (October; mega/gamma.) — CaramanicaBUTCHER BROWN A spirit of generous communion runs through “Solar Music,” the latest album from the Richmond-based hip-hop-jazz fusion quintet Butcher Brown. The album features guest appearances by the saxophonist Braxton Cook, the M.C.’s Pink Siifu and Nappy Nina and the trumpeter Keyon Harrold, among others. Butcher Brown will toast “Solar Music” at a concert Oct. 18 at Le Poisson Rouge. (Oct. 6; Concord Jazz) — RussonelloSLAUSON MALONE 1 Slauson Malone 1 is the updated name for the recording project of Jasper Marsalis, a musician and artist who plays with myriad genres and styles, denaturing them well beyond their familiar contours. His new album, “Excelsior,” is deeply ambitious, engaging and full of winning eccentricities. (Oct. 6; Warp) — CaramanicaSUFJAN STEVENS Love — physical, divine, longed-for, embattled, cherished — is the subject on Sufjan Stevens’ new album, “Javelin.” Its songs usually start out folky, but they rarely stay that way; they expand and billow. Working alone at his home studio, Stevens orchestrated them all by himself, playing nearly every instrument. (Oct. 6; Asthmatic Kitty) — Pareles“BOSSA NOVA: THE GREATEST NIGHT” The United States was formally introduced to Brazil’s bossa nova, or “new style”— suave, understated, sophisticated — with a concert at Carnegie Hall on Nov. 21, 1962 that included Antonio Carlos Jobim, João Gilberto, Sergio Mendes, Luis Bonfá and others. It’s nearly a year late for a 60th anniversary, but a concert will bring together Brazilian stars including Seu Jorge and Carlinhos Brown along with Daniel Jobim — Antonio’s grandson — to revisit the now-classic bossa nova repertory. (Oct. 8; Carnegie Hall.) — ParelesROY HARGROVE By the time he died in 2018, at 49, Roy Hargrove had become the most impactful trumpeter of his generation. Back in 1993, he was still the new kid on the block when Jazz at Lincoln Center commissioned him to write and perform “Love Suite in Mahogany,” with a septet. That performance is being released on record for the first time and a series of shows at Dizzy’s Club will mark its release: The drummer Willie Jones III and the bassist Gerald Cannon will colead a sextet featuring alumni of Hargrove’s bands Oct. 11-13, and the Roy Hargrove Big Band will appear Oct. 14-16. (Oct. 13; Blue Engine) — RussonelloL’RAIN The songwriter Taja Cheek, who records as L’Rain, dissolves genre boundaries and explores mixed emotions on her third album, “I Killed Your Dog.” The songs are lush and immersive, layered with instrumental patterns and vocal harmonies; they’re also cryptic and open-ended, to be deciphered through repeated listening. (Oct. 13; Mexican Summer) — ParelesOFFSET Offset is the second Migos member to release a solo album in the wake of the killing of Takeoff, the group’s third member and creative heart. The first single from “Set It Off” is “Jealousy,” a collaboration with his wife, Cardi B, that suggests that the couple is willing to play their relationship and fame for laughs, and art. (Oct. 13; Motown) — CaramanicaOffset will release his first album since the death of Migos’s Takeoff in October.Chris Pizzello/Invision, via Associated PressTROYE SIVAN It’s been five years since Troye Sivan has released an album. His re-emergence in recent months, however, suggests the time away has been emboldening. As an actor, he was one of the standouts on “The Idol,” the besieged HBO drama about the music business, and “Rush,” the lead single from “Something to Give Each Other,” his third album, is a remarkably confident assertion of carnal interest. (Oct. 13; Capitol) — CaramanicaJIHYE LEE ORCHESTRA The composer and bandleader Jihye Lee is becoming well-known for her fluid integration of Western classical and big-band jazz techniques, and for arrangements in which heavily loaded horn parts move with apparent ease. At a Brooklyn show, her 18-piece orchestra will debut “Infinite Connections,” a suite-length meditation on the bond Lee shares with her mother and grandmother. (Oct. 15; National Sawdust) — RussonelloJ.D. ALLEN A tenor saxophonist known for the hefty swing and raw intellect of his improvising, and the back-to-basics approach of his jazz trios, J.D. Allen has never before made an album featuring electronics. That will change this fall, when he releases “This,” with Alex Bonney’s dark and enveloping atmospherics wreathed around Allen’s high-velocity horn playing