Welcome to the season of Lizzo. If you’re not attending one of her two sold-out Anthem shows, here are 89 days of other options. From arenas to house venues, here’s where we recommend to go out every night of the season.
The third best guitar based record of 2019 (Sharon Van Etten’s Remind Me Tomorrow is #1, Jenny Lewis’ On the Line is a strong #2) happens to be easy listening. I don’t like easy listening but I really like Whitney. Is this my gateway drug to easy listening? Am I two album cycles away from boat shoes? I doubt it but don’t be shocked if you see some khakis and sensible footwear at 9:30 Club. -Brandon Wetherbee
This time it’s for real – Massive Attack are finally back on tour to celebrate the 20th (21st?) anniversary of their seminal 1998 album Mezzanine. The trip hop pioneers are down to two members from the original three, but Robert “3D” Del Naja and Grant “Daddy G” Marshall still have enough left in the tank that this should be a hell of a show. The original March date was postponed due to illness, but it seems like everything is in order; I’m looking forward to experiencing such an intense, bass-heavy record in a live setting. “Teardrop” remains the song that casual listeners know best from the band’s catalogue, but even if you don’t know any other songs, the band’s ideas are at the epicenter of so much contemporary hip-hop and electronic music that the sonic ideas will seem familiar. Plus, rumor has it that Del Naja is actually Banksy, so go check out the show if you enjoyed Exit Through the Gift Shop and try to figure it out yourself. -Jose Lopez-Sanchez
Indefinite hiatus can mean many things. Sometimes a hiatus is just a break. Stereolab announced their hiatus in 2009 and ten years later, Tim Gane, Lætitia Sadier and crew are back together. Along with a sold-out tour, they’re reissuing their albums on Warp records. Judging from clips from their recent shows, the band have not lost any of their magic and sound phenomenal. Also, their setlists have been all killer no filler, so it is sure to be one of the most memorable shows to the year. -Rohan Mahadevan
September 25 and 26
What was the song of the summer before Lizzo took over the scene? Were there any? Did they even matter? Whether you’re into “Good As Hell,” “Truth Hurts” or “Juice,” there’s an uplifting, sassy, poppy and above all else catchy as hell Lizzo tune for you. Her two sold out shows at The Anthem are guaranteed to be the dance parties to end all dance parties. Also, I’d bet you $20 there’s some sort of confetti balloon drop. Whatever happens, it’s going to be magical, it’s going to be transcendent, it’s going to be pure pop bliss. -Kaylee Dugan
Greta Kline has one of those intimate, bedroom whisper-sing voices that absolutely shouldn’t translate to a live setting, and yet somehow does. (See also: Sam Beam.) I don’t know how these things work, but whoever is handling her sound, a round of applause is in order.
It matters because Kline – who records and perform as Frankie Cosmos – is one of the best songwriters out there. Her lyrics are equal turns funny and vulnerable and biting. They’re etched with little details of boring, everyday life, and tossed-off metaphors that are free from cliché, and wide-eyed, semi-stoned observations about this universe and beyond.
To wit: “We go together like cymbal and snare,” she sings on this year’s “Wannago”. “Held back and thrust together again.”
Then, literally a line later: “It’s miraculous that humans are here. We built ourselves or God is real.”
“Wannago” is one of 21 songs off her new record Close it Quietly. Of course, if you’re familiar with her music, you know most of these songs float by in two, maybe three minutes. It’s a record that I’m still unpacking – hearing new lines on each listen that make me wonder if they’ve always been there. But it’s great.
