The fall season has descended upon us. It is the time of pumpkin spice lattes, trips to the apple orchard, colorful leaves and hayrides. You can finally pull out that comfy scarf you’ve been missing all summer and throw on a nice flannel.

Of course one of the biggest parts of fall is Halloween and all the spookiness that comes with it. While we can’t help you pick out your costume or provide your candy, we can recommend some Netflix movies to get you in the spooky mood.

“The Witch”

Text your coven group chat and get them to come over to see this period supernatural horror film. Set in New England during the year 1630, the film follows an English farmer who relocates his family to a remote plot of land on the edge of an ominous forest. Creepy things start to happen almost immediately with his animals, crops and children. As paranoia mounts, one question looms: is the family being terrorized by something in the forest or from within?

“The Conjuring”

Is that noise you hear in your apartment at night really just the wind? “The Conjuring” has many similarities to “The Witch.” A family moves to a remote location in New England and scary events ensue. This film is set in the 1970s in the Perron family’s secluded home. When a supernatural presence starts tormenting the family they call paranormal investigators Lorraine (Vera Farmiga) and Ed (Patrick Wilson). Soon, they all discover the house’s dark history.

“As Above, So Below”

Calling all francophiles, this next film takes place in Paris. An archaeologist has dedicated her  life to finding one of history’s legendary treasures: Flamel’s Philosopher’s Stone. After years of searching she is led to believe the artifact is in the Catacombs of Paris. She gathers a crew and documents her journey into the catacombs. The further the team descends, the more frightening things they encounter.

“Scooby-Doo”

Jinkies! If the horror movies aren’t your bag, “Scooby-Doo” is here for you. The Mystery Gang reunite after years apart on Spooky Island which is experiencing some strange happenings. It’s funny and kooky, and the soundtrack is a real trip back to the early 2000s (Sugar Ray and Uncle Kracker, anyone?). If you like this one, the sequel, “Scooby-Doo 2: Monsters Unleashed,” is also on Netflix.

“Coraline”

Another one for those who don’t love straight-up horror movies. This is a children’s movie, but coming from the director of “The Nightmare Before Christmas,” it delivers as a thriller for an older audience too. Coraline begrudgingly moves to a new home. While exploring the new house on a rainy day, she comes across a door that opens during the night. She discovers an alternate version of her life where everything is better and everyone has buttons for eyes. But the longer she stays, the more she begins to feel it might be a trap.

“Hush”

If you weren’t afraid to be home alone yet, maybe this home invasion film will get you. “Hush” focuses on a deaf writer who lives in a secluded home. Her peaceful life is rudely interrupted when a masked intruder appears at her window. A unique take on the cat and mouse plot follows.

“The Shining”

You have to respect the classics. This Stephen King adaptation has become a pop culture hallmark and is still referenced today. Writer Jack Torrance becomes the caretaker at the Overlook Hotel for the winter season. He settles in with his wife and son. They soon discover the hotel’s dark secrets and Jack’s sanity unravels.

“Boys in the Trees”

Former friends Jonah and Corey find themselves walking home together on the night of Halloween in 1997. As they begin to tell each other stories and work through their memories of high school, their stories and fears begin to come alive around them.  

“Hold the Dark”

Who’s afraid of the big bad wolf? Or is it a wolf at all? This new Netflix original film revolves around a writer who has been hired by worried parents to track down their kid. There has been a recent spike in missing children and the town believes that wolves are to blame. As the writer ventures into the Alaskan wilderness, violence breaks out in the remote town which may be holding onto a mystery more chilling than wolves.

Horror is a genre not often explored on television. There are a handful of dramas that explore supernatural elements but none of them really sit in that same vein as their silver screen companions.

“American Horror Story” was the first show in a long time to really embrace the horror genre for all it has to offer and explore it in an episodic format. “The Walking Dead” and its spin-off “Fear the Walking Dead” could be considered great horror series, but zombies have always seemed segregated form traditional horror. Now, the original content mill that is Netflix has taken a crack at it.

“The Haunting of Hill House” is a new series from Netflix which released Oct. 12. It is a supernatural haunted house story that will have you properly spooked this Halloween season.

The series is based on a novel from 1959. “The Haunting of Hill House” was written by Shirley Jackson, a novelist who helped pioneer and push the horror genre to new heights in the middle of the twentieth century. Stephen King singled out “The Haunting of Hill House” and “The Turn of the Screw” by Henry James as “the only two great novels of the supernatural in the last hundred years.” This series is not the first adaption of the novel either, two films have already been made. One in 1963 by Robert Wise and the other in 1999 by Jan de Bont with Liam Neeson and Catherine Zeta-Jones, both shortening the title to just “The Haunting.”

In the show, the book’s concept is quite heavily revised. The show follows a family of seven whose time living in Hill House changes the course of their lives forever. The narrative bounces back and forth between 1992 and 2018, piecing together the story in a perfectly frustrating manner that keeps you asking more questions.

