Vancouver Magazine
The Broadway/Cambie Corridor Has Become a Hub for Excellent Chinese Restaurants
Flaky, Fluffy and Freaking Delicious: Vancouver’s Top Fry Bread and Bannock
Care to travel the world, one plate at time? Visit Kamloops.
Protected: The Wick is Lit for This Fraser Valley Winery
Wine Collab of the Week: The Best Bottle to Welcome a Vancouver Spring
Naked Malt Blended Malt Scotch Whisky Celebrates Versatility and Spirit
5 Ways We Can (Seriously) Fix Vancouver’s Real Estate Market
Single Mom Finds A Pathway to a New Career
5 Things to Do in Vancouver This Week (March 20-26)
What It’s Like to Get Lost on a Run With a Pro Trail Runner
8 Things to Do in Abbotsford (Even If It’s Pouring Rain)
Explore the Rockies by Rail with Rocky Mountaineer
The Future of Beauty: How One Medical Aesthetics Clinic is Changing the Game
4 Fashion Designers From African Fashion Week Vancouver to Put on Your Radar
Before Hibernation Season Ends: A Round-Up of the Coziest Shopping Picks
The argument can be made that American music is stuck between two poles: bombast and regret. The former (from John Philip Sousa to Jay-Z) has its place—the latter, too. R.E.M., say. Or Emmylou Harris. But the interesting stuff, the real treasure, mixes triumphalism with anguish. This has long been Bruce Springsteen territory (think of 1978’s “Adam Raised a Cain”: “You’re born into this life paying for the sins of somebody else’s past”). Even now, with the Boss, 62, touring the fine recession-times stomper Wrecking Ball, he’s still growling about decent Joes doing their best but getting screwed. On disc, the E Street Band—augmented since the deaths of keyboardist Danny Federici and sax pillar Clarence Clemons—is as strong as ever, nowhere more so than on the anthemic opener, the ever-so-American “We Take Care of Our Own.” (Rogers Arena, Nov. 26) Worlds apart in tone, yet just as steeped in the grand old myths, are the Punch Brothers. With traditional instrumentation (mandolin, fiddle, banjo, guitar, and bass), the newgrass quintet plays Appalachian roots music torqued up with jazz’s loopy time shifts. Their third album, Who’s Feeling Young Now?, is getting attention for the cover of Radiohead’s “Kid A” but it’s the aggression and self-loathing of songs like “Hundred Dollars” that really raises Old Glory. (Chan Centre for the Performing Arts, Nov. 24). Ticketmaster.com