Five years after the release of her breakthrough (and studio debut) Zentropy, Kline is still fully in stride. Go see bands and artists when they’re in stride. -Phil Runco
Paying tribute to everything bubblegum, everything manic, everything over the top about great pop music, songwriter Kelsie Hogue’s Sir Babygirl project brings a glitterbomb approach the sort slacker-y alt-rock of the early/mid nineties that has (thankfully) never fully left the cultural consciousness. A sugar rush of a listen, Crush On Me crashed into early 2019 with a messy, effervescent charm, with an admirable staying power. -Matt Byrne
Phum Viphurit is a testament to the magic of ye olde YouTube algorithm, because I can (fairly confidently) guarantee I’d never have known about him if it weren’t for the goodness of autoplay. Just THE most feel-good tunes, so much talent, and I think you’d be real dumb not to grab tickets to scope him live! -Megan Burns
It’s all right there in the name for Australia’s Psychedelic Porn Crumpets, they’re psych-y, a little nasty, and fairly ridiculous. It’s rock music that embraces the classic weirdo approach of those third-tier Seventies rock bands that warped the brain of a generation of stoned basement dwellers. -Matt Byrne
Following in the footsteps of, but never overshadowed by, the legacy of his father Steve, Justin Townes Earle has become one of the more dependable, insightful folk singers of his generation. His latest collection, The Saint of Lost Causes, casts a skeptical eye at modern American life. -Matt Byrne
Earlier this month my boss texted me, “Do you know this Aldous Harding girl? I feel she is your favorite musician.” And I said, “YES!” (Because she genuinely is.) I am incredibly excited that she’s gonna be performing live in our fair cities this fall, because she’s just the best sort of broody-but-not-too-broody vibe that makes perfect autumnal sense. -Megan Burns
This February, Built to Spill celebrated the 20th anniversary of Keep It Like a Secret. Hell, I celebrated it. It’s the band’s undisputed masterpiece. People thought that at the time. (I was in high school, and I remember going to get it at Tower Records the Tuesday it came out.) And people think that now.
It’s the record that melds frontman Doug Martsch’s pop sensibilities (as represented in their purest form on 1994’s There’s Nothing Wrong with Love) with the band’s interstellar jammmy jams (as perfected on 1997’s Perfect From Now On). The pop songs feel like they spiral off endlessly into the atmosphere. The extended guitar epics are rooted in hooks, vocal or otherwise. It’s somehow all of these things.
In retrospect, the band never conjured that alchemy the same again. Though, to be clear, 2000’s Live, in addition to be being one of the best live records ever, sort of does. And, also, I still get excited about new Built to Spill records. But, yeah, this is still the high watermark for the band.
So, if Built to Spill wants to get the gang together for the old (but relatively new) trope of the album anniversary tour, I’ll allow it. It doesn’t feel like nostalgia to me. It feels like a great to excuse to listen once more to “Broken Chairs” and “The Plan” and “Carry the Zero” and let your soul transcend to a higher plane. Or, you know, whatever weed and incredible guitar rock makes you feel like.
Occasionally, not always, there’s nothing wrong with a cash grab. -Phil Runco
1990s dream pop group Luna were birthed from the ashes of Galaxie 500, one of the best indie rock bands ever. Luna is also extremely good and are touring the country playing a mix of regular sets and full-length album performances of their first three records, Lunapark, Bewitched, and Penthouse. -Matt Byrne
Guitarist Steve Lacy has never been a hotter property than in 2019, hot off collaborations with folks like Kendrick Lamar, Vampire Weekend, and Solange and his acclaimed debut album, Apollo XXI. He’s hitting the road for a massive tour in support of the album this fall, crossing the USA before heading to Europe later this Fall for a triumphant year-ending jaunt. -Matt Byrne
Since the release of 2006’s Port of Miami, Ross has gone from underdog to a boss of bosses, and now a man with nothing to prove. That sort of achievement can lead to a career flatlining and fans moving onto something more compelling. Ross still reminds you of the luxury a hungrier Ross wanted to attain, but the message is now a summary instead of a riveting narrative. -Ruben Gzirian
