Suno launches Studio 2.0 with MIDI support, an AI chat bar… and no download limitSuno claims that "Grammy-winning artists" have used Suno Studio in the past to "make chart-topping hits"
Source

Moon Walker at the The Vera ProjectEclectic alternative people of varying ages could be found littered around Seattle Center on June 14th, all of whom were clearly residents of “Wasteland Country”, courtesy of Brooklyn-based band Moon Walker. Harry Springer, better known as the face and front man of the project Moon Walker, is known for weaponizing the short-form algorithm in his favor to promote his dystopian, politically charged indie rock. In an era where social media has a chokehold on the music industry, many artists are forced to become influencers in order to promote their art; Moon Walker, however, has been able to use this formula to push his artistic message of anti-capitalism and general political nihilism.

Arriving at notorious all-ages venue The Vera Project early was clearly the strategy, as the merch line spanned across the entire venue, right as doors opened. From New Order to Militaire Gun, band shirts could be seen all over the main ballroom on older crowd members, presumably those who hear older glam and psychedelic influences in the bands’ sound. While functioning primarily as an indie/rock group, Moon Walker has been cited as having influences all over the map, including blues, glam, garage, and psychedelic rock.

Super Cassette

Initial opening band Super Cassette gave the crowd a queer Californian pop-punk summer, as they chanted original songs about drugs, satan, and gender to a crowd hungry for whimsy. While still maintaining a core pop sound, the band could diversely channel Pansy Division-style pop-punk one minute and The Strokes-style indie melancholia the next. Chicago-based band Pretoria followed shortly after, making what can only be described as 2000s Disney Channel montage music, with a bit of subtextual jazzy surfy-ness.

Pretoria

After a quick coffee break at The Vera Projects' in-house cafe, it was time to be consumed by the bleak bright yellow world of Moon Walker’s fifth album, WASTELAND COUNTRY. Aesthetic consistency was on full display as the band arrived in matching jumpsuits, à la Devo. It was clear that the “Wasteland Country” concept ran far deeper than just the album, as the backtrack serenaded the crowd with a haunting orchestral melody before robotically announcing “Each day begins with a happy face”. The band quickly jumped into hits off the album such as “HAPPY FACE”, “SUPERNATIONALIST”, and “EVERYBODY GOES TO HEAVEN”. The tracks took

on a far darker and more blues-inspired tone when performed live as the raw guitar melted seamlessly with the deep, hollow bass notes.

Other tracks from the project's past, like “Regular People” and “Ban This Song,” were resurrected, alongside covers of Nirvana's “Heart Shaped Box” and Black Sabbath's “War Pigs”. The covers were, of course, given an apocalyptic sci-fi brutalist spin to fit the show's message. The band's presence left little to be desired as they maintained a rockstar-like swagger with a throughline of chaotic insurgence

Moon Walker is a project that is incredibly sure of itself; between the social media marketing and the visual direction of the latest releases, Springer knows he’s going places. These days it's sacrilege not to be self-deprecating and overtly humble, so this project feels like a breath of fresh air. It will be interesting to see what other stories the band has to tell us in the coming years through their albums and tours.

Moon WalkerThe post Moon Walker at the The Vera Project first appeared on Music Connection Magazine.

The Day Roger Waters Quit Pink Floyd — And Why It Ended Up in Court

"CONFESSIONS II" by MadonnaWarner RecordsProducer: Stuart Price

The queen of pop returns to rule the dancefloor with CONFESSIONS II. The highly anticipated sequel to Confessions on a Dance Floor reunites Madonna with British producer Stuart Price. Like the 2005 release, all 16 songs of CONFESSIONS II blend together like a DJ set. Spoken word monologues are sprinkled throughout each song, bringing us closer to Madonna’s world. The album opener “I Feel So Free” reveals her struggles of being in the public eye and finding comfort in a crowded club.

The album is ultimately a love letter to the dance floor as she asserts, “The dance floor is not just a place/ It’s a threshold, a ritualistic space where movement replaces language” in the track “One Step Away.” The album delves deeper into her life as the French touch electronic song “Danceteria” is named after the New York club where she worked and got discovered by DJ Mark Kamins.

