Latest Rock Music News

  1. 100% pure rock ‘ n ‘ roll

On 5 May, Slash, accompanied by Myles Kennedy & The Conspirators, burst the ears of those attending the Bogotá Arena Movistar with strong chords and phenomenal guitar solos. The charisma of Kennedy and bassist Todd Kerns encouraged the capital’s public.

The idea that rock and roll, the one who lived its golden years between the Sixties and eighties, is in decline or is about to die after a long agony, is becoming more and more powerful. Reasons abound to be pessimistic. Now the stars of pop, rap or reggaeton dominate the top of the charts and a few times a song, or a rock band reaches the cusp of these counts. Although the Rolling Stones, U2, Metallica or Foo Fighters still fill large stadiums, no new bands have emerged to achieve the exploits of their predecessors.

As usual in his concerts, Slash’s seriousness was combined with the charisma of Kennedy and bassist Todd Kerns. Both with their voices encouraged the audience and made them sing. While Slash not uttered even a single word, except to make a few backing vocals, his guitar was enough to freak out the citizens. In addition to the sticky riffs, the British guitarist played three long solos (one lasting more than 15 minutes). The most exciting part of the concert began when Slash played Nightrain, then the Starlight, you’re a Lie and World on Fire songs were played, with which the concert ended, but within a few minutes he went up again to play the classic Anastasia, unmistakable for its starting melody.

Today many critics and musicians belittle Slash as a guitarist. They consider that their rhythms are no longer innovative and that their solos repaint a structure in a monotonous way. But beyond criticism, the truth is that Slash created his own style, both aesthetically and musically. Its solos and rhythms, as well as its long Crespo hair and its hat are unmistakable. And best of all, they represent the pure style of Rock and Roll, which, while not so commercial, refuses to die.

After The rock download given by Slash, within hours’ fans of this genre received excellent news: Move Concerts will bring Whitsnake and Scorpions. The bands will play on October 10 at the Movistar Arena. The pre-sale for the clients Guarantee will begin on May 15 and will end on the 17th. These ads show that Rock and Roll is not dead and that there is still an audience of all ages willing to listen and enjoy it.

  1. Deified as the voice of a generation, Kurt Cobain still lives

Decades after the unforgettable raspy voice of Kurt Cobain, and for the first time the radio waves of the world, the leader of Nirvana is still delighting generations of young people who were not born when he died. Twenty-five years after the devastating suicide of the symbol of counterculture in the 1990s, former manager Danny Goldberg says he is finally ready to reflect publicly on the legacy of the pioneer of the so-called grunge rock.

In his book “Serving the Servant: Remembering Kurt Cobain” – published to mark the anniversary, of the death of the 27 years old singer originally from Seattle – Goldberg recalls a Cobain ahead of his time, whose wit and tender humanity shone through his personality melancholic and bleak.

Kurt’s cult

The depressive but a singular talent who grew up in the humid forest two hours west of the city of Seattle became a god of the rock suddenly, when “Nevermind”, the second of the three studio albums of Nirvana, it catapulted the band from alternative rock to a fame stratospheric and begat the cult of Kurt.

Goldberg met guitarist Cobain in 1990, when Nirvana was still not well known and hoped to gain more success with her unique mix of loose punk, raw metal and Beatles-inspired melodies.

“Nevermind” he achieved exactly that, and he became one of the albums most successful of all time, evicting the deceased pop star Michael Jackson from the top of the Americans rankings and achieving that Nirvana deviating from the direction of pop culture, with new-found inspiration not only in music but also in fashion and behaviors of young people.

In the three and a half years that he worked with Cobain, Goldberg was a witness to the jump from Nirvana to fame, to the wild but warm relationship of Cobain with the tempestuous singer punk Courtney Love, and interventions to try to stop their addiction to heroin.

The brilliant supernova star that was Nirvana went out with Cobain’s death, but echoes of his brief life persist, and they put him on a list with great musical icons such as rocker Bruce Springsteen, the late Beatle John Lennon or musician and composer Bob Dylan, according to Goldberg.

Goldberg does not want to speculate what Cobain would be doing now if he were alive, but it would certainly be innovative, as “he was always evolving, not just copying himself.”

  1. Pink: Therapy pop

The singer’s new album receives a rating of 6 out of 10

Parallel to the emotional demure that promotes new voices such as Billie Eilish, the adult mainstream pop of recent years is also characterized by more struggling profile approaches. A new case to add to those of Beyoncé or Rihanna, two examples to the flight, could be that of the American P!nk, who is about to turn 40, finds in Hurts 2B human a platform to speak without hindrance of concepts such as overcoming, protective feelings and maturity.

True to its lyrics restless, hallmark of a book of songs long-lived, the singer returns to exorcise his demons, from the complex physical to the traumas of childhood, from motherhood to romantic relationships, but now rises up with strength a spirit of empowerment, claim staff, which gives you a fresh start to the album. Between both footfall emo of the younger generations, it is interesting to find a counterpoint from the serenity and the experience, especially in a field as attached to the frivolity as the pop of massive scope.

P!nk roams the tightrope of self-help at times, especially when his lyrics are accompanied by epic ballads, such as Love me Anyway, but ultimately it is the confessional, intimate and credible tone of much of the journey that is imposed on a disc that also serves as a pop sound barometer. Aware that the uniform projects, the unity of style and theme are behind us, the artist leaves in the hands of her usual team of collaborators a work of consensus, which everyone can like, of varied but complementary influences. And it certifies that the idea of global pop has not so much to do with an integrative and eclectic musical vision as with the fact of proposing recordings in which sounds, rhythms and melodies of easy assimilation are represented in all corners of the planet.