Category Archives: The TVD Storefront

Adam Rudolph and 2024 Pulitzer Prize winner Tyshawn Sorey are two of the very finest composer-percussionist-drummers on the current scene. With Archaisms I and Archaisms II, they’ve combined forces for two of the year’s best releases. The first is a duet recorded on December 16, 2021, the second a percussion quintet captured on February 9, 2023; both are live performances that thrive on inspired, intense interaction and robust compositional strategies. The sets are out now through Yeros7, with Meta Records handling the 180 gram vinyl in North America and Defkaz Records shipping everywhere else.

On record, Adam Rudloph’s creativity spans back to the 1970s where he was co-founder of the Mandingo Griot Society with Gambian kora player Foday Musa Suso; released by the Flying Fish label in 1978, their debut album featured Don Cherry as a guest. Versatility, a common trait in drummer-percussionists, is reinforced by Rudolph’s playing partners. Amongst them are Sam Rivers, Pharaoh Sanders, Jon Hassell, Philip Glass, Wadada Leo Smith, Muhal Richard Abrams, and Andre 3000. In 1988, he began a lengthy and fruitful association (15 releases) with multi-instrumentalist Yusef Lateef.

Tyshawn Sorey’s recording debut came on Vijay Iyer’s 2002 disc Blood Sutra. From there, the collaborations flowed as he continued conservatory study; he’s currently a professor at the University of Pennsylvania. Sorey’s on record with Anthony Braxton, Sirone, Billy Bang, John Zorn, Roscoe Mitchell, Steve Lehman, Myra Melford, Kris Davis, Ingrid Laubrock, Marilyn Crispell, Craig Taborn and many more. Sorey’s also the leader or co-leader on over 20 releases; Uneasy, issued by ECM in 2023 with Iyer and Linda May Han Oh, is a gem.

Sorey’s Pulitzer Prize for Music was awarded for his composition Adagio (for Wadada Leo Smith). Like Rudolph, Sorey has played with Smith, Roscoe Mitchell, Dave Leibman and Bill Laswell. Rudolph is also the leader of numerous projects including Adam Rudolph’s Moving Pictures and Go: Organic Orchestra; 2019’s Ragmala: A Garland of Ragas, featuring Go: Organic Orchestra with Brooklyn Raga Massive, is a magnificent joining of forces.

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VIA PRESS RELEASE | Rory Gallagher The BBC Collection is the definitive collection of Rory Gallagher’s recorded performances at the BBC. A 20 disc set that includes eighteen CDs containing radio concerts and sessions from 1971 to 1986 and two Blu-Ray discs of BBC TV concerts and studio performances from 1973 to 1984.

​With over three quarters of the audio recordings having never been officially released before, and the concerts on the Blu-Ray discs being officially released for the first time, this all encompassing set is a must-have for Gallagher fans and is the perfect demonstration of his raw power and energy live. In addition, 2CD and triple-LP The Best of Rory Gallagher at the BBC sets will be released featuring eleven of Gallagher’s best BBC studio recordings and a thirteen track (twelve on 3LP) 1979 BBC In Concert Live from The Venue performance. It will also be made available digitally. All three versions will be released on 11 October and are available to pre-order HERE.

These releases celebrate the importance of Rory Gallagher, who was possibly the most recorded musician of the 1970s by the BBC. This set was amassed from the BBC archives and Rory Gallagher’s own transcription discs and off-air cassette recordings. The boxset spans 16 years of his career (1971–1986), taking in highlights such as the 1977 dual television and radio broadcast Sight & Sound concert, Gallagher’s headlining set at the Reading Festival in 1980 to the emotional At Midnight concert live from the Ulster Hall in Belfast, 1984.

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Celebrating George Clinton on his 83rd birthday. —Ed.

A decade or so ago my friend D., a borderline sociopath jailhouse-type individual, suggested we go rock climbing. Without ropes. Idiot that I am, I said sure. I was some 20 feet off the ground—a frightful distance when you looked down—when I found myself unable to go forward or retreat. Suddenly my left leg began to violently shudder. D. looked over (I think I was whimpering for help) and mirthfully cried, “You’ve got Disco Leg!” That’s when I fell, breaking my ankle and cracking my skull.

