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4 Non Blondes Extend Reunion, Plot New LP
Music

4 Non Blondes Extend Reunion, Plot New LP

by jummy84 September 23, 2025
written by jummy84

The Linda Perry-led 4 Non Blondes reunited this year for their first proper shows since 1994, and the fun won’t end just yet. The group will perform Dec. 15 at the Roxy in Los Angeles and Dec. 17 at Great American Music Hall in San Francisco (get tickets here), and also has plans to release a new album next year.

“4 Non Blondes have been having a great time playing all of these incredible festivals, but honestly, we are excited to get back to the clubs,” Perry tells SPIN. “It’s where every band starts. You figure out what songs people like, learn about your mistakes [and] how to read the audience, [and] most of all, the audience gets a better understanding of who you are in this more intimate setting.”

Perry, bassist Christa Hillhouse and former touring members Dawn Richardson and Roger Rocha reassembled for four festival gigs this year, the band’s first since a one-off 2014 set at a Los Angeles LGBT benefit. At the recent shows, 4 Non Blondes focused on a batch of new songs such as “”Don’t Wanna,” “Drop the Bomb” and “Monomorphic,” intended for the follow-up to their 1992 debut, Bigger, Better, Faster, More!

“They’re all phenomenal players and now they get a chance to show that,” Perry says. “I couldn’t ask for a better band to play these songs.”

4 Non Blondes are best known for the grunge-era song “What’s Up?,” which hit No. 14 on the Billboard Hot 100, No. 1 on the singles charts in multiple European countries and has more than 1.18 billion streams on Spotify to date. Perry went on to become a hugely successful producer, songwriter and label owner who has worked with Christina Aguilera, Pink, Gwen Stefani and Alicia Keys.

“Playing some songs with 4 Non Blondes just seemed like a fun thing to do, in a way it hadn’t before now,” she says. “I’ve been behind the scenes for far too long. I want to step out to be the artist I am. I’m just open to all the possibilities that I’ve created around me. I manifest things all the time.”

October London. (Courtesy of October London)

September 23, 2025 0 comments
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Cardi B Replaces The Weeknd At 2025 Global Citizens Festival
Music

Cardi B Replaces The Weeknd At 2025 Global Citizens Festival

by jummy84 September 23, 2025
written by jummy84

Cardi B has officially been tapped to headline the 2025 Global Citizen Festival, stepping in to replace The Weeknd after his sudden withdrawal from the lineup.

The Weeknd’s decision to pull out, according to organizers, was due to a personal emergency, though details remain private.

The annual festival, set to take place on Saturday, September 27, in New York City’s Central Park, is a cornerstone event in the fight against global poverty, blending star-studded performances with activism-driven calls to action.

Cardi B performs at Spotify Beach concert featuring Cardi B, Lola Young and Mark Ronson at Spotify Beach during Cannes Lions 2025 on June 18, 2025 in Cannes, France.

Antony Jones/Getty Images for Spotify

“We are incredibly grateful to Cardi B, who has joined the Global Citizen Festival lineup,” wrote Global Citizen CEO and co-founder Hugh Evans in a statement.

“She’s an outstanding performer, who will light up Central Park in spectacular fashion. We wish The Weeknd support and want to thank him and his fans for all taking action with us to help end extreme poverty.”

For Cardi, the opportunity to headline holds deeper meaning than just music.

Cardi B

Cardi B attends the Alexander Wang show during September 2025 New York Fashion Week on September 12, 2025 in New York City.

Dominik Bindl/Getty Images)

“This one’s not like other music festivals — this one is about coming together to help children around the world, and I’m so proud to support such an important cause,” she shared in a statement. “New York City — see you Saturday. Let’s get it!!!”

Fresh off the release of her long-awaited sophomore album Am I The Drama?, which is projected to debut at No. 1 on the Billboard 200, Cardi’s appearance will be second time performing at the festival.

She previously took to the stage in her hometown back in 2018, after the release of her debut studio album Invasion of Privacy.

Cardi B attends the 4th Annual Hollywood Unlocked Impact Awards at The Beverly Hilton on June 21, 2024 in Beverly Hills, California. (Photo by Arnold Turner/Getty Images for Jason Lee/Hollywood Unlocked Impact Awards)

The festival will be hosted by actor Hugh Jackman and includes performances from Tyla, Ayra Starr, Mariah the Scientist, and others.

