This Grammy Award-winning artist released Un Verano Sin Ti in 2022. Bad Bunny is the artist behind “Neverita,” releasing a music video for the “summer rejection” track. Here’s what we know about this song and the meaning behind its lyrics.
Bad Bunny released ‘Neverita’ off ‘Un Verano Sin Ti’
‘Un Verano Sin Ti’ artist, Bad Bunny, performing his second concert at Azteca Stadium, as a part of World Hottest Tour | Medios y Media/Getty Images
Bad Bunny is the artist behind “Me Porto Bonito,” “Titi Me Preguntó,” and “Moscow Mule,” releasing Un Verano Sin Ti in 2022. In the same collection, the songwriter released the pop-rap original, “Neverita.”
According to Spotify’s credits, “Neverita” was co-written by Tainy and Bad Bunny (real name Benito Antonio Martinez Ocasio). The track was produced by Cheo Legendary, La Paciencia, and Tainy. Since its debut, “Neverita” earned over 440 million plays on the streaming platform, with Elvis Crespo even releasing a cover.
While some Un Verano Sin Ti songs detail a summer romance, “Neverita” is the story of a summer rejection. The love interest expressed she’s “staying single this summer.” That doesn’t stop the narrator from wanting to spend time with her.
“I’m ready for you and you pull away from me,” Bad Bunny sings in the chorus, according to a Genius translation. “Damn it, what a conceited little girl / She put her heart in the cooler / She says that this summer she’ll stay single.”
What is ‘Neverita’ by Bad Bunny about?
The title “Neverita” references a type of sea snail. According to Pop & Top, “he named the main character girl that way because she was slow in relationships, while the musician was drowning in an ocean of feelings.” “Neverita” also translates to “little refrigerator” in English.
Of course, this is Un Verano Sin Ti, so this song has a summer-y undertone in its lyrics. The narrator says, “let me spread sunblock on you, so you don’t get burned” and, later, “Lovers come and go, like the waves.”
There are even references to pop culture, with the narrator saying he’ll watch TikToks with his crush. Unfortunately, she treats him like a “meme,” meaning she doesn’t take him seriously.
In one of the last lines, the narrator recognizes the toxic relationship, calling the love interest an “abuser.” According to one fan translation, Bad Bunny sings, “I’ll go find you a beer and while I’m at it, a heart.”
Bad Bunny released the ‘Neverita’ YouTube music video
On Aug 22, this singer released his “Neverita” music video. The STILLZ and We Own The City-created production highlights the days of MTV and TeleHit, with a ’90s and early 2000s graphic design vibe and Bad Bunny grooving along. At one point, he dresses in a sun costume.
Since its premiere, the “Neverita” music video earned over 150 million views, as well as thousands of supportive comments from fans. Music by Bad Bunny is available on most major streaming platforms, including Spotify and Apple Music.
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Brayden Lape Performs Tim McGraw’s “Humble And Kind” | NBC’s The Voice Live Finale 2022
The Voice Season 22’s Brayden Lape charmed the Coaches the moment he first stepped foot on stage. He pulled off a Blind Audition that not only landed him on Team Blake throughout the competition but led to both Shelton and Gwen Stefani becoming his “Coach Parents.”
From then on, Lape proved that he was one of the strongest musicians in the competition, and at just 16 years old, quickly joined the ranks as one of the show’s massively talented teens. The Michigan native avoided being voted into the bottom throughout the Live Shows and ended up as the youngest finalist in the season’s finale.
Now, Lape may not have won the show (that honor goes to Bryce Leatherwood), but the young up-and-coming country-pop singer is just getting started. Read on to see what he’s doing now and what’s next.
What is Brayden Lape doing now after The Voice Season 22?
After taking fifth place in the Season 22 Finale, Lape took to Instagram to reflect on the season and tease what’s next for him.
“What a special experience to have as a 16 year old kid!” he said in a caption. “I’ve learned so much from Blake, the cast, the other coaches, and the overall experience! If you told me a year ago that I would get the opportunity to sing in every round of the voice I would’ve said you were crazy! I can’t thank everyone who has supported me enough! Now let’s keep the ball rolling and release some awesome music!”
So far he’s staying true to that last promise, as he recently posted a series of snaps from a new photoshoot with the caption, “Music coming soon!”
But perhaps the most exciting development of all? Lape is collaborating with fellow finalist, Morgan Myles, from #TeamCamila. On December 28, Myles shared a video with her Instagram followers documenting a day-long recording session with Lape that ended in a well-earned meal.
“Brayden sang so much yesterday he worked up quite the appetite… lmao,” she said, “still not sure what he actually ordered.”
It looks like all the Brayden Lape fans out there definitely have a couple things to look forward to in the new year.
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Over the past few years, music lovers have come to expect concert postponements and cancellations. One of the first significant shows of 2023 happens at New York’s historic Apollo Theater, where Toronto rap superstar Drake is scheduled to perform on Jan. 21 and 22 – an event that has been postponed twice.
Let’s hope things get back to normal in 2023, because the Canadian schedule looks promising. Highlights in the first half of the year include Billy Joel’s small-venue show at Fallsview Casino in Niagara Falls, Ont. The Red Hot Chili Peppers launch their spring tour at Vancouver’s BC Place Stadium, rapper Nav hits arenas in Toronto and Vancouver, and John Mellencamp visits Toronto’s Massey Hall and Vancouver’s Orpheum Theatre.
Pierre Kwenders, winner of the 2022 Polaris Music Prize, kicks off a tour at the end of January in Winnipeg, and buzzy American singer-songwriter Weyes Blood plays Montreal and Toronto in March. Further down the road, jazz icon Herbie Hancock plays Toronto and Ottawa in June.
On the classical music front, the Montreal Symphony Orchestra unveils its Riopelle Symphonic Experience, presented as part of its Jean-Paul Riopelle centenary celebrations. Celebrating its own 100 years, the Toronto Symphony Orchestra returns to its ancestral home for one night (Feb. 17) at Massey Hall.
