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      Faye Webster Hates Attention. But Her Songs Keep Getting Bigger.

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      Music that walks the line between indie-rock and country — and her easy access to her emotions — has brought the singer-songwriter a growing fan base.Faye Webster was trying to get out. She had just performed the second of two shows at the Variety Playhouse in Atlanta, swaying in a dark blue gown in front of a 20-piece string orchestra, her hands knitted over her diaphragm. All she wanted next was to go home.Those hometown concerts in 2022 felt like the crystallization of her career — a more significant milestone than when Barack Obama put her on his annual playlist, or when she was asked to play Coachella this year. The lobby was clogged with fans, and Webster was focused on escape. Her mother had a hat, a cobalt blue ball cap with “haha” stamped across it, merch from Webster’s last album. She threw it on, tilted her head down and made it out the door.Webster, 26, hates attention. This, she realizes, is inconvenient for any artist, much less an up-and-coming indie star with a new and fervid TikTok following. Over two meandering video calls from Australia, where Webster was touring, she remained off camera for one of them. She mentioned a dog but only discussed its breed off the record. When she did slip into frame — perched in bed in a stark white hotel room, glancing at the ceiling or off to the side as she talked — she broke her sentences with long pauses, sometimes laughing at herself as she found the words.“I have a lot of friends that do what I do,” she said. “And I’m just like — I just don’t think I’m built for it. The attention really freaks me out.”The title of Webster’s new LP comes from a ritual she started in the months after her split. She would decide to see the Atlanta Symphony, a 15-minute drive from her house, moments before a performance was set to begin.Irina Rozovsky for The New York TimesThat attention has grown steadily since 2013, when Webster, then 16, self-released her debut album, “Run and Tell,” a folksy whirl of slide guitar and twang. She grew up in Atlanta, where she still lives, listening to her mother play Allison Krauss records and bluegrass fiddle songs, an aesthetic she has incorporated into her own music. But she has also moved, solidly and smoothly, into a middle ground between indie-rock and country — pedal steel mashed with bass, simmering drums beneath tropical synths — as she homes in on the banal brutalities of relationships.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Olivia Rodrigo’s Fans Show Up to Her Guts World Tour in Force

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      Olivia Rodrigo shot to pop stardom pretty much overnight: Her first single, “Drivers License,” rocketed to No. 1 in January 2021 while most of the world was still in coronavirus lockdown, making her the youngest artist to debut atop Billboard’s Hot 100 chart. In April of the following year, she finally brought her songs to life onstage with her punky Sour Tour, which played theaters, though she could have easily sold out arenas. Now she has done just that: Her tour supporting her second album, the cathartic, rock-oriented LP “Guts,” kicked off last Friday night at Acrisure Arena in Palm Desert, Calif., with a performance “advertising the power of girlhood,” The Times pop music critic Jon Caramanica wrote in his review. The venue, and its parking lot, was filled with young women ready to receive the message.A trio of fans prep for the show in the parking lot by watching Rodrigo’s “Traitor” video in a Mercedes Sprinter van.Violet Mueller, center, gets a dollup of lip gloss from her mother, Georgina, while her sister Olivia looks on.Paige Lebel, center, attending the concert in grunge finery with her father, Bryan, and mother, Casey. More

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      Mannequin Pussy’s Punk Is Built on Big Emotions (and Inside Jokes)

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      The band started as a cathartic outlet for the singer and guitarist Marisa Dabice, and grew into a tight-knit act that makes confrontational and tender punk.“So, who’s the pig lover here?”Wandering the grounds of Ross Mill Farm, a foster home and boarding spot for porcine pets about an hour outside Philadelphia, the four members of the band Mannequin Pussy answered the facility’s owner nearly in unison: “We all are!”Pigs are pack animals — not so different from being in a touring rock band, the singer and guitarist Marisa Dabice, 36, noted playfully. Maxine Steen, 34, who plays synths and guitar, felt an instant kinship with a hesitant hog named Max, proclaiming them both “so aloof.” The band, which also includes the drummer Kaleen Reading, 31, and the bassist Colins Regisford, 37, known as Bear, has been spotted with livestock a lot lately. In two of its recent music videos, the quartet cavorts with cows and sheep, and a pig features prominently on the cover of its fierce new album, “I Got Heaven.”Mannequin Pussy’s earliest releases were a fuzzy punk squall, but in its more than 10-year-run, its music has come to incorporate shoegazey swirls of sound, sharp hooks and intimate moments of vulnerability. The band reached a turning point in 2019 with “Patience,” an album that struck a balance between its more savage and tender sides. The coronavirus pandemic subsequently halted its touring plans, but not its momentum.In 2021, a fictional act performed the group’s songs in the Pennsylvania-centric HBO show “Mare of Easttown,” and the band was featured in the comic book series “Witchblood.” “I feel like it’s rare to say this,” Dabice said, “but we got a little lucky with the pandemic.” The band capitalized on the chance to catch its breath while still finding new listeners, and returns on Friday with “I Got Heaven,” a striking collection of songs about desire, control and resilience.“There’s this sultry ferocity that feels very unique to them,” Michelle Zauner, who records as Japanese Breakfast and has been a fan since the band’s earliest days, said in an email. “But they’ve also got a wonderful knack for melody and real lyrical depth.”“We’re in the pursuit of making art, and that’s our personal experience with the divine,” Dabice said. Jim Bennett/Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Lee Hoyang, Prolific K-Pop Producer and Songwriter, Dies at 40

