Jeremy Gaunt

You are not altogether sure what you are listening to when you fire up Father John Misty’s new album, Chloë and the Next 20th Century: Apart from his mellifluous voice, which runs throughout, the tracks are all so very different. This is not a bad thing, of course. It

Anyone who has ever listened to a classical Indian raga knows the feeling: A little way into the performance you stop listening to the individual performers and get swept up into a dreamy musical trance. The same trippy effect can come from what otherwise would be stringband old-timey Americana. At

There is a certain style of male voice that just oozes angst. Think Bruce Springsteen, Chris Rea, Thom Yorke. The songs are great — but, oh, the inner pain, the questioning pain! Judging from his new album, Hold Fast, Scottish singer-songwriter Colin Macleod firmly belongs in this pantheon. His voice is

Dawn Landes’ new album, Row, is to a certain extent a victim of the coronavirus. The soundtrack to a musical, it has been released without the show being staged. It was due to be premiered in summer at the Williamstown Theatre Festival in Massachusetts, but like much else around us,

Bobby Hawk’s first solo album Lights On Kinks Out is one of those releases that requires a few listens. After my first run-through, I thought “meh.” The second left me a bit more positive. When I heard it for the third time, I thought “This isn’t half bad”

Musicians must hate it when a reviewer likens their hard work to that of a more famous performer — particularly if, like New Orleans-based singer-songwriter Anders Osborne, you have been around a while yourself. But Osborne’s lovely new album Buddha and the Blues has moments throughout when others come to