Beyond entertainment, the Global Citizen Festival aims to secure tangible global commitments.

Cardi B

Cardi B at Revolve Festival: The Eighth Annual Fashion, Music and Lifestyle Event on April 12, 2025 in Thermal, California.

River Callaway/Billboard via Getty Images

These include delivering clean, reliable energy to 1 million people in Africa, generating $200 million for Indigenous and local entrepreneurs to preserve land within the Amazon rainforest, and raising at least $30 million to fund community-based education programs that improve children’s literacy.

Tickets to the Global Citizen Festival are free and available through the Global Citizen app.

Cardi B

Cardi B celebrates New Year’s Eve at E11EVEN Miami on December 31, 2024 in Miami, Florida.

Jason Koerner/Getty Images for E11EVEN

September 23, 2025 0 comments
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The Fiery Furnaces Announce Blueberry Boat Vinyl Reissue, Share New Song: Listen
Music

The Fiery Furnaces Announce Blueberry Boat Vinyl Reissue, Share New Song: Listen

by jummy84 September 23, 2025
written by jummy84

The Fiery Furnaces have announced a special vinyl reissue of Blueberry Boat, their breakout album from 2004. It’s out October 10 via Everything Nice. The experimental art-rock band, started by Eleanor and Matthew Friedberger, has also shared a previously unreleased bonus track that was recorded in 2003. Check out that new song, “Far Away,” below.

Matthew Friedberger wrote “Far Away” at Eleanor’s request, according to a press release, for a November 2003 show at New York’s Mercury Lounge. “I liked the idea of writing a special song for each show, but that was the only time we ever did it,” explained Matthew. “In the end we decided to not put it on the album. I’d thought it would fit because it didn’t. It turned out it just didn’t. I told myself that the songs on Blueberry Boat are about working and not working, as opposed to loving and not loving.” Eventually, “Far Away” morphed into “Waiting to Know You,” which landed on 2006’s Bitter Tea.

The upcoming reissue of Blueberry Boat is limited to 500 hand-numbered vinyl copies. It features new cover artwork and comes in a gatefold tip-on jacket. The Fiery Furnaces will embark on a short tour to coincide with the reissue, beginning on October 10, in Kingston, New York. From there, the duo will perform at Pitchfork Festival London, Le Guess Who?, and elsewhere. Find the group’s full list of tour dates below.

Read about Blueberry Boat at No. 145 in “The 200 Best Albums of the 2000s.”

All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

The Fiery Furnaces: Blueberry Boat Tour

The Fiery Furnaces:

10-10 Kingston, NY – O+ Festival
10-25 Brooklyn, NY – National Sawdust
11-06 London, England – Pitchfork Music Festival London
11-07 Brussels, Belgium – Botanique
11-08 Utrecht, Netherlands – Le Guess Who?

September 23, 2025 0 comments
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Bruce Springsteen film ‘Deliver Me From Nowhere’ promises "new information to even his most ardent fans"
Music

Bruce Springsteen film ‘Deliver Me From Nowhere’ promises “new information to even his most ardent fans”

by jummy84 September 23, 2025
written by jummy84

The forthcoming Bruce Springsteen film Deliver Me From Nowhere will contain “new information to even his most ardent fans”.

The movie charts the period in The Boss’s life when he recorded his sixth album ‘Nebraska’ (1982), with The Bear star Jeremy Allen White portraying the legendary artist. It is set to arrive in cinemas on October 23.

  • Read More: Bruce Springsteen live in London: the heartland hero remains firmly at his majestic peak

During a new interview with Empire, writer and director Scott Cooper opened up about how he approached making Deliver Me From Nowhere – which Springsteen has described as “an anti-biopic”.

“[Springsteen] said to me, ‘Scott, the truth about yourself isn’t always pretty’,” Cooper told the publication.

“We discussed that this was going to be a film so far removed from the mythology of the rock star. The thing that was most important to him was that this would be no hagiography.”

He continued, teasing that even Springsteen diehards would learn something new: “There’ll be things in this film that will be new information to even Bruce’s most ardent fans – not covered in his Broadway show, or in documentaries, or in his memoir.”

Cooper added: “And he never once asked me to sand off the rough edges. But would you expect anything else from Bruce Springsteen? This man who’s the reluctant moral conscience of America?”

Springsteen recently revealed why he gave Deliver Me From Nowhere the go-ahead, despite it charting a “difficult” time in his life.

