Har Mar, who we know off stage as Owatonna, Minn. native Sean Tillmann, has long been regarded as a shrewd composer with an ear for pop melodies. Yet throughout his career, he has made a point of separating out his "serious" songwriting and publishing it under aliases like Sean Na Na, while devoting his Har Mar stage name to a much baudier, more flamboyant performance style. For the first time, <em>Bye Bye 17</em> finds Har Mar merging all sides of his persona into one unified front.
Stephanie Curtis, Steve Seel and Jill Riley reflect on the life and career of Roger Ebert, and Stephanie reviews Federico Alvarez's reboot of Sam Raimi's classic 1981 horror film.
Low are minimalists in every sense of the word. Every note, every rise and fall in dynamic, every snippet of between-song banter is intentional, and measured. The Fitzgerald Theater was an ideal setting for the band's poignant show on Saturday, March 23. Enjoy audio from the event.
Low are celebrating a few landmarks with their latest album, <em>The Invisible Way</em>: It's the Duluth trio's 10th studio recording, and it marks their 20th anniversary as a band.
Dark Dark Dark's Nona Marie started her Anonymous Choir back in 2011, featuring a rotating cast of female musicians and close friends, some of which had never performed in a band before. The result is a gorgeous, stirring and stripped-down project focused solely on covers of their favorite musicians.
One of the coolest things about attending SXSW as a Minnesotan is observing just how far and wide our hometown artists manage to spread out during the week. The music festival is an overwhelming sensory experience, with every last bar, restaurant, and street corner overflowing with artists hoping to be seen and heard, and each artists and promoters from our state attempt to break through the din with an array of Minnesota-centric showcases and a healthy roster of acts accepted into the festival as official showcasing acts.
So that's why the Dakota Jazz Club's calendar has been conspicuously blank for the remainder of this week and weekend. The space has been rented out by none other than Prince.
It's the bar where Golden Smog, Zuzu's Petals, and Semisonic all began, and where Dan Wilson first debuted his big hit "Closing Time." It's the bar where Bonnie Raitt hung out while in the Twin Cities to record her debut album. It's where First Ave stage manager Conrad Sverkerson kicked out his first rowdy patron. And it's where Peter Ostroushko was playing pool when he got the call to go play on Bob Dylan's Blood on the Tracks.
After decades of hosting live music, the West Bank institution has closed its doors and vacated its ancient two-story building on the corner of Cedar and Riverside Avenues.
This Saturday, photographer Adam DeGross will display his work in northeast Minneapolis at a party that will also celebrate the release of his first photo book, PAY ATTENTION.
For those who saw Bob Dylan perform in Rochester this past August, there were few surprises last night at the Xcel Energy Center as he played to a similarly sized crowd.
"We Don't Even Live Here" is P.O.S.'s boldest release to date, and it's set to make an impact on a national scale with or without a tour to support it.
On a surface level, these two artists couldn't be more different. P.O.S. identifies as an atheist, while Ali is a practicing Muslim and a prominent figure at his mosque. P.O.S. makes unapologetically aggressive music that blends punk, rap, noise, and dance, while Ali draws from classic soul and gospel influences. And P.O.S. encourages destruction and hostility, while Ali preaches the importance of community and togetherness.
Politically charged albums can sound preachy if handled clumsily, but Brother Ali's relaxed and conversational cadence showcases his personal approach to sociopolitics and his skill for presenting intellectual ideas in a universal language.
The Cactus Blossoms sat down with Mary Lucia for a chat and performed for the fans at the Minnesota Public Radio booth.