The first five episodes focus on each of the five kids in descending order: Steven, Shirley, Theodora, Luke and Eleanor. You see them during their time at Hill House as children and a wide portion of their adult life. The horror builds slowly throughout the series as you learn each child was more deeply affected by the house, and the mystery of what happened to their mother looms in the background.

The actors in this show do an excellent job. These are some of the best child actors we’ve seen since “Stranger Things.”  McKenna Grace, Julian Hilliard and Violet McGraw, who play young Theodora, Luke and Eleanor respectively, give extremely strong performances. The adult cast is also very strong at handling both the complex storylines of the family’s drama and horror moments impeccably.

The true elegance of the show is in how well everything is shot and directed. Mike Flanagan created the series, and directed all ten episodes. He is known for his horror movies like “Hush,” “Oculus” and “Before I Wake,” all of which he also wrote. Flanagan has done well with movies, but does truly amazing work in the episodic format.

The transitions between the present and past are seamless, all led through simple movement or phrases. The tension builds so wonderfully, and the jump scares never feel like gimmicks.

The most impressive camera and acting work takes place in episode 6 where, in total, there are about five or six camera cuts. The scenes are filmed in long choreographed shots with the cameras constantly moving to follow the action of the actors and reveal the supernatural elements waiting in the wings. The movement of the camera is also used to build a tension of its own as the drama within the family comes to a head.

The show is gripping, elusive and honest. Yes, a show full of ghosts and hauntings is honest. It shows addiction and grieving and family feuds in a light that doesn’t overplay them for melodrama. At its core, the show is about the grieving process and living for a prolonged period with that emotion.

I highly recommend checking out this show, especially during this time of year. It is gathering quite a following from critics and viewers alike, so you will likely hear more about it for weeks to come.

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Troye Sivan brought a celebration to the Tower Theater. His Bloom Tour, in support of an album with the same name, hit Philadelphia this past Saturday and it was a celebration of the LGBTQ community from start to finish.

His two openers, Leland and Kim Petras, gave the show a strong start. Leland is a gay songwriter who has written with pop stars like Selena Gomez, Daya and Troye Sivan. He kicked off the night, performing his own songs like “Mattress” and “Lights,” the latter of which is featured in the new Netflix film “Sierra Burgess is a Loser.” His performance was a fun start to the night as he danced around on stage while singing.

Kim Petras is a transgender pop singer from Germany. She gave an energetic performance for an adoring crowd. I had never heard of her, but it was obvious that many people in the crowd knew her well. Her music was extremely catchy and I found myself somehow singing along by the end of most tracks. She performed her singles as well as a couple tracks from her new Halloween Mixtape “Turn Off The Light, Vol. 1.”

Petras had a strong stage presence and was great at connecting with the audience. Her overall aesthetic really reminded me of Charli XCX, who she collaborated with on XCX’s “Pop 2” mixtape. It’s great to see a transgender pop singer so welcomed by an audience. With her command of the stage and catchy hooks, I’m sure we will be seeing more of her soon.

When it was Troye Sivan’s chance to take the stage, the crowd’s anticipation was palpable. Though they had enjoyed the openers, Sivan was who they were here to see. The lights in the room dimmed and a small portion of the curtain raised for Sivan to slip through. He started his set with the song “Seventeen,” which also opens the album. His voice crooned the slow jam, capturing all the emotion and reflection packed into the lyrics.

He immediately kicked up the energy, transitioning into “Bloom.” The bottoming bop caused the crowd’s energy to explode. Everyone was dancing and singing along. The room was full of love and positive energy.

Sivan gave a great performance. His vocals were strong and his undulating body movements were mesmerizing and slyly seductive. He also expertly dealt with technical difficulties. During the song “Fools,” something was going wrong with the track. He had to stop the song in the middle, and he quickly brushed it off with a joke and moved on to album standout “Lucky Strike.” Later in the show he made it up to the crowd by giving the first performance of his new collaboration with Charli XCX, “1999.”

Troye Sivan also seemed to be a fan of Philadelphia. He called our stomping ground “one of the prettiest cities.” He and his team had been in the city for two days before the show. He had a chance to explore the city and even went out dancing at Woody’s in the Gayborhood.

Halfway into the show, Sivan came up from the depths of the set on a couch with living room lamp lighting. This set change set the mood for the next section of the show which highlighted the slower parts of his catalogue. He dueted with his backup singer for a stunning performance of “Postcard.”

Troye Sivan was a great performer and great at engaging the audience. Before performing his final song he said “Can you guys all say the word my? Can you say it three times?” This funny line led into his song “My My My!” It was a great closer to the show, full of energy and climaxing in a rave-ready remix of the track.

The Bloom tour was an entertaining show and a strong argument for letting queer musicians have a bigger voice in the industry. All three acts put on great performances from start to finish. I hope to see all of them coming back to perform in Philly soon.