“You know, it’s really not a biopic,” he said. “It just takes a couple years out of my life when I was 31 and 32, and looks at them really at a time when I made this particular record, and when I went through some just difficult places in my life, you know. And, I’m old and I don’t give a fuck what I do now.”

The singer-songwriter explained that he and Cooper “had a very specific idea, particularly, of what we were gonna attempt to do” with the film.

Bruce Springsteen. CREDIT: Press

Cooper previously praised White’s portrayal of The Boss, saying that the actor had “an intensity of vulnerability and authenticity”. He said: “Jeremy has two things that really, for me, make up Bruce Springsteen, and one is humility. And the other is swagger.”

Critics have largely praised White’s performance in the first reviews of Deliver Me From Nowhere, with one calling his transformation “nothing less than stunning”. Another writer described the movie as an “unorthodox” biopic, while acknowledging Cooper’s “choices that hinder Nowhere from being a truly great film”.

Alongside White, the film stars Succession‘s Jeremy Strong as Springsteen’s manager and producer Jon Landau, Adolescence‘s Stephen Graham as his father Douglas, and The Staircase‘s Odessa Young as love interest Faye Romano.

Springsteen visited White on set in New Jersey late last year before meeting the child actor who plays his younger self, Matthew Anthony Pellicano.

In other news, next month will see Springsteen finally release the legendary electric version of ‘Nebraska’. He has already previewed the collection with a demo version of ‘Born In The U.S.A.’.

September 23, 2025 0 comments
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Stevie Nicks Reveals Pre-Fame Letter She Wrote Predicting Her Legacy
Music

Stevie Nicks Reveals Pre-Fame Letter She Wrote Predicting Her Legacy

by jummy84 September 23, 2025
written by jummy84

Following the reissue of Lindsey Buckingham and Stevie Nicks‘ 1973 album, Buckingham Nicks, last week, Nicks shared some insight into her delightful notions while recording the LP more than five decades ago.

Taking to Instagram on Monday evening, Nicks posted images of the penned letter alongside the caption, “I wanted to share this letter I wrote to my family while Lindsey and I were making Buckingham Nicks. My mom saved it and it’s been in a drawer for over 50 years.”

Addressed to her mother, father, and brother Chris, Nicks writes to them from the “famous” Sound City Recording Studio in Los Angeles. “I am getting very tired of sitting around listening to 12 hours of music per day,” she begins. “I know it will pay off in the end, and when I am sitting in my small but luxurious Beverly Hills home overlooking my small but tasteful pool that is totally secluded, where I can sun in the nude and tan my entire fat body while waiting for my plastic surgery leg lift – it will all be worth it.”

After assuring everything is “peach-y,” she playfully teases that she’s sure “dad is already beautifully tan and lythe – making those gorgeous blue grey eyes even more sparkling than they usually are,” adding, “sickening that he looks better than I do at 47(?) and I’m only 25. (Give me a break, Dad!).” Nicks segues to her upcoming 25th birthday, declaring that the family “should set aside the entire month of May to celebrate the fact that I am now 1 quarter of a century old,” calling it a “landmark” that warrants a “gala celebration.”

After leaving the party planning to her parents and brother, she quips, “presents will be accepted any time after the first of May – no C.O.D’s please.”

Bringing it back to the music, Nicks tells them, “I certainly do miss you all, and wish you could be here to hear some of this stuff.” Addressing her father and Chris, she notes, that the “rock and roll tune” they both liked — “(‘Baby Baby, don’t treat me so bad’) with the fancy guitar work” — is “almost finished” and declares Buckingham “may go down in history as one of ‘greats’ in guitar playing.”

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After predicting her and Buckingham’s future greatness, Nicks concludes “It really is quite amazing,” before telling her family “so much love to you all – and hold good thoughts about this thing.”

While the initial release of Buckingham Nicks wasn’t a commercial success, it would eventually lead to Mick Fleetwood asking the couple to join his band. Coincidentally, the reissue arrived after Fleetwood Mac’s self-titled 1975 album turned 50 in July.

September 23, 2025 0 comments
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Ocean Alley Find Their ‘Cruisy’ Groove on ‘Love Balloon’
Music

Ocean Alley Find Their ‘Cruisy’ Groove on ‘Love Balloon’

by jummy84 September 23, 2025
written by jummy84

For Ocean Alley, they just needed confidence to get things rolling.

