It’s the end of the year, time to reflect.
We’ve given up judging “the best” music of the year, that’s apparently too subjective a task, or too hard to do these days with any art; especially in our divisive social media bubble world, where influencers getting paid to hawk products they get for free is fine, but critics and writers expressing different opinions is outrageous.
To be fair, nobody hears everything anymore (there’s simply too much of it) and people may trust algorithms now more than other people. Below, some regular Style music contributors – and our general manager Macaulay Hammond, who has booked music festivals – weigh in on their own favorite albums, concerts, musical moments, really whatever they want to highlight. We got quite a bit of writing in response, which seems to indicate that it was a good year, indeed. At least for some things.
Warning: If too many words alarm you, there’s a lot of scrolling ahead (over 6,500 words), but it’s broken up into lists with a lot of videos and photos along the way. Our hope is that you might discover something new, or at the very least, feel vindicated that somebody else shared one of your favorites. Lest we forget, it’s all about the shared love of music.
Merch Table Moments
by Davy Jones, freelance music writer
Miracles happen at the merch table. Wishes are fulfilled. Inspiration strikes. Heroes scribble with Sharpies like mere mortals. Picking my favorite albums or shows from a calendar year can feel overwhelming, but merch table moments? Those are indelible in a way that makes for easier listing. Here are a few that made 2025 a magical year on my end.
Rikki Rakki at Friday Cheers (May 9)
When Rikki Rakki played Friday Cheers, the Richmond-based rock band had just released an EP titled “Sing, Cicadas!” The timing was impeccable, given that its second song, “James River,” could double as a theme song for the riverside concert series, with lyrics about absconding spontaneously to the James. I was overjoyed to see T-shirts decorated with the first line of the chorus: “Take me to that river.” I bought one, put it on immediately and wore it to every subsequent Friday Cheers last season. I can’t wait to break it out again upon Cheers’ return after the Brown’s Island renovation. I thought it’d be overkill to also get the poster screen printed with the same design but ended up changing my mind and buying one directly from Rikki Rakki singer Erika Blatnik. Those lyrics now function as a mantra: Whatever trials lie ahead, renewal awaits on Brown’s Island.
Mackenzie Roark & the Hotpants at Get Tight Lounge on (June 6)
I was so thrilled to be interviewing Mackenzie Roark ahead of the release of her new album with the Hotpants, “Ghost of Rock and Roll.” And I entered anticipatory merch heaven when, near the end of that conversation, Roark described what would be available for purchase at the album’s release show, from vinyl and CD copies of the album to shirts, guitar picks, buttons and actual hot pants — also, intriguingly, a limited run cassette with demos of tracks from the new album. The show itself was a blast, but securing a copy of that cassette, bringing it home and popping it in my tape deck was uniquely satisfying, like the experience of learning about the album was truly complete. Did I get myself a pair of hot pants? No, but maybe when Roark’s next album comes out?
Charlie Hunter at Révéler, Spacebomb Studios and Richmond Music Hall
Guitar-bass hybridist Charlie Hunter truly blessed Richmond in 2025, and I have the signatures to prove it. He signed a copy of “People Please” by the Sam Fribush Trio after playing a June trio set with Fribush and Butcher Brown drummer Corey Fonville at Révéler. Less than two weeks later, Hunter put his John Hancock on “Different Strokes for Different Folks,” his 2025 duo album featuring fellow guitar innovator Ella Feingold, after playing at Spacebomb Studios with a trio led by Grammy-nominated drummer Nate Smith. A few months later, after leading a trio of his own at Richmond Music Hall, Hunter added his signature to a reissued copy of “Right Now Move,” his 2003 quintet album. I would have left 2025 feeling spoiled had I seen Hunter play once. But three times in five months? I might start carrying my own Sharpie around — just in case.
Yasmin Williams at the Tin Pan (Sept. 17)
Technical brilliance can sometimes leave you feeling intimidated. Not Yasmin Williams’. The guitarist is known for her rich instrumental compositions and unconventional playing, which includes various percussive implements and hammer-on notes played with the guitar on her lap. If you’ve seen a show of hers you know she’s also an endearing storyteller who uses the time between songs to explain what she’s doing and even encourage attendees to try these approaches themselves. To that end, the merch table array outside her September set at the Tin Pan included a variety of thumb picks — not branded with her name, but for sale anyway to attendees interested in trying out a new picking approach. For just $5, I brought home a functional reminder of the unique generosity with which Williams engages her listeners.