The latter half of the album takes a more somber tone as “Fragile” is a heartfelt nod to her late brother. She also duets with her daughter Lourdes “Lola” Leon in “The Test.” The raw track highlights their strained relationship and the pressures of living in the spotlight. The album perfectly captures and revitalizes Madonna’s signature sound. The post "CONFESSIONS II" by Madonna first appeared on Music Connection Magazine.

Anghami co-founder Eddy Maroun launches Arabic music IP platform IPNation, targeting $100m with backing from Influence Media PartnersIPNation describes itself as the first investment platform dedicated exclusively to Arabic music catalogs and entertainment IP.
Source

Did EMI Tell Queen to Cut "Bohemian Rhapsody" in Half?

Exceleration Music strikes strategic partnership with Christian hip-hop label Reach RecordsExceleration's distribution company Redeye Worldwide will handle global physical and digital distribution for Reach's new releases
Source

John Mellencamp at the Hollywood Bowl, Los Angeles, CAJohn Mellencamp is a Rock and Roll Hall of Fame Inductee (2008), Songwriters Hall of Fame Inductee (2018), 13-time GRAMMY nominee, and has sold more than 60 million albums worldwide. Mellencamp played the Hollywood Bowl last night (8/10) for a night of hits. 2026 marks the 50th anniversary of Mellencamp’s debut album, Chestnut Street Incident. It was in the ’80s that Mellencamp found major success with albums like his No. 1 American Fool and Top 10 albums Uh-Huh, Scarecrow, The Lonesome Jubilee, and Big Daddy. In the ’90s, Mellencamp had two Top 10 albums, Human Wheels and Mr. Happy Go Lucky, and continued that success in the 2000s with Freedom’s Road and Life, Death, Love and Freedom. In 2017 and 2018, Mellencamp had back-to-back No. 1 albums on the Folk chart with Sad Clowns & Hillbillies and Other People’s Stuff. Overall, Mellencamp has had 13 albums certified between Gold and 5x Platinum and 16 Top 25 albums.

At the Bowl, Mellencamp took the stage around 8:15 p.m. with no opening act, playing until almost 11 p.m. with a 15-minute intermission. Mellencamp last played the Hollywood Bowl in 2024 as part of Willie Nelson’s Outlaw Music Festival, and the year before played the Dolby Theatre down the street. Mellencamp played Phoenix the night before, where the show was delayed after just six songs due to thunderstorms.

Mellencamp’s band played an intro before walking out, leading into “Lawless Times.” The 24-song set had everything a fan would want, including “Small Town,” “Lonely Ol’ Night,” “R.O.C.K. in the U.S.A. (A Salute to 60’s Rock),” “Jack and Diane” (acoustic), “Rain on the Scarecrow,” “Authority Song,” “Pink Houses,” “Crumblin’ Down,” “Cherry Bomb,” and the closing song, “Hurts So Good.”

Following the first half, Mellencamp said, “Now you've seen the first guy opening act. The next guy told me to tell you to get your dancing shoes on.”

Before “Rain on the Scarecrow,” Mellencamp talked about Farm Aid, which he formed with Nelson and Neil Young. Last year marked the 40th anniversary of their annual benefit concert supporting family-run farms.

Photos by Alex KluftThe post John Mellencamp at the Hollywood Bowl, Los Angeles, CA first appeared on Music Connection Magazine.

Classical Reviews July 2026

A Song That Changed My Life: Frankie Muriel on Cal Tjader’s “Soul Sauce (Guachi Guaro)”The Artist: Frankie Muriel

The Storyteller: Frankie Muriel

The Song: Shimmery, nimble vibraphone lines and a montuno piano vamp open Cal Tjader’s 1960s classic “Soul Sauce (Guachi Guaro).” They lock into a rich intersection of classic son clave rhythms, while the glassy glissando runs of the vibraphone—the distinct, metal-bar-based pitched percussion instrument famously popularized by jazz pioneer Lionel Hampton—weave seamlessly throughout the entire track. A reinterpretation of jazz legends Dizzy Gillespie and Chano Pozo's "Guarachi Guaro," Tjader’s version mutates standard jazz progressions to create a distinct brand of cool, spacious, melodic froth.

This compelling fusion, built on a base of Latin grooves, became the signature sound that attracted a massive wave of new listeners, ultimately helping to bring this style of jazz to the forefront. That same vibraphone aesthetic, interwoven with a rolling mambo beat,  remains audible in the work of conga legend Poncho Sanchez as well as the dream-fused loops heard in modern heavyweights like Tyler, The Creator, who notably interpolated Tjader’s arrangement of "Invitation."