The indie surf-rock outfit returns with Love Balloon, their fifth studio album which got air last Friday, Sept. 19 via Community Music.

For the first time, the Australian six-piece worked with legendary rock producer Nick DiDia (Bruce Springsteen, Rage Against The Machine), following an introduction from former Powderfinger frontman Bernard Fanning.

“You can tell how experienced he is,” enthuses vocalist Baden Donegal, “because he was just so laid back and everything just gets done and on time. He just knows what’s down the road, and we’re still learning all of that.”

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After a couple beers and some rounds of golf with DiDia, the musicians just “hung out like mates” and talked a little bit about music. “It was just the most cruisy kind of mutual relationship that we’ve had so far,” recounts bassist Nic Blom.

The result is cruisy, too.

Spreading across 10 tracks, Love Balloon is a dreamy, chilled journey that should hit the target with the Australian band’s growing fanbase.

Led by the singles “Tangerine,” “Left Of The Dealer” and the title track, the new set was recorded over three stints, across roughly three months. Those final recording sessions were “more like a ‘plug-in and play’ sort of approach,” remarks guitarist Angus Goodwin. “Like, very much an old school approach.”

Which checks out. Ocean Alley’s throwback sound is like an antidote to the rush of modern life.

The group smashed through the barriers with 2018’s “Confidence”, which topped triple J’s Hottest 100, an annual countdown that regularly captures upwards of two million votes. Its parent Chiaroscuro narrowly missed out on a top 10 peak on the ARIA Albums Chart, hitting No. 11. Follow-ups Lonely Diamond (from 2020) and Low Altitude Living (2022) both peaked at No. 3 on the national survey. “Confidence” is now six-times platinum certified in Australia, and total streams across all the band’s songs exceed 1 billion.

With the breakthrough of “Confidence,” life in the band got a “whole lot more serious,” says guitarist Mitch Galbraith. “There were a lot of changes we had to make, the show had to be a lot more professional. There was a lot more pressure. We had to tone back the beers before we went on stage and to make sure that every note was correct. Get the key right.”

They’ll hit those notes when they return to North America for a second run of headline dates starting Oct. 2 at Empire Control Room & Garage in Austin, TX. Earlier stops this year have included festival appearances at Lollapalooza, Brooklyn Paramount Austin City Limits and Hollywood Palladium. But first, a dream gig at London’s 10,000 capacity Alexandra Palace on Saturday, Sept. 27.

Would a No. 1 album scratch an itch? “It’d be nice. Yeah, sure, I wouldn’t say no to a No. 1 album,” says Donegal. “We’ve never really cared or chased a trophy or an accolade like that. We’re just we’re stoked when we finish a record and we’re happy with it and whatever happens, happens. We still get to like fly around the world playing music to our fans. We love what we do.”

U.S. 2025 Tour Dates
Oct. 2 @ Empire Control Room & Garage – Austin, TX
Oct. 3 @ House of Blues Houston – Houston, TX
Oct. 4 @ Austin City Limits Music Festival – Austin, TX
Oct. 6 @ House of Blues – New Orleans, LA
Oct. 8 @ Brooklyn Bowl Nashville – Nashville, TN
Oct. 10 @ House Of Blues – Dallas, TX
Oct. 11 @ Austin City Limits Music Festival – Austin, TX
Oct. 13 @ The Truman – Kansas City, MO
Oct.15 @ Mission Ballroom – Denver, CO
October 17 @ Hollywood Palladium – Los Angeles, CA

September 23, 2025 0 comments
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MAGA Is Mad at GWAR
Music

MAGA Is Mad at GWAR

by jummy84 September 23, 2025
written by jummy84

To quote one social media user, GWAR are equal-opportunity beheaders. Over the years, the shock metal band has staged faux executions of every president of the last four decades (Reagan, Bush Sr., Clinton, Bush Jr., Obama, Trump, and Biden), as well as Hillary Clinton, Michael Jackson, Mike Tyson, and even Jesus Christ. Chances are, if you’re a famous person, they’ve killed you onstage. The band’s set at Riot Fest this weekend was no different, as they beheaded Elon Musk and stabbed Trump.