That “Disco Leg!” never fails to crack me up, and for some reason always brings to mind Funkadelic, the greatest funk-rock band of ‘em all. And of all their LPs, my all-time fav-o-reet has always been 1971’s Maggot Brain. (Yeah, I know, 1978’s One Nation Under a Groove is brilliant, fantastic, blah blah blah, but I’ve made up my mind, and I’m too dumb to change it.) I would say you can thank guitar svengali Eddie Hazel for making Maggot Brain my most treasured slice of P-Funk, but it would only be partly true—some of the tunes on Maggot Brain barely feature Hazel at all, and I still love them every bit as much as my Black Power Fist Afro pick.

Maggot Brain features one of the more unfortunate covers in music history, with its front cover depicting a black woman buried up to her neck screaming in agony and back cover showing the same woman’s head, now become a skull. Why, it’s almost as creepy as the cover of Herbie Mann’s Push Push, on which Herbie shows off his ghastly lubed-up chest pelt for reasons I don’t care to speculate about. And the same goes for Maggot Brain. Then again, what do you expect from a band that entitles an LP Maggot Brain in the first place? P-Funk was a crazy-eyed crew of acid-gobbling freaks, and on LSD everything seems like a grand idea.

Some brief history: George Clinton’s Parliament was founded in the late 1950s in Plainfield, New Jersey as a doo wop group called the Parliaments. But then psychedelics hit town and the Parliaments became Parliament, and morphed from played doo wop to do wot?, by which I mean they went funky berserk. Funkadelic began its career as the backing band for Parliament, but by the early seventies Parliament and Funkadelic were separate entities with different sounds but utilizing most of the same musicians. Funkadelic was the freakier of the two outfits, a funk-rock monolith that melded psychedelia, big honking guitar riffs, Bible-belt blues, James “Soul Brother No. 1” Brown’s flaming funk, Frank Zappa’s absurdist humor, and Sun Ra’s astral plane crash jazz, to cite just some of their influences.

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What am I missing when it comes to English pub rock legends Dr. Feelgood? That’s easy—the pub. I’ll bet you I’d be in seventh heaven if I were hearing them live in a packed public house called The Plough and Merkin, chugging a pint of lager without bothering to remove the cigarette from my mouth, but I’m not. I’m sitting alone in my apartment, with nary a lager lout, football hooligan, Dickensian street urchin (how’d he get here?), or slumming Tory MP in sight. Where are my mates? And the blowsy matron with a bad red dye job, lost in reminiscences of loo knee-tremblers past? And where’s Charles Shaar Murray? He never misses these guys!

But what do I know about the goings-on in English pubs? I’ve only ever been in one, The Blind Beggar in London’s East End, where legendary gangster Ronnie Kray (one of Morrissey’s last of the international playboys) shot and killed George Cornell, and I was there in the middle of the afternoon and the place was as dead as, well, George Cornell. Deader even.

No, Dr. Feelgood is a purely British phenomenon—like Cliff Richard, the Bob’s your uncle and Spotted Dick, and as close as I can come to an American equivalent is the J. Geils Band sans Magic Dan’s showboat harmonica. Except Dr. Feelgood never made the big time thanks to songs like “Love Stinks” and “Centerfold,” and good for Dr. Feelgood says I.

They were meaner and leaner than the J. Geils Band too—they sounded like the aggro-soundtrack to a bit of grievous bodily harm. They were hard men playing hard music, and while they certainly didn’t give you the impression they’d just picked up their instruments and they weren’t calling for anarchy in the UK, they kept things primally simple enough that it wouldn’t have surprised me a find a young soon-to-be Sex Pistol in that imaginary pub of mine, taking notes. Which is why a British journalist wrote of the band, retrospectively, “Feelgood are remembered in rock history, if at all, as John the Baptist to punk’s messiahs.”

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VIA PRESS RELEASE | 311 have announced an expanded and remastered reissue of their fan-favorite album Grassroots, due out August 23, to celebrate the album’s 30th anniversary. Originally released in July 1994 and certified Gold by the RIAA in 1999, the album peaked at #8 and #193 on the Billboard Heatseekers and Billboard 200 charts respectively. The album features singles “Homebrew,” “Lucky,” and “8:16 AM,” along with “Applied Science” which has remained a staple in 311’s live shows.