Amy Shark is an Australian singer-songwriter who has gained a lot of buzz over the past two years. Her first major single “Adore” has gone 3x Platinum in Australia and her debut studio album “Love Monster,” released in July, climbed to number two on Billboard’s Heatseekers Album chart. Her music is mixture of angsty alternative and pop music that focuses on articulating emotions and honesty. The Triangle got the opportunity to interview the rising artist over email as she embarks on the North American leg of her “Love Monster Tour,” which makes a stop in Philadelphia Oct. 10 at Underground Arts. This interview has been edited for clarity.

The Triangle: When did you start writing songs?

Amy Shark: When I was in high school.

TT: Was there a specific reason why you started?

AS: It was just a way of digesting all the drama that usually goes down in high school and a few years after.

TT: I’ve seen you described both as an alternative artist and a pop artist. Do you identify more strongly with one of them or does the label not matter to you?

AS: I don’t think the label really matters — I guess I’m alternative because I talk about real topics and don’t usually censor my lyrics and I do it in a way that sounds like “pop.” I’m tricky like that lol.

TT: One of the most intriguing parts of your music is the honesty and vulnerability. Did you make a conscious decision to open up through your music or did it just come naturally with writing for you?

AS: It came really naturally. I never have to think. I just document personal moments. The key is picking the right moments to talk about.  

TT: “Adore” was the single that really got everyone’s attention, can you talk a bit about writing that song?

AS: “Adore” was written in about 10 minutes. Just one of those enlightening moments that happens every now and then and it’s such a great feeling when it happens. It’s almost like meditating. You just completely zone out.

TT: You have a song on the “Love, Simon” soundtrack called “Sink In.” Can you talk a little bit about how that came to be?

AS: I went on tour with Jack Antonoff and we became good friends and he was the musical director for that film. Julia Michaels actually wrote the song and he asked if I could sing it. I loved the song and felt that it sounded like something I’d write anyway. Plus, I really wanted to be involved with the movie somehow. It’s such a beautiful coming-of-age film.

TT: How did the creation and preparation of “Love Monster” differ from “Night Thinker?”

AS: I was pretty lucky in that I had already written a lot of the songs for “Love Monster” straight after I finished writing “Night Thinker.” I also ended up with way more songs as I continued to write while I was on the Night Thinker Tour. I was just really inspired and had plenty to talk about.

TT: Which song on your debut album means the most to you? Why?

AS: That’s a very hard decision. I’m very connected to all of them, but if I must choose I think “I Said Hi” is a real anthem for me, and I love hearing how much it is inspiring so many people to fight for what they believe in.  

TT: The current single is “All Loved Up.” What’s the story behind that song and what was it like to work with Jack Antonoff after touring with him?

AS: Working with Jack was a HUGE deal for me. I had a few lyrics for “All Loved Up” up my sleeve before I went into the studio with him. He wrote this beautiful piece of music and it didn’t take long before I started coming out with lyrics and a story. The music is so big and dreamy and I was on a high at the time. I was in Los Angeles, it was a beautiful day, I was working with one of the best producers in the world and I was “All Loved Up” lol.

TT: What’s your favorite memory from touring and performing so far?

AS: Playing on the main stage at Splendour in the Grass, Australia’s largest winter music festival will be something I’ll remember forever. I played a really fun show in Berlin and some chick threw a bra on stage so that was cool.

TT: How do audiences in Australia differ from those in America?

AS: I’m obviously a little more known in Australia, but the crowds that come to my shows in the U.S. are into it hard! They do their research. They know all the words to every song! Old and new.

TT: What other musicians inspire you whether in the studio or on stage?

AS: Tom Delonge, Amy Winehouse, Jack Antonoff, Post Malone, Johnny Cash, Kurt Cobain and Patty Smith.

TT: What other Australian artists would you recommend the American audience check out?

AS: Cub Sport, The Smith Street Band and John Farnham.

It was a great summer for new music. There were lots of heavy hitters dropping straight fire. From The Carters to Florence + the Machine, from Drake to Ariana Grande, all that was G.O.O.D. Music month and so much more! It was a lot to keep up with, and I’m sure a lot of us are still enjoying these fruits.

But, now we are in a new season! More great music will be released as artists either to try get their albums in before the Grammy eligibility deadline or prepare for tours next year. Many albums are yet to be announced, but here are some releases we already have the details on.

September has already begun, and there have already been new releases from Lenny Kravitz, Carrie Underwood and Liam Payne. Still to come are albums from Josh Groban, Jess Glynne and Rod Stewart.

Josh Groban’s new album “Bridges” is the singer-songwriter’s 8th album and is set to come out on Sept. 21. Groban is a classic balladier, known for songs like “You Raise Me Up,” “To Where You Are” and “You Are Loved.” To promote “Bridges,” Josh Groban will be touring this fall with Idina Menzel.