Noteworthy opera productions include the first fully staged professional production of Scott Joplin’s Treemonisha in Canadian history.Handout
Noteworthy opera productions include the Canadian premiere of The (R)evolution of Steve Jobs by Calgary Opera, Gluck’s Orphéeby Edmonton Opera and, in June, the first fully staged professional production of Scott Joplin’s Treemonisha in Canadian history, by Toronto’s Volcano company.
No music calendar would be complete without mention of the Junos (March 13, in Edmonton) and the Grammys (Feb. 5, Los Angeles). That said, music’s biggest nights are as follows:
Winnipeg New Music Festival: Music For Airports
The Polycoro Chamber Choir.Jay Siemens/Handout
In 1978, the British ambient music maestro Brian Eno released Ambient 1: Music for Airports, a four-part, tape-looped adventure in background music. Critic Lester Bangs describedthe work as having “a crystalline, sunlight-through-windowpane quality that makes it somewhat mesmerizing even as you half-listen to it.” Eno’s electroacoustic masterpiece anchors a concert that brings together Dutch bassoonist Bram van Sambeek, Winnipeg Symphony Orchestra principals Yuri Hooker and Meredith Johnson and the Polycoro Chamber Choir.
Jan. 29, Royal Aviation Museum of Western Canada, Winnipeg
National Arts Centre Orchestra: Songs for Murdered Sisters
Joshua Hopkins performs Songs for Murdered Sisters, a song cycle conceived by the Canadian baritone after his older sibling and two other women were slain in a 2016 rampage. Composed by Jake Heggie and based on original poetry by Margaret Atwood, the piece is about the loss of a sister and the larger tragedy of domestic violence against women. It receives its live orchestral premiere in Ottawa. “Meaning transforms grief into a more peaceful and hopeful experience,” Hopkins told The Globe and Mail a year ago. “These songs have provided that meaning for me.”
Feb. 9 and 10, Southam Hall, Ottawa; Feb. 11, Roy Thomson Hall, Toronto; Feb. 14, Isabel Bader Centre, Kingston
These two things can both be true: Nothing the intrepid Montreal-based turntablist Kid Koala does surprises me any more, and Kid Koala never ceases to amaze me. His latest brainstorm is The Storyville Mosquito, a family-friendly experience in puppetry about a melodious small-town mosquito who has a bee in his bonnet about the big city and a band there he dreams of joining. It’s presented as a live film, with Kid Koala, a string trio, foley artists and puppeteers performing, filming, editing, projecting and scoring it all on the fly.
Feb. 22 to 24, Le Diamant, Quebec City
Buddy Guy: Damn Right Farewell Tour
When the blues guitarist Buddy Guy first broke onto the scene in the 1960s, he was a rare breed in the genre: Instead of affecting a sober, authoritative presence, he was excitable and sexy. Now, as an octogenarian and the senior artist in his field, Guy is still up for high energy and electrified shenanigans: Blues Don’t Lie, released in 2022,earned some of the best reviews of his career. That said, the Grammy-winning guitarist who played on Chess albums by Muddy Waters, Howlin’ Wolf and Big Mama Thornton in the 1960s is quitting the road. And while we’ll probably hear that he is the “last of his kind,” Guy himself would not likely believe it. That he is touring with 48-year-old Eric Gales and 23-year-old Christone (Kingfish) Ingram is verification that Guy believes in his album from 2018, The Blues is Alive and Well.
March 30 and 31, Massey Hall, Toronto; June 30, Montreal Jazz Festival
Shania Twain: Queen of Me Tour
Reportedly the first track on Shania Twain’s forthcoming Queen of Me album is Giddy Up! Whether that is self-encouragement or a message to her fans and road crew, the Canadian country-music superstar will embark on a six-month tour that begins in Vancouver. The singer changed the face of country music in the late 1990s with her pop-music savviness and empowering messages. She also had a way with exclamation points, as proved by Man! I Feel Like A Woman! What left can be said now, except “giddy up”?
May 2 and 3, Rogers Arena, Vancouver, with dates in Edmonton, Calgary, Saskatoon, Winnipeg, Halifax, Moncton, Quebec City, Montreal, Hamilton, London, Toronto and Ottawa to follow
Sacred Earth Cafe also organises other events including full moon tea ceremony, classical music evening and various other events
Published Date – 11:45 PM, Wed – 28 December 22
Participants during the Open mic event at Sacred Earth Cafe.
By BIPASA DASH
Hyderabad: It was a cold Sunday evening and the rooftop of the Sacred Earth Cafe, Madhapur, was filled with people, lights and greenery.
The host for the open mic, Rachana Rajasthani, who is also a poet, made the evening mesmerising with her shayaris.
“Koi chehra jana pehechana, koi chehra hai yahan anjana, mehfil ka jaadu chhane do, kar doongi sabko deewana”. Needless to say, the audience went ‘wah wah’!
Eleven-year-old Nitya took people by surprise as she started reciting poetry effortlessly. The rooftop echoed with applause and appreciation.
The Open mic at the Café, which is organised on the third Sunday evening of every month, featured singers who performed Hindi, Telugu and English songs. It was a reminiscence bump as everyone felt music-evoked nostalgia.
Bhoomika, a former employee of the cafe, introduced the open mic in October 2021 with an idea to host a large-scale event after the pandemic and bring together like-minded people.
The organiser of the open mic Dhruv Gupta, who is also a singer, feels that Open mic is a day for the performers to unwind and break through their routine. He says, “Artistes regularly come to perform here as they don’t feel there is a commercial angle to this event”.
Singer Akanksha Basu says, “I personally did not perform for two years and I was scared out of my wits. But, the audience are wonderful and the space is so open and spiritual.”
Sacred Earth Cafe also organises other events including full moon tea ceremony, classical music evening, sound healing workshops, tarot reading, stand-up comedy, body improv and various other workshops.
The idea is to allow young talents to come forward while encouraging them to let go of their fears and delve into art, food and music – all under one roof.