Goose at Allianz Amphitheater at Riverfront (Oct. 2-3)
I picked up some killer posters this year, but only one was bought with tuna. It all started at the Carytown Kroger, where my 11-year-old and I scanned 25 nonperishable tuna packets that could be traded for poster art commemorating Goose’s two-night run at Allianz Amphitheater at Riverfront in October. This was my second go-round securing a poster offered by the Conscious Alliance, a nonprofit that works with jam bands to turn that scene’s poster mania into positive impact. (The first was part of a toy drive outside Hampton Coliseum ahead of Goosemas 2023.) I do regret not snagging the stunning iguana-themed poster created for the Allianz shows by Hannah Tatum Norris of the Grass Spot. Still, turning tuna into art? That’s pretty magical.
Liam Kazar at Lewis Ginter Botanical Garden (Oct. 25)
I was so impressed with Liam Kazar, who performed a solo set opening for Wilco frontman Jeff Tweedy at Lewis Ginter, that I rushed to buy a copy of Kazar’s 2025 album, “Pilot Light,” during the set break. This checked two boxes, in terms of merch table magic. For starters, it was one of those rare cases where you go from zero to 60 in terms of fandom: from not knowing of a musician at all to desperately needing to hold their music in your hands, all within the span of an hour. It was also special in that “Pilot Light” wouldn’t be officially released until a couple of weeks later, meaning each spin of the album in the interim would be seasoned by a pinch of exclusivity. Did I mention it ended up being turquoise vinyl? Surprises — like the search for merch — never cease.
Music Favorites of 2025
by Dash Lewis, musician (gardener) and freelance music writer for Pitchfork, Bandcamp and Style Weekly among others
I listened to a ton of music this year, as I do every year, and these are some of the records I kept coming back to (in no order).
billy woods – “GOLLIWOG”
Gabe ‘Nandez & Preservation – Sortilège
Resavoir & Matt Gold – “Horizon”
SML – “How You Been”
Rochelle Jordan – “Through The Wall”
Nakama. – “EVERYTHING BURNS!”
Armand Hammer & The Alchemist – “Mercy”
Uhlmann Johnson Wilkes – “S/T”
Barker –“ Stochastic Drift”
Chicarica – “Invierno en la playa”
$ILKMONEY – “WHO WATERS THE WILTING GIVING TREE ONCE THE LEAVES DRY UP AND FRUITS NO LONGER BEAR?”
Fly Anakin – “(The) Forever Dream”
Flur – “Plunge”
Ichiko Aoba – “Luminescent Creatures”
Infinity Knives & Brian Ennals – “A City Drowned In God’s Black Tears”
Some live sets I loved this year
I tried (and failed) to keep a running list of shows I attended, but between my notes and hazy recollections, here are some of my favorite sets I saw in Richmond and elsewhere.
Duct Tape Jesus at Cobra Cabana (Nov. 13)
CJ the Profit’s Moving Away 80404 Club set at Hot For Pizza (Aug. 26)
Powers/Rolin Duo at Richmond Music Hall (July 21)
Opin at Sunday Soundtracks at Révéler (July 27)
Fly Anakin, Quelle Chris, Big Kahuna OG, bbymutha at The Pinkhook (Durham, NC) – (Dec. 9)
Darkside at 9:30 Club – Washington, DC (March 23)
Orchestre Resavoir at Jay Pritzker Pavilion (Chicago, IL) (Aug. 4)
Ohbliv at Hardware Hypnosis at Fuzzy Cactus (April 5)
Goon at Richmond Music Hall (Sept. 27)
ELUCID at Union Stage (Jan. 16)
La Lom at Friday Cheers on Brown’s Island (June 13)
Ichiko Aoba, Hayden Pedigo at Warner Theatre (DC) (May 18)
Infinity Knives & Brian Ennals at Metro Baltimore (Baltimore) – (Sept. 24)
T.R.I.G. at Clash of the Multiverse at Richmond Music Hall (June 28)
Uhlmann Johnson Wilkes at Constellation (Chicago, IL) (Aug. 7)
Assorted favorite musical moments
Tons of little moments stuck with me, whether it was hearing a song for the first time or simply being in the presence of some gorgeous playing.