British rock singer Rod Stewart is releasing a new album, “Blood Red Roses,” on Sept. 28. The rock legend has sold over 100 million albums worldwide with his first 29 albums. “Blood Red Roses” will be his 30th full length release.

Another highly anticipated release in the legend category is on the way, this time with two music legends involved. Goddess of Pop Cher floated the idea of releasing her new album of ABBA covers in September on Twitter a couple months ago. Since she has teased the tracklist and dropped her cover of “Gimme! Gimme! Gimme! (A Man After Midnight).” She absolutely slayed her performance in “Mamma Mia: Here We Go Again” this summer, so this should be a great album when it arrives Sept. 28.

Twenty One Pilots are due to release their new concept album “Trench” Oct. 5. The band has been pretty quiet over the past year since finishing up their massive tour for “Blurryface.” But, the lead singles “Jumpsuit” and “Nico and the Niners” indicate they aren’t changing much about themselves after gaining a huge audience and winning some Grammys.

Jess Glynne will release her sophomore album Oct. 12. You may remember Glynne from her collaboration with Clean Bandit “Rather Be” or her hit single “Hold My Hand.” Her new album, “Always in Between,” was announced back in June after the release of lead single “I’ll Be There.”

Also coming Oct. 12 is the fourth album from American rock band Young the Giant. Led by the release of singles “Simplify” and “Superposition,” their new album is called “Mirror Masters.” The band has been consistently delivering great music, so this is sure to be a treat for fans. The band will also be on tour this fall to support the album.

The rest of the fall will be filled with releases that don’t have official release dates announced yet.

Hip-hop “boyband” Brockhampton has also announced their upcoming project titled “Iridescence” that will be releasing on an unspecified date in September. This album will be the group’s first since the release of their last LP “Saturation 3” in December of 2017. The group has thus far dropped four singles suspected to be on the upcoming album in “1999 Wildfire,” “1998 Truman,” “1997 Diana” and “Don’t Be Famous.” “Iridescence” also marks the first full length project the group has released since the departure of founding member Ameer Vann, who left the group earlier this year among accusations of sexual misconduct and abuse.

The 1975 will release “A Brief Inquiry Into Online Relationships” this fall. The indie band from Manchester have been teasing fans online all year with hints about the album. Two singles from the album have been released so far: “Love It If We Made It” and “Give Yourself a Try.”

Fresh off her win at the Grammys for Best New Artist, Alessia Cara will release her sophomore album “The Pain of Growing.” The lead single “Growing Pains” was released in June and introduces the concept of the album: the changes and difficulties that come with growing out of your teen years.

There are also many artists who have confirmed they have a project coming before the end of 2018, but have given no other details. Bastille, Robyn and Sabrina Carpenter have all released singles that they say are leading to an album before the end of the year. Former Disney star Ashley Tisdale has also said she will be releasing her third album, “Symptoms,” this fall.

Philadelphia is a city with a strong musical presence and culture. There are a variety of concert venues and dozens of shows throughout the city each week. If you’re craving a musical fix this fall here’s some of the big shows you can expect to see in Philadelphia.

Joan Baez — Kimmel Center — Sept. 26

A true living legend of the ’60s, Joan Baez’s voice served as a source of hope during a dramatic social revolution. Baez became a countercultural icon and a star of the folk-revival genre without ever pandering to rock audiences. She was instrumental in bringing the music of Bob Dylan to a bigger audience, amplifying his graceful melodies in her own way in her covers of Dylan’s work. Throughout her career she has genre hopped from folk to country , and has even dabbled in sound collage.

Her most recent release is “Whistle Down the Wind,” which was her first album since getting inducted to the Rock and Roll Hall of Fame in 2017. Baez will perform at the Kimmel Center Sept. 26.

Leon Bridges — The Fillmore —  Sept. 30 & Oct. 1

Soul singer Leon Bridges will be performing not just one, but two shows at the Fillmore on his headlining tour this fall. His newest album “Good Thing” was released this past May and has garnered strong critical praise.

The Texas native continues the traditions of soul singers from the ’50s and is praised for both his rich vocals and sense of style. The two-time Grammy nominee is sure to put on great shows along with his supporting acts Jon Batiste & Stay Human, Khruangbin and Masego.

Troye Sivan — Tower Theater — Oct. 6

Australian singer and actor Troye Sivan has excelled in recent years at making LGBT-centric ambient pop music. His debut album, “Blue Neighbourhood” peaked in the Top Ten in Australia, New Zealand and the United States led by the singles “Wild” and “Youth.”

Now he’s returned with sophomore album “Bloom” and he’s ready to take it on the road. Troye Sivan comes to Philadelphia Oct. 6 supported by Kim Petras.

Radio 104.5 Endless Summer Show — Xfinity Live! — Oct. 6

Radio 104.5 will close out their popular summer block party series on Oct. 6 with their Endless Summer show. The line-up for the afternoon includes Bleachers, Nathaniel Rateliff & the Night Sweats, The Wonder Years, Two Feet, The Unlikely Candidates, Mo Lowda & the Humble, Castlecomer and Cold Fronts.