The most surprising thing to Melissa Carper about her newfound success might be all the emails she has to send. A month before the release of her new solo album, Carper was still getting used to the non-musical work required of her, now that the 50-year-old indie singer-songwriter has waded into the big-time music industry. Her latest album, Ramblin’ Soul, is her first to receive a nationwide release (via Thirty Tigers). Rolling Stone named it one of the year’s best country albums and it’s shot up the Americana radio charts, introducing the musician, who’s been playing for nearly four decades, to the daily realities of being a recording artist in 2022.
At the time Rolling Stone spoke with Carper, she was coordinating music video shoots, searching for a manager, communicating with members of her newly expanded team, and connecting all sorts of dots on her album rollout. “I feel like I’ve almost been baptized into the music business this past year,” says Carper, a Nebraska native who now lives in Bastrop, Texas, with partner (and bandmate) Rebecca Patek.
After releasing Daddy’s Country Gold, produced by Andrija Tokic and Dennis Crouch, in 2021, Carper slowly started building a small but passionate audience. The album arrived like a relic from a long ago time, with the vocalist-bassist sounding like a cross between Patsy Cline and Iris DeMent while delivering come-ons about milking goats. Musicians, especially, took notice: Chris Scruggs, John Cowan of New Grass Revival, and members of the touring band for Robert Plant and Alison Krauss, including JD McPherson, all became fans.
All of this came as a surprise to Carper, who got her feet wet on the live stage at just 12 years old, playing four-hour gigs at Elks Lodges and in local bars in Nebraska with her family band. Together, they covered everything from Hank Williams to Eighties country-pop. As a child, Carper was fond of singing Sylvia’s 1982 radio hit “Nobody.”
As she got older, she started writing songs too, and when she finally got around to recording her first proper country record (she had self-released a raw collection of blues tunes in 2015), her goal was to pair what she had been performing for years with a world-class group of musicians. She recruited Scruggs, pianist Jeff Taylor (The Time Jumpers), Lloyd Green on pedal steel, and other A-listers. “I had no expectations,” she says of Daddy’s Country Gold, “absolutely no expectations, for how it would do.”
But the reception for the album inspired Carper to record more. She still had an immense backlog of songs from her years of gigging and writing and she set about assembling them for Ramblin’ Soul. This time, Carper expanded upon the mid-century country-jazz stylings of Daddy’s Country Gold, incorporating gospel, western swing, and soul.
When she told Tokic, who returned to produce with Crouch, that she wanted to lean more into classic R&B sounds for Ramblin’ Soul, Tokic’s eyes lit up. “I was like, ‘Easy,’” says Tokic, who’s known for modernizing those classic sounds on albums by Alabama Shakes and Benjamin Booker.
Neither Carper nor her collaborators wince when they hear words like “classic,” “throwback,” and “retro” being used to describe Carper’s music. It’s a compliment to them. “It’s just what seems like normal to us,” as Tokic puts it. “Melissa is not out there pandering to anything. She is what she is, and she sounds how she sounds, and she does it because she wants to do it.”
Carper, for her part, finds power in using decades-old styles as a backdrop for narratives and melodies that feel more contemporary. “I realize I’m obviously not doing anything that progressive, stylistically,” she says. “But I’m also not doing anything intentionally. It’s just what comes out.”
If Daddy’s Country Gold was a primer, then Ramblin’ Soul is a more fleshed-out representation of Carper as a vocalist, arranger, and songwriter. There are the bluesy leanings of “1980 Dodge Van,” a cover of Brennen Leigh’s gorgeous ballad “Hanging On to You,” and the mid-century crooning of “From What I Recall.”
The album’s centerpiece is the piano ballad “Ain’t a Day Goes By,” which Carper wrote years ago about the passing of her dog Betty. Betty had been by her side as Carper suffered a series of personal losses and crises. Her parents both died within a year, and she had come to feel as though she’d lost a brother struggling with schizophrenia, too. Then her dog died.
“Betty’s death finally forced me to deal with grief that I had been stifling,” Carper writes in a follow-up email. “I feel like [her] death sort of pushed the grief over the edge. In the past I had used alcohol to numb myself with this kind of loss, but I knew I couldn’t keep that up.” Writing the song, she says, helped her process what she’d been bottling up.
But while the grief may finally be out in the open to confront, Carper has yet to fully feel comfortable as an artist releasing music under her own name. She has reservations about standing onstage by herself and in being a front person, without the safety net and familiar comfort that comes with being a member of a group.
“That’s why it’s taken me this long to even make a solo album, because I’m not that comfortable as the leader in a band,” she says. “It’s definitely something that’s challenging for me, and I’m trying to meet the challenge and overcome my discomfort.” After using up many of her old songs on Daddy’s Country Gold and Ramblin’ Soul, Carper has already written an entire new album’s worth of material. She’s excited to start making her third record — even if that means more emails to send.
While she may be surprised by the business realities she’s now staring down, she’s also refreshingly honest in talking about them. Two of the songs on her album are suggestions from a new sync company she started working with: The company wanted her to record Odetta’s “Hit or Miss” and also include a song “about freedom and individuality,” which resulted in the lovely “I Do What I Wanna.”
None of that bothers Carper, but the larger picture does present her with some decisions to make. After decades of playing music as part of a local community, does Carper want to deal with what’s required to raise one’s national profile? Carper mentions a recent in-depth story about her in the Austin Chronicle that asked, “Her version of authentic revivalism seems primed for broad attention. The only question: if Carper herself is ready for that attention.”
“When I got to that sentence, I was kind of like, ‘Yeah, I don’t know.” Carper says. “Is this what I want to be doing? Am I ready for it?’”
Music Director Donato Cabrera conducts the California Symphony’s opening concert on Sept. 19, 2021. Photo: Art Garcia
In other respects, 2022 may have been a problematic year. But it was a wonderful stretch of time on the classical music front, full of brilliant performances and provocative new works.
Because I’m a natural-born optimist, I’m going to assume this will continue into the new year. In chronological order, here are 12 events I’m looking forward to in the early months of 2023.