Being moved to tears by Amy Berg’s “It’s Never Over, Jeff Buckley”
Finding a vinyl copy of Steve Hillage’s psychedelic ambient masterpiece “Rainbow Dome Musick”
Richmond rapper Koncept Jack$on’s incredible verse on Gabe ‘Nandez & Preservation’s album
Stumbling upon a secret generator show one Richmond summer night
The George Harrison needle drop at the beginning of “Weapons”
Listening to Natural Information Society & Bitchin Bajas – “Totality” on a bus from Casablanca, Chile to Santiago
A beautiful jazz set from a guitarist on a restaurant patio in Valparaiso, Chile, on May 1
Hearing Richmond rapper RonBandup’s galactic tape, “Gotham City,” for the first time
A producer whose name I never caught, doing an insane Grover Washington flip at the first 80404 Club event I went to
Hearing King Kaiju & Don Dubious’s “Pimp C” for the first time at deafening volume in Hot For Pizza
Musical memories of ’25
by Brent Baldwin, Editor of Style Weekly
Favorite concerts
David Byrne at Altria Theater (Oct. 14): The multidisciplinary rock concert as uplifting Broadway-style art spectacle, mixing old school Talking Heads classics (“Psycho Killer”) with vibrant new solo music. Some are saying this has been his most enjoyable tour since the legendary “Stop Making Sense.” Hard to argue when I overheard a number of stunned people leaving the sold-out venue saying “that’s the best concert I’ve ever seen in my life.”
Gillian Welch and David Rawlings at The National (May 4): These two Nashville residents always make beautiful music together, but backed by Paul Kowert on stand-up bass, they added a little extra tonight in their first return to RVA in years, including a rare cover of Radiohead’s “Black Star” that I’d take over the original. Great crowd tonight.
Flaming Lips at Brown’s Island (Aug.3) – Fun outdoor summer concert by the river featuring this Oklahoma City band’s usual bounty of lasers and giant inflatables. The encore included a rocking cover of Black Sabbath’s “War Pigs” dedicated to Ozzy Osbourne, who had recently passed. Here’s a video I shot on my phone of a rare early-career song they played, “Five Stop Mother Superior Rain.” [Side note: the band recently lost longtime multi-instrumentalist Steven Drozd, shown below, who left after over 30 years.]
Bonnie Prince Billy at the Tin Pan (Dec. 1): Always reinventing himself, Will Oldham’s unique and emotional warble sounded kinda like a gorgeous bird had wandered into the small Tin Pan room; on this tour, he appeared direct from Portugal in the trio format backed by baritone guitar and saxophone/flute, with his brother Ned from C’ville opening the show and singing the encore with him. Totally different interpretation of his classic tune, “I See A Darkness,” which Johnny Cash saw fit to cover before he passed.
Roger Carroll’s Get Behind the Mule (Tom Waits tribute) at Reveler (June 27): Local musician Carroll embodies the gruff, avant-junkyard, post-Beat music of the legendary singer-songwriter Tom Waits, and this impressive tribute show had many memorable moments, including when he left the stage during “Jockey Full of Bourbon” to dance in the crowd with the one and only “Duchess of the Blues,” Lady E. Added bonus: The players in this tribute band could hold their own in Waits’ band, especially percussionist Pippin Barnett, who always amazes.
Honorable mention: Diunna Greenleaf and Blue Mercy at Richmond Folk Fest (my favorite RFF set was a bluesy revelation), Chicha Libre at Get Tight Lounge covering Love’s “Alone Again,” sitar virtuoso Purbayan Chatterjee and renowned tabla player Amit Kavthekar at the VMFA’s Leslie Cheek Theater (see video). Also, Jeff Tweedy’s daytime soundcheck at Lewis Ginter Botanical Garden, where he played a handful of songs to a small group, including a lovely rendition of “Having Been is No Way To Be,” which would be played a few nights later at the 930 Club in DC.
Ten albums from ‘25 (not in any order)
Pachyman – “Another Place” (Ato Records) – Chill album by multi-instrumentalist Pachy Garcia that blends and expands on 1970s dub with modern synth pop/disco twists while managing to respect the roots and have fun.
West Virginia Snake Handler Revival – “They Shall Take Up Serpents” (Subliminal Frequencies) – First release of American music by the great Subliminal Frequencies label, and who did they choose? One of the last authentic West Virginia churches to practice snake handling while rocking out in a Chuck Berry-meets-Father Yod, evangelical-psych style.