The event is free but you need to have a ticket to get in. Check the Radio 104.5 website for details on upcoming ticket downloads and raids.

J.Cole — Wells Fargo Center — Oct. 6Cole has come a long way since being the first artist signed to Jay-Z’s Roc Nation label.

Earlier this year, Cole released “KOD,” which instantly topped the charts. The release is a cautionary concept album tackling subjects like addiction, as well as his own personal demons.

Now the North Carolina rapper brings this new album out on tour. You can catch him at the Wells Fargo Center with Young Thug, Jaden Smith, Earthgang and Kill Edward.

Death Cab For Cutie — Tower Theater — Oct. 9 & 10

Despite starting out as a side project for singer/guitarist Ben Gibbard, Death Cab For Cutie quickly became a full-time project and smash success in its own rights. The quartet has released nine studio albums and gained notoriety for their use of unconventional instrumentation, as well as Gibbard’s distinctive voice and unique lyrical style.

The indie rock band released their most recent album “Thank You For Today” in August. They will perform two nights at the Tower Theater with support from Charly Bliss.

Florence + The Machine — Wells Fargo Center — Oct. 14

Florence + The Machine released their fourth album “High As Hope” at the end of June. Front woman Florence Welch writes songs blending pop, soul, and intricate arrangements into a sound that has captured the industry’s attention. “High As Hope” shows a new, more vulnerable side of Welch and a more restrained effort from the band.

The group is launching their world tour this fall. They’ll be stopping by in Philadelphia on Oct. 14 with support from Grizzly Bear.

She was just doing it for the fame, and though it was a slow start, she succeeded. Lady Gaga’s ascent to pop stardom began with her debut album “The Fame” which turned 10 years old last week. Though she did a complete 180 visually and sonically on her most recent release, “Joanne,” it was “The Fame” that made her a household name. It introduced a new approach to stardom and ushered in the wave of dance music taking over the radio.

When “The Fame” first dropped it didn’t make a big splash. The dark eurodance pop sound that she created with producer RedOne was nowhere on the American airwaves. Radio programmers and record buyers couldn’t see it working out so they didn’t push it to the public.

It wasn’t until “Just Dance” managed to crack into public consciousness that the album started to gain traction. Released in April before the album, “Just Dance” was meant to be a fun song about letting go of your problems for a night. It was a message that clicked with the public which was struggling to stay optimistic during the financial crisis.

Though the radio had pushed Lady Gaga to the side, the club scene and the internet embraced her immediately. And it makes sense, she had come up through the club culture. Lady Gaga was a stage name she had adopted while performing at cabaret clubs and neo-burlesque shows in Manhattan with her friend Lady Starlight. She was posting songs to MySpace before she had the record deal that would allow her to release “The Fame.” By the time her debut single was released she had already started harnessing the power of Twitter and Facebook which many established artists weren’t even doing yet. She knew how to make a splash in these new frontiers, the old guys would just have to catch up.

Months later they did. After five months of climbing, “Just Dance” hit number one on the Billboard Hot 100 in January of 2009. It was also nominated for a Grammy in the Best Dance Recording category.

If “Just Dance” had been the only song able to breakthrough to the airwaves, Lady Gaga could have been forgotten by the time a second album could be made. But, “The Fame” was full of radio ready hits. Once she had proven to radio that dance music would connect with the public, the rest was easy.

“Poker Face” was the second single and surpassed the massive success of “Just Dance.” It was darker, and the lyrics were full of innuendos. The hooks though, were undeniably catchy. There are so many motifs in the song that burrow into your head. Whether it’s the chorus melody or the “mu-mu-mu-maw” that starts the song or the vampy “p-p-p-poker face, p-p-p-poker face” outro. The song also made it to the top of the Billboard Hot 100, and is one of the best selling singles of all time with over 14 million copies sold.

As “Just Dance” started to gain attention, so did Gaga herself. “The Fame” presents Lady Gaga as if she is already a star. The songs talk about money, drugs, sex, the paparazzi and other symbols of wealth and celebrity. Though no one knew her, it was as if she was an established diva you should have been aware of. “How have you not heard of Lady Gaga?” the songs seem to beg.

Her willingness to play the part was most present in her fashion choices. There was no need for a red carpet, she would dress outlandishly whenever and wherever she might be seen. It would be years before the infamous meat dress or showing up in an egg, but still she was attracting attention with crazy shiny patterns, extremely high heels and hair bows. Pictures of her outfits would fill tabloids for years.

It was the last single from “The Fame,” “Paparazzi,” that best showed how Lady Gaga could manipulate fashion and visual arts to further her career. Jonas Akerlund directed a narrative music video for the song telling a story of fame, revenge and full of avant-garde outfits. It is probably the most memorable music video from this era of Gaga.

