Carrie Underwood Cries Pretty at Keybank on October 13th,2019

Although she was not the first winner of Idol, she was one of the few that has achieved a high level of success, and for a good reason. I can say that her music speaks not only for itself, but for others and to others. However, without the person writing and/or performing that music, it would never be heard. Carrie Underwood has been a positive role model for young women and people in general, including her opening acts,  Maddie and Tae and Runaway June.
What this presents is not only an engaging night of good  music, but a statement championing female artists in another genre that has a tendency to incorporate clichés and catcalls in song; as told by, and  Carrie's fellow tour mates, Maddie and Tae in their song "Girl in a Country Song," which they performed Sunday.
  It was a very delightful experience, all the more better attending with one of the female champions in my life, my mother.
While I hadn't heard a lot of Runaway June's tunes, I heard a couple I recognized like the song that realizes love can be messy, but if you can love someone to ruin "Lipstick" instead of mascara, to go for it. Their most successful tune,"Buy my Own Drinks" was also on the roster, and reinforces the theme of female empowerment and independence, within the confines of a catchy tune.
Maddie and Tae were up next, and while their vocals sounded a little muddled under the instrumentals, the set still included some good songs like the aforementioned and songs like "Friends Don't,"  Die From a Broken Heart," and "Fly."

Now it was the set many have been waiting for, as Carrie took us all "Southbound" opening with that summer smash and feel good hit before she performed the "cautionary tale" involving a "Cowboy Casanova," a song that still sounds as good as it did a decade ago. Shortly after we heard the sister song about a similar type of sonuvagun that says "stay away!" ("Good Girl.")
After some of the catalog "Backsliding" Carrie performed one of her favorites from her most recent album. From what I have heard over the span of her albums is a steady progression and / While I am still determining the status of this album, my favorite is still the previous release. One of the songs I was hoping to hear, and the sound that many good girls may like to hear, is that of "Church Bells, and it did not disappoint.
To the pessimist, adding visual accompanient can serve as a distraction when it comes to an artist's shortcomings, and to answer the rhetoriquery, there were none with Carrie. The only time I was left dumbstruck as to what song was being foreshadowed was when I saw a crown, then after hearing the initial banjo it all made sense. On the other end of the spectrum, to where the visuals really stood out and enhanced the experience, was during the song "Drinking Alone.'" The pull down screens at varying lengths were used to portray a bar setting, and what made it even better was the saxophone and big daddy bass duet that set the tone for the song before it began.
There were other instances where the visuals did assist, such as the deteriorating building that assisted "Two Black Cadillacs,"symbolizing the eroding faith in that man's good name as his secret exposed. This song blew me away when I initially heard it eight years ago, and with its appropriate visual of a stormy sky, sparks flew. The last one I will mention may not have been the most interesting, but it was very effective and really hit the message home;  family members mourning the loss of loved ones who had suffered the fate of "The Bullet," and its lasting effect on the people who have outlived their beloved relative.
While the latter focused on the harsh reality of loss, Carrie performed another song that simultaneously balances the tragedy with the faith that a reunion in the afterlife will be possible in "See You Again." the tune was played in a medley that also featured a song concerning Carrie's faith in the afterlife, "Temporary Home." It was nice because she played "I Know You Won't" and "Just a Dream" with a surprise cover center, which was more engaging than surprising as she hit those notes that Tyler of Aerosmith hit when the tune was released.
That  was merely a warm up to a marathon of a medley that would follow songs such as "Low," "Something in the Water," and the crowd pleaser, as well as a favorite of two strong women, Carrie and my mother, "Jesus Take The Wheel." It was nice to hear "Wasted" as well, which does initiate thinking about one's life and current situation, considering what they may want to change but are fearful or indecisive, but it was the former that really pulls those heartstrings and instigates that urge to make that change for the better, while reminding one of the blessings present in their life.
The maramedley performed  by Underwood and her tour mates paid tribute to several generations of female country artists that laid the foundation for future opry hopefuls. These artists included: Loretta Lynn, Reba McEntire, Tammy Wynette, Patsy Cline, Faith Hill, Trisha Yearwood, Shania Twain, And Martina McBride. It was a notable tribute indeed, not only reinforcing the value that the female perspective has added to country music, and the message of female empowerment, but good songs added to the ever-expanding country cannon.
To have ended at that point would have been acceptable, but there is still more to say. A quote comes to mind when referring to "Before He Cheats." I bet you may be able to guess, but if you do not know, "Hell Hath No Fury Like A Woman Scorned." This performance had even the guys singing along. It was a cautionary to warn prospective infidels and a little empowering, but not nearly as inspiring as "The Champion," a song that can score the triumph of any sexual orientation, and motivate the to the next level. Before she performed the tune she remarked that one of the most rewarding aspects of creating music is to hear the stories of what the songs have done for others, and how they have helped a person persevere. Little did she know that this "little hype song to work out to" (paraphrased) would have the impact that it did, so on this tour she chose a fan, after hearing their story and who they believe is their champion to perform Ludacris' verses.
If that was not enough, her encore proved that she had more to say and more inspiration to relay; whether on the notion that its okay to let it out, and you don't have to "Cry Pretty." The other, about the resilience of love and the power it can hold.