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      Professionally known as Shinsadong Tiger, he created the upbeat, catchy and danceable musical style that defined K-pop in the early 2010s.Lee Hoyang, a prolific producer and songwriter of South Korean pop music who was professionally known as Shinsadong Tiger and who helped create some of the biggest K-pop hits of the 2010s, died in Seoul on Friday. He was 40.His management agency confirmed his death in a statement. It did not mention the cause of death, but said that a private funeral was being held in Seoul. The agency, TR Entertainment, did not respond to an emailed request for comment. A police detective in Seoul also confirmed Mr. Lee’s death, but would not disclose further details. Mr. Lee was often credited with shaping the musical style that defined K-pop in the early 2010s: catchy, upbeat and repetitive with a strong hook. He produced many commercially successful songs throughout the decade, mostly for young female artists. Among the hits were “Roly-Poly” and “Bo Peep Bo Peep,” both by T-ara; “NoNoNo” by Apink; and “Bubble Pop!” by HyunA.“He created an exciting, funky, beat-driven K-pop style that continues to be repeated over and over again,” said Do Heon Kim, a pop music critic in South Korea. “There is no place where his influence hasn’t been felt.”Mr. Lee was born on June 3, 1983, in Pohang, a city on South Korea’s southeastern coast. With no formal music education, he immersed himself in music starting in middle school, when he played in a band and remixed songs with his friends, he said in an interview in 2011.He debuted as a songwriter in 2004, when he produced a song called “Man and Woman” for the South Korean pop band the Jadu, he said. The song, which had a pulse of Brazilian bossa nova, was released in 2005.Mr. Lee’s career took a downturn in the late 2010s as his music came to be increasingly regarded as repetitive and he was faced with plagiarism accusations, which he denied, Mr. Kim said. The songwriter focused more of his energy on producing and helped form the girl groups EXID, which debuted in 2012, and Tri.be, which debuted in 2021.Jin Yu Young More

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      Olivia Rodrigo Guts World Tour: Testing Out Life After Girlhood

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      The opening night of the pop star’s Guts World Tour had sparkle and abandon, but making her songs feel big didn’t require much besides the songs themselves.As a pop star, Olivia Rodrigo wields a rather unusual arsenal of weapons. She is an acute writer and an un-self-conscious singer. She largely abhors artifice. She is modest, not salacious. In just three years, she has achieved something approaching stratospheric fame — a four-times platinum debut album and a Grammy for best new artist — while somehow remaining an underdog.But the weapon she returns to again and again is a very pointed and versatile curse word, one that she used to vivid effect on both her 2020 breakout hit, “Drivers License,” the first single from her debut album, “Sour,” and also on “Vampire,” the Grammy-nominated single from her second album, “Guts,” released last year. It’s in plenty of other places, too, giving her anguished entreaties an extra splash of zest. She wants to make it clear that underneath her composed exterior, she’s boiling over.On Friday night at Acrisure Arena in Palm Desert, Calif., during the opening performance of the Guts World Tour, Rodrigo couldn’t get enough of that word. She used it for emphasis, to connote dismissiveness and to demonstrate exasperation. But mostly she used it casually, in between-song banter, not because she needed to, but because using it felt like getting away with something.Much of Rodrigo’s music — especially “Guts,” with its detailed and delirious ruminations about new fame and its discontents — is about how it feels to act bad after being told how important it is to be good. It’s situated at the juncture where freedom is just about to give way to misbehavior.Over an hour and a half, Rodrigo alternately roared and pleaded, stomped and collapsed.OK McCausland for The New York TimesThis was true of her performance as well, which brought the perfection and order of musical theater to the pop-punk and piano balladry that her songs toggle between. Over an hour and a half, Rodrigo alternately roared and pleaded, stomped and collapsed. She led a reverent 11,000-person crowd — a sizable leap from the theaters she played on her first tour — in singalongs that were churchlike and raucous, but never rowdy.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Reviving ‘The Wiz’ Through ‘the Blackest of Black Lenses’