Mandolin Sisters – “Odysseys in Electric Carnatic” (Discostan) – The first album released to a global audience by talented young sisters Sireesha and Sreeusha, who carry ancient, melody-driven Carnatic music, or classical music from South India, into the future with virtuosic playing on electric mandolins. Future Richmond Folk Fest booking, maybe? Please? (Side note: the great Terry Allen would be another entirely awesome get).
Michael Hurley – “Broken Homes and Gardens” (No Quarter)– A final album from one of my favorite cantankerous singer-songwriters (and a former Oregon Hill resident) who died this year at 83 in Oregon. Few artists go out still relevant and on an upward trajectory with their art after 60 years, but Doc Snock did it. Local musicians recently celebrated him with a tribute show at The Camel … I hope that becomes an annual thing. His cozy songs deserve it.
Jeff Tweedy – “Twilight Override” (dBpm records)– A triple album that manages not to drag and sounds beautifully recorded, as I told Tweedy during an interview this year (“Tweedy by Twilight”). The music jumps out of the speakers into your space. Asked to sum up his philosophy in the studio, he told me: “I want to make records that sound like people. You can hear hands. You can hear faces. Know what I mean?” Why yes I do, thank you.
Osees, “Abomination Revealed at Last” (Deathgod Corp) – The 29th album from these punk dudes who sound like The Monks if they were a smorgasbord of German prog, hardcore punk and krautrock; with lyrics touching on AI, fascism and social media addiction that captured 2025’s uniquely dark existential angst. Keep spittin’, John Dwyer.
Artificial Go – “Musical Chairs” (Feel It) – Cincinnati trio whose fun, elastic punk grooves keep you bouncing; should appeal to fans of LiLLiput and The Raincoats. Seem like they should play Cobra Cabana some day, if they haven’t already.
Sharp Pins – “Balloon/Ballon” and “Radio DDR” (K. Records) – Way talented Chicago youth Kai Slater is only 21 years old, and he’s cranking out records that sound like lost ‘60s nuggets faster than I can keep up. Excited to see what’s next for him.
Stereolab – “Instant Holograms on Metal Film” (Duophonic) – Happy to see this “avant-pop” band back with brand new material that picks up right where they left off years ago. Saw them deliver a fun show in Charlottesville last time, but I think Richmond is due a visit from Ms. Sadier.
Ryan Davis and the Roadhouse Band – “New Threats from the Soul” (Sophomore Lounge) – If you’re into lyrics, Louisville native Ryan Davis is pretty memorable (“my rib cage was a loony bin built to keep my heart out of her hands”). They play April 4 at Richmond Music Hall with the great Rosali Middleman. Mark it down, Dude.
Favorite reissues/compilations
Paris 1942 “s/t” (Superior Viaduct) – A wrinkle in time when Sun City Girls’ Alan and Richard Bishop joined with the one-and-only Maureen “Moe” Tucker, primal drummer from The Velvet Underground, to make an unholy racket in Phoenix in the early ‘80s; much of their relatively small output is included in this nice vinyl package. It may be lo-fi, but does my heart good to hear Moe beat the bejesus out of the skins on “Move out of Wichita.”
Alick Nkhata, “Radio Lusaka” (Mississippi Records) – Terrific compilation of the Zambian freedom fighter, musician and national radio broadcaster Nkhata, who blends township jazz and Bemba with country blues for down-home flavor, albeit downhome in South Central Africa.
Sister Irene O’Connor “Fire of God’s Love” (Freedom to Spend) –One of the stranger pop records I heard this year was recorded by an Australian nun in 1973 and offers a magnetic pull through its use of old-school synth organ, drum machine and acoustic guitar, as O’Connor sings in English, Latin and Malay (such as in this song below, which she used to express gratitude for nature) while teaching in Singapore.
The Replacements: “Let It Be” (Deluxe) – A classic album I grew up with that would’ve been even better if three songs from extras here were included. I would’ve swapped out “Gary’s Got a Boner” for “Perfectly Lethal.” And maybe included their cover of the DeFranco Family’s “Heartbeat: It’s A Lovebeat” instead of Kiss’ “Black Diamond.” Also “Street Girl” really sounds like it should be on this album. Peak ‘Mats.