Released by Legacy Recordings, the catalog division of Sony Music Entertainment, the reissue of Grassroots will feature the fourteen tracks original album tracks newly remastered from the original tapes by the band’s longtime engineer Joe Gastwirt—plus five bonus tracks of pre-production demos made available on vinyl for the first time. Pre-orders for the vinyl—available in a clear with brown swirl pressing and a limited edition yellow and green with black swirl pressing, both with new Pearlized album art—are live now.

“This is the 2nd installment of the Pearlized album art series celebrating the 30th Anniversary of our album Grassroots,” shares drummer Chad Sexton on the release. “Grassroots was our sophomore record released in 1994. The recording process had its fair share of setbacks and problems but we persevered and put out an eclectic blend of Rock, Rap, Fusion, Jazz, Funk and Reggae. These were some memorable times and we are happy and proud to put out this new version mastered by Joe Gastwirt with extra tracks never released on vinyl before. We hope you enjoy from top to bottom!”

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Remembering Karen Dalton, born on this day in 1937. —Ed.

Anytime is a good time to be a fan of the late Karen Dalton, but was especially so in the spring of 2022, as Light in the Attic assembled an expanded 50th anniversary edition of her classic second album, 1971’s In My Own Time, in Standard Deluxe and Super Deluxe editions. Adding six live tracks and three alternate takes to the original release’s ten selections, the additions deepen the portraiture of this frequently overlooked interpreter of song.

Karen Dalton emerged from the 1960s Greenwich Village folk scene, a contemporary of the Holy Modal Rounders, Peter Walker, Tim Hardin, Fred Neil, and most famously Bob Dylan, whose enthusiastic recollection of performing with Dalton, and specifically the beauty of her singing, has helped to solidify her posthumous legacy.

Compared by Bob to Billie Holiday, Dalton preferred to cite Bessie Smith as a more formative influence. In truth, the two observations are complementary. To elaborate, Fred Neil is reported to have said of Dalton: “She sure can sing the shit out of the blues.” That hits the Bessie side of the pairing smack in the bullseye. But Dalton also possess a level of sophistication in her delivery that is in the tradition of Billie.

It’s also hard to deny that there’s a similarity in sound between Holiday and Dalton, though nobody’d ever mistake one for the other. Dalton can also be thought of as a stylistic predecessor to a handful of 21st century folkies; she’s particularly comparable to Josephine Foster, a singular contemporary artist who contributed the closing track to Remembering Mountains : Unheard Songs by Karen Dalton.

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It’s not everyday that one gets to speak with “The Most Beautiful Woman in Norway”—according to Elle Norway—but that’s just a bi-product of the fact that this episode’s guest is a multifaceted personality who has made successful inroads in the music, fashion, and modeling industries.

Maya Vik is a Norwegian bassist, songwriter, and singer who—in addition to her previously mentioned skillset—is also infatuated with a sound that’s very near and dear to my nostalgic heartstrings: the late ’80s and early ’90s. Her newest release, Hustlebot leans strongly on the FM offerings of those years and achieves a compelling simulacrum of a time when youngsters clad in Guess jeans roamed America’s sprawling shopping malls.Maya, of course, infuses her own Nordic spin into the sound.

So, join us and find out more about how she juggles her many talents, the path that led her to the bass guitar, how she connected with the excellent producer Initial Talk, and what her next plans are. Given Maya’s history so far, there’s no telling what surprises are in store.

Evan Toth is a songwriter, professional musician, educator, radio host, avid record collector, and hi-fi aficionado. Toth hosts and produces The Evan Toth Show and TVD Radar on WFDU, 89.1 FM. Follow him at the usual social media places and visit his website.

The ugly truth about this review is that the only people who are going to read it are 1) British blues enthusiasts, or as they’re commonly known geeks, 2) Brummie bricklayers on the dole, and 3) Seventies kids who understood that “Slow Ride” was the greatest song ever written about fucking, although they’d never come with forty-girls-length of having sex and couldn’t escape the sneaking suspicion that it was actually a lecture set to music on the wisdom of driving the legally posted speed limit. I fall into the third category.

We’re an oppressed lot. People spit on us from a great height, but what irks me more is they spit on Foghat too. Critics I respect heap shit on them—Robert Christgau wrote, “Is good competent rock really good and competent if its excitement never transcends the mechanical? Is that what getting off means? So maybe they’re not good and competent.” Chuck Eddy wrote, “Can you imagine millions of teenagers paying good money to watch four unemployed gas station attendants? Can you imagine if you were a kid, and you had to explain to your class that your dad plays in Foghat for a living?” And then there was the joker who wrote, “Foghat plays meat and potatoes rock, but they forgot to add the meat.” Wait. That was me!