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      Schele Williams first saw “The Wiz” when a tour of the original Broadway production came through Dayton, Ohio. She was 7 years old, and recalled it being the most “beautiful reflection of Blackness that I had never seen.”Years later, she was cast as Dorothy in a high school production of “The Wiz,” and the thrill of that experience led Williams to pursue a career in musical theater. She even used the show’s soaring finale, “Home,” as one of her audition songs.Now, after working on Broadway as an actor (“Aida”) and an associate director (“Motown”), she is directing the first Broadway revival of “The Wiz” in almost 40 years. It’s a chance, Williams said, to celebrate what “The Wiz” has meant to her and to pass the story along to her daughters.Since becoming a Broadway hit in 1975, “The Wiz,” a gospel, soul and R&B take on Dorothy’s adventures in Oz, largely composed by Charlie Smalls, with a book by William F. Brown, has been a vibrant cornerstone of Black culture. The show blends Afrofuturism with classic Americana to enact a sort of creative reparation, reframing an allegory about perseverance and self-determination to feature Black characters who, in the ’70s, had rarely appeared in popular children’s stories.The 1978 Motown film adaptation, directed by Sidney Lumet and starring Diana Ross as Dorothy and Michael Jackson as the Scarecrow, was a critical and box-office flop. But the movie has been a trippy favorite of family living rooms for multiple generations, and the musical has remained a staple on local stages around the country.“The weight of that is not lost on me,” said Williams.The new production of “The Wiz,” beginning previews on March 29 at the Marquis Theater, arrives in New York after a 13-city national tour that began in September. The creative team said its goal is to celebrate both the property’s legacy and the richness of Black American history and culture.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Ultimate Hurray for the Riff Raff Primer

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      Listen to Alynda Segarra’s catalog as their latest album, “The Past Is Still Alive,” arrives.Luisa Opalesky for The New York TimesDear listeners,Last week, I published a profile of the 36-year-old singer-songwriter Alynda Segarra, who makes spirited and defiant music under the name Hurray for the Riff Raff.* Their ninth LP, “The Past Is Still Alive,” comes out today, and though 2024 is still young, it’s an early contender for my favorite album of the year.Yes, I did say ninth album, which means that Segarra has quite the back catalog. Today’s playlist can serve either as an introduction to Hurray for the Riff Raff or, if you’re already familiar with them, a mix that places their new songs in rich conversation with what’s come before.Segarra grew up in the Bronx and left home just after turning 17, eventually ending up busking in a street band in New Orleans and riding freight trains during the hottest Louisiana months. Playing in communal spaces and collaborating with other musicians, they developed a repertoire of Appalachian folk, Delta blues and classic country, with the requisite Tom Waits song thrown in.By 2014, on the breakout album “Small Town Heroes,” Segarra had found their own unique voice as a songwriter who was able to adapt traditional forms to speak to present concerns. This playlist’s leadoff track, “The Body Electric,” is a perfect example: Sparsely arranged and sung with conviction, it is a kind of revisionist murder ballad that questions that genre’s history of violence against marginalized people. “He shot her down, he put her body in the river,” Segarra sings of the doomed Delia Green, before offering a line that would come to define the political motivation of subsequent HFRR albums: “He covered her up, but I went to get her.”Over the past decade, Segarra has released a consistently strong run of albums that update traditional folk music to consider modern scourges like gentrification (on the epic 2017 album “The Navigator”) and climate change (on the elegiac 2022 release “Life on Earth”).But “The Past Is Still Alive” is something else: a memoir, a travelogue, a loose campfire singalong. These songs have the sort of direct, plain-spoken confidence that comes with age. On “The Navigator,” Segarra created a protagonist named Navina and built a whole alternate universe in order to tell a story that had parallels to their own. Here, Segarra is narrating their own experiences, etching their own story into the American songbook, and asserting that they belong there.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      SZA’s ‘Saturn,’ and 8 More New Songs

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      Hear tracks by Rhiannon Giddens, Norah Jones, Les Amazones d’Afrique and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes), and sign up for The Amplifier, a twice-weekly guide to new and old songs.SZA, ‘Saturn’The song SZA introduced in a commercial during the Grammy Awards, “Saturn,” has now been separated from its credit-card plug and released to streaming services in multiple versions; one, the sped-up version, brings out its clear pop structure. But the real-time version is better. The song is about a longing for the better place that her karma has earned: “Stuck in this paradigm/Don’t believe in paradise,” she sings. Arpeggios glimmer around her; a boom-bap beat brings an undertow. Her vocal lines argue with the beat as she joins generations of Afrofuturists like Sun Ra, looking beyond Earth and insisting, “There’s got to be more.” JON PARELESLes Amazones d’Afrique, ‘Musow Danse’“Musow Danse” (“Women’s Dance”) is the title track of the jubilant new album by Les Amazones D’Afrique: a Pan-African, proudly multilingual alliance of singers and songwriters carrying feminist messages to dance floors. “Musow Danse” is propelled by gritty distorted electronics and traditional drumming; it features Mamani Keïta from Mali, Fafa Ruffino from Benin, Dobet Gnahoré from the Ivory Coast and Kandy Guira from Mali, singing (respectively) in Bambara, Fon, Bété and Mooré, and sharing the chorus, “Rise up African woman!” PARELESA.G. Cook, ‘Britpop’We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More