The eloquent American mezzo-soprano, fresh off her triumphant turn as Virginia Woolf in the world premiere of Kevin Puts’ opera “The Hours” at the Metropolitan Opera, returns to the Bay Area with her new music/theatrical recital “Eden.” Together with the Baroque instrumental ensemble Il Pomo d’Oro, she has assembled music by Ives, Mahler, Handel, Copland and more — as well as a newly commissioned song by the British composer Rachel Portman — to address the climate crisis.
Conductor Andrew Grams Photo: Provided by Andrew Grams
Oakland Symphony
As it continues a multiyear search for a music director to succeed the late Michael Morgan, each of the orchestra’s programs offers a chance to witness not only a guest conductor’s performance style, but their repertoire choices as well. Guest conductor Andrew Grams comes to Oakland with an all-American program featuring music by two African American figures, Florence Price and William Dawson; both of them works based on folk themes. Gershwin’s Second Rhapsody, with piano soloist Sara Davis Buechner, fills out the program.
San Francisco Symphony: ‘Emergency Shelter Intake Form’
Gabriel Kahane is best known as a singer-songwriter, the creator of rich and harmonically inventive music that explores both the interior and the public landscapes. But his music draws equally on the pop and classical lexicon, which makes the prospect of a full orchestral score — to be introduced by the San Francisco Symphony with conductor Edwin Outwater — something to look forward to with enthusiasm. The piece, which takes its title from the world of bureaucracy, is on the subject of homelessness.
Every appearance by Japanese violinist Midori is a treat, an extravagant blend of dazzling technical skill and probing interpretive insight lavished on both traditional and out-of-the way repertoire. Her two San Francisco recitals are anchored by Bach’s music for unaccompanied violin, which she’s pair with recent works by Thierry Escaich, Annie Gosfield, Jessie Montgomery and John Zorn.
An artist’s rendering of Opera Parallèle’s “Everest: An Immersive Experience.” Photo: Opera Parallèle
‘Everest: An Immersive Experience’
The video version of composer Joby Talbot’s opera “Everest,” which Opera Parallèle created during the pandemic lockdown, was a marvel of genre hybridization that blended recorded singing, animation and the aesthetic of the graphic novel. Now that audiences can more safely gather in person, director Brian Staufenbiel has repurposed the material as an immersive show, with the video and music resounding all around the audience.
“Everest: An Immersive Experience”: Opera Parallèle. Feb. 3-12. $20-$115. Z Space, 450 Florida St., S.F. https://operaparallele.org.
Conductor and composer John Williams Photo: Todd Rosenberg Photography
John Williams
The venerable conductor and composer — not of film scores exclusively, but of concert music as well — returns to the Bay Area for a one-night visit with the San Francisco Symphony. Anne-Sophie Mutter is slated to serve as soloist in Williams’ Violin Concerto No. 2, on a program that also features music from “Close Encounters of the Third Kind,” the “Star Wars” and “Harry Potter” franchises, “Cinderella Liberty” and more.
7:30 p.m. Feb. 14. Sold out. Davies Symphony Hall, 201 Van Ness Ave., S.F. 415-864-6000. www.sfsymphony.org
Catalyst Quartet Photo: Ricardo Quinones
Catalyst Quartet
San Francisco Performances’ annual Pivot Festival is given over to three recitals by this ambitious string quartet, which has devoted itself to championing the overlooked work of Black and female composers. Each of the programs includes a quartet by the 18th century musician Joseph Bologne, Chevalier de Saint-Georges; along with that recurrent theme comes a range of music by such composers as Ethel Smyth, Samuel Coleridge-Taylor, Fanny Mendelssohn and more.
Mezzo-soprano Ann Hallenberg Photo: Örjan Jakobsson
‘Solomon’
At the end of 2021, Harry Bicket and the English Concert came to Berkeley for a performance of Handel’s opera “Alcina” that was marked by powerful singing and regrettable technical mishaps. Without the latter, the group’s return — for a single performance of Handel’s Biblical oratorio “Solomon” — promises to be sublime. Mezzo-soprano Ann Hallenberg takes the title role, with soprano Miah Persson as Solomon’s Queen.
The orchestra regarded by some as the world’s finest comes to Berkeley for a three-concert stint, led by the acclaimed German conductor Christian Thielemann. The repertoire choices are narrow (Brahms, Bruckner, Mendelssohn, etc.), but the orchestra’s gloriously burnished sound and its members’ ability to play as one may well prove revelatory.
Gustav Mahler infamously declared after marrying the vivacious and talented Alma Schindler that there could be only one composer in the family, thus putting a halt to her creative aspirations. But some of her fragrant, expressive early songs do remain, and contralto Sara Couden is slated to sing them with Music Director Donato Cabrera and the California Symphony.
The rest of the program throws a spotlight on other members of Mahler’s social circle, Alexander von Zemlinsky and the little-known Hans Rott.
7:30 p.m. March 25. 4 p.m. March 26. $49-$79. Lesher Center for the Arts, 1601 Civic Dr., Walnut Creek. 925-943-7469. www.californiasymphony.org
Anthony Roth Costanzo (Galatea) during rehearsal of Philharmonia Baroque’s production of Aci, Galatea e Polifemo in San Francisco on Jan. 14, 2020. Photo: Scott Strazzante / The Chronicle 2020
Philharmonia Baroque Orchestra & Chorale: ‘Amadigi di Gaula’
The differences between Handel’s operas and oratorios can sometimes seem narrow; aside from the difference in language (Italian versus English), the musical procedures are pretty similar. But the operas do partake of a slightly unhinged quality that the oratorios rarely touch. A case in point is “Amadigi di Gaula,” a tale of sorcery and vengeance that is due for performance by Richard Egarr and the Philharmonia Baroque Orchestra & Chorale. Countertenor Anthony Roth Costanzo, unforgettable in the group’s 2020 staging of “Aci, Galatea e Polifemo,” returns in the title role.
