Ralf Hütter spoke only a handful of words during the Waterfront Hall performance, but a tender nod to the late composer marked one of the evening’s clearest signals of Kraftwerk’s lasting human pulse.
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Ralf Hütter spoke only a handful of words during the Waterfront Hall performance, but a tender nod to the late composer marked one of the evening’s clearest signals of Kraftwerk’s lasting human pulse.
Before the interview, Vile gave TAFS Unplugged an early look at his next album, including the unreleased love song “Every Time I Look At You.”
Two and a half years after his breakout SNL debut, Noah Kahan returned to the show as the owner of a #1 album. His performances of “The Great Divide” and “Doors” captured an artist in a different mode.
Jane Remover has constructed one of the most distinctive bodies of work in contemporary music by treating genre not as container but as material under constant stress. Their sound moves through distinct phases, early digicore precision, hyperpop fracture, shoegaze expansion, and the hybrid large-scale urgency of recent releases, yet the central method remains unchanged: forms …
Stepping away from his own catalog, Stapleton offered a solo version of the 1986 number, accompanied only by Nelson’s longtime harmonica player Mickey Raphael.
The Spanish singer brought her densely layered work on female sainthood to a British arena, threading medieval iconography through modern staging.
At Glasgow’s OVO Hydro, Olivia Dean proved that arena soul-pop can feel intimate without losing its power. The trick is knowing what not to overdo.
Items from the artist’s personal archive, worn during a guest appearance at the festival, have gone missing.
The artist performed new material in an intimate jazz club setting, backed by a small ensemble for the New York shows.
The festival’s pattern for major onstage collaborations has moved, with weekend two now hosting the most significant guest appearances.