and the thundering drums of Gwilym Jones. (Oct. 20; Savant) — RussonelloEVIAN CHRIST A long-awaited debut album is finally arriving from the electronic music producer Evian Christ, who has been releasing shiver-inducing music for over a decade. The songs on “Revanchist” are chaotic and blissful, tactile and expansive — all in all, a physical experience as much as an aural one. (Oct. 20; Warp) — CaramanicaSAMPHA In the seven years between his own albums, the English songwriter Sampha has lent his richly melancholy voice to tracks by Kendrick Lamar, Drake, Frank Ocean and Alicia Keys. “Lahai” — named after his grandfather, who was from Sierra Leone — is an exploratory, ambitious album that contemplates time, love and transcendence with otherworldly electronics and thoughtful melodies. (Oct. 20; Young) — ParelesAfter a seven-year gap, Sampha will release “Lahai” in October.Alberto Pezzali/Invision, via Associated PressTHE STREETS British rap’s great literalist, the Streets (Mike Skinner) returns with “The Darker the Shadow the Brighter the Light,” a new album that nods to various stripes of U.K. club culture while adhering firm to Skinner’s keen-eyed storytelling. In conjunction with the album, the Streets will also release a clubland-themed murder mystery film of the same name. (Oct. 20; 679 Recordings/Warner Music UK Ltd) — CaramanicaTHE MOUNTAIN GOATS “All Hail West Texas,” a sparsely arranged but lyrically vivid 2002 album released when the Mountain Goats was still a moniker for the solo music of John Darnielle, remains one of the most beloved entries in the group’s vast discography. Now the band — featuring the bassist Peter Hughes, the drummer Jon Wurster and the multi-instrumentalist Matt Douglas — will release a sequel, “Jenny From Thebes,” updating the fates of its characters and fleshing out its sound. (Oct. 27; Merge) — Lindsay ZoladzMIKE REED “The Separatist Party,” the forthcoming album from the drummer, composer and Chicago jazz instigator Mike Reed, is Part 1 of a forthcoming three-album cycle meditating on solitude, loneliness and the elusiveness of community (surprisingly, he was already working on this project before pandemic lockdowns). The irony, though, is how much fun he seems to be having in the company of the multi-instrumentalist Ben LaMar Gay, the poet Marvin Tate and the three members of Bitchin Bajas, his compatriots on this LP, who surge through grimy post-rock or drift into ethereal, odd-metered, electrified airspaces with whiffs of Ethio-jazz. (Oct. 27; Astral Spirits/We Jazz) — RussonelloDOJA CAT: THE SCARLET TOUR Though she’s wowed audiences with ambitious awards show performances, the rambunctious rapper and pop star Doja Cat has not yet embarked upon an arena tour. (Tonsil surgery forced her to pull out of a slot opening for the Weeknd last year.) The Scarlet Tour — which begins at San Francisco’s Chase Center on Oct. 31 and makes stops at Brooklyn’s Barclays Center on Nov. 29 and Newark’s Prudential Center on Nov. 30 — will give her a chance to command her largest stages yet and showcase music from her latest album, “Scarlet,” due Sept. 22. The rising rapper Doechii and of-the-moment it-girl Ice Spice will open. (Oct. 31 through Dec. 13) — ZoladzNovemberCAT POWER Last November, Cat Power (the stage name of the smoky-voiced crooner Chan Marshall) played a song-for-song reimagining of her hero Bob Dylan’s May 1966 Manchester concert — the one at which an audience member, disgruntled by Dylan’s departure from acoustic folk, infamously yelled out “Judas!” Now it is arriving as an album titled “Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert.” Marshall, a gifted interpreter of other musicians’ material, structured the set to be half acoustic and half electric, just like Dylan’s; a muted “She Belongs to Me” contrasts with a rollicking, full-band “Ballad of a Thin Man.” (November; Domino) — ZoladzChan Marshall (a.k.a. Cat Power) will release her live concert covering Bob Dylan.Alberto Pezzali/Invision, via Alberto Pezzali, via Invision, via Associated PressCODY JOHNSON “The Painter,” the new song from Cody Johnson, one of mainstream country’s sturdiest performers, extends his streak of music that’s deeply earnest, unflashily produced, and a blend of emotionally stoic and trembling. It’s the lead single from “Leather,” his third studio album on a major label after a long and robust independent career. (Nov. 3; COJO Music/Warner