This time, though, MAGA picked up on GWAR’s antics and is crying foul. Both conservative-leaning websites Brietbart and New York Post have published articles on the band’s performance at Riot Fest, while videos of GWAR circulated widely on X/Twitter throughout the weekend. “Listen I know they do this to every leader and even did Obama but after what happened with Charlie Kirk last week it’s just retarded timing,” one user complained. Libs of TikTok called GWAR’s performance an act of “incitement,” adding that, “Democrats can’t help themselves. They love promoting violence.”

A representative for GWAR pushed against the New York Post’s article a statement: “Normalizing violence? Humans don’t need GWAR for that. There is nothing normal about the Looney Toon violence acted out on a GWAR stage. GWAR is absurdist spectacle. GWAR is to violence what the New York Post is to journalism. Ridiculous.”

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Riot Fest also joined in mocking the outrage over GWAR’s performance: “Like I know this is a rage bait engagement farming twitter account, but ‘GWAR crossed a major line’ is one of the funniest fucking things I’ve ever heard,” the festival wrote on X.

The kicker? The viral clip that set off the controversy may have been planted from inside GWAR’s own orbit. The clip was the very first post from an account called @hottakekaren, whose bio reads “GWAR’s biggest fan.” The post tagged @RiotFest, @GWAR, and @ElonMusk, while subsequent uploads from the same account tagged @realdonaldtrump, @JDVance, and even @FBI. Whether it was the band, Riot Fest, or a devoted fan, the stunt clearly worked. If the goal was to rile up MAGA and give GWAR a burst of viral attention, consider it mission accomplished.

Heads Up: GWAR’s Bud of God collection is currently BOGO at Consequence Shop.

Saw a friend’s video from Riot Fest—GWAR mock-beheaded Elon Musk on stage. That’s not edgy, it’s grotesque and reckless and normalizes violence against a real person. This is not okay. Riot Fest and GWAR crossed a major line. #RiotFest #GWAR #ElonMusk @RiotFest @gwar @elonmusk @X pic.twitter.com/ngr0GRVbP9

— karen (@hottakekaren) September 20, 2025

September 23, 2025 0 comments
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Juxtaposition Is The Prescription On Wednesday's 'Bleeds'
Music

Juxtaposition Is The Prescription On Wednesday’s ‘Bleeds’

by jummy84 September 23, 2025
written by jummy84

Bleeds, the fifth salvo from this Dead Oceans-signed, Asheville, N.C.-based indie outfit, is truly the best album of 1994. Who thought it would be so compelling to graft country rock idioms to the relentless decibels of British shoegaze and American grunge and then have the whole cyclone spin around a slacker vocalist? Then again, mediocrity rules the top halves of our pop charts and festival bills, so any hyperbolic verbiage thrown at Wednesday is completely meritous.

Vocalist Karly Hartzman is a casual goddess. There’s not a lot of screamy, throat-shearing catharsis here (barring the 90-second “Wasp”), but her delivery can be plaintive (“Elderberry Wine”) or downright pre-occupied, as if she’s crafting a melody by reading the contents of a cornflakes box with a complete disregard for phrasing or key changes. At any given moment, Hartzman could be singing stridently into the side of a mountain from the porch of an Appalachian cabin (“The Way Love Goes”) or as meandering as an inappropriate drug cocktail captured as a voice memo on an iPhone and thrown in for some credible, indie-rock audio verite (“Carolina Murder Suicide”). At some junctures, you’ll feel embarrassed because you think you’re eavesdropping as she reads her diary.

Hartzman and her bandmates (guitarist/indie-rock bon vivant MJ Lenderman, pedal/lap steel accenteur Xandy Chelmis, drummer Alan Miller and bassist/keyboardist Ethan Baechtold) didn’t fix what wasn’t broken on Bleeds. “Pick Up That Knife” distills that ‘90s quiet/loud/quiet formula to something alternatingly comfy and claustrophobic, while one should try putting “Candy Breath” on a playlist after David Bowie’s “Heroes” and see how that feels. “Gary’s II” could be the opening song for an imaginary Wednesday gig at the Grand Ole Opry – a bouncy little hoedown about how a bar fight leads to dentures and seemingly ends just as the going gets good.

The only thing to genuinely hate about Bleeds is that it exists far and away from the ‘90s zeitgeist by which it was informed. The lyrical details are better than anything that ever came out of Whiskeytown (the “puppy pissing off a balcony” line from “Wound Up Here (By Holding On)”), the volume torture rivals that one time J. Mascis did My Bloody Valentine’s live mix at CBGB, and the whole LP is as great as you wanted Hole to be (sit down X’er, and don’t @ me). Juxtaposition is the prescription and Wednesday are fixin’ to dose you in all the best ways. If there’s any justice in this world, a small but excited number of our great-grandchildren will be talking about this record, the people who made it and how cool real life was – prior to the pointless void of AI.