There is the softest, gooiest (is that gross? sorry.) place in my heart for KKB, you guys. The first (and only) time I saw the UK-based outfit perform live was in a weird bar in Iceland in 2015, but they are genuinely the definition of best live vibes. I’ve really enjoyed the tunes they’ve most recently been putting out (in addition to all the forever classics), and I feel like I can go ahead and hedge my bets on this being a dope ass situation that you should definitely attend. -Megan Burns
Avril Lavigne is back on the road, and you know what, that’s great. The Head Above Water tour is in support of her album of the same name, her first released in nearly six years, inspired partly by her long running battle with Lyme disease. She’ll be sharing a career spanning setlist, I’m sure, a lot of folks will be there for the Let Go-era jams. I trust Avril will do a good job! -Matt Byrne
Over the last decade or so, underground rock label Exploding In Sound has become one of the most essential, influential labels in guitar music. They’ve assembled a killer double bill in Boston’s Kal Marks and Brooklyn’s Bethlehem Steel. Post-hardcore trio Kal Marks embrace the ugly, the grotesque, the misshapen in ways few other bands dare, complemented by Bethlehem Steel’s visceral, cathartic grunge. -Matt Byrne
Bedouine is one of the most exciting voices to emerge from the almost-scene of new Cosmic American Music revivalists like Steve Gunn, Sturgill Simpson, and Hiss Golden Messengers. Syrian-born songwriter Azniv Korkejian’s dusty, evocative folk music follows in the pathway first laid out by visionary musicians like Joni Mitchell and Leonard Cohen. -Matt Byrne
October 12 and 16
The last time I saw Marika play a gig was in 2017 at Baby’s All Right, and it was REAL REAL REAL GOOD. I have had Any Human Friend on heavy rotation since its release last month, and I am v. amped to see her perform this newest batch of songs live. (Major hell yeah to “I’m Not Where You Are” // I FELT THAT.) -Megan Burns
English pop musician Natasha Bedingfield just released her fourth studio album, Roll with Me. It’s been eight years since her last album, embracing the soul of dance music in a way that her earlier work was touched by R&B. -Matt Byrne
Cult songwriter Ray LaMontagne weaves together various strands of American popular music; a little classic rock, a little soul, a little country. He’s on the road to promote 2018’s well-received collection Part of the Light, his seventh collection, which merges his late-period fascination with Pink Floyd type psychedelia with a more traditional blues/folk sound. -Matt Byrne
October 17 and 18
I’ve spilled so much digital ink over the years raving and ranting about Justin Vernon’s unparalleled genius and ability to raise others with him. He’s back on tour with a fourth Bon Iver album under his belt and another twist of the kaleidoscope – i,i pushes the sonic envelope once again and fills my heart with the joys of community and caring. I dare you to make it through “Naeem” without feeling a tug at your heart strings, or to blast “U (Man Like)” on a stereo and not feel a tingle down your spine. Add Feist – one of Canada’s most talented musicians ever as an opening act – and hope they’ll surprise us with a duet of “Gatekeeper” to close the show. -Jose Lopez-Sanchez
Few musicians do pure pop bliss as well as Charli XCX. The British singer-songwriter has her finger on the pulse and knows exactly what it takes to rise to the top of the charts; she’s penned hits for a handful of household names and has fully come into her own as a solo musician. Her 2017 mixtape Pop 2 was widely featured on many Album of the Year rankings, and there’s a lot of hype and excitement for her upcoming self-titled album, due out in mid-September. But despite the soaring hooks and candy-coated chords, her music has incredibly depth and nuance. There’s a reason she’s such an in-demand collaborator. -Jose Lopez-Sanchez
There have been plenty of high-profile shoegaze reunions over the last handful of years. My Bloody Valentine, Ride, and Slowdive among them, but Swervedriver was an early group to embrace the trend, first reuniting in 2008 for as series of high profile tours and festival plays. Since then, they’ve put out two surprisingly strong efforts, including 2019’s Future Ruins, an atmospheric but always interesting listen. -Matt Byrne