Music Nashville) — CaramanicaMYRA MELFORD’S FIRE & WATER QUINTET The pianist and composer Myra Melford’s five-piece band of all-star creative improvisers is aptly named: There is something volatile and elemental about the music she makes with Ingrid Laubrock, the saxophonist; Mary Halvorson, the guitarist; Tomeka Reid, the cellist; and Lesley Mok, the percussionist. On “Hear the Light Singing,” the group’s second LP, Halvorson’s effects-laden guitar comes in splashes and jolts, and Reid’s cello moves in hurrying steps or generous waves. (Nov. 3; RogueArt) — RussonelloLIZ PHAIR: ‘EXILE IN GUYVILLE’ 30th ANNIVERSARY TOUR Liz Phair’s 1993 debut “Exile in Guyville” captured young adulthood in a wry, vivid voice and brought a refreshing female perspective to indie rock’s boys club. Thirty years later, it continues to inspire younger musicians, including Kate Bollinger and Sabrina Teitelbaum (who records searingly honest music under the name Blondshell), both openers for Phair when she plays “Guyville” in its glorious entirety on an anniversary tour. The show comes to Brooklyn’s Kings Theater on Nov. 24. (Nov. 3 through Dec. 9) — ZoladzCAMP FLOG GNAW CARNIVAL The annual festival helmed by Tyler, the Creator continues to be one of the most innovatively programmed, in any genre. He is a headliner this year, along with SZA and the Hillbillies (Kendrick Lamar and Baby Keem). The deep lineup includes the corridos tumbados stars Fuerza Regida, various generations of dream-pop from Willow, Toro y Moi and d4vd, accessibly tough rapping from Clipse and Ice Spice and much more. (Nov. 11-12; Dodger Stadium Grounds in Los Angeles) — CaramanicaNICKI MINAJ Reportedly, when Lil Uzi Vert was planning the release of his most recent album, “Pink Tape,” Nicki Minaj reached out to him to ask, in essence, how he could release a pink-themed album and not include her. (He obliged.) Now, Minaj returns with “Pink Friday 2,” her own album, on the heels of a pair of collaborations with Ice Spice, “Princess Diana” and “Barbie World,” that have given her new spark. (Nov. 17; Republic) — CaramanicaDOLLY PARTON Last year, when she was nominated for induction in the Rock & Roll Hall of Fame, Dolly Parton initially declined because she did not consider herself a rock artist. (She was eventually inducted anyway.) “This has, however, inspired me to put out a hopefully great rock ’n’ roll album at some point in the future,” she said in a statement. That future has now arrived: Dolly Parton’s “Rockstar” is a sprawling, star-studded 30-track album that features originals (the stomping “World on Fire”), covers of rock classics (“Stairway to Heaven,” “Let It Be”), and an impressive list of guests that include Paul McCartney, Ringo Starr, Debbie Harry and more. (Nov. 17; Butterfly Records/Big Machine Records) — Zoladz More

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      ‘Jamaica Mistaica’: Jimmy Buffett Song Inspired After Plane Sprayed by Gunfire

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      In 1996, the police in Jamaica mistook Buffett for a drug smuggler after he landed his seaplane with the singer Bono and others on board and opened fire on it.Jimmy Buffett’s life evokes images of boozy chill-outs by the beach and a certain carefree calm, but in 1996 the singer’s seaplane came under a hail of gunfire in a dramatic encounter with the Jamaican authorities that inspired a song.Buffett’s song “Jamaica Mistaica” is a laid-back account of a dramatic near-death experience in which his plane, Hemisphere Dancer, was mistaken by the Jamaican authorities for a drug-smuggling aircraft.It’s one of the many tales that have resurfaced after his death on Friday.While on tour on Jan. 16, 1996, Buffett, an avid pilot, had just landed at an airport in Negril, Jamaica, accompanied by Paul David Hewson, better known as Bono, of the band U2, when a sudden burst of shots rang out, according to one of Buffett’s Margaritaville websites.“We flew the plane in, got off, and as the plane took off to go get fuel, we were surrounded by a Jamaican S.W.A.T. team,” Buffett said in a 1996 Rolling Stone interview. “I thought it was a joke until I heard the gunfire.”As Bono recalled, according to Radio Margaritaville: “These boys were shooting all over the place. I felt as if we were in the middle of a James Bond movie.”