The Background: Possessing a keen awareness of music from a young age — taking note of the vibrant sounds of his father, Frank Muriel, an accomplished Latin jazz percussionist — Frankie Muriel the younger naturally developed a deep relationship with rhythm. Beyond the beat, he absorbed an innate knack for songwriting and showmanship, an inherited intuition that helped him to heed the call to entertain. This compulsion eventually steered him to front the funk-rock-flavored band KINGOFTHEHILL. With MTV heyday hits like “I Do U” becoming mainstream fixtures, Muriel learned the art of the larger-than-life performance.

While enjoying peak popularity, Muriel noted the unpredictable tides of musical tastes and industry trends. Observing these shifts, he recognized that longevity often required strategic pivoting as well as a strong dose of creative autonomy. Armed with this sharp survival instinct, he prepared to adapt, ensconcing himself in recording studios to learn the ins and outs of the production process while plotting a way to reinvent his career and re-emerge.This behind-the-scenes education proved to be both creatively liberating and highly profitable, ultimately paving the way for his return to lead the dance-rock juggernaut Dr. Zhivegas. The demanding live show marathon, filled with dynamic theatrics and spectacular staging, captured a massive following for nearly three decades. Yet, after years of relentless touring and sensing another sea change, Muriel course-corrected, moving away from the band formats of his past toward a solo endeavor. Beginning with the 2025 release I’m Still Standing, and continuing into his recent release, The Cabo Sessions, Muriel comes full circle, returning to the improvisational rhythms that first inspired him as a child.

The Story: Nights infused with syncopated percussive breaks and vibrant Latin melodies were a constant from an early age for Frankie Muriel. For him, music and memory became an inseparable tapestry of sights and sounds, with its selvage being Cal Tjader’s classic “Soul Sauce (Guachi Guaro).” Growing up under the immediate influence of his father, Frank Muriel, an accomplished percussionist, Frankie Muriel found himself immersed within the genre.

“It’s been a part of my life and part of my life’s soundtrack since I was a baby and I could hear music,” Muriel recalls. “It was a favorite of my father’s — and was also the kind of music that he played —  so it was always in our house, it was part of the soundtrack...”  Naturally, this constant exposure to such irresistible sounds also sparked an urge to dance. “I think as a child you feel that instinctive pulse and you start moving your body, and those are the great songs that [are always making you] move first,” he explains.

Beyond just the physical groove, the song carried a personal family connection, right down to "the rhythmic break to the song, how it starts off and the vocal break...” It was this specific section, and the distinct vocal call-out within the song, that Muriel connects with the most.

“It stayed with me because it sounded like my father’s voice. I always thought that it was his song because his band played it and it sounded like him singing the refrain,” Muriel shares. “Obviously, I was too young to understand what resonated with me, but it’s a core memory… Now it is in regular rotation in my home, so my daughter is growing up with this as part of her life’s soundtrack. To this day, I always hear him in it.”

These jazz arrangements inadvertently wired Muriel’s understanding of songwriting, teaching him how to decode a hook before setting foot onto the stage. “I think I learned about rhythm and melody from these types of songs way before I discovered rock and pop,” Muriel reflects. “These songs had a catchiness to them without lyrics, and the rhythm is just a hypnotic look into the groove, which I think is the hook that gets inside of you as you listen.”

The early childhood grooves stayed with him, shifting from a nostalgic background track into a major focus for his new music. While working on his latest material, those deeply embedded cadences resurfaced.“I grew up as a drummer and vibraphone player, which combines percussion and piano into one instrument, so that’s how I learned my melodies,” Muriel notes. The percussion and the congas have also taken on a more prominent role in his newest collection of songs.“As I was working on my new album, The Cabo Sessions, I realized the sounds from my youth had completely permeated into my writing. What started as a way to honor the memory of my father turned into understanding that these rhythms were in me the whole time. I’ve just let them out, and they’re creating textures and adding great energy into my new music.”

Photo Courtesy of Big Picture MediaThe post A Song That Changed My Life: Frankie Muriel on Cal Tjader’s “Soul Sauce (Guachi Guaro)” first appeared on Music Connection Magazine.