8 p.m. April 20-22. $80-$120. Taube Atrium Theater, 401 Van Ness Ave., S.F. 415-295-1900. www.philharmonia.org
Tenor Sam Faustine in the title role of Britten’s “Albert Herring” at Pocket Opera. Photo: Veronique Kherian
Pocket Opera: ‘Albert Herring’
Pocket Opera tackles the music of Britten for the first time in its four-decade history, and what could be more appropriate than this delightful chamber comedy of a repressed young man who successfully throws off societal (and parental) expectations to find his own way in life? Tenor Sam Faustine takes the title role, with conductor David Drummond serving as music director and stage direction by Nicolas A. Garcia.
April 23-May 7. $30-$75. Locations in Berkeley, San Francisco and Mountain View. 415-972-8934. www.pocketopera.org
Journey singer Arnel Pineda performs at the Concert for Legends in August at Tom Benson Hall of Fame Stadium during the Pro Football Hall of Fame Enshrinement Festival.
When the world pivots from viruses to political divisions to the unpredictability of Mother Nature, music is a constant. A place to turn for hope, celebration and nostalgic relief.
2022 was sonically triumphant, a return or near return to normalcy for live performance and tours both big and small.
Studio releases fueled those concerts, from new songs sprinkled in at the Journey show at Tom Benson Hall of Fame Stadium to album release shows by Akron-Canton area groups such as The Buffalo Ryders and The Ohio Weather Band.
Journey guitarist Neal Schon performs during the Concert for Legends in August at Tom Benson Hall of Fame Stadium during the Pro Football Hall of Fame Enshrinement Festival.
Personally, it was an extraordinarily satisfying year, affirming my love for established musical artists while uncovering newer indie and alternative acts.
Here’s a review of my favorites, a smorgasbord of local, regional and national artists, from alt-country to indie rock to retro rock to mainstream pop.
Eddie Vedder, best known as the frontman of the rock band Pearl Jam, released an acclaimed solo album in 2022, “Earthling.”
Best rock albums of 2022
Eddie Vedder, “Earthling” − Vedder’s solo work inevitably causes me to ponder what would have become of Kurt Cobain musically.
The two icons were bookends to the grunge rock era: Pearl Jam compared to Nirvana and vice versa. Even after Cobain’s suicide in 1994, the comparisons persist. So what would Cobain’s solo material have sounded like? Weird, eclectic noise rock? Hushed acoustic music overtop a bed of cello and violin? Straight-forward alternative rock with pop sensibilities?
The mystery is obviously unanswerable, but for Vedder, the results of his latest studio work are refreshingly pleasing, exceeding Pearl Jam’s most recent album with its newness and breadth of sound. From a peppy show tune-evoking number with Elton John, “Picture” to “Power of Right,” which proves that despite his current role of classic rock elder statesman, Vedder still possesses a streak of “Crazy Eddie,” the early ’90s Pearl Jam frontman who was a juggernaut of punk rock energy and attitude on stage.
More:Pearl Jam’s Eddie Vedder calls astronauts on space station for Earth Day chat (video)
Other highlights include the lovely “Mrs. Mills,” a piano-rich, orchestral track reminiscent of The Beatles. Triumphant, tempo-shifting rockers include “Invincible” and “Brother the Cloud.” Mellower tracks include “Long Way,” a leisurely, melodic song imparting a Tom Petty vibe.
Alt country rocker Nikki Lane is shown in December performing in Studio C at The Summit 91.3 FM in Akron. She released the album, “Denim & Diamonds.”
Nikki Lane, “Denim & Diamonds” − After a roughly five-year hiatus, alt country rocker Nikki Lane released a new album that is catchy and groove-laden while alternating between fast-charging numbers and a few songs reminiscent of classic country crooning.
Lane is equally adept at both, quickening the pace on songs like “Born Tough” and easing off the gas a bit for a sweet tribute to the enduring marriage of her grandparents on “Good Enough.” Regardless of style, her signature country girl sass and indie artist irreverence remain fully intact.
Toggling somewhere between vintage country and alternative rock, the results are fantastically unique, the comforting riffs and steady guitar strumming anchored by the sweet rasp and authenticity of Lane’s vocals. Favorites include the opening track, “First High,” which hums along with the wind-blown ease of a desert highway road trip in a Cadillac convertible.
Lane sings inspired lyrics with the confidence and swagger of the coolest gal in a honky-tonk: “Oh, take me back to the first dream, 501 blue jeans, tighter than goddamn Springsteen, take me back to the first show, right back to the first note, when I knew my heart was pure rock and roll.”
Joe Risdon, lead singer for The Buffalo Ryders, performs in December at Musica in downtown Akron. The alternative rock band recently released a new album.
The Buffalo Ryders, “Going Nowhere” − The Akron area alternative rock band returns with a second album that both faithfully echoes the stellar 2021 release, “Where the Liars Go” and breaks new ground with mid-tempo, subtly pop-rock influenced songs “For a Moment” and “Take it if it’s Easy” that are infectious but never too light.
Most times, the band plows straight ahead like a three-man army of sound with heavy hitter songs like “Going Nowhere” and “Holy Ones.”
The Buffalo Ryders is yet another regionally based group deserving of national notoriety and high-volume streaming. And a recent concert at Musica in Akron only intensified my appreciation for the band’s moody vocals and alt rock legitimacy.
“Majesto Sessions,” a new album by Northeast Ohio musical artist JD Eicher, features eight songs as a companion to the singer-songwriter’s first novel.
JD Eicher, “Majesto Sessions” − Doting dad, street tough Youngstown area native, exquisite songwriter and inspired vocalist − JD Eicher is the total package.
Eicher’s 2022 effort “Majesto Sessions,” paired with a novel he authored, is also a prime example of when less is more.
More:Northeast Ohio’s JD Eicher makes music and tells stories with album, novel
A lean, eight-track effort, the album juxtaposes moments of indie pop rock brilliance like “Vacation” and “Kamikaze” with the soulful serenity of “Back To Me” and “Cloud In My Head.” Eicher sings each note with trademark conviction, rising and falling in pitch and intensity without ever being overwrought.
