Ryan Garay

The true oneness of MUNA was on full display during their appearance at San Francisco’s The Warfield, in certainly one of the best showcases of talent, presence and catalog that has been toured in recent memory. 

The music Lindemann creates is well-suited for live performance, and even though she may have fumbled the delivery at some points in the night, there was never a moment of boredom or emptiness.

Sometimes Good Riddance draws too heavily upon its influences, but it nevertheless remains singular in sound and ambition — both of which are touching and impactful throughout.

Beyond mere standards of inclusion and representation, HBO’s “The Last of Us” crafts these queer characters thoughtfully and authentically, depicting their love without the trauma or violence that too often accompanies queer love in modern media.

To call “EDEN” simply a rendition of DiDonato’s own album is imprecise — this is because, among other things, “EDEN” is an experience of creation, education and music, culminating into a performance that transcends both time and place.

Del Rey’s ninth studio album is one to look forward to, and “Ocean Blvd” is a satisfying treat to have on repeat until then.

More and more, American audiences appear willing to listen to the work of Spanish-speaking artists without the appended English-speaking popstar.

What do buttons, jumpsuits and flyers have in common? At San Francisco’s Letterform Archive, the answer is plain and simple: protest.

In sprawling moments of quiet agony, Lila Neugebauer’s “Causeway” finds its most valuable state of being: intimacy.

The series opens with the fire and fury one might expect from a show with “dragon” in its title, yet it grows into something wildly unpredictable. It is, in many ways, one of the most triumphant debut seasons of a television program in recent memory.