8.9 November 9, 2023<November 9, 2023 Our Take: Spiritbox Keep It Heavy and Ferocious on ‘The Fear of Fear’ EP by Kendall Graham
November 6, 2023<November 6, 2023 When The Pawn…’s 24th Anniversary: How Fiona Apple Shaped a Generation of Singer/Songwriters by Minna Abdel-Gawad
November 2, 2023<January 6, 2024 Now and Then: The Long and Winding Road to the Last Beatles Song by Aidan Moyer
November 1, 2023<November 1, 2023 Review: Squirrel Flower Puts It All Out There in Shimmering Third Album, ‘Tomorrow’s Fire’ by Rachel Leong
October 30, 2023<January 6, 2024 Guilty Pleasures? There’s No Such Thing: A Defense of John Mayer by Aidan Moyer
October 27, 2023<October 27, 2023 Album Review: Simple Minds’ ‘New Gold Dream – Live From Paisley Abbey’ Is the Sound of the Ineffable by David Buyze
October 27, 2023<October 27, 2023 Review: Mr. Sun Brings New Life to Ellington’s Reimagined Nutcracker Suite by Atwood Magazine Staff
October 26, 2023<October 26, 2023 Live Review: My Morning Jacket Play ‘It Still Moves’ in Its Entirety, Bust Out Deep Cuts During Three-Night Residency by Max Kalnitz
October 25, 2023<October 25, 2023 Live Review: Rina Sawayama Brings Glam Cowgirl Pop/Rock to the Lone Star State by Marissa DeLeon
October 23, 2023<March 12, 2025 Live Review: Thundercat Puts Improv Skills on Display During Two-Night Run at Brooklyn Mirage by Max Kalnitz
October 20, 2023<October 20, 2023 Interview: MisterWives Reflect on Their ‘Nosebleeds’ Era and Face-Melting Don’t Look Down Tour by Kelly McCafferty Dorogy
October 18, 2023<October 18, 2023 Live Review: Maisie Peters Stuns in Texas with the Spectacular Good Witch Show by Kelly McCafferty Dorogy
October 18, 2023<October 18, 2023 Olivia Rodrigo Spills Her ‘GUTS’ in New Album, Tapping into Fears of Youth, Aging, & Heartbreak by Claire Meyer
October 17, 2023<October 17, 2023 Live Review: Katelyn Tarver Brings an Intimate Energy to Houston on Her Compliments Only Tour by Kelly McCafferty Dorogy
For the Love of Music
For the Love of Music