Kudos to famed romance novelist Nicholas Sparks for plucking Eicher out of obscurity to pen four songs as a companion to the 2016 book, “Two by Two.” The creative partnership raised Eicher’s profile, but I’m still left wondering why a hit Netflix, Amazon Prime or Apple TV show hasn’t tapped Eicher’s talents for a soundtrack.
The Ohio Weather Band, “High Noon Glow” − Vocalist Corey King shines on this 12-song effort that is difficult to nail down in terms of genre but reliably and enjoyably varied in sound.
Expertly produced, the Americana, roots-oriented album mixes the beat, tempo and song structures on a number of gems, including the propulsive, storybook of a song, “Rubber Town.” Formed in Alliance, the band also has a fun side, examples including the piano-complemented ramble of a tune, “Red Eyes” and the bar room stomp and ode to life on the road, “See Ya on Stage.”
The Ohio Weather Band released its third album in 2022.
King demonstrates full command of his voice, swinging between restraint and a heartfelt, tempered howl. Candidate for song of the year, “Found Her Hangin” spotlights the frontman at his very best on a soft, affecting ballad where King sings overtop sparse but lush instrumentation.
Charlie Hickey performs at Beachland Ballroom this past March in Cleveland. Hickey, an indie singer-songwriter in alternative pop, released his first album this year, “Nervous At Night.”
Charlie Hickey, “Nervous At Night” − This was my most unexpected musical discovery of 2022.
Opening for “Wolf Alice” at Beachland Ballroom this past spring, Hickey immediately drew me in with the depth of sincerity he projected on stage with a single bandmate. Rarely have I seen a musician immerse himself so personally in every word, every note, every chord.
I call it window sill pop, Hickey strumming a guitar to the backdrop of understated instrumentation. Weaving stories about adolescence and young adulthood with novel details about fake IDs, strawberry moons, throwing rocks at windows in romantic yearning, drawing on jeans with a Sharpie, and falling asleep in a theatre seat with a water bottle full of wine.
“Nervous At Night” ranks as the pinnacle of the 11-track album, clearly a song of the year candidate.
Hey Monea, “Banner Year” − Featuring the seasoned pop rockers Daniel and Nate Monea, this longtime Stark County-based regional favorite is in prime form on an album brimming with melodies and hooks.
Daniel Monea’s voice is distinctively pleasant while he scales notes low and high, always sounding confident and at ease within the framework of the songs. Pliable vocals, rich harmonies, efficient songwriting and sprightly guitar work sparkle on every tune.
Savvy production at the band’s Little C Studios also adds to the polish and snappiness of the tracks. Among the best are “Give It to You,” “Lipstick,” “Duval” and “’90s Radio,” which is a festive and nostalgic callout to another era.
The new album was released during a busy year for Hey Monea, which also embarked on the project, “52/22,” where the band covered one song weekly for every year from 1970-2022. The splendid results are a must watch and listen for music junkies and casual fans alike, with the Monea brothers and supporting musicians curating an eclectic trove of classic songs in an array of genres, including country, pop, glam rock, new wave, metal and more.
Recorded in a variety of studio settings, tunes include Van Halen’s “Runnin’ with the Devil,”; Men At Work and “Who Can It Now?”; “On the Road Again” by Willie Nelson; “The Boys Are Back In Town” by Thin Lizzy; “To Be With You” by Mr. Big; Night Ranger’s “Sister Christian”; “Right Here Right Now” by Jesus Jones; “The Bones” by Maren Morris; Sheryl Crow’s “All I Wanna Do”; “Jealous” by Nick Jonas; Madonna’s “Material Girl”; Katy Perry’s “Teenage Dream”; Meredith Brooks and “Bitch”; “Cecilia” by Simon & Garfunkel; “Trouble” by Coldplay; “We’re Going to Be Friends” by The White Stripes; and “It’s the End of the World As We Know It (And I Feel Fine)” by R.E.M.
Best album honorable mentions: Yeah, Yeah, Yeahs, “Cool It Down”; Wet Leg, “Wet Leg”; The Black Keys, “Dropout Boogie,” The Paris Accord (featuring Scott Paris), “Music for Space Exploration”
The Canton-based retro rock band Urban Honey released a self-titled EP in June.
Best EP, live record, concert, small show and the ‘Power of Taylor’
EP of the year: Urban Honey, “Nectar” − The Canton-based band’s inaugural release is such a tease, the four songs leaving me wanting more, more, more.
Originating as a purely instrumental group in 2021, Urban Honey added dynamic vocalist Christine Reichard. At first, I wasn’t sure she completely fit based on an early show at the former Buzzbin in downtown Canton. But every doubt has since been erased.
More:New local music from Ohio Weather Band, Urban Honey, Paris Accord
“Nectar” showcases the band’s deft grasp of riff rock, old school blues, instrumental jamming and songcraft. Reichard is the not-so-secret weapon, scaling notes with ease and glass-shattering power.
A blend of garage rock rawness and studio refinement, notable songs include the hot banger, “JayBird” and the upbeat cure to sadness, “On My Mind.”
Full of promise, Urban Honey has been hard at work on new material at Realgrey Records. Piano and superb local saxophonist Matt Corey apparently will be making guest appearances on the next batch of songs. Can’t wait.
Akron area musician Brian Lisik, who also performs in Stark County, released a live album earlier this month, which includes the songs “Junior High,” “Happy All The Time,” Normalcy” and “Under the Boardwalk.”
Best live record: Brian Lisik & Hard Legs, “Hotsy Totsy!” − Eager to watch Brian Lisik live in late October at The Auricle in downtown Canton, I missed out on my chance, unable to be two places at once when Urban Honey was performing at Patina Arts Centre.
But “Hotsy Totsy!” is easily the next best thing, a 12-track show recorded at The Rialto Theatre in Kenmore.
Capturing the unvarnished intimacy of a club show, Lisik thankfully refrained from overproducing the album, maintaining the ragged edges and spontaneity of a jam at the neighborhood bar while evoking what Paul Westerberg would have sounded like in his early days.