The basics: Foghat was a London group formed when three of its four members split Savoy Brown after coming to the realization that they were wasting their lives in a group that forgot the potatoes too. They were “Lonesome Dave” Peverett (lead vocals and rhythm guitar), Roger Earl (drums), and Tony Stevens (bass). They were joined by Rod Price, whose prowess on the slide guitar led to his being dubbed “The Bottle.” “Foghat” was the name of Peverett’s imaginary childhood friend, which is pretty fucking weird if you think about it.

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VIA PRESS RELEASE | “This archival blessing shows the innate beauty conjured by Denny without the distraction of the virtuosic musicians she would surround herself with throughout her career… we have a glimpse of the artist at a creative peak.”
—Aquarium Drunkard

This new stand-alone 2 CD set titled Early Home Recordings collects 27 vintage 1960s (primarily 1966–67) recordings of pre-Fairport Sandy Denny. Carefully remastered, this package includes an exclusive new essay from Fairport Convention biographer Patrick Humphries—who knew Sandy personally. Included are two different rare demos of her classic “Who Knows Where the Time Goes” from 1967 (before she recorded it with Strawbs) and another from 1968.

Plus, a host of songs penned by Sandy including “Boxful Of Treasures” which was later rewritten as the song “Fotheringay” (from Fairport Convention’s What We Did On Our Holidays album). “Fotheringay” also appears here in demo form. Also featuring heartfelt covers of songs by Jackson C Frank, Fred Neil, Anne Briggs, Dylan, and many traditional folk songs.

This definitive collection of Denny’s early home demos authorized by her estate, with Sandy’s daughter Georgia Lucas’ own charming drawings of her mother making their first appearance on an official Denny release, plus previously unpublished images of Sandy’s 1960s passport and driver’s license. And extensive sleeve-notes by re-issue producer Pat Thomas.

“She needs to be re-evaluated. She wrote a kind of song that’s very rarely written now—emotional, musically interesting, sung really well—serious songwriting. She was head and shoulders above the rest. And she remains so.” —Ashley Hutchings (Fairport Convention founder)

VIA PRESS RELEASE | Faces At The BBC — Complete BBC Concert & Session Recordings 1970-1973 is a comprehensive boxed set compiling all of the group’s BBC concerts and surviving studio sessions. This new collection – much of it previously unreleased – has been remastered with the full participation of band members Rod Stewart, Ronnie Wood and Kenney Jones.

​After teasing their legendary BBC recordings with two Record Store Day releases, Faces At The BBC — Complete BBC Concert & Session Recordings 1970-1973 will be available as an 8CD/Blu-ray set at rhino.com and select retailers. To be released on 6 September, it is available for pre-order now from HERE. The Blu-ray includes newly restored footage of the Faces’ April 1972 appearance on Sounds for Saturday. The concert finds the “Borstal Boys” in peak form, radiating their swaggering, joyous spirit of rock ’n’ roll that continues to inspire generations.

​The hardback set includes a 48-page booklet with new commentary from surviving band members and archival quotes from Ronnie Lane, Ian McLagan, and legendary BBC broadcaster John Peel. Lavishly illustrated with many previously unseen photos, the booklet details every Faces BBC session, concert, and broadcast. BBC broadcaster Gary Crowley wrote the detailed liner notes, which include a new interview with Jeff Griffin, who produced all of the Faces’ BBC concert appearances.

​Once thought lost, many of the band’s BBC recordings were recovered from the Faces’ own archives and private collections. (Notably, only one BBC session of three songs remains missing.) Rarities include a stereo mix of the May 13, 1971, Paris Cinema concert, which was only broadcast in mono, and a February 1973 show that was never aired due to the BBC’s concerns over the band’s on-stage banter with the rowdy audience.

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Celebrating Dion on his 85th birthday. —Ed.