Unrest “Perfect Teeth”(Teenbeat) –Mark Robinson, founder of revered Northern Virginia record label Teenbeat, gets the deluxe treatment for a quintessential record by his band. “So sick.” Just hoping that one day Numero Group or someone will put out a deluxe Teenbeat box set, there’s so much freak gravy to sop up there. Also props to Greg Allen, former JMU art star and Teenbeat singer who opened his own music store, Animal Records, in Evanston, Illinois this year. If you happen to be there, do drop in.
Hilary Langford’s Music Picks for ’25
Freelance music writer
Golden Fest, Justin Golden Benefit Series (Various Venues)
In February, a string of shows kicked off to show support for and benefit fellow artist Justin Golden as he navigated his cancer diagnosis. They packed houses and venues alike for one-of-a-kind nights with locals like Mackenzie Roark & The Hot Pants, Tyler Meacham and The Trillions among many others. It served as proof positive that the RVA music scene sounds good and does good, too.
Erin Lunsford – “Strawberries”
Timely and to the point, Lunsford penned a testament addressing food scarcity, unfair treatment of immigrants in our country, and the idea that when we all come together as a community we can have abundance. “Strawberries,” her third single of the summer, dropped easy on the ears with a little twang and a handful of local food pantry fundraisers – there’s a good reason Lunsford was recognized by Style in this year’s Top 40 Under 40.
Mackenzie Roark & The Hot Pants- “Ghost of Rock and Roll”
By far one of the best local albums to land this year with classic rock grit, indie sensibilities and Roark’s familiar twang. It’s the definition of a little bit country, a little bit rock n’ roll. The shit kicker “Take My Money” might make you want to drive too fast, while “Jukebox Blues” easily prompts a two-step. Roark and company made an indelible mark with just nine songs. Yee-MF-haw to that.
Lucy Dacus @ Altria Theater (Sept. 19)
Before the abundance of Grammys, magazine covers and worldwide recognition, Mechanicsville native Lucy Dacus busted her butt playing countless shows in the RVA scene. Clearly, it paid off. Cozied up in the Altria Theater with an audience of family, friends and longtime fans, she brought out new tunes from the top-notch ‘Forever is a Feeling’ alongside familiar favorites. Dacus even invited local songbirds like Landon Elliot, Ali Thibodeau and her mom, Sandy Dacus, to the stage for memorable duets. This sold-out homecoming show felt particularly special.
Sierra Ferrell and Nikki Lane @ Brown’s Island (Sept. 9)
Talk about a double barrel shot to see two of the most legit outlaw Americana music artists out there blazin’ trails. The pair joined forces for the Shoot for The Moon tour making a stop on Brown’s Island this past fall to an adoring, pearl-snapped and cowboy-capped crowd. As the headliner, Ferrell took things to the next level as she often does with a playful outfit and stage set straight out of “Midsummer Night’s Dream” including oversized flowers and mushrooms. Fever dream perfection.
Nora O’Connor at Chilton House (June 20)
Fans of O’Connor know her from work with heavy hitters like Neko Case, The New Pornographers and Andrew Bird. She’s also an outstanding singer-songwriter in her own right. She returned to house show heaven, The Chilton House, and served up intimate songs from her last album, ‘My Heart’ alongside comical banter. Let’s get her back again, Chilton folk.
Taylor Swift Listening Midnight Party for Life of a Showgirl – Plan 9
Hear me out: You didn’t have to be a Swiftie to enjoy an hour or so at the iconic, Carytown shop. A late-night release/listening party brought back memories from olden days, connecting IRL with other fans. The days where hours were lost spent flipping through vinyl. Times when you should have been charged rent for your overstayed residency at listening bars and yes, a countdown to the minute something you couldn’t wait to get your hands on landed in yours. ‘Life of a Showgirl’ made a much-celebrated midnight debut. Trivia and karaoke were an added bonus.
The 10 Albums That Defined My Year
by Macaulay Hammond, general manager of Style Weekly
Whenever a new album or single drops that grabs my attention, I end up texting my friend Gabe. We share an eclectic taste in music and usually trade a few messages like we’re music critics — spoilers: we’re not — but I do think we have pretty good taste. Let’s just say our thread was especially exciting this year, thanks to all the incredible music released.
