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Damien Jalet, the choreographer behind the viral video for Gener8ion’s “Storm,” explains his process.

The singer’s music once put a clever twist on ideas about aging and adulthood. Now she just seems to be going backwards.

The singer’s music once put a clever twist on ideas about aging and adulthood. Now she just seems to be going backwards.

Ed Sheeran and Macklemore have sparked music’s most consequential confrontation over Israel and Palestine.

The rock legend has stayed prolific into old age, and his new album, Second Song, is a minor landmark.

From Drake to Katy Perry, sometimes a song just doesn’t hit.

Cutesy aesthetics met calls for revolution at Olivia Rodrigo’s new music festival.

Country music is surging, female singer-songwriters are on top, and audiences crave honest voices like hers.

The mainstream is disintegrating. What’s a frustrated pop star to do?

Phoebe Bridgers’s new record is heavy with post-pandemic disappointment.

Charli XCX’s new album is a broadside against overthinking the artistic process.

Ella Langley’s country music offers an appealing commodity for this moment: moderation.

The singer is known for pushing pop forward, but her most acclaimed album in years is playing it safe.

Holly Herndon and Mat Dryhurst believe the future doesn’t have to belong to slop.

The singer is experiencing a new form of downward mobility—and she’s not alone.

San Francisco’s brightest minds are stuffing themselves into hacker houses.

Holly Herndon and Mat Dryhurst believe the future doesn’t have to belong to slop.

To celebrate the country’s 250th birthday, the rapper wants to transport us to another decade.

The rapper has a simple answer to when the country was great: the ’90s.

Olivia Rodrigo’s biggest asset is her ferocity—and her new record doubles down on those big, messy feelings.

The United States tried to swerve away from politics at this year’s Venice Biennale and ended up saying nothing at all.

The United States tried to swerve away from politics at this year’s Venice Biennale and ended up saying nothing at all.

Do you really like that new song—or is someone manipulating you?

“Michael” is a warped and childish take on the life of Michael Jackson.

The pop star transformed the normal act of browsing your laptop into something interesting—and unsettling.

The former Kanye West is making his bid to rejoin mainstream culture—with mixed results.

Neurosis’s new record makes the right kind of noise to stand out in this overwhelming moment.

Americans are burned-out, frustrated, and hunting for scapegoats.

Americans are burned-out, frustrated, and hunting for scapegoats.

On her first album in eight years, Robyn reckons with motherhood and midlife desire.

The singer believes that music isn’t the point of pop stardom. Is she right?

Bad Bunny’s critics said his Super Bowl halftime show would be divisive. They were totally wrong.

Bad Bunny’s critics said his Super Bowl halftime show would be divisive. They were totally wrong.

The singer’s critics said his performance would be divisive. They were totally wrong.

The singer was among a raft of stars who spoke out on behalf of immigrants and against ICE at this year’s ceremony.

Bruce Springsteen has never sounded angrier than on his new song, “Streets of Minneapolis.”

The president’s party has total control of government—but not what Americans care about.

The president’s party has total control of government—but not what Americans care about.

Zane Lowe has made a career out of relentless positivity. Is there anything he doesn’t like?

Zane Lowe has made a career out of relentless positivity. Is there anything he doesn’t like?

This year’s most interesting artists invented their own grammar and tunneled in idiosyncratic directions.

Rosalía’s new album mirrors the modern quest for salvation, in all its thrilling and frustrating contours.

Celebrities have embraced a new sort of garment: the fashion diaper.

Spencer Kornhaber, staff writer at The Atlantic, explored how the job of the critic is changing.

Demand for cultural commentary is higher than it’s ever been—but now that commentary is coming from unconventional new sources.