Sting relived his past as a cruise ship entertainer with an intimate performance aboard Cunard’s Queen Mary 2 earlier this week. The show took place just two days after the Broadway debut of his first-ever musical, The Last Ship, now playing at the Neil Simon Theatre.
The Rat. Besides having the single best name for a nightclub ever—short for The Rathskeller, which no one ever once called it—the cramped and dingy Kenmore Square dungeon known as “The Rat” was Boston’s most celebrated and notorious rock club, in an era when Boston had one of the nation’s great rock scenes. Between 1974 and 1997—from the protean days of punk through its latter-day revival—every band that mattered passed through that scuzzy, smoky basement: The Ramones, the Talking Heads, the Police, R.E.M., Husker Du, and local heroes like the Cars, Mission of Burma, and the Pixies. The club’s former owner recalls to the Boston Globe the subzero February night when Metallica played at the Rat—for six people.
With their shaggy corn-silk hair and seafarer beards, the strapping members of the Danish String Quartet could be mistaken for 21st-century Vikings. But unlike their marauding forebears, this supremely gifted group of thirtysomething Scandinavians—three Danes who met as schoolboys and a Norwegian cellist—is out to conquer the world through sheer musical charisma. Already hailed as one of the finest ensembles of their generation, and now in the middle of a three-year residency at the Chamber Music Society of Lincoln Center, in New York City, the DSQ will continue to win over North American audiences this fall with a tour that includes Chicago; St. Paul, Minnesota; Washington, D.C.; Vancouver; New York City; and La Jolla and Santa Barbara, California. Oct. 10–Nov. 18.
Photo courtesy of Caroline Bittencourt / the Danish String Quartet
New York City
The Berlin Philharmonic and conductor Simon Rattle perform at Carnegie Hall (Oct. 1–6;) before participating in director Peter Sellars’s visionary staging of Bach’s St. Matthew Passion at the Park Avenue Armory (Oct. 7–8).
Our five favorite new headphones, all sound-checked by T+L tech correspondent Tom Samiljan, deliver top-notch audio—and serious style points.
Q: What can fans expect from I Don’t Dance?
A: The new album is very dynamic. It’s diverse in that it mixes all the different types of music that I grew up listening to. I’m such a country guy at heart, and I can’t not be a country man singing country music, but there are little dazzles of the things that I love in R&B and the things that I love in rock, and blues, and gospel music. Some of that stuff comes through on the record. And then just be ready for a very personal record. I try to tell the truth on it.
Time to book last-minute flights to Salt Lake City: The renowned Utah Symphony is running free open-air concerts against the backdrop of five of the state's—and country's—most treasured national parks.
Ever heard of Latin Boogaloo? I'm crazy about this spicy fusion music genre from the 1960s; it's having a moment again. The Boogaloo Assassins, LA's hottest crossover band, is playing in New York City at Nublu on August 1 during Fania Records 50th anniversary celebration. Drop by or download this road trip playlist they've created exclusively for T+L. Vamos!
After teaming up wtih LeAnn Rimes to DJ the performance of her new single, "Help Me Make it Through the Night," Wednesday on The View, I sat down with the Grammy Award-winning singer to get her travel picks. And don't miss the debut of LeAnn & Eddie, airing tonight at 10:30 p.m. EST on VH1.
Q: You guys are on the road so much. What’s an ideal Saturday when you’re home in L.A.?
A: Riding Eddie’s Harley to Malibu, then ending the day at Moonshadows, a waterfront spot with freshly caught seafood, or Malibu Country Mart. There’s an amazing Greek restaurant there called Taverna Tony—we always get the roasted baby lamb!
With an unintentional Radiohead reference for a name, and a rapidly expanding fan base that includes the prime minister of Ireland, The Gloaming is not your typical world music chart-topper.
In just the past three years, the five-man, Irish/American group (Dennis Cahill on guitar, Martin Hayes on the fiddle, Caoimhín Ó Raghallaigh on hardanger fiddle, Thomas “Doveman” Bartlett on piano, and Iarla Ó Lionaird providing vocals) has played to sold out crowds at international venues like Dublin’s National Concert Hall, won the approval of mainstream critics at The Irish Times and The New Yorker, and most recently, put out a debut album that simultaneously pays homage to Celtic melodies and innovates Irish folk music for the modern ear. Bag pipes and Riverdance, this is not.