Poor Dion DiMucci. In 1975 the singer-songwriter from the Bronx—still seeking to recapture the fame he achieved in the late 1950s and early ’60s with vocal group The Belmonts and as the solo artist who gave us “The Wanderer” and “Runaround Sue”—made the same mistake so many musicians seem to make: he decided to hire fellow Bronxite Phil Spector to produce his album. Fortunately Spector—a stick of unstable human dynamite on a good day—didn’t shoot Dion, or so much as brandish a gun at him or even give him a wedgie, as he did the Ronettes. But Spector was his normal—which is to say volatilely abnormal—self, and the sessions were chaotic, to say the least.

And what did Dion get for his trouble? A flop. The critics panned Born to Be With You and record buyers shunned it. Even Spector and Dion hated it, the latter going so far as to disown it as “funeral music.” But the winds of fortune are nothing if not mercurial, and in subsequent years the album has become a cult fave, with critics reversing their opinions and many prominent rockers citing it as an influence on their own music.

Dion’s career trajectory is complex, zig-zagging improbably all over the place like the Kennedy Assassination’s Magic Bullet. He began with The Belmonts, which made him famous and almost killed him on the frigid evening of February 3, 1959, when Dion—travelling with the Belmonts as part of the Winter Dance Party tour—declined for financial reasons to board the infamous Beechcraft Bonanza that crashed near Clear Lake, Iowa, killing fellow tour members Buddy Holly, Richie Valens, and The Big Bopper. In 1960 Dion went solo, and more hits followed. Then he fell prey to heroin addiction, and his style of music became instantly antiquated the moment the British invaded.

DiMucci spent several years in the pop wilderness, experimenting without much pop success with rock and classic blues. But—and here we are, back at the Kennedy Assassination and the Magic Bullet again—in 1968 Dion covered Dick Holler’s “Abraham, Martin & John,” not long after having a profound spiritual experience and giving up heroin. The song became a hit and put him back on the musical map. It also helped establish him as a mature artist, rather than a teen idol. Over the next several years Dion recorded a series of excellent LPs, including Born to Be With You.

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VIA PRESS RELEASE | Craft Latino celebrates the Godfather of the Corrido, Chalino Sánchez, with a special reissue for the legendary 1992 album Nieves de enero (Discos Musart). The newly remastered album will return to vinyl for the first-time in over 30 years and includes norteño hits “Nieves de enero,” “Florita del alma,” “El crimen de Culiacán,” and “Hermanos Mata.”

In stores August 30, on what would have been the late superstar’s 64th birthday, and available for pre-order now, Nieves de enero features all-analog mastering by Kevin Gray at Cohearent Audio, and original artwork replicated on the LP jacket. An exclusive “Ahumado” (Smoky) color variant (limited to 300 copies), plus a bundle option that includes a limited-edition Nieves de enero T-shirt are available for pre-order at discosmusart.com.

Just over 30 years after his infamous death, Chalino continues to be a mainstay in the culture and on music playlists all over Mexico, the United States and beyond. Originally released in 1992, Nieves de enero showcases Chalino’s collaboration with Nacho Hernandez and Los Amables del Norte. The collection includes the timeless title track, originally penned by Mario Molina Montes and popularized by Chalino, along with hits such as “Florita del alma” and the haunting “Me persigue tu sombra.”

The love songs on this album are as legendary as the man himself, but the essence lies in the poignant corridos that connected immigrant communities all over the United States to their homes south of the border. Epic tales of tragedy and bravery like “El crimen de Culiacán,” “Hermanos mata,” “Juan Ayón,” and “Martin Félix,” each play out like gritty, real-life docudramas that resonate.

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Geelong, Victoria, Australia’s ORB have been honing their brand of heavy rock for roughly a decade. After a new release gap of six years, their fourth LP Tailem Bend is their most expansive undertaking yet. Less doom-laden than prior efforts, the fuzz and pummel are still part of the equation. The band’s first for the Fuzz Club label (Flightless Records continues to handle duties in their native country) is available now on vinyl, compact disc, and digital.

Formed by guitarist-bassist-vocalist Zak Olsen, guitarist-bassist David Gravolin, and drummer Jamie Harmer (all ex-Frowning Clouds), ORB debuted with the 5-track cassette EP “Womb” in January 2015 (reissued by Flightless on wax in 2022), followed in October of the year with the “Migration” 7-inch (offering two versions of the song, one of them featuring the recording input of Aussie mainstay Mikey Young).

“Womb” was issued as a demo prelude to ORB’s first album Birth, which came out in June of 2016 with key North American distribution through the Castle Face label. Trying to assess ORB at this stage minus the influence of Black Sabbath is like attempting to imagine John Waters without a moustache. It’s impossible.

