Meagan Chandler’s body is her instrument. Well, technically her voice is her instrument, but the vivacious singer draws her lyrics and one-of-a-kind music from bodily inspiration. Her voice, she says, “just happens to make noise.”
Lyle Lovett doesn’t let himself get tied down to a set list with his concerts. Yes, he has one, but it’s hardly set in stone. To script a show so tightly would rob Lovett of one of his main joys of performing, the flexibility to respond to the audience and play requests or to alter the selection of songs to fit the mood of the evening.
One day, back when she was Kristy Peterson, composer Kristin Kuster got bored. The Boulder native was supposed to be practicing the piano, but like a lot of kids she got tired of the pieces she had been assigned. So she went into her father’s study, took out the scissors, and cut Mozart into tiny one-measure fragments.
Music festivals have become far more than a gathering of bands and have morphed into a sub-cultural phenomenon that emphasize collaboration, ritual and enlightenment and strive to leave attendees transformed.
A vein of nature runs through troubadour Gregory Alan Isakov's music, fitting imagery for the singer-songwriter, who lived on a farm for several years. On his new album, The Weatherman, which dropped July 9, Isakov sings of “casting hooks off the California coast,” “plucking strings in the pouring rain” and “waiting in the wings while the trees undress.”
Traditional bluegrass does not include any kind of electronic components or a modern-day drum kit, but its history throughout the United States and its improvisational nature has proven time and time again that bluegrass is one of the most complicated genres to perform.