“I honestly thought we were all going to die,” he added.Also on board the HU-16 Grumman Albatross plane was Bono’s wife, Ali, their two young children, and Chris Blackwell, the founder of Island Records.Later that year, Buffett released his album “Banana Wind,” in which he recounts the story on “Jamaica Mistaica”:Just about to lose my temper as I endeavored to explainWe had only come for chicken we were not a ganja planeWell, you should have seen their faces when they finally realizedWe were not some coked-up cowboy sporting guns and alibis.“Like all things, it made for a good song,” Buffett told The Spokesman-Review in a 1996 interview.“I know that there are times in my life where I probably should have been shot at for a lot worse behavior,” he added. “But on this particular instance, I was innocent. Not even a spliff.”The plane, now an artifact of the Buffett universe, was struck by bullets but nobody was hurt.He later received an apology from the Jamaican government, according to an MTV News report at the time.“Some people said, ‘God, you could have sued them, you could have sued the government,’” Buffett said in The Spokesman-Review interview. “But I went, ‘No, it’s probably karma. We’re even now.’” More

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      Jimmy Buffett, ‘Margaritaville’ Singer, Is Dead at 76

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      With songs like “Margaritaville” and “Fins,” he became a folk hero to fans known as Parrot Heads. He also became a millionaire hundreds of times over.Jimmy Buffett, the singer, songwriter, author, sailor and entrepreneur whose roguish brand of island escapism on hits like “Margaritaville” and “Fins” made him something of a latter-day folk hero, especially among his devoted following of so-called Parrot Heads, died on Friday. He was 76. His death was announced in a statement on his website. The statement did not say where he died or specify a cause. Peopled with pirates, smugglers, beach bums and barflies, Mr. Buffett’s genial, self-deprecating songs conjured a world of sun, saltwater and nonstop parties animated by the calypso country-rock of his limber Coral Reefer Band. His live shows abounded with singalong anthems and festive tropical iconography, making him a perennial draw on the summer concert circuit, where he built an ardent fan base akin to the Grateful Dead’s Dead Heads.Mr. Buffett found success primarily with albums. He enjoyed only a few years on the pop singles chart, with “Margaritaville,” his 1977 breakthrough hit and only single to reach the pop Top 10.“I blew out my flip-flop/Stepped on a pop-top/Cut my heel, had to cruise on back home,” he sang woozily to the song’s lilting Caribbean rhythms. “But there’s booze in the blender/And soon it will render/That frozen concoction that helps me hang on.”Mr. Buffett’s music was often described as “Gulf and western,” a nod to his fusion of laid-back twang and island-themed lyrics, as well as a play on the conglomerate name Gulf and Western, the former parent of Paramount Pictures, among other companies.His songs tended to be of two main types: wistful ballads like “Come Monday” and “A Pirate Looks at Forty,” and clever up-tempo numbers like “Cheeseburger in Paradise.” Some were both, like “Son of a Son of a Sailor,” a 1978 homage to Mr. Buffett’s seafaring grandfather, written with the producer Norbert Putnam.“I’m just a son of a son, son of a son/Son of a son of a sailor,” he sang. “The sea’s in my veins, my tradition remains/I’m just glad I don’t live in a trailer.”The Caribbean and the Gulf Coast were Mr. Buffett’s muses, and nowhere more so than Key West in Florida. He first visited the island at the urging of Jerry Jeff Walker, his sometime songwriting and drinking partner, after a gig fell through in Miami in the early ’70s.“When I found Key West and the Caribbean, I wasn’t really successful yet,” Mr. Buffett said in a 1989 interview with The Washington Post. “But I found a lifestyle, and I knew that whatever I did would have to work around my lifestyle.”Mr. Buffett had an affinity for sailing, and his songwriting was greatly influenced by his laid-back life in Key West.Gems/Redferns, via Getty ImagesThe locales provided Mr. Buffett with more than just a breezy, sailing life and grist for his songwriting. They were also the impetus for the creation of a tropical-themed business empire that included a restaurant franchise, a hotel chain and boutique tequila, T-shirt and footwear lines, all of which made him a millionaire hundreds of times over.