More:Singer, songwriter Brian Lisik has a strong new album
Easily ranking among my all-time favorite live records, “Hotsy Totsy’s” setlist was wisely curated with both recognizable favorites like “Junior High School” and a random but endearing cover of “Under the Boardwalk,” complete with a few forgotten words.
Journey singer Arnel Pineda performs at the Concert for Legends in August at Tom Benson Hall of Fame Stadium during the Pro Football Hall of Fame Enshrinement Festival.
Best concert: Journey in Canton: Journey headlining the Concert for Legends was an all-time great moment in Canton music history.
More:Journey and Donnie Iris electrify stadium crowd with rousing HOF Fest show
A virtual jukebox of hit songs, the iconic band was musically flawless and wonderfully enthusiastic on stage at Tom Benson Hall of Fame Stadium during the Pro Football Hall of Fame Enshrinement Festival. Even without former vocalist Steve Perry, it was a wholly satisfying spectacle. Arnel Pineda was a human pinball of energy who reached skyscraper notes with precision and seemingly with ease.
Standout moments were aplenty − “Don’t Stop Believin’,” “Open Arms,” “Faithfully” and “Lights.” And equally memorable was opener Donnie Iris and the Cruisers, the band leader a freak of nature at age 79, ripping guitar leads, shrieking on pitch and smiling endlessly as he convincingly declared, “Love Is Like A Rock.”
Journey guitarist Neal Schon performs during the Concert for Legends in August at Tom Benson Hall of Fame Stadium during the Pro Football Hall of Fame Enshrinement Festival.
The Power of Taylor: Taylor Swift is undoubtedly the biggest star in music at the moment, the country singer-songwriter turned pop diva proving it when online ticket sales for her tour next year overwhelmed Ticketmaster with demand.
Another sign of Swift’s sweeping popularity is within my own household. My 17-year-old daughter has never been the rock god worshipping teenager I was in the 1980s … until Swift released her new album, “Midnights.”
She’s been a casual music fan, liking songs and attending a few concerts, but never with an unwavering allegiance to a band or musical artist … until she became entranced with all things Taylor.
It’s been fun to watch my daughter plead with me to play Swift’s new songs from “Midnights” on car rides. Or listen to her strategize a plan to pounce on concert tickets online. Most heartwarming was when she personally connected with the synth-enhanced jewel of a song, “You’re On Your Own, Kid.”
Promotional photo for “Midnights,” Taylor Swift’s 10th studio album.
She explored the lyrics, even discussing them with dear old dad, a fossil of the eras of ’80s glam rock and ’90s grunge.
Thanks, Taylor, for introducing my daughter to the sonic elixir known as popular music.
This image released by Republic Records shows “Midnights” by Taylor Swift. Midnights is the upcoming tenth studio album by American singer-songwriter Taylor Swift, set for release on October 21, 2022
Best small live show: Joe P at Erie St Vinyl in Massillon − Another exciting musical discovery was New Jersey-based indie rocker Joe P performing on a stool with an acoustic guitar while surrounded by shelves stocked with vinyl records.
More:Black Friday retro style: Quonset Hut offers vinyl treasures on Record Store Day
Credit Erie St Vinyl owner Sam Heaton and The Summit 91.3 FM in Akron for partnering on the supremely cool and deeply enjoyable show in front of less than 100 people.
The personable, playful and engaging Joe P played songs both from his 2021 EP, “Emily Can’t Sing” and the 2022 effort, “French Blonde.” Both releases are superb and rank among the best music of the last two years.
Vocally and musically, it’s indie rock with an energized spin while detouring for moments of introspection. Lyrically imaginative and layered in electro-sound, Joe P, formerly of the band Deal Casino, should be a reliable creator on the alt rock scene for years to come.
Think Pete Yorn meets The Dandy Warhols meets a sound that is uniquely New Jersey bred, an indie pop rock version of Bruce Springsteen.
Indie rock singer songwriter Joe P performs earlier this month at Erie St Vinyl in downtown Massillon, where he was signing copies of his debut EP, “Emily Can’t Sing.” The New Jersey resident released a second EP in 2022, “French Blonde.”
Reach Ed at 330-580-8315 and ebalint@gannett.com.
On Twitter @ebalintREP
This article originally appeared on The Repository: Best music of 2022: Eddie Vedder, Taylor Swift, JD Eicher, Nikki Lane
When it comes to electrification, Mercedes-Benz is surging ahead of other luxury automakers. And nowhere is that more apparent than the EQS580 SUV, which is one of the most serene experiences I’ve had behind the wheel in years.
I quite liked the EQS sedan’s spaceshippy design when it first debuted, and I think that look is every bit as good when adapted to an SUV. Sure, it isn’t as aerodynamic as the sedan, but the EQS SUV’s shape is still mighty slippery with a drag coefficient of 0.26. The tail end of the roofline doesn’t taper that much, so the EQS retains a strong SUV shape. The hood has some creasing, but the rest of the body is generally devoid of harsh angles or other visual noise that would only get in the way of efficiency.
Inside, the cockpit is nearly a carbon copy of the EQS sedan — again, not a problem, because it’s great. It’s not hard to tell that a lot of thought went into this interior. The build quality is excellent, with my tester’s $1,370 Nappa leather upgrade extending this soft upholstery to nearly every surface. The wood trim on the center console is my favorite part, though, as it features metal three-pointed stars embedded within. Three rows of seats are available, but you can also opt for a two-row configuration, which offers oodles of rear legroom.
There’s still plenty of practicality hiding behind this plushness. The door pockets are large enough for most water bottles, although big ol’ Nalgenes will still have a hard time finding a place to chill. Under the center console’s sliding door are a set of retractable cup holders and plenty of space for tchotchkes and the like. The storage tray underneath the console is huge, and there’s some extra space under the armrest, as well. Out back, there’s about 31 cubic feet of cargo area, which is less than what the BMW iX offers, but it’s still enough for a family’s worth of shopping bags.