UnitedMasters strengthens executive team with four appointments across marketing, brand, commerce and operationsThe new hires include former Warner Records executive Todd L. Perry II, alongside Goldie Harris, Luca Zanello and Jason Peerless.
Source

The Last Night Elvis Presley Ever Performed - And He Played for 90 Minutes Like He Knew It

Inside Big Phat Pod: Preserving Gordon Goodwin’s Legacy One Story at a TimeBehind a massive soundproof door in an otherwise unremarkable industrial park in Burbank, a remarkable effort is underway to preserve and expand the legacy of one of contemporary music’s most celebrated creative forces. Inside the production facility The Dreaming Tree,  session singer, vocal contractor, educator and longtime Big Phat Band singer Vangie Gunn-Goodwin and her co-host, award-winning composer, arranger and producer Andrew Kesler, have transformed a podcast studio into a vibrant living archive celebrating Gordon Goodwin’s music, career and enduring legacy. It’s also become a vibrant gathering place for an extended musical family.

Framed by a giant Big Phat Pod logo and surrounded by shelves displaying Big Phat Band albums, memorabilia and several of the four Grammy Awards Goodwin earned from 25 nominations during an extraordinary career, the pair are creating a series devoted not only to the acclaimed composer, arranger and bandleader’s music, but also to the stories, friendships, creative partnerships and personal experiences that shaped it over decades. Critical to bringing that vision to life is Kesler, whose friendship with Gordon stretches back years. An accomplished composer, arranger and producer, he first connected with Goodwin through recording projects and holiday collaborations before becoming one of his close creative allies. Combining deep musical knowledge with an obvious affection for Gordon’s work – and a self-described “Gordon nerd” – Kesler serves as the perfect counterpart to Vangie’s warmth and natural storytelling. Their easy rapport and shared passion for Gordon’s music give Big Phat Pod the relaxed chemistry that makes every conversation feel less like an interview than a reunion among lifelong friends.

While the podcast emerged following Goodwin’s passing in December 2025, the idea itself originated with Gordon. About six months before his death, podcast producers approached Gordon and Vangie about creating a series devoted to his music, career and creative process. The concept immediately appealed to him because it felt like a natural extension of Phat Tracks with Gordon Goodwin, the nationally syndicated radio show (out of KKGO Los Angeles and later KSDS San Diego) he hosted from 2017 until illness forced him to step away. Listeners discovered that beyond his brilliance as a composer and arranger, Gordon possessed a rare gift for storytelling. Whether discussing Count Basie, Earth, Wind & Fire or Jacob Collier, he consistently elevated the listening experience by explaining where the music came from, why it mattered and who helped bring it to life. “He would tell you why a song was important, who played on it and what made it special,” Vangie recalls. “Then when you heard the song afterward, you appreciated it on a completely different level.”

Before the podcast could begin, however, life intervened. Gordon and Vangie were balancing tours, performances and the recording of what would become his final studio album with the Big Phat Band, 25 Years of Phatness. Featuring fresh originals alongside reimagined versions of fan favorites including “Hunting Wabbits,” “The Jazz Police” and “Sing, Sang, Sung,” the project captured the ensemble at full creative strength. Shortly afterward, Gordon was diagnosed with pancreatic cancer.

Looking back now, Vangie views the completion of that album as something close to miraculous. “We got it done just in time,” she says. “When I listen to that album now, I hear Gordon’s joy. I hear his optimism. I hear everything that made him who he was.” After treatment, a brief return to daily piano playing and encouraging signs of improvement, Gordon suffered a massive hemorrhagic stroke shortly after Thanksgiving 2025 and passed away on December 8.

For a time, the podcast naturally faded into the background as Vangie navigated grief and the overwhelming responsibilities that follow the loss of a spouse. Then one afternoon, while driving home from Disneyland, where she teaches vocal workshops, she found herself thinking about the upcoming release of 25 Years of Phatness and wondering how best to continue sharing Gordon’s music with audiences around the world. The answer arrived suddenly.

The podcast idea returned with remarkable clarity. Entire seasons began forming in her imagination, with each one devoted to a specific album, era or chapter in Gordon’s career. Individual episodes could focus on particular songs, recording sessions, musicians, engineers and collaborators. “The stories were already there,” she says. “The music was there. The relationships were there. It just needed somebody passionate enough to bring it to life.”