Born in Uruguay, pride of Queens, and bandleader of The Beets, Juan Wauters has a singular, charming approach to songwriting, breezily switching between songs sung in Spanish and English. He’s released two albums (so far) this year, the complementary projects La Onda de Juan Pablo and its spiritual companion Introducing Juan Pablo. Inhabiting a new persona and taking a deeper look at his roots and spiritual forebears, Wauters has never been a more vital voice. -Matt Byrne
I love Young Thug. He’s not the outlier he was when 2016’s Barter 6 but that’s more a testament to his influence than depreciation in skill. Young Thug’s greatest selling point is just how unabashedly liberated he feels in everything he does. His voice jumps pitch, speed, and tone to create a connection with his songs that often feel like he’s a stranger instead of the main artist. And that’s why people (and I) swear by him. When Young Thug is at his ultimate best you get a record like the recent So Much Fun. One listen through and you realize why young rappers who proclaim themselves different from the mainstream should pay Young Thug tribute. -Ruben Gzirian
The artist formerly known as Toast (they claim the name change was provoked by a lawsuit from the Wonder Bread Corporation), Claud records heartbreaking microcosms of delicate bedroom pop. Tracks like “Wish You Were Gay” and “Up At Night” are immediately relatable for the young, queer, and lovelorn. -Matt Byrne
It’s difficult to describe Maxo Kream. You can’t compare him to rappers in Atlanta or New York or Chicago or LA. He stands on his own from a city (Houston) often revered more for its past than its present. Maxo Kream is singular in his mastery of narrative, composition, and how all of that is delivered through a pacy monotone cadence weathered by experience. Kream’s 2019 Brandon Banks is a phenomenal album, stacked from beginning to end with refinement only Kream can achieve. -Ruben Gzirian
Tegan and Sara are about to release their ninth album, Hey I’m Just Like You, inspired by their exploration of their childhood memories when writing their recently released memoir High School. They discovered tapes of early demos they recorded in their early teens, and used those as a jumping off point, reworking the seeds of the songs into something more fully-formed, a unique blend of naivete and experience. -Matt Byrne
Following her memorable if short-lived appearance on The X Factor back in 2012, Bea Miller has become a breakout star, releasing the EP compilation/sophomore LP Aurora last year to a good amount of fanfare. Her 2019 Nice To Meet U tour finds the pop singer traversing the US and Europe, hitting festivals and headline plays to thousands of fans a night. -Matt Byrne
Between Drake and City Girls’ hits over the last few years, New Orleans bounce music has never been hotter in popular culture. But both groups remain heavily indebted to one of the teachers of twerk, the bad bitch of bounce, the essence of the Crescent City: Big Freedia. She’s back on tour to get gin in your system – hit the dance floor and get loose. -Jose Lopez-Sanchez
Watch “Mo Azz,” filmed at BYT’s 2014 Pride Party
I don’t really know what else to say except for that Jay Som is a TRUE FORCE, and I am super excited to catch her live on this tour! PAR EXEMPLE, I’ve listened to “Tenderness” like 800 times since its release, and I 110% cannot wait to hear it IRL. Get tickets, I’m serious. -Megan Burns
The first time I heard “House” waaaaaaay back in 2012 I was like, “Yes, yes, this makes loads of emotional sense.” And from that moment, I was mega hooked on Kindness (Adam Bainbridge). V. stoked to see them live after all these years, especially since Something Like A War, their most recent record, fucking SLAPS! -Megan Burns
When Big K.R.I.T. released his critically-acclaimed 2010 mixtape K.R.I.T. Wuz Here, the assumption amongst everyone who listened to it on repeat was that he was going to be the next superstar. And how could you not? Here was a rapper who delivered every punchline, every recital on top of production made by him. It’s safe to say that expectation hasn’t been met, but his quality is still as evident as it was nine years ago. 2019’s K.R.I.T. IZ HERE is a forceful reminder that he’s gone nowhere, even if the initial hype has. -Ruben Gzirian