I didn’t need Spotify Wrapped to confirm what I already knew. I typically have a sense of my most-played albums long before the algorithm weighs in. When I connect with a project, I listen to it relentlessly until it becomes part of my internal soundtrack. No one asked, but I pulled together my 10 favorite albums of the year, along with a few thoughts on each. If you find yourself visiting family over the holidays and suddenly “remembering” an urgent errand that requires a solo drive, consider these for your soundtrack.
Silvana Estrada — “Vendran Sueves Lluvias”
This might be my album of the year. Bright horns, rising strings and soft acoustic moments frame Estrada’s piercing, pitch-perfect vocals. Her songwriting — rooted in grief, loss and the determination to push forward — lands with emotional precision. I saw her live recently, and it was one of the best performances I’ve ever experienced.
Boylife — “Jones”
I spent the entire first week of this album’s release trying to decode its production choices, vocal layers and sonic textures. Sometimes Frank Ocean-coded, sometimes beautifully chaotic, Jones rewards repeat listens—you finish it only to start over again.
Bon Iver — “Sable, fable”
This album feels like a warm hug. Soft edges, electronic flourishes and Justin Vernon’s unmistakable layering create a cozy, atmospheric world that’s easy to sink into.
Amber Mark — “Pretty Idea”
Almost every track makes me want to roll the windows down and take the longest possible drive. From “Cherry Reds” to the title track, the album blends retro warmth with fresh, modern energy. “Different Places,” featuring John The Blind, adds an unexpected dance-leaning spark.
Geese — “Getting Killed”
One of my most anticipated releases of the year. Geese’s 2023 album “3D Country” is still a personal favorite, and “Getting Killed” carries that spirit forward with unexpected turns, inventive instrumentation and Cameron Winter’s unmistakable vocals.
Bad Bunny — “DeBÍ TiRAR MáS FOToS”
A love letter to Puerto Rico, “DTMF” is a no-skip listen from front to back. It blends classic and experimental elements of música urbana while grounding the sound in the island’s rhythms, stories and cultural heartbeat.
Hayley Williams — “Ego Death at a Bachelorette Party”
For those who grew up with Paramore on every teenage-angst playlist, this album is both nostalgic and forward-looking. Williams’ third solo project — and her first since leaving her record contract— mixes funk, pop and emotional honesty, all propelled by her powerhouse vocals.
Rosalía — “LUX”
Rosalía’s vocal work here is worth the listen alone. Exploring love, heartbreak and spirituality, “LUX” layers operatic vocals, choral arrangements and intricate production into something that feels sweeping and emotional.
Cardi B — “AM I THE DRAMA?”
Seven years is a long wait for a sophomore album, but Cardi makes the return worth it. She comes out swinging, addressing her breakup with Offset and her feuds with fellow rappers. The record balances energetic hits like “ErrTime” with more romantic moments like “Safe,” featuring Kehlani.
Turnstile — “Never Enough”
From one of the biggest hardcore bands in the world, I wasn’t expecting something that felt this fresh, melodic and at times experimental—but I’m absolutely not mad at it. “Never Enough” is a standout listen and the perfect album to throw on during a long run around the neighborhood. Turnstile stretches their sound without losing the pulse that made them huge.
(Not) Don Harrison’s Best-of-the-Year list
Style Weekly contributor, radio DJ at WTJU and WRIR
I certainly didn’t hear every new album released in 2025, and I reserve the right to find my favorite disc of 2025 in 2027, 2034 or whenever (there’s just too much music, y’all).
Many of my favorite discs this year were spearheaded by female musicians trafficking in their own distinct sounds and approaches (electro-pop, folk punk, etc.). There were also performers who made triumphant returns to the scene. While the past year didn’t appear to equal last year’s onslaught of great new music — there was nothing as earthshaking as Cindy Lee’s “Diamond Jubilee” or Jessica Pratt’s “Here in the Pitch” — there was plenty to like and even love.
Tchotchke, “Playin’ Dumb” (Tchotchke)
This New York City pop trio effortlessly conjures up the vibe of the classic girl groups of the early ’60s (The Shirelles, the Angels, The Shangri-las) but with a knowing, sardonic wink. This album is awash in pop hooks, singalong choruses and moxie. The title track, for example, is a feminist masterwork wrapped in bubblegum — any lady who endures a boorish male’s mansplaining (“I’ll misunderstand / So you feel like a man”) will sympathize and sing along.