It was followed by a memorable performance at the MTV Video Music Awards, in which she adapts parts of the music video on stage and ends up hanging from the ceiling covered in blood. It had everything that Lady Gaga was about: avant-garde fashion, pumped up theatrics and shock factor that would get the internet and the media talking.

Beyond the singles, “The Fame” holds strong. There isn’t a moment where she gives up the act or tries to veer into another genre. There are few, if any, songs that sound out of place among music today.

“The Fame” gave Lady Gaga a strong foundation to build off of, and it remains her most influential work. The sound of “The Fame” would lead the way for the music that defined the early 2010s. It made space on the radio for EDM artists like David Guetta and Calvin Harris, and broke down barriers for queer people in the mainstream.

Ariana Grande has been delivering strong pop albums since she debuted with “Yours Truly” in 2013. Her voice drew instant comparisons to divas of the ’90s. Critics would talk about Mariah Carey, Celine Dion and Christina Aguilera while reviewing her work. But recently, Grande has been striving to find her own voice.

On her new album, “Sweetener,” Ariana Grande is distinctly herself, from the songwriting to the immaculate production to the incredible vocal performances. It is Grande’s boldest and most honest body of work to date.

“Sweetener” doesn’t sound like any other pop music being made right now. It’s experimental, working with odd chord changes and finding where the trap trend fits into pop music. Its embrace of trap music feels more genuine and more successful than attempts by contemporaries like Taylor Swift, Miley Cyrus and Selena Gomez.

It probably works so well because this is not Grande’s first flirtation with trap elements. More than any of her three previous albums, “Sweetener” is most sonically similar to her holiday EP “Christmas & Chill.” Released in 2015, “Christmas & Chill” was straight out of left field when it came to holiday music. It used dark synths, stuttering cadences and lots of innuendo. The EP was the first sign of a very different side of Grande — which is what could distinguish her as a unique artist if she were to stop catering to the mainstream.

And that’s exactly what she did with this album. She made the music she’s always wanted to make; the music that felt true to who she is. She stopped caring about what people wanted to hear and what people thought shouldn’t be said because she had been shown that life is too short.

When Grande decides to say whatever the hell she wants, a song like “God is a Woman” emerges. It’s “Dangerous Woman” 3.0: sexier and more powerful. The rap influenced verses provide a foil to the over the top chorus melody. The song erupts at the end with what feels like hundreds of Ariana Grande clones uniting in a gospel choir to close out the track a cappella.

On her past three albums, Ariana Grande has proven that she has a voice that comes once in a generation. She has sung all the whistle tones and done all the vocal gymnastics. On “Sweetener” however, she performs more of a vocal ballet. Equally as agile, but more graceful and less exhibitionist. She brings out new parts of her voice, and she takes overdubbing to a level that may go beyond the Beach Boys.

The vocal arrangements are what take the simple ideas of “Sweetener” to the next level. You would be hard pressed to find a major label pop record with this amount of vocal harmonies in recent years.

The song “R.E.M,” a reworked version of an old Beyonce demo, is full of dreamy and flirty harmonies that interact with the main melody and give the song a spacey atmosphere. In the refrain, Grande brings out her lower register for the first time. Though her high notes and whistle tones are what she’s famous for, her lower register is equally enticing. It’s thick and soulful and really puts the track over the top.

Another track that stands out for it’s vocal arrangement is the soulful album closer “Get Well Soon.” Written after experiencing an anxiety attack, the song is Grande at her most vulnerable. Though it’s written in the second person, it is obvious that she is at least in part talking to herself. The track is relatively sparse, just piano, bass and snaps, but Grande fills the space with a multitude of voices. So many voices in fact, that she and producer, Pharrell, maxed out the number of tracks allowed on ProTools. It’s a totally bizarre chord structure and song structure but it is so perfectly executed.

“Breathin” is another standout moment on the record. It is one of the most straightforward pop songs on the album, but likely one of the best pop songs released this year. It’s an empowerment pop song that is woke enough to acknowledge that everyone is out here struggling. Grande repeats the title to the point where it feels like a mantra used to push through dark times. Like many of the songs on “Sweetener” it is a product of and about the state of the world and the political environment, yet at a deeply personal level.

Though work on “Sweetener” was underway before the bombing at Ariana Grande’s concert in Manchester last year, its effect on Grande is present throughout the album. While planning the One Love Manchester show, Grande received advice from Charlotte Campbell, mother of 15-year-old victim Olivia Campbell.

“You play the hits, you sing your heart out. You make everyone get up and dance and smile and sing along with you,” Campbell said to Grande.

It seems like Grande wanted to continue doing that when approaching the album. “Sweetener” is all about positivity, and rarely slows down to ballad tempo. The attack is never directly referenced but that makes it even more powerful.

In a time when we are told albums are becoming irrelevant, “Sweetener” is really a full body of work best appreciated as such. There isn’t one song that captures the full emotional breadth or sonics of the album. Grande takes the listener on her personal journey, and shows us that even in the most horrible situations someone or something is out there to sweeten the situation and bring us back down.