Chelsea Wolfe’s carved out a pretty unique niche for herself, blending hazy, dark folk music with elements of black metal, post punk, and gothic rock. Her sixth album, Birth of Violence, released in June, finds her embracing her folk music roots, with some of the most straightforward, accessible tracks of her career. -Matt Byrne
It’s crazy to me that T-Pain is at the Fillmore. The man who gifted us “Buy U A Drank,” “I’m Sprung” and his momentous NPR Tiny Desk Concert (I feel like everyone in the world has watched this, but if you haven’t watched it you’ve just run out of excuses) should at least be playing the 9:30 Club. Regardless, you know T-Pain, you know what he can do and you know you’re going to have a good time… And a drunken time. -Kaylee Dugan
November 5 and 6
The New Pornographers came out of the gate three stone-cold classics: Mass Romantic (2000), Electric Version (2003), and Twin Cinema (2005) – each of which I can make a convincing argument for being the definitive NPs record; all of which help define that decade of music. Then the Canadian supergroup made Challengers (2007). And it still hurts. A limp handshake of a record, Challengers was, at worst, bloated with sap, and, at best, contained “Myriad Harbour”. The LP that followed, Together (2010), got some “return to form” love, but there were two hard-to-swallow realities here. 1. Together was essentially Challengers on steroids (still a little cheesy, still carried by the Dan Bejar songs, but slightly fortified in construction). 2. We were never going to get a NPs record as vibrant, alive, and just plain good as the first three again.
Nevertheless, what the last two NP records – Bill Bruisers (2014) and Whiteout Conditions (2017) – have taught us is that this is OK. Carl Newman is still a methodical, studied hook purveyor, and we didn’t completely lose him to the pap side. These records had a little edge. And, look, almost two decades in, there isn’t a better power pop band out there – even if golden-era NPs would wipe the floor with them. Again, that’s OK. No band has “it” forever. Very few bands can continue to conjure 80% of “it.”
I haven’t heard the forthcoming In the Morse Code of Brake Lights (out September 27), but the first two singles (“Falling Down the Stairs of Your Smile”, “The Surprise Knock”) certainly seem to indicate that it will fall in line with Bill Bruisers and Whiteout Conditions. They have intricate melodies. They have momentum. They move.
In a disappointing development, Bejar rappers to be sitting out another record (and thus tour), but this band still has Neko Case, and if the sight and sound of Neko Case ripping into a NPs song doesn’t give you goosebumps, you don’t have a pulse. In fact, one things that striking about seeing this era of the NPs (2014 to the present day) live is the realization that Newman has essentially turned the band into a showcase for its expanding chorus of female voices (most prominently, Kathryn Calder). And when they sprinkle in one of the songs from 2000-2005 era NPs into the set list, well, that’s just sweetest, most succulent cherry on top. -Phil Runco
Former Majical Cloudz frontman and paragon of unflinching sincerity Devon Welsh crafts optimistic, direct pieces of electronic-tinged pop music that feels like it’s staring you right in the eyes. His more recent work has embraced denser, sometimes more organic textures than the sparse synth arrangements of Majical Cloudz, producing a more wide-ranging sonic world for his singular work to explore. -Matt Byrne
After a brief tenure in kaleidoscopic pop collective of Montreal, Kishi Bashi struck out on his own, exploring various corners of electro pop, indie rock, and psychedelic music across four well-loved albums. His latest, Omoiyari, filters his sound through a more overtly political lens, reflecting on our hellworld’s many horrors and acts of cruelty. -Matt Byrne
Bloomington’s Amy O has been crafting inescapably catchy, idiosyncratic indie pop nuggets for about 15 years and is primed to break through to another level with Shell, her new album dropping in October. Bedroom pop has never been bigger with The Kids and Amy O is here to show em all how it’s done. -Matt Byrne
