“I’m not scared of god / I’m scared he was gone all along,” rising alternative artist Ethel Cain sings on the title track of her 2021 EP “Inbred.” The critical and popular success of Cain’s recent debut album “Preacher’s Daughter” (2022) landed her song “American Teenager” a spot on Barack Obama’s 2022 playlist and cemented her as a rising star of the indie/alternative music scene. But Hayden Anhedönia, who uses the stage name Ethel Cain, is only one singer within an increasingly popular phenomenon of cisgender women and gender minority artists producing music which deals directly and indirectly with themes of religious belief and trauma. They explore the manner in which Christianity specifically has influenced their lives and their music, with the result being something unexpected: The music resonates with a whole community of people whose relationships with their faith may not have always been easy.
Discarding the mania and disco pop of tracks like “Washing Machine Heart” (2018) and the heart-breaking rage behind others like “Brand New City” (2012), Mitski’s seventh studio album heralds a new, quiet and reflective age of Mitski’s artistry. “The Land Is Inhospitable and So Are We” (2023) was released on Sept. 15 to much initial acclaim, and for good reason.
Former Editor-in-Chief and Executive Arts Editor Megan Szostak looks back on her influence, Class of 2022’s legacyBy Maeve Hagerty | May 22
Editor’s note: The Daily’s editorial department acknowledges that this article is premised on a conflict of interest. This article is a special feature for Commencement 2022 that does not represent the Daily’s standard journalistic practices.
Aminé, Bia, Dayglow and Ella Jane will perform at Spring Fling Weekend, which Tufts University Social Collective is hosting April 28 to May 1. Spring Fling Weekend is returning in person this year after a three-year hiatus.
On Dec. 10, senior Veronica Stewart-Frommer returned to a city and people she calls her home. As the lead singer for Melt and a current Tufts student, Stewart-Frommer and her six bandmates performed past Friday at Brighton Music Hall, a venue packed to see the group on their last leg of their first headlining tour ever.
“I’ll be taking flowers to the cemetery of my heart,” Adele sings as she opens her fourth studio album to date. Her newest album, “30,” which was released on Nov. 19, is a testament to Adele’s growth as an artist, a mother and a person.
In a unique marriage of honesty and the outrageous, “Big Mouth” (2017–) has returned. The hit adult cartoon dropped its fifth season to Netflix on Nov. 5, and it is quite possibly one of its best. A show that has followed the story of the horny, pubescent students of Bridgeton Middle School seems to have recovered its footing this season after a rocky fourth season. The coming-of-age style of the series became popular for its raunchy humor and ability to tackle many of the issues faced by preteens as they go through puberty, mental health struggles and social and familial conflicts. This particular season is as uncomfortable and weird as the rest, sometimes taking jokes and shock value moments too far, but it also demonstrates what is so special about the show.
There are certain feelings that cannot be put into words. That feeling which is a combination of joy, good vibes and a solid bass line, and which is best encapsulated by “An Evening With Silk Sonic” (2021), is one of them. Released on Nov. 12, the album is the synthesis of creative genius. Pop culture icon Bruno Mars and the masterful Anderson .Paak are Silk Sonic, and their shared project “An Evening With Silk Sonic” is the perfect blend of ‘70s soul and disco topped off by a large dose of modern charisma. With the legendary Bootsy Collins narrating the album throughout, the album is an ode to the music and style of the ‘70s, but “An Evening With Silk Sonic” is entirely unique to Mars and Paak. Highlighting Paak’s effortless rapping and Mars’ signature vocal style, the album isn’t just an imitation of ‘70s music — it’s a reflection on its influence on modern music.
Three days in harsh sunlight, surrounded at any given time by hundreds — if not thousands — of people: glitter, neon polyester and discarded hard seltzer cans everywhere. The Governors Ball Music Festival 2021 was, simply put, a lot.