Lindsey

Lindsey Buckingham has released only four albums as a solo artist in 25 years. While he remains active as a producer and session musician, this is his first offering in 14 years. Those who saw Cameron Crowe's film Elisabethtown got a sneak peak: Buckingham's "Shut Us Down" was featured in the film. Under the Skin is perhaps the most nakedly visible and tender recording he's ever dropped. He wrote much of the set while on tour with Fleetwood Mac in 2003…

Lindsey Webster is the undisputed queen of Smooth/Contemporary Jazz vocalists. She is the first vocalist to score 4 #1 smooth jazz radio hits in a row. The debut single from Reasons, "I Didn't Mean It," has already reached top 10 on the Billboard Contemporary Jazz Radio Chart!!! Reasons, featuring a star-studded Grammy winning cast, elevates Lindsey Webster's sensuous artistry to a new level. Highlights such as the sensuous "Just The Night," the soulful "Stay With Me" and the spirited "You Take Me" make Reasons a must have album!

Corruption? Betrayal? Persecution? Tyranny? These subjects resonate with the current events of the twentieth and twenty-first centuries. They also provide the subject matter of many seventeenth-century musical works. Kate Lindsey has chosen to devote this second Baroque recital with the English ensemble Arcangelo directed by Jonathan Cohen (following Arianna in 2020, ALPHA576) to the figure of Nero. Scarlatti, Handel and Monteverdi wrote works focusing on this tragic protagonist and his entourage, including his mother Agrippina and his wives (Poppaea and Octavia). Interpreted with incredible intensity by the American mezzo-soprano, the programme features world premiere recordings of two cantatas: Alessandro Scarlatti’s La morte di Nerone (c.1690) and Bartolomeo Monari’s La Poppea (1685). Tenor Andrew Staples and soprano Nardus Williams join Kate Lindsey for duets from L’incoronazione di Poppea, including the sensual ‘Pur ti miro’.

Lindsey Buckingham quit Fleetwood Mac after the release of their Tango in the Night album in 1987 and spent the subsequent five years working on his first post-Mac solo album, Out of the Cradle. Perhaps because he was now focused on his solo career, Buckingham reined in the experimental style of his first two albums, producing more conventional, accessible material, much of it similar to his later work with Fleetwood Mac…

It is positively spooky how consistently interesting Lindsey Buckingham's 30-year solo career has been. For a musician whose core creative philosophy seems rooted in the way art emerges from dramatic chaos, his own output—both within and without Fleetwood Mac—always manages to be immediately familiar and completely surprising. And although it's been ten years since his last proper solo album, his 2017 collaboration with Christine McVie (featuring Mick Fleetwood and John McVie) felt more like "Buckingham with guests" than the "Fleetwood Mac without Stevie Nicks" album the lineup suggested, as it leaned heavily on Buckingham's unique vocal and guitar phrasings.

Lindsey Stirling brings her futurist world of electronic big beats fused with violin, dance, and animation to London s Forum Theatre. Filmed live during her Shatter Me World Tour, the 90 minute live show features her smash single Shatter Me along with several other tracks from her sophomore album which debuted at #2 on Billboard s Top 200 album chart.

The eponymous debut album from YouTube sensation and America's Got Talent quarterfinalist Lindsey Stirling – the colorful and uncommonly spirited classical, hip-hop, rock, country, modern dance, and Legend of Zelda/Elder Scrolls-loving violinist – features ten original tracks that dutifully reflect all of those aforementioned styles and influences with moxie to spare. Propelled by the engaging electronic and dubstep-infused single "Crystallize," which yielded 11 million views in less than two months when it was released in its video form in early 2012, Stirling's debut carves out a unique new niche in the classical crossover genre.

Wielding her violin like a huntress' bow, Lindsey Stirling focuses her classical crossover vision with a deeply imaginative concept for her fifth album, Artemis. Named after the Greek goddess of the hunt and the moon, the effort finds Stirling hitting her artistic stride with a grand soundtrack to a movie that doesn't yet exist, like a neon cyberpunk take on Howard Shore's Lord of the Rings score. Making her early work feel small-scale by comparison – early-2010s tracks like "Song of the Caged Bird," "Beyond the Veil," and "Heist" come closest to what she's offering here – Artemis also benefits from fewer special guests, which was a distraction on her previous full-length, Brave Enough.