phoebe bridgers

In a universe as vast as ours, Boygenius has the uncanny ability to hone in on the ubiquity of it all. The Rest is a worthy follow-up to The Record — each track a radiant star in the indie macrocosm.

Trusting her capable voice, Parks reemerges with a uniquely human album; sharpened by exquisite care, her “soft machine” hits home hard.

Over the weekend, the grassy hill and tree-lined stage of Stanford’s Frost Amphitheatre made room for the Re:SET Bay Area Music Festival.

Stokes’ songwriting is vague and dreamlike enough to remain relatable. Her music offers a unique take on the universality of certain experiences, showing listeners both the aches of growing up and the creative ways in which a person can process them.

On its newest record First Two Pages of Frankenstein, The National writes a reflective narrative, using songs as snapshots through a journey of suffering with anxiety and depression.

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. 

Released March 31, the band’s latest project pulses with multivalent manifestations of love — friendships, relationships, kinship and even musicianship.

SZA’s interior battle feels decidedly of the moment, inflected by the murkiness of casual sex, the imperative for baseline levels of connection in a world where there seems to be a drought.

Beneath the Rickshaw Stop’s sparkling string lights and shimmering disco ball, indie pop artist Wallice opened her Dec. 8 show with a bubbly sweetness that perfectly paralleled the coziness of the venue.