Observing a recording session reveals that Big Phat Pod is far more than a conventional interview program. On the evening I attended, saxophonists Brian Scanlon, Danny Kaneyuki and Alex Hahn, front-of-house engineer Ryan Mowrey and acclaimed percussionist Brian Kilgore rotated through the guest chairs as Vangie and Kesler guided conversations that felt equal parts oral history, educational seminar and reunion among old friends. Excerpts from 25 Years of Phatness and classic Big Phat Band recordings filled the room as solos were isolated, analyzed and celebrated. The format allows listeners to move beyond simply hearing the music to understanding how it was conceived, performed and experienced by the artists themselves.

One particularly spirited discussion centered on “Hunting Wabbits,” perhaps the composition most beloved by both audiences and student musicians. Scanlon praised Gordon’s Christmas charts and vocal arrangements, prompting Vangie to float the idea of a future holiday concert devoted to that side of his writing. What made the conversations so compelling was the way they effortlessly moved between technical observations and personal memories. It was a brief exchange, but one that perfectly captured the cross-pollination of ideas and mutual respect that define the band.

Perhaps the most revealing aspect of the evening was the extraordinary camaraderie among the musicians. As solos played through the studio monitors, band members cheered each other’s performances, laughed at old stories and openly celebrated one another’s accomplishments. Watching these interactions made it easy to understand why the Big Phat Band has maintained such a distinctive identity throughout its 26-year history. While the ensemble has always been known for technical excellence and astonishing musicianship, the chemistry among its members is equally essential to its success.

To Vangie, that spirit is no accident. Many of the musicians have known one another for decades, while younger members grew up playing Gordon’s charts in school before eventually joining the ensemble themselves. Gordon intentionally cultivated that multi-generational atmosphere, believing that mentorship and continuity were essential to the band’s future. The result is a culture where younger musicians sit alongside artists they admired as students, creating a unique blend of reverence, friendship and artistic challenge.

The evening also underscored Gordon’s appreciation for the people working behind the scenes. One of the longest and most fascinating segments focused on Ryan Mowrey, whose responsibilities extend far beyond traditional front-of-house engineering. Technical director and audio specialist Mowrey occupies a role that many audience members never see but every successful performance depends upon. Vangie described him as the guy constantly looking out for everyone around him, while Kesler joked that he might be the most important member of the entire organization.

Future episodes will continue expanding the lens beyond performers. Engineers, mixers and production personnel all have stories to tell, and Big Phat Pod intends to tell them. Talley Sherwood, who engineered 25 Years of Phatness, longtime mix engineer Tommy Vicari, and the team behind the album’s Dolby Atmos mixes (Steve Genewick and Maurice Patist) are all expected to share their perspectives in future installments.

Another important figure behind the scenes is producer Cindi Garren, whose involvement carries its own emotional resonance. Garren is the widow of saxophonist Kevin Garren, who spent approximately 15 years performing with the Big Phat Band before his passing in 2021. Her participation further strengthens the sense that Big Phat Pod is being created by people whose lives have been deeply intertwined through Gordon’s music and the community that grew around it.

Of course, any discussion of Gordon Goodwin eventually leads to the astonishing breadth of his accomplishments. Beyond building the Big Phat Band into one of the most influential large jazz ensembles of the modern era, he enjoyed a prolific career as a composer, arranger and orchestrator. His four Grammy Awards, three Daytime Emmy Awards and 25 Grammy nominations only begin to suggest the scope of his influence.

Yet listening to the stories shared throughout the podcast, one quickly realizes that awards alone don’t reflect the affection so many people continue to feel for him. Again and again, conversations return to themes of generosity, optimism, mentorship and friendship. The stories that resonate most are not about trophies or accolades but about Gordon encouraging younger musicians, creating opportunities for others and maintaining relationships that lasted decades.

The confidence he placed in Vangie speaks volumes about their partnership. Following his diagnosis, he asked whether she would consider carrying the Big Phat Band forward if necessary. Her answer was immediate. “Absolutely. It would be my honor.” By that point she had become far more than the band’s featured vocalist. She managed countless responsibilities behind the scenes. Gordon often joked that she somehow managed to take care of everyone else before stepping onstage and transforming into the performer audiences knew and loved.