Automatic, “Is It Now?” (Stones Throw)
Automatic has been turning out stellar disco punk for more than a decade, but the L.A. femme trio’s new LP is leaner, meaner and cleaner, crammed with rhythmic propulsion and pointed commentary on contemporary life (greed, isolation, environmental concern). The dub-like “Don’t Wanna Dance” is the pick hit, but this entire, wondrous set will make you think and bust a few moves.
The New Eves, “The New Eve is Rising” (Transgressive)
Who says there’s nothing new under the sun? The debut of the year came from this quartet of U.K. punk priestesses who fuse the snotty anarchy of X-Ray Spex and The Raincoats with the freak folk of Joanna Newsom and Incredible String Band. These ladies sound like they mean it, too. I probably played “Cow Song” — an inspired vocal round that builds in intensity and meaning — more than any other tune this year.
McKinley Dixon, “Magic, Alive!” (City Slang)
Fusing hip-hop, jazz, choral music, indie-rock and pure soul, this cinematic, kaleidoscopic wonder rewards repeated listens. Dixon, a former Richmonder now based in Chicago, doesn’t just cut hip-hop tracks, he tells involving stories, and his fifth album continues an impressive streak of outstanding long-players. Can someone tell me why he hasn’t blown up in the mainstream? No one else in contemporary hip-hop is doing anything like this, and he just keeps getting better.
The Bug Club, “Very Human Features” (Sub Pop)
After a slew of memorable EPs, and a 2022 debut album, “Green Dream In F#,” that still sounds aces, this Welsh indie-rock band hit a sophomore slump with the overly pretentious “Rare Birds: Hour Of Song.” This latest set is their triumphant return to form, an endlessly hooky and snarky assemblage of bouncy love songs and funny cautionary tales. “Jealous Boy” is the most honest song about unrequited love you’ll ever hear, and “Blame Me” will resonate with anyone nursing a guilty conscience that they just aren’t doing enough to save the world.
Babe Rainbow, “Slipper Imp and Shakaerator” (P(doom))
While King Gizzard & the Lizard Wizard, with mixed results, dabbled with symphony orchestras and blues boogie, Babe Rainbow quietly assumed the role of Australia’s best psychedelic rock band in 2025. Its sixth album harks back to the lysergic melodies of psych-era Beatles and Donovan, but with a rhythm section that means business. It’s filled with great songs, breezy and intense in equal measure, but pity about the album title.
Hot Lava, “Queen of Fools” (Hot Lava)
This was the comeback of the year. After a decade of inactivity, Richmond’s Hot Lava, led by singer-songwriter Allison Apperson, returned with a great new disc that retained the band’s giddy pop-punk sound while integrating a more mature lyrical bent — it was billed as a “break up with yourself” record. “What Not To Wear” was the first single, and it’s great, but the title track is what hooked me. Let’s hope we don’t have to wait so long for the next album.
Stereolab, “Instant Holograms on Metal Film” (Duophonic UHF Disks/Warp)
No, this was the comeback of the year. Stereolab’s first LP in 15 years exceeded all expectations, with bandleaders Tim Gane and Lætitia Sadier expanding the band’s signature electro-pop range and introducing some new classics into its repertoire. “Electrified Teenybop!” is the perfect song to test your speakers (and your nervous system), while “Melody is a Wound” is 7:27 of pure Krautrock-damaged bachelor pad music. Like the good old days.
Miramar, “Entre Tus Flores” (Ansonia)
OK, I mean it this time — this was the comeback of the year. Keyboardist Marlysse Simmons and vocalists Rei Alvarez and Laura Ann Singh burst out eight years ago with a smoldering set of bolero music, “Dedicated to Sylvia Rexach.” Their return album retains the heated Latin romanticism of that excellent LP while fusing it with a more contemporary rock sound, a 30-piece orchestra, and even, with “Un Astro,” the pulse of dance music. Simmons and Singh had a banner year overall — their excellent collaboration with Rosette String Quartet, “Crumb of Me,” and Singh’s free jazz exploration, “Mean Reds,” are also essential listening.
