Described by The New Yorker as “legendary,” and hailed as “gospel titans” by Rolling Stone, the internationally touring musicians known as The Blind Boys of Alabama will deliver a special, virtual Easter-weekend concert on April 2, the Englert Theatre presentation giving viewers an at-home audience with a group that, according to the New York Times, performs “a livelier breed of gospel music” they made “zestier still by adding jazz and blues idioms and turning up the volume, creating a sound like the rock 'n' roll that grew out of it.”

Praised by NPR for their music that “all sounds impeccable without losing its sense of lightness and joy,” the string quartet Invoke serves as the latest virtual performance in the Quad City Arts Center's annual PASS (Performing Arts Signature Series) program, with the group's March 25 concert event sure to demonstrate why the Austin Chronicle calls the group “purveyors of chamber music that busts through genres in the quartet's spicy performances.”

Iowa City-based producer landethics’ release phantom tidepools appeared in the Reader’s pages back when it was released in May of 2020, and its lovely blend of post-video game OST melodicism and tonal choices, fused with a fine-tuned sense of beat programming, won my heart.

Whoa. Here’s a nice surprise from a Quad Cities-based project that until this point has been nowhere near my personal radar. A five-track EP of mostly instrumental hip-hop beats from the Davenport duo Pariah and Robscire, Idle Hands perfectly scratches a sweet spot between the kinetic, proto-trap drum patterns and throbbing basslines of Memphis hip-hop staples such as Three 6 Mafia, and a strain of more tripped-out modern-rap beatmaking closer to, say, Death Grips.