That combination of leadership, empathy and energy also prepared her for hosting Big Phat Pod. Beyond her extensive career as a vocalist and contractor, she has spent decades teaching singers, directing ensembles and helping artists develop confidence and authenticity. Those experiences taught her how to put people at ease and create environments where meaningful stories emerge naturally. Some musicians, she notes, are far more comfortable playing a difficult solo than discussing it afterward. One of her greatest strengths as an interviewer is helping guests relax enough to share memories that might otherwise remain untold.

Asked what Gordon would enjoy most if he could walk onto the set today and watch an episode being recorded, Vangie’s answer comes without hesitation. It would not be the microphones, the memorabilia or even the discussions about his music. It’s all about the relationships, the friendships, the musicians laughing together, sharing stories and celebrating one another’s accomplishments. Those connections, forged through decades of collaboration and strengthened through mutual respect, are ultimately what the podcast preserves most powerfully.

When the conversation turned to what she hopes future listeners ultimately understand about Gordon, she doesn’t mention awards, recordings or professional accomplishments. Instead, she speaks about character: “That his music was such an integral part of his DNA that it expressed who he was at his core—a man of character, loyalty, vision, love, joy, energy and hope.” As the stories continue to unfold and new generations discover the music, Big Phat Pod ensures that both the legacy and the man behind it remain very much alive.The post Inside Big Phat Pod: Preserving Gordon Goodwin’s Legacy One Story at a Time first appeared on Music Connection Magazine.

From Suno’s vinyl move to Spotify’s ‘fan-made’ Merlin deal… it’s MBW’s Weekly Round-upThe biggest headlines from the past few days...

Source

Dirtwire at Cat’s Cradle, Carrboro, NCWeb: dirtwire.netContact: dirtwire@mammothmusicgroup.comPlayers: David Satori, violin, banjo, guitars, guimbri, percussion; Evan Fraser, kalimba, jaw harp, kamale, n’groni, global percussion

The stage is almost completely dark. The 700-seat room is packed shoulder-to-shoulder right up to the edge of the stage, and only a handful of curious objects scattered across the floor offer any clue as to the musical adventure about to unfold. When Dirtwire finally emerges from the shadows, dressed entirely in black and nearly disappearing into the black backdrop, the sense of mystery only deepens. It feels less like the beginning of a concert and more like the opening moments of some strange sonic experiment.

Before a single recognizable melody arrives, odd sounds begin drifting through the house system. Strange drones, rattles, whistles, and tones emerge from seemingly nowhere. Unfamiliar instruments appear under faint stage lights. The audience waits, intrigued but uncertain. Then a groove begins to form. It comes from an instrument that is difficult to identify and even harder to describe. Slowly it gathers momentum, building layer upon layer of anticipation until a massive bass frequency suddenly locks into place. A steady four-on-the-floor beat erupts from the subwoofers, and in an instant the entire room is moving. The evening has officially taken flight.

For the next 90 minutes, Dirtwire unleashes a dizzying parade of soundscapes, textures, rhythms, and instrumental experiments. The performance feels simultaneously ancient and futuristic, as though forgotten folk traditions have collided headlong with modern electronic dance music. The groove remains constant and infectious, driven by an ever-present pulse that keeps the audience tethered to the journey no matter how strange the scenery becomes.

The duo wanders fearlessly across musical landscapes, collecting sounds and influences from every imaginable direction. At one moment the music resembles a beggar’s banquet of world instruments and tribal rhythms. Moments later it transforms into a towering wall of sound generated by instruments few people could name, much less pronounce. Every texture seems designed to surprise. Every new sound opens another door.

What is most remarkable is the relentless momentum. There are no pauses, no breaks for lengthy introductions, and virtually no downtime. Instead, the music flows continuously, one groove melting into another. Beats intertwine with drones, melodies emerge briefly and then dissolve, and rhythmic patterns chase one another through the room in endless combinations. The experience becomes hypnotic, with each musical idea serving as a launching point for the next.

In many ways, Dirtwire’s performance resembles a modern electronic interpretation of Bach’s variations on a theme. Yet even that comparison falls short because the theme itself never remains fixed. It shifts constantly, mutating from moment to moment. 

The result is less a collection of songs than a single immersive experience—part dance party, part musical expedition, and part sonic fever dream. By the time the final notes fade into the darkness, the audience has traveled a considerable distance without ever leaving their seats, carried along by grooves, textures, and imagination.The post Dirtwire at Cat’s Cradle, Carrboro, NC first appeared on Music Connection Magazine.