Big Thief have not slowed down since releasing their debut Masterpiece in 2016. The band followed up Masterpiece with Capacity in 2017 and almost two years of near-constant touring. In 2018 the band we no slouches, both singer Adrianne Lenker and band mate Buck Meek released solo albums. This year the band put out U.F.O.F., another gem in their discography. But that isn’t all, a couple of weeks after finishing their third album, Big Thief went back into the studio to record Two Hands set for release in October. Two Hand’s blistering single “Not” a 6-minute barnburner with a fiery guitar solo has been a live staple for years and doesn’t lose any of its intensity on record. -Rohan Mahadevan
November 10 and 11
Claire Cottrill had big shoes to fill. Since striking a chord on YouTube, the Boston based singer went viral with her smash “Pretty Girls.” Not one to be pigeonholed into the bedroom pop label, Cottrill upgraded her sound while working with up and coming producers like SG Lewis. With her debut album Immunity, Clairo proved she has what it takes to take on pop’s big leagues. Clario has had a winning 2019 with a performance at Coachella and a stint opening for Khalid in arenas, she is ready to take on smaller clubs with a well-honed live show. -Rohan Mahadevan
Long running Vancouver psych rockers Black Mountain just dropped their latest record on our heads in early Summer, the stoney, spacey, dank-as-hell Destroyer. The band concocted the album as a sort of road trip soundtrack, in celebration of lead singer Stephen McBean recent acquisition of a driver’s license. Sometimes, heavy music doesn’t have to mean much more than that — just capture the perfect kind of vibe for the situation prompted, a temporary escape to another headspace. -Matt Byrne
In what started out as a side project of the psych rock band Wooden Shjips, Moon Duo has morphed into its own thing, releasing seven albums in ten years, crystallizing a very specific, hyper repetitive, hypnotic vibe. Their latest, Stars Are the Light drops at the end of September and finds the band adding new textures and elements to their go-to setup, drawing inspiration from classic disco and funk, where psych rock and shoegaze once was. -Matt Byrne
INTERESTINGLY ENOUGH, the first and only time I have ever seen Chastity Belt live was in a weird bar in Iceland, the same year I saw Kero Kero Bonito! (Hooray for 2015 Iceland Airwaves!) The band is back in action with a new (v. good) record after a brief hiatus, and I am incredibly stoked for them to take the stage again. -Megan Burns
“Polish Girl” (which is, like me, old as heck) was randomly my anthem this summer, so I have a renewed sense of “FUCK YEAH NEON INDIAN” happening at the moment. Very excited he’s gonna be gracing us with his stage presence soon! -Megan Burns
I don’t know much about UK rap, but every person that I know that follows it went wild when Dave dropped 2019’s PSYCHODRAMA. Give it one listen and you start to understand why. Take his single, “Location” featuring the man of the summer, Burna Boy. The aggressiveness usually associated with UK rap is toned down to communicate a softer honesty weighed down by a relatable pain. One of the common and ignorant critiques of UK rap is that it copies the U.S. variant. Listen to Dave and you quickly realize, without really understanding why, just how special the UK variant is. -Ruben Gzirian
It’s been six years since “Take Me To Church” and Hozier’s bigger than ever. His new album, Wasteland, Baby! drew more comparisons to Jeff Buckley, and was praised for its wide-eyed earnestness and topical subject material. He’s hitting arenas and massive theaters on his 2019 world tour, bringing stadium-sized emotions and production to the masses. -Matt Byrne
Since her break out last summer, I’ve seen Kim Petras perform live three times. She never disappoints, always so full of energy and love for her fans. Not to mention her amazing voice and incredibly dance-worthy songs. Now, she’s on tour promoting her debut album, Clarity. Unlike her previous singles, the tracks on Clarity veer closer to trap than that bubbly hyper pop her fans first came to know so well (think “Heart to Break” and “I Don’t Want it at All”). And while I’ll always hold the biggest place in my heart for her early bubblegum pop, there’s no denying that Clarity is packed with perfect club beats. Plus, she’s releasing a new Halloween mixtape on October 1, and if last year’s edition is anything to go by, the tracks will effortlessly and elegantly blend camp and electropop, which is just one more thing to look forward to at her concert. -Afriti Bankwalla
