Music

For a musical project that created an infinite cartoon universe for its four fictional members to inhabit, Gorillaz shows surprisingly little evolution in style or substance on Cracker Island.

From Mutter’s adoring gaze to the audience’s countless standing ovations, one thing was clear in Davies Symphony Hall: Williams is beloved. Perhaps he was the Valentine everyone needed.

On Bless This Mess, Remy explores ’80s synths, Talking Heads-esque art funk and Prince’s rhythm and blues to attain hi-fi heights — this cocktail of popular yesteryear genres ushering in Remy’s sometimes synthetic-feeling optimism.

In foggy San Francisco, where we lay our scene, romance is not dead, but it’s much darker.

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.

Released Feb. 17, “Heaven” transports listeners to a dreamy, glorious state of utter joy.

Overflowing with genius-level musicality and inquiry into feminine desire, the LP intellectually stimulates yet remains entertaining and danceable — well worth the lengthy wait.

With This Is Why, Paramore does not abandon its old sound, but rather evolves with contemporary times and infuses the unfiltered disorder of 2023 with the acute emotions of its earlier albums.

When Kotomi heard she would be scoring the new Judy Blume documentary, she thought she was dreaming.

The lion dances, fortune-telling and rabbit petting zoo in Davies Symphony Hall were all mere prologues to the San Francisco Symphony’s sweeping Lunar New Year festivities on the night of Feb. 5th.