Flack sang like she had been holding on to a secret that was waiting to become yours.

David Owen writes about the Led Zepplin guitarist, Jimmy Page, and a performance he gave with his previous band, the Yardbirds, in 1968, at a high-school prom in Cincinnati.

On his third studio album, "Horror," the genre-spanning musician deconstructs old fears and finds ways to survive new ones.

Masha Karpoukhina's documentary "The Last of the Nightingales" follows a soundscape ecologist who lost everything in a California wildfire.

Doreen St. Felix on Kendrick Lamar's Super Bowl LIX halftime show, best described as "existential."

On "Hurry Up Tomorrow," Tesfaye reaches the outer limits of his villainous alter ego, Carrie Battan writes.

The avant-garde artist cemented her fame with the achingly personal "Magdalene." Her new club album, "Eusexua," looks outward instead of inward.

Alex Ross reassesses Alma Mahler-Werfel, who gave up ambitions of being a composer to marry Gustav Mahler, was later the wife of Walter Gropius and Franz Werfel and the lover of Oskar Kokoschka, and whose romantic life has obscured her achievements as a tastemaker and a mentor.

Doreen St. Félix writes that on FKA Twigs's new record, "Eusexua," the artist both engages in exhibitionism and reveals her hermetic side-the monkishness of the night-life circuit girl.

Alex Ross on the Monday Evening Concerts series, which has showcased living composers for eight decades.