The first and only time I’ve seen Alex Cameron live was in Oslo last summer, and I just think he’s the goddamn greatest of all time. Really been digging his latest tunes, and there’s no doubt in my mind that he’s gonna fucking slay live. (As usual.) -Megan Burns
When the anniversary of a landmark record in an artist’s catalog comes around, they generally do a reissue or a small tour where they play the whole thing live. Post hardcore heroes Touché Amoré did something a little different than most bands: In celebration of the tenth anniversary of their debut album, …To the Beat of a Dead Horse, they went ahead and rerecorded the damn thing and released it under the title Dead Horse X. Expect to hear a bunch of those jams and more, joined by their fellow noisemakers La Dispute and Empath on their fall tour. -Matt Byrne
There like fifteen people in rap collective/boy band Brockhampton, an assortment of young men from different backgrounds, races, and influences, assembled initially from a post on a Kanye West message board. Since 2015, they’ve forged their own unique path through pop music, broaching heavy topics with a deft touch and skipping across genres with ease. -Matt Byrne
Don’t go to a show, eat a turkey or something shaped like a turkey
November 29 and 30
South Korean indie rockers Say Sue Me play the sort of gentle, romantic guitar music that is perfect for the approaching sweater weather. Incorporating elements of surf rock and shoegaze into the sort of classic 1990s indie rock sound pioneered by Yo La Tengo and Belle & Sebastian, they’re guaranteed to make you swoon. -Matt Byrne
I sincerely love Christmas music. With each passing season, I enjoyed The New Girl more and more. With Zooey Deschanel off my screen and songs written by Jewish men about the Christian savior in my heart, I want to be at this show. Somewhat related, Deschanel is dating a Property Brother? It’s a X-Mas miracle?
Man there are few songwriters more compelling than Lucy Dacus here in 2019. She plays with dynamics, unafraid to get weird or heavy if the song requires it, an approach that brought depth and texture to her acclaimed collaboration with Phoebe Bridgers and Julien Baker, Boygenius. She’s on the road supporting her 2019 holiday-themed single series, which found her producing a blend of originals, and covers like her recently released cover of Springsteen’s “Dancing In The Dark.” -Matt Byrne
If you read BYT, you probably already know about the magic that is Cautious Clay. We’ve interviewed him, premiered his songs and have shot his shows. If you’ve still managed to keep your head in the sand, rub the dust from your eyes and click this link. Let the crisp minimalist beats soothe your soul. Let his smooth bedroom hooks take you home. Let the synthy goodness, the delicious harmonizing and the summer spiked lyrics finish the job. You’re a Cautious Clay fan now. Congratulations. -Kaylee Dugan
When A$AP Mob (the collective A$AP Ferg and A$AP Ferg are part of) released 2012’s mixtape Lords Never Worry, Ferg’s heart attack flow dominated standouts “Persian Wine,” “Choppas on Deck,” and “Work.” Since then, Ferg’s career has floated on the perception that he really had no peers to worry about. And to an extent that’s true. With his most recent effort, Floor Seats, Ferg checks off everything that makes him great. Aggressive Ad Libs? Check. Lyrics that float between luxury and back alleys? Check. Production that takes chances? Check. Also, he samples The Prodigy on the title track and that’s always a good move. -Ruben Gzirian
Blues revivalist Samantha Fish has been met with a ton of acclaim from the modern Blues world, collaborating with cross-generational greats, while forging her own path across six solo albums and a handful of live recordings. Her most recent effort, Kill Or Be Kind, is her most personal and fully-formed to date, recorded with legendary blues musician and producer Scott Billington. -Matt Byrne
TroyBoi’s Nostalgia Tour finds the British R&B/hip hop/pop producer stepping into the spotlight following a slew of high profile collaborations with folks like Flosstradamus, Diplo, and Skrillex. His high octane, immersive live shows are all lights, fog, and overwhelming beats, to the delight of EDM and pop fans alike. -Matt Byrne