“I’ve done a bit of smugglin’, and I’ve run my share of grass,” Mr. Buffett sang of his early days trafficking marijuana in the Florida Keys in “A Pirate Looks at Forty.”“I made enough money to buy Miami,” he went on, alluding to his subsequent entrepreneurial pursuits. “But I pissed it away so fast/Never meant to last/Never meant to last.”His claim to squandering his wealth notwithstanding, Mr. Buffett proved to be a shrewd manager of his considerable fortune; in 2023, Forbes estimated his net worth at $1 billion.“If Mr. Buffett is a pirate, to borrow one of his favorite images, it is hardly because of his days palling around with dope smugglers in the Caribbean,” the critic Anthony DeCurtis wrote in a 1999 essay for The New York Times. “He is a pirate in the way that Bill Gates and Donald Trump have styled themselves, as plundering rebels, visionary artists of the deal, not bound by the societal restrictions meant for smaller, more careful men.”(The comparison to Mr. Trump here is strictly economic; Mr. Buffett was a Democrat.)Mr. Buffett was also an accomplished author, one of only six writers, along with the likes of Ernest Hemingway, John Steinbeck and William Styron, to top both The Times’s fiction and nonfiction best-seller lists. By the time he wrote “Tales from Margaritaville” (1989), the first of his three No. 1 best sellers, he had abandoned the hedonistic lifestyle he had previously embraced.“I could wind up like a lot of my friends did, burned out or dead, or redirect the energy,” he told The Washington Post in 1989. “I’m not old, but I’m getting older. That period of my life is over. It was fun — all that hard drinking, hard drugging. No apologies.”“I still have a very happy life,” he went on. “I just don’t do the things I used to do.”Mr. Buffett in 1991. “Margaritaville,” his blockbuster hit, rocketed him to fame in 1977.Tim Mosenfelder/ImageDirect, via Getty ImagesJames William Buffett was born on Dec. 25, 1946, in Pascagoula, Miss., one of three children of Mary Loraine (Peets) and James Delaney Buffett Jr. Both of his parents were longtime employees of the Alabama Drydock and Shipbuilding Company. His father was a manager of government contracts, and his mother, known simply as Peets, was an assistant director of industrial relations.Jimmy was raised Roman Catholic in Mobile, Ala., where he took up the trombone in elementary school, at St. Ignatius Catholic School. He went to high school at another Catholic institution in Mobile, the McGill Institute.In 1964 he enrolled in classes at Auburn University. He flunked out and later attended the University of Southern Mississippi and began performing in local nightclubs. He graduated with a degree in history in 1969, before moving to the French Quarter of New Orleans and playing in a cover band on Bourbon Street.In 1970 he moved to Nashville, hoping to make it as a country singer while working as a journalist for Billboard. (Mr. Buffett was credited with having broken the story about the disbanding of the pioneering bluegrass duo Flatt and Scruggs.) “Down to Earth,” his debut album, was released on Andy Williams’s Barnaby label that year. It sold 324 copies.Mr. Buffett’s second album for Barnaby, “High Cumberland Jubilee,” went unreleased until 1976, long after he had signed with ABC-Dunhill and recorded “A White Sport Coat and a Pink Crustacean,” released in 1973 and featuring the debauched party anthem “Why Don’t We Get Drunk.”Mr. Buffett had a fondness for puns, as witnessed by “A White Sport Coat,” an album title inspired by the song “A White Sport Coat (and a Pink Carnation),” a 1957 pop-crossover hit for the country singer Marty Robbins. Another album was called “Last Mango in Paris.”The “Margaritaville” restaurant and hotel chains are part of the tropical-themed business empire that Mr. Buffett built.Scott McIntyre for The New York TimesMr. Buffett’s 1974 release “Living and Dying in ¾ Time” included a version of the comedian Lord Buckley’s “God’s Own Drunk.” “Come Monday,” a lovelorn track from the record, became his first Top 40 hit.