"Honest" look at Drake Bell's EP in 2017 (le gasp!)

When I heard that Drake dissed Justin Biebs, I thought of one of the most prominent names in Rap, and didn't believe Drake was the jealous type. I found out it was the other Drake found on Nickelodeon; it may not have been on Nick directly, but a relative station. when I consider how passionate Bell is about his music, I could understand the outrage instigated by the jealousy, resentment and pride. When you have that passion for your music and value the impact it could have on others, and those expectations were much greater than the value that your audience has given it, if they had even gave it a chance, it can be extremely frustrating and disheartening, especially when the music was overshadowed by an artist in a genre not always known for possessing much substance. While some may wear a smug expression, think hypocrisy, and laugh at the change in tune. I see it as Drake Bell coming to terms with his own frustration and jealousy when comparing their music careers and respective fanbases, and changing his tune, and style; I do not see it as selling out to cash in, but attempting to understand the style's appeal and how he could use it as a vehicle for his own artistic expression, that is my honest perception. He gives us four tunes that may be overlooked, but well worth multiple listens, and almost as cool as the Drake and Josh Theme song.

Three for One: Three Years Later, Three Different Genres

Tim McGraw and Faith Hill The Rest of Our Life
While it is not misleading to call this an album of duets, the term does have its own pre-conceived notions; this is not an album of standards or covers, but all new material. The passion and commitment that these two country singers have for their music and each other, as well as family in general starts this album one step ahead, and the title track is a perfect example, while the chemistry is undeniable, but we knew that already. There is a variety of tones and textures that broaden its appeal and make it appropriate for the whole family. There are also tale of love, that are open to interpretation, are transcendent of the journey that may have led the pair to marry or inspired their marriage, and relatable to others as they live through their own trials of love.   It's not the first time where a significant other was referred to as Satan, but the "Devil Callin' Me Back" is a lighter approach in referring to the darkness a relationship may endure in its toughest times, but is a catchy one at that. Another favorite of mine that incorporates family values as it  addresses the right way to "Speak to a Girl," and to treat them as one would a mom; with love, kindness and respect, emphasis on all three.
Keyshia Cole 11:11 Reset
There are certain artists who are immediately associated with their respective genre, and for a good reason. Some of those artists have to work a little harder, and it takes more time for them to gain recognition, not necessarily because they lack the talent, but have difficulty differentiating themselves from their peers. I would have to say after diving into the "Cole World (Intro)" that I insed off some of my doubts. The instrumentals are reminiscent of a famous Jazz musician of a similar surname, and features the motivational monologue from DJ Khaled, who only associates with the best artists, of this generation (there are too many to mention when it comes to those he has yet to associate with) so that's a good sign. "Act Right" is another standout just for what it stands for, even if I am not sure how I feel about this Young Thug collaborating with Ms. Cole. Maybe "You" could tell me why, that's another standout. I am incapable of eloquently representing my feelings sometimes, but that's why music is transcendent, even when it's hard to display your emotional state or remedy it, music can be an excellent remedy. The album is bookended by praise from Too $hort on the outro of Cole World, of Keyshia's music and her character, and I would say it is deserved and if the prior promotions, as well as her association with 2Pac, is not enough, then I am not sure what will be. All I know, is that I should delve deeper into her catalog.
Evanescence Synthesis
The future or a band's longevity is not predicted by its debut album sales. In spite of the uncertainty of the band and its continuation was existent during every gap between albums, they release another and avoid falling victim to its own foreshadowing?  The extended edition of "The End of a Dream" may have sounded like a simple inclusion, but the finale was the spark to wake me up. The most noticeable change between reinventions would have to be their biggest and most well known tune "Bring Me To Life" which has some of its energy drained in the new version, partially because the absence of the co vocalist Paul McCoy, but then it also rids the song of its call and response which can sound like clunk hop; enticing for some, yet alienating at the same time.It could be Phantom Riff phenomenon, or the familiarity factor, but when I listen to the new version of "My Immortal" I feel numb and not the ache that accompanied the dual attack of the solo and strings; I cannot say that the emotion is gone from what is full of it, but to say its effect is not the same can be purely subjective. As for the new inclusions and recordings, they are all worth their mettle. The collaboration with Lindsey Stirling finds itself on the hi end of lo; attach "wbrow" and you may find