There comes a point when you doubt that they are going to come back. The singers you love release their album, promote it, probably go on tour, and then disappear to craft their next big works. Though the disappearance is part of the cycle, a musician’s return is never guaranteed.

When Robyn released “Body Talk” in 2010, she had been releasing music since the mid-’90s. She started at age 15 and never really stopped. By 2010 she was ahead of the game.

“Body Talk” was innovative in both its content and its release. The hit singles from the album, “Dancing on my Own” and “Call Your Girlfriend,” are the genesis of the mainstream sad dance pop trend we are experiencing now. It was the seeds of Dua Lipa, Lorde and more. Lorde and her collaborator on “Melodrama,” Jack Antonoff, are not shy about their love for Robyn. They covered “Hang With Me” together and Lorde posted on Tumblr that “Dancing on my Own” is the song she would select to send out into space.

It’s a simple concept: a thumping bass, a sweeping synth and raw emotion. But it is hard to meld these elements into pop music magic. Something intimate and honest, but also widely relatable and anthemic. Robyn took sad dance pop to a new level and hit the nail on the head every time. As many Swedes before and after her, she can’t seem to help but craft pop music magic.

“Body Talk” was released in three parts. Though fresh and intriguing at the time, it is much closer to release strategies these days for artists trying to compete for attention in the streaming world. John Mayer and Bea Miller are examples that immediately come to mind.

After “Body Talk,” Robyn experienced a new level of fame and success. “Dancing on My Own” became her signature song, and was covered by amateurs and professionals alike. Her music video for “Call Your Girlfriend” was spoofed on “Saturday Night Live” the week that she performed on the show. Then, she stepped back.

For seven years, Robyn didn’t release any original solo material. She did a couple of collaborative EPs and popped up for a DJ set at Boston Calling. In this time a whole new group of fans came to know Robyn, including myself. Still, there were no signs of her returning to pop music.

Then last year, during an episode of the final season of “Girls” there was the first signal that she might return. A new Robyn song entitled “Honey” was handpicked by Lena Dunham for her show’s final season. The song didn’t receive an official release, but the rumblings of Robyn’s return started.

Last week, the return became official. A mini-documentary from Robyn was released on the internet. “Robyn – Missing U – A Message to My Fans” is about a regular club night that features all-Robyn music. The creators, DJ Choyce Hacks, DJ A Place Both Wonderful and Strange and DJ Cherry Magdalene, call it “This Party is Killing You,” a twist on the track from “Body Talk.” In the documentary, the party’s creators encourage fans to leave voicemails for Robyn trying to get her to come to the party. Robyn talks about how much she appreciates the support from her fans and talks about how the new song is in a way a message to them. She ends up going to the party and her fans obviously are shocked and surprised and in awe.

This was the prelude to the official release of the single “Missing U” Aug. 1. Sonically, the song picks up exactly where she left off with “Body Talk.” It starts with a swirling arpeggiator that circles around a vast space. A stinger hist just before Robyn’s voice hits. It feels like a proper beginning. Then comes the four-on-the-floor beat. On top of that, a stuttering synth subdivides the beat to keep it interesting. That’s two out of the three elements: a thumping bass and a sweeping synth.

The third element is what is different about this track. Yes, “Missing U” is still chock full of emotion, but the subject of that emotion is approached from a different perspective. Most Robyn songs are vignettes of relationships becoming something different. Take “Dancing On My Own.” Her boyfriend has left her, and now she is watching him in the club with a new girl. “Call Your Girlfriend” is about the sidechick replacing the girlfriend.

In “Missing U,” the relationship becomes nothing. That absence of something occupies all the lyrics of the song. The “empty space”, the “picture incomplete, the “residue.” There are many songs about a person exiting your life, but Robyn’s ability to hone in on the absence rather than the person that left is what makes the song so ingenious.

Elements of the track drive home the premise of absence. Though all the instrumentals could potentially work together to create a fierce wall of sound, they never all appear together and the track is pretty sparse throughout. The closest we get is when the two main synths crossfade at the end of the second verse. The two synths are in different octave ranges too. If only for a moment, when they trade off your ear is pulled to the range that is not longer present. Somehow the arpeggiator implies a distinct circular shape. It feels like it’s a circle in thick red marker trying to get your attention. “Here, right here. This is what’s missing.”

Probably, the best part of the song is that it feels age appropriate. As women get older in pop music it feels like they constantly are trying to act younger (cough, cough, “Bitch I’m Madonna”). Robyn, 39 now, has created a song that doesn’t feel like it is supposed to be sung by a woman of a certain age. It’s just a relatable song.

I could go on about how incredible this song is, but I won’t. Robyn has returned to reclaim the throne of her pop music niche. I’m very excited to hear the rest of the album, which is due before the end of the year.