September 23, 2025 0 comments
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Saucy Santana Is Seen Exiting Waffle House On Stretcher
Music

Saucy Santana Is Seen Exiting Waffle House On Stretcher

by jummy84 September 23, 2025
written by jummy84

Saucy Santana had fans worried this week when he was seen being escorted out of an Atlanta Waffle House on a stretcher.

In the now-viral video circulating on social media, paramedics could be seen wheeling the “Material Gworl” rapper out of the late-night spot, sparking immediate concern about the 29-year-old rapper’s health.

“I’m at Atlanta at this Waffle House… they say Saucy Santana has passed out,” a voice could be heard saying in the background of the video. See below.

Just a few hours later, Santana logged onto social media, himself, from his hospital bed teasing his upcoming project.

“Bi**h I’m back, and I’m coming in hot/ I’m hard as a brick, ’cause y’all stay on my c*ck/ Every time I drop you know I keep me a bop/ I’m bout to bust thees bi**hes open, I keep a lock in my sock,” he energetically rapped along to an unreleased track as he walked around his hospital room.

In another clip, the Florida star is out of the hospital and atop a balcony rapping the lyrics once again. This time, he traded his hospital gown for a black dress, dark shades, and long black tresses.

Social media had much to say about his quick bounce-back, with many claiming that he was “sick for clout.” One person commented underneath The Jasmine Brand‘s repost of Santana: “It’s sad that people will use anything for attention,” as another said, “A WEIRDO PRETENDING TO BE SICK FOR CLOUT.”

Neither Santana nor his team have yet to release an official statement or details surrounding what exactly went down.

September 23, 2025 0 comments
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Joanne Robertson: Blurrr Album Review
Music

Joanne Robertson: Blurrr Album Review

by jummy84 September 23, 2025
written by jummy84

In Joanne Robertson’s oil paintings, thick knots of red and brown often appear in the lower left-hand corner. They push back against the sloshes of pale color as a visual analogue for how her music works. Those reds and browns are like the rhythmic unrest at the heart of her serene songs, where melodies twist and buckle and collapse. And like her frequent collaborator Dean Blunt, Robertson’s visual practice bleeds into her music, shaping its tension and motion. She wanders with supple precision across both canvas and song in an improvisatory state, but it’s in music that she comes closest to the divine.

Blurrr, Robertson’s sixth solo album and her undisputed masterpiece, is at points so beautiful—53 seconds into “Always Were,” to be exact, or four minutes, 31 seconds into “Peaceful”—that it feels difficult to breathe alongside it. Here, Robertson sounds as though she has reached a stratosphere where the soul can stretch its legs and roam more freely. It is scarcely conceivable that Robertson recorded the album within the confines of a room, constructed from earthly material, somewhere inside a city. For its nearly 45-minute duration, there is only this.

The sound of Blurrr might best be likened to the Cocteau Twins calling from inside the house: a lo-fi rendering of the band’s beautiful slurry. Like Elizabeth Fraser, Robertson makes a voice feel much larger than the words it carries, though she isn’t singing with an alien tongue so much as blurring words into tonal brushstrokes. If Fraser’s gift was a kind of ecstatic, non-linguistic invention, Robertson’s errs closer to meaning. Her lyrics hover just beyond grasp, vaguely intelligible but never fully yielded. Grouper is another obvious point of comparison: both artists summon an immense solitude, with melodies and lyrics that seem dredged from half-buried incidents and associations, as if carried across remote distances and centuries before reaching us. Robertson, though, gathers those fragments into her voice, which doesn’t just bear them forward but distills them; purified in the very act of singing.

On tracks like “Gown,” where she fully opens her melodic range, her voice is all yearning and suffering. Even in moments when her phrasing feels more provisional and hesitant, as on “Ghost,” it sounds as if she is attempting to stake a claim on the infinite. Her voice and guitar zigzag around one another, rarely colliding into melodic symmetry. Her voice the blur, her guitar the furious red and brown tangles; never just a scaffold but a tactile object that thuds with wood and wire, each string caught mid-rattle, harmonics clanging.

September 23, 2025 0 comments
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