Released in October 2017, Naturality broadened their approach toward psychedelia (and an increased use of synths) without sacrificing the distortion and thud. Hitting the store bins in September of 2018, The Space Between held steady; for much of the set, the outward bound tendencies and the heaviness were more fully integrated. And then came the hiatus, though ORB has been playing live, often with King Gizzard and the Lizard Wizard, in 2021.

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VIA PRESS RELEASE | Suede have announced details of the 30th anniversary release of Dog Man Star. Due on 4th October via Demon Music, fans can look forward to Suede’s essential second album newly mastered and presented across a range of formats including reimagined artwork and bonus tracks from the Dog Man Star era.

Dog Man Star was originally released on 10 October 1994 and has become a mainstay on all-time greatest album lists. Featuring the immortal “The Wild Ones,” the stunning “Daddy’s Speeding,” live favourite “We Are The Pigs,” the devastating “The 2 of Us,” and the orchestral heft of dramatic closer “Still Life,” Dog Man Star is unquestionably one of the most celebrated and revered studio albums. The album not only delivered on the ecstatic reception of the band’s self-titled debut and the infamous “The Best New Band In Britain” Melody Maker front cover headline—it set the bar for future generations of British bands.

30 years since its release, Dog Man Star sounds as thrilling as ever, and in reaching this milestone, deserves its story to be celebrated anew. Dog Man Star is the follow up to Suede’s era-defining self-titled 1993 debut. After that Mercury Prize winning record shot to #1 in the UK Album Chart, becoming the fastest-selling debut LP ever in the UK at that time, expectations for what Suede did next were at fever pitch. Their next single release was 1994’s “Stay Together.” The song ate up the UK singles chart peaking at #3 and leaving the NME stunned—“like most great things, it leaves you utterly silent.” The appetite for new Suede music was rabid. A new era beckoned.

Reflecting on Dog Man Star 30, bassist and founding member Mat Osman said: “Your first album is songs you’ve been playing live for a long time. Generally, it’s almost set. The songs evolved in a certain way and you’re just trying to get them down. Dog Man Star was the first time where we just said, right, what happens if you push everything further? The slow songs, we take all the drums out. If we have a big closing song, we’ll have a fucking orchestra. To start the record, let’s have something that’s on one chord, and it’s just like a mantra. The kind of band we are, how far can we take it before it breaks?”

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VIA PRESS RELEASE | A staple of the music scene in Chicago, Pitchfork Music Festival is headed back to Union Park once again to showcase over 40 bands to more than 60,000 attendees from July 19th through the 21st. In addition to the music, fans are also able to shop the CHIRP Record Fair, the Renegade Craft Fair, the Flatstock Poster Fair, and enjoy delicious food and brews from local favorites like Revolution Brewing, Connie’s Pizza, and Café Tola.

Before the fest commences, we have put together a helpful guide to help you decide how you’ll spend your weekend. Whether you’re a fan of indie rock, hyper pop, hip hop, or anything in between, this year’s Pitchfork Music Festival has plenty of acts that will be sure to provide you with an unforgettable festival experience.

On Friday, July 19th, if you’re looking to have your day filled with hip hop and more poppy, upbeat acts that get you moving, you’ll want to check out the local group Angry Blackmen, Doss, Tkay Maidza, billy woods & Kenny Segal, Yaeji, 100 Gecs, and Jai Paul. If you’re looking for sets filled with jamming, indie, alternative, and soul, you’ll want to check out Black Duck, Rosali, ML Buch, Amen Dunes, Sudan Archives, Jeff Rosenstock, and headliners Black Pumas.

On Saturday, July 20th, you will want to catch Lifeguard, Sweeping Promises, Bratmobile, and UNWOUND if you’re in the mood for something angsty and on the punk side. L’Rain, Kara Jackson, Hotline TNT, feeble little horse, Water From Your Eyes, and Wednesday will be sure to excite you if you’re a fan of everything indie rock, experimental, folk, and Americana. De La Soul is sure to be a highlight of the weekend, as they are pioneers in the hip hop world, bending many genres like jazz, rap, alternative, and hip hop. And for fans of electronic and dance music, Jessie Ware, Carly Rae Jepsen, and headliner Jamie xx will be great acts for you to enjoy.

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