The 580 is the beefiest model in the EQS SUV lineup, and it will likely stay that way, as Mercedes does not intend to launch an AMG variant for the time being. A pair of electric motors, one at each axle, combine to produce 536 horsepower and 633 pound-feet of torque, which is enough power for this SUV to reach 60 mph in 4.5 seconds. The instantaneous nature of electric torque means acceleration hits like a sack of bricks at most speeds, pushing me back into that cushy Nappa leather as sound coming through the speakers provides a subtle yet futuristic soundtrack.
A little bit of wind noise doesn’t do much to take away from the luxuriating taking place in this cabin.
Andrew Krok/CNET
Since the EQS SUV isn’t as aerodynamically efficient as its sedan sibling, there’s a slightly larger amount of wind noise at speed, but the car still remains largely sealed away from the elements, aided in part by my tester’s $1,010 Acoustic Comfort package, which adds thicker glass. The SUV’s standard air suspension system soaks up just about every inch of nastiness on the road, and while it can stiffen up and hustle around, this car is best left in its softer settings. Standard rear-axle steering makes urban traversal simple despite the EQS SUV’s larger footprint.
Regenerative braking is interesting here, just as it is on the EQS sedan. There are a few different strengths to toggle through, but there is no true one-pedal mode — just Intelligent, which combines with the car’s myriad safety systems to keep an even pace with low-speed traffic. The brake pedal also moves as regeneration kicks in, to provide a predictable braking force any time my foot touches the pedal. Honestly, I like the way it works; it’s never caught me off-guard, although it does feel strange after exiting an EV without this setup. The pedal is a little mushy, too, which is fine for slow, smooth stops, but it’s not as confidence-inspiring on heavier, more panicked applications.
This might be one of my favorite vehicle trims of all time.
Andrew Krok/CNET
The EQS SUV does sacrifice some range for its larger, less efficient body. The EPA rates the EQS580 SUV at 285 miles per charge, or about 2.4 miles per kilowatt-hour. Downsizing to the EQS450 Plus SUV improves range to 305 miles, but nothing can match the outright efficiency of the sedan with its estimated 340-mile range. Nevertheless, the EQS SUV is still pretty good at sipping electrons, and my efforts behind the wheel return numbers that meet (and occasionally beat) the feds’ best efforts. When it comes time to juice up, the EQS SUV will accept up to 200 kilowatts of juice, going from a 10% state of charge to 80% in about half an hour.
I think the EQS SUV is best enjoyed at night, because its standard 64-color ambient lighting is a true sight to behold. LED strips extend across nearly every surface of the car, and there are unique animations for changing the temperature or when the “Hey, Mercedes” voice assistant engages. There’s also a setting to change the lighting as the vehicle accelerates.
Of course, there’s far more cabin tech in the EQS SUV than just some fancy lights. The 580 comes standard with Mercedes’ Hyperscreen, a dash-spanning piece of glass that houses a massive 17.7-inch central screen, in addition to the 12.3-inch digital gauge cluster and a 12.3-inch touchscreen for the passenger. The largest display can show a giant map with overlays for the radio, massaging seats and other features. The navigation does an excellent job of ensuring a route includes plenty of chargers, and both wireless Apple CarPlay and Android Auto are included. USB-C ports are within reach of every seat, ensuring everybody’s devices stay topped off. The EQS SUV also comes standard with a whole host of active and passive safety systems, including adaptive cruise control, lane-keep assist, active steering assist, automatic emergency braking, automatic lane changes and blind-spot monitoring.
Hyperscreen’s default display is this massive map, with several modals for music, massaging seats and other functions laid on top.
Andrew Krok/CNET
Somewhat surprisingly, the 2023 Mercedes EQS SUV isn’t that much more expensive than an equivalent EQS sedan. A base EQS450 Plus SUV starts at $105,550, including $1,150 for destination, but the beefier EQS580 SUV brings that price up to $127,100. With some tasteful options like $1,100 massaging front seats, $860 four-zone climate control and $450 for faster seat heating, this example rings in at $132,880. It’s a tall price to pay, but it’s in line with the segment, which isn’t really about scrimping or saving — a BMW iX M60, for example, will set you back about $109,000 before options.
For this much money, expectations can be high, but the 2023 Mercedes-Benz EQS580 SUV exceeds them. It takes everything the automaker has learned about building a comfortable, interesting luxury SUV and adapts it to an electric future, and the resulting EV feels every bit as futuristic as it looks.
Recently feted as a ‘Breakthrough Artist of 2022’, New Zealand artist Georgia Lines deserves even more attention. The singer-songwriter has a powerful voice which make her so evocative.
She has just released a new acoustic EP titled Falling. The 6-track project includes pre-released songs, a Billie Eilish cover and a new piece (and title-track) “Falling”
“I wanted to create a project that reflected how my songs were originally written (on the piano) and to also capture how they have been interpreted for my live shows when I am playing solo,” says Georgia. “The songs carry a different life when played how they were originally written; with just piano.”
Being stripped-down, each track showcases her raw vocals and emotion-imbed songwriting.
i’m returning to the world of the miniature today, with Rolf Wallin‘s 60-second orchestral piece Soundspeed. There’s only so much you can expect from a minute’s worth of music, but i like what Wallin manages to cram into this tiny piece.
As the title makes clear, this is music all about speed, though even from the get-go, while the brass and percussion drive things along, string notes pull downwards, applying drag to the momentum. Fifteen seconds in and, in a wonderful mini-climax, those glissandi multiply and cause everything to slip-slide, in the process triggering two sets of bongos to briefly go wild.
The result is that the orchestra shifts down into a lower gear, though while the speed seems to have reduced (a rhythmic illusion, as there’s no actual tempo change) both the amount and the intensity of material soon feel significantly ramped up, repetitive patterns hammered out all over the place, while the winds madly cascade up and down. The closing moments emerge into energised, overlapping string flurries, until the brass and percussion return to propel the piece onwards again, careening into its final barline like a train slamming into the buffers.
Soundspeed was commissioned by the Oslo Philharmonic to mark their centenary; this performance was given by them at a celebration concert in late August 2019, conducted by Vasily Petrenko.
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