April means the start of music festival season. For about 20 years now, Coachella has attracted thousands of music fans to Indio, California. The music and arts festival has penetrated culture in a way that no other American festival has yet to do. With many celebrities in attendance, the festival has garnered a certain allure and become its own fashion event.

The festival takes place over two back-to-back weekends. The first round of this year’s installment took place this past weekend. Performers included the likes of The Weeknd, Haim, SZA, Borns, Eminem, Cardi B and many, many more. Thanks to Coachella’s partnership with YouTube, fans around the world were able to take in a large portion of the festival via livestream.

Perhaps the most highly anticipated act to take the stage was the Queen Bey. Beyonce had been announced as a headliner for last year’s festival, but did not end up performing due to her subsequent pregnancy. When she announced her performance cancellation, Beyonce promised to return the next year. Lady Gaga took her slot, and she welcomed twins Rumi and Sir Carter into the world just two months after the festival took place.

Staying true to her promise, the singer took the stage on day two of the festival. And she gave the crowd much more than anyone could have predicted. Her performance made her the first African American woman to headline the festival since its inception.

Music festivals have largely become about curating a vibe. Musicians are strategically placed on different stages throughout the weekend so that the crowd can ride the wave of music, rarely disrupted by dramatic shifts in genre or arrangement.

Beyonce threw this idea out the window, and it was obvious from the moment her set began. A lone female drummer stood in the spotlight. As she gradually sped up into a roll, the camera zoomed in. She cut, and blew a whistle to count off. In came the sound of horns. A lot of horns. Then came the step team. This was not going to be your average festival set.

Beyonce strutted from the satellite stage dressed as an Egyptian queen. She didn’t utter a single word before disappearing behind her grandstand stage set. While the step team went at it downstage, the lighting racks rose to reveal the marching band and approximately 100 other dancers, backup singers and other instrumentalists.

When Beyonce re-appeared at the top of the set she was in jean short shorts and a yellow cropped hoodie repping her self-made sorority Beta Delta Kappa. The band went quiet, as everyone turned in her direction. The crowd was screaming their heads off.

The performance was a tribute to historically black colleges and universities steeped with culture, history and intriguing rearrangements of Beyonce’s hits. Throughout the almost two hour set she payed homage to the traditions of black fraternities and sororities through dance, skits and voice over. There were also excerpts from speeches by Malcolm X and Chimamanda Ngozi Adichie.

The music flowed from song to song with few breaks. It was arranged more like a symphony than a series of songs. The setlist was packed to the brim with Beyonce hits, but the arrangements also interpolated many Jay Z cuts and classic hip-hop tracks.

She also took a moment out of her set to perform “Lift Every Voice and Sing.” The song is often referred to as the African American National Anthem. She sandwiched the 118 year old hymn between her own powerful black anthems “Freedom” and “Formation.”

After “Formation” came another track from “Lemonade,” the kiss-off anthem “Sorry.” The Queen took this song to a new level, pausing the track for a rousing, emphatic step chant of “Suck on my balls.”

The choreography throughout the show was intense and precise. Minor deviations were made towards the end in what seemed like an attempt to avoid a wardrobe malfunction. But, she barely let it show, and didn’t let it take away from the performance.

Many of Beyonce’s contemporaries have deemed it acceptable to stop singing if they are doing a bit of intriguing choreography (I’m looking at you Justin Timberlake). But, Beyonce’s vocals power through the choreography. It seems as if she isn’t even breaking a sweat. Her ability to perform insane vocal runs while dropping it low, picking it up and twirling it around should be studied by doctors to confirm she’s actually human.

Many classic Beyonce tracks that we hadn’t heard in a while were revived during the set. She obviously took the time to figure out which songs would sound best with the full band backing, and match the HBCU theme.

One of the most surprising setlist choices was “Deja Vu.” Off the 2006 album “B’Day,” “Deja Vu” is one of the most neglected Beyonce / Jay Z collaborations. It wasn’t even performed when they went on tour together in 2014. It was a welcome surprise to hear the song performed.

Another welcome surprise was the Destiny’s Child reunion! This year marks 20 years since the release of the girl group’s eponymous debut album. Kelly Rowland and Michelle Williams joined Beyonce on stage to perform “Lose My Breath,” “Say My Name” and “Soldier.” The reunion was one of the most talked about moments on social media the next day. Rowland and Williams’ ability to still shine next to Beyonce is incredible. They were much better than they had been during Beyonce’s Super Bowl performance.

Yet another guest appearance was made by Beyonce’s younger sister, Solange Knowles. The duo did the dance break from the “Get Me Bodied (Extended Mix)” together, redefining sibling goals.

She closed her performance with “Love On Top,” encouraging the crowd to sing along through all four key changes.

From start to finish, Beyonce’s set was mesmerizing. The performance was bigger than Coachella. It felt like its own special event. It will be interesting to see where Beyonce heads next as she prepares for the On The Run II tour with Jay Z this summer.