Vancouver Magazine
BREAKING: Team Behind Savio Volpe Opening New Restaurant in Cambie Village This Winter
Burdock and Co Is Celebrating a Decade in Business with a 10-Course Tasting Menu
The Frozen Pizza Chronicles Vol. 3: Big Grocery Gets in on the Game
Recipe: This Blackberry Bourbon Sour From Nightshade Is Made With Chickpea Water
The Author of the Greatest Wine Book of the Last Decade Is Coming to Town
Wine Collab of the Week: A Cool-Kid Fizz on Main Street
10 Black or African Films to Catch at the 2023 Vancouver International Film Festival
8 Indigenous-Owned Businesses to Support in Vancouver
5 Things to Do in Vancouver This Week (September 25- October 1)
Protected: Kamloops Unmasked: The Most Intriguing Fall Destination of 2023
Dark Skies in Utah: Chasing Cosmic Connection on the Road
Fall Wedges and Water in Kamloops
Attention Designers: 5 Reasons to Enter the WL Design 25
On the Rise: Meet Vancouver Jewellery Designer Jamie Carlson
At Home With Photographer Evaan Kheraj and Fashion Stylist Luisa Rino
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