“A1A” (also from 1974) was named for the oceanfront highway that runs along Florida’s Atlantic coastline. The album was Mr. Buffett’s first to contain references to Key West and maritime life, but it was 1977’s platinum-selling “Changes in Attitudes, Changes in Latitudes,” with the blockbuster hit “Margaritaville,” that finally catapulted him to stardom. “Fins,” another major single, was released in 1979.A series of popular releases followed, culminating in 1985 with “Songs You Know By Heart,” a compilation of Mr. Buffett’s most beloved songs to date. The record became the best-selling album of his career.Mr. Buffett also opened the first of his many “Margaritaville” stores in 1985. That was the year that the former Eagles bassist Timothy B. Schmit, then a member of the Coral Reefer Band, coined the term Parrot Heads to describe Mr. Buffett’s staunch legion of fans, the bulk of whom were baby boomers.A supporter of conservationist causes, Mr. Buffett moved away from the Keys in the late ’70s because of the area’s increasing commercialization. He initially relocated to Aspen, Colo., before making his home on St. Barts in the Caribbean. He also had houses in Palm Beach, Fla., and Sag Harbor, on eastern Long Island.In addition to touring and recording, activities he pursued into the 2020s, Mr. Buffett wrote music for movies like “Fast Times at Ridgemont High” and “Urban Cowboy.” He also appeared in movies and television shows, including “Rancho Deluxe,” “Jurassic World” and the “Hawaii Five-O” revival in the 2010s, where he starred as the helicopter pilot Frank Bama, a character from his best-selling 1992 novel, “Where Is Joe Merchant?”Mr. Buffett favored wordplay in the names of his songs and albums, like “Last Mango in Paris” and “Jamaica Mistaica,” a sendup song about an incident that involved Jamaican authorities mistakenly shooting at one of his planes.Aaron Richter for The New York Times An avid pilot, Mr. Buffett owned several aircraft and often flew himself to his shows. In 1994 he crashed one of his airplanes in waters near Nantucket, Mass., while taking off. He survived the accident, after swimming to safety, with only minor injuries.In 1996 another of Mr. Buffett’s planes, Hemisphere Dancer, was shot at by the Jamaican police, who suspected the craft was being used to smuggle marijuana. On board the airplane, which sustained little damage, were U2’s Bono; Chris Blackwell, the founder of Island Records; and Mr. Buffett’s wife and two daughters. The Jamaican authorities later admitted the incident was a case of mistaken identity, inspiring Mr. Buffett to write “Jamaica Mistaica,” a droll sendup of the affair.Mr. Buffett is survived by his wife, Jane (Slagsvol) Buffett; two daughters, Savanah Jane Buffett and Sarah Buffett; a son, Cameron; two grandsons; and two sisters, Lucy and Laurie Buffett.In a 1979 interview with Rolling Stone, Mr. Buffett was asked about a previous remark in which he somewhat incongruously cited the wholesome choral director Mitch Miller and the marauding Gulf Coast pirate Jean Lafitte as two of his greatest inspirations.“Mitch Miller, for sure,” Mr. Buffett said, doubtless in acknowledgment of the way his own fans sang along with him at concerts. “In the old days: “Sing Along with Mitch?” Who didn’t?”“But Jean Lafitte was my hero as a romantic character,” he continued. “I’m not sure he was a musical influence. His lifestyle influenced me, most definitely, ’cause I’m the very opposite of Mitch Miller.”Aaron Boxerman More

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      Doja Cat Goes Horror Rap on ‘Demons,’ and 12 More New Songs

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      Hear tracks by Peter Gabriel, Lauren Mayberry, Oneohtrix Point Never 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.Doja Cat, ‘Demons’A brash, blown-speaker quality animates “Demons,” the latest single from Doja Cat’s upcoming album, “Scarlet.” “How my demons look now that my pockets full?” she shouts with a defiant rasp, before switching to a lighter and more viciously humorous register on the verses. (“Who are you, and what are those? You are gross!”) “Demons” also features a horror movie-inspired video, which stars Christina Ricci and features a very creepy Doja slithering around like a red-eyed monster. Other pop stars merely tune out their haters; Doja exorcises them. LINDSAY ZOLADZNicki Minaj, ‘Last Time I Saw You’Nicki Minaj doesn’t usually admit to any regrets or second thoughts. But she does in “Last Time I Saw You,” a song that seesaws between guitar-flecked ballad and rueful rapping. “I wish I remembered to say I’d do anything for you/Maybe I pushed you away because I thought that I’d bore you,” she sings, confessing that she was the one in the wrong. JON PARELESTeezo Touchdown featuring Janelle Monáe, ‘You Thought’Misjudgments pile up in “You Thought,” which transforms from percussive, triplet-driven rock to ballad with brisk hip-hop wordplay. Teezo Touchdown moves between rapping and singing; Monáe is melodic, singing, “I thought we were better.” The song details a breakup from both sides: missed opportunities, misunderstandings, unfulfilled needs, all compressed into pop. PARELESBlankfor.ms, Jason Moran and Marcus Gilmore, ‘Eighth Pose’Tyler Gilmore — the New York-based composer and musician known as Blankfor.ms — makes music using degraded tape loops, analog synthesizers and an old spinet piano. He was approached recently by the producer Sun Chung about doing an album with jazz improvisers, and his first call was to the pianist and composer Jason Moran, his former teacher at the New England Conservatory. His second was to the drummer Marcus Gilmore. Those two are among the finest improvisers alive: It is an impressive team for a first foray. On “Refract,” their new album, the trio works across medium and style, with composed elements and prepared loops by Blankfor.ms sparking improvisations from his collaborators. “Eighth Pose” turns on a twitchy, coiled synth phrase, like a keyed-up Aphex Twin track; Moran picks it up on the piano, toying with it, while Gilmore adds a nervy drumbeat, passed through compressed effects. GIOVANNI RUSSONELLOKenya Grace, ‘Strangers’Speedy breakbeats equate with dating jitters in “Strangers,” Kenya Grace’s whispery complaint about how 21st-century romance too often ends in ghosting. She’s the singer, songwriter and producer on the track. “One random night when everything changes/you won’t reply and we’ll go back to strangers.” Synthesizers hum as the percussion races ahead, while she sings about feeling like “Everyone’s disposable.” PARELESJeff Rosenstock, ‘Will U Still U’The Long Island-born punk lifer Jeff Rosenstock tests the limits of love on “Will U Still U,” the jet-propelled opening track off his new album “Hellmode.” “Will you still love me” after I’ve messed up, he asks (with an expletive) in a catchy, incongruously cheery melody, before unleashing a rapid-fire rundown of his relationship worries. In the song’s cathartic finale he’s joined by a chorus of voices shouting that refrain at the top of their lungs and fist-pumping in anxious solidarity. ZOLADZOneohtrix Point Never, ‘A Barely Lit Path’Oneohtrix Point Never is the composer and mastermind Daniel Lopatin, who has been the Weeknd’s producer and created the nervy soundtrack for “Uncut Gems,” along with making his own albums. “A Barely Lit Path” begins as a reverent, electronics-edged dirge with processed vocals imagining “a barely lit path from your house to mine.” Then it goes through a multiverse of wordless transformations: pulsing synthesizers, a stately quasi-Baroque string orchestra, a choir accompanied by synthesizer arpeggios and a gradual, virtual decrescendo. Absolutely anything can happen as long as it’s in the same key. PARELESPeter Gabriel, ‘Love Can Heal (Bright-Side Mix)’An expansive sound design — with bell-toned ostinatos, throaty cellos and multidirectional echoes — underlines Peter Gabriel’s troubled but determined optimism in “Love Can Heal,” a new track from his gradually accruing album “I/O.” His vocal sets aside his usual grizzled hoarseness for a modest tenor; a choir joins him, yet the song stays fragile. PARELESJason Hawk Harris, ‘Jordan and the Nile’There’s an Appalachian feeling to the melody of Jason Hawk Harris’s rootsy incantation “Jordan and the Nile,” a leisurely, mystical song about rivers and generations. An organ and a string section provide droning chords as he sings about determined optimism informed by biblical imagery: “I’m feeling heavy but I see the light/A world is dark but my abyss is bright,” he promises. PARELESLauren Mayberry, ‘Are You Awake?’The debut solo single from Lauren Mayberry — the lead singer of the Scottish electro-pop group Chvrches — is a sparse, plaintive piano ballad written with Tobias Jesso Jr., chronicling nocturnal anxieties and open-ended questions. “Are you awake? I feel a sadness in my skin,” Mayberry sings, her voice melancholy but chiming with the faintest hint of hope that her message will be answered. ZOLADZMaria BC, ‘Amber’ and ‘Watcher’Glimmering electronics, tolling guitars and hovering vocal harmonies gather in “Amber” and “Watcher,” two segued songs that meditate on closeness: “Your scent is on me now/Your senses draw me out,” Maria BC sings. “There is no place to hide and no wrong.” It’s blissfully enveloping and humbly awe-struck. PARELESKris Davis, ‘Dolores’ (Take 1)“Dolores” is easily one of the most infectious melodies Wayne Shorter wrote during his stint as musical director for the Miles Davis Quintet. But it’s not one of the (many) Shorter tunes you’re likely to hear called at a jam session or covered at a straight-ahead gig. Maybe there is something intimidating about the balled up, stop-and-start melody; the centerlessness of its structure; or how perfectly the quintet plays it on the classic 1966 recording. Well, none of this scares the pianist and composer Kris Davis. Strong-but-bendable rhythm, splintered melodic lines and rough-and-tumble interplay are par for the course for (this) Davis, especially with her Diatom Ribbons project. On a new album, recorded live at the Village Vanguard with a five-member version of that ensemble, the group takes its time getting to the theme: The bassist Trevor Dunn makes some references to it, the drummer Terri Lyne Carrington establishes a heavy groove, and finally Julian Lage’s guitar comes together with Davis’s piano to grapple with the melody. When Lage departs from it on his solo, he travels far — and the band comes with him. RUSSONELLO More

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      Taylor Swift Eras Tour Concert Film Coming to Movie Theaters

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      A theatrical version of the billion-dollar tour — a cultural juggernaut that just ended its North American leg — opens Oct. 13.Taylor Swift’s Eras Tour, the billion-dollar juggernaut that has dominated the cultural calendar this year, may be on a break before picking up internationally, but its momentum will only rest so long: The show is coming to movie theaters this fall.“Taylor Swift: The Eras Tour” concert film will be released in the United States, Canada and Mexico on Oct. 13, Swift announced on social media Thursday, with U.S. AMC Theaters promising at least four showtimes per day from Thursday to Sunday upon opening.“The Eras Tour has been the most meaningful, electric experience of my life so far and I’m overjoyed to tell you that it’ll be coming to the big screen soon,” Swift said. “Eras attire, friendship bracelets, singing and dancing encouraged.”Anticipating the white-hot demand that has followed the tour since its announcement, crashing ticketing systems around the world, AMC promised in a news release that it had “bolstered its ticket server capacity to handle traffic at more than 5 times the current record for the most ever tickets sold in an hour.” (The company added, however, that it was “also aware that no ticketing system in history seems to have been able to accommodate the soaring demand from Taylor Swift fans when tickets are first placed on sale.”)Tickets are on sale now. Prices start at $19.89 for adults and $13.13 for children, substantially less than what fans paid for the tour itself — especially on the robust secondary market — as the concert industry adjusts to sometimes prohibitively high costs for its biggest events.Swift, 33, wrapped this year’s North American dates with four shows in Mexico last week. Her downtime, though, will be brief. In addition to the movie version of the concert, the singer will release “1989 (Taylor’s Version),” the fourth of rerecorded original albums, two weeks later, on Oct. 27. By November, the Eras Tour will pick up in Argentina before traveling around the world in 2024, with dates — including nine additional U.S. shows — continuing into November 2024.“1989 (Taylor’s Version),” the new edition of her 2014 pop blockbuster, marks Swift’s seventh release in barely three years, a period of artistic productivity that has fueled pent-up, post-pandemic demand for the singer’s live show. Jon Caramanica, a critic for The New York Times, said in a review of the first concert in March that the Eras Tour put on display “how many pivots Swift has undertaken in her career, and how the accompanying risks can have wildly different consequences.”The trade publication Pollstar has estimated that the singer sold about $14 million in tickets for each show so far. By the end of next year, the 146 stadium dates could reach $1.4 billion or more in sales. More