De La Soul, “Cabin in the Sky” (AOI/Mass Appeal)
Sigh. OK, this may not have been the comeback of the year, but it was perhaps the most affecting. Nine years after their last album, “And the Anonymous Nobody…,” and two years after the death of David Jude Jolicoeur (Trugoy the Dove), this solid return integrates Trugoy’s final raps, and guest appearances from Nas, Slick Rick and Q-Tip among others, into a moving — but still grooving — avalanche of song. The pick hit is “Don’t Push Me,” where the late Trugoy quotes Grandmaster Flash, namedrops Emmett Till, and reminds us of how this group revolutionized hip-hop when they ushered in “The Daisy Age.”
Reissue
The Monkees — “Pisces, Aquarius, Capricorn & Jones Ltd.” (Rhino Deluxe Edition)
One of the best rock albums of 1967 (change my mind!) gets a deluxe edition worthy of its price point, with illuminating alternate takes and remixes that bring out sound elements Monkees fans never knew existed. While it’s fun to hear the Beatles fumble about on “Anthology 4,” this is that rare reissue that makes us reevaluate, reassess and re-appreciate. Album hero? Michael Nesmith, one of the most underrated songwriters and singers of the era. He’s in peak form here.
Peter McElhinney’s Year in Review
Style Weekly jazz critic
Time to take the long view on the shortest days. A quarter of the way into the 21st century, the wider world is not a shining example of human progress. The RVA music scene is another story.
Over time, the city has become far less musically provincial. Now in its fourth decade, alt-salsa is joined by Miramar, Kadencia and the Roman Brothers; on the Afro-Cuban side, Plena Verde and the as-yet-unnamed Singh/Simmons/Alcalde band. Secret Planet has opened a pipeline of adventurous bands with strong African and South American flavors. Prabir Mehta’s playful Northern India rock-and-roll fusion continues to evolve. Afro-Zen Allstars shone, including at Style Weekly’s Best of Richmond party, while The Richmond Folk Festival remains the ideal cross-cultural sampler.
A highlight of the year was Indonesian vocalist Peni Candra Rini’s performance with the Kronos Quartet at the University of Richmond. It was a long time coming, and more than fulfilled the promise of the collaboration.
Local singer-songwriter Deau Eyes is always charming and unpredictable, especially her Tour De Richmond and appearances with the R4ND4ZZO Big Band. There were great nights with Shera Shi, Piranha Rama. Pete LeBlanc’s Daydream Fest at Mainline Brewery, and cover band festival at Brambly Park were a multi-band blast.
Former Richmond stalwarts Angelica Garcia, DJ Williams, and Natalie Prass came through. Guitarist Alan Parker moved to Los Angeles. Drumming great Nate Smith moved here.
Jazz is my main beat, and the year was overstuffed with events. From James Plunky Branch nights at Reveler to James Saxsmo Gates’ massive album release at the Perkins Center for the Arts and Education (Chester). A host of musicians came through town including: violinist Jenny Scheinman, trumpeter Randy Brecker, pianists Aaron Goldberg, guitarists Peter Bernstein and Stanley Jordan. This in addition to local heroes from Butcher Brown, the Second Monday’s series at Artspace hosted by Adam Hopkins and Scott Clark, and the extraordinary usual suspects: Daniel Clarke, JC Kuhl, Michael Hawkins, Weldon Hill, Kofi Shepsu, Randal Pharr, Brian Jones, Pete Anderson, John Lilly, Bob Miller, Dimitrije Vasiljevic, the list goes on and on. (If your name isn’t here, it was cut by the editor for space: That is my story and I am sticking to it.)
On the classical side, the Richmond Symphony under the baton of Valentina Peleggi is a continuing revelation. The RSO has always been respectable, but under her leadership it is extraordinary. The attention to detail, down to tuning the Carpenter Center by adjusting the height of the cutout clouds in the ceiling, shows the dedication to delivering as close as the Carpenter Center can come to sonic perfection.
The Rosette Quartet’s two “So Hot Right Now” series were other high points. And Rosette violinist Ellen Cockerham Riccio’s UnScene meditations at Varina Library were contemplatively amazing. Barry Bless’s monthly Breakfast Cabarets evoked a timeless sense of revolutionary community. They have a book of hundreds of songs. If you go often enough, they are all warmly familiar.
Among a host of charming and funky venues in town, Révéler Experiences stands alone. The intimate Carytown club has grown from an add-on to an event space with rotating theme nights and local acts, to a bespoke listening room attracting a growing variety of regional and national artists; 2026 promises to extend and build on its growing reputation.
If there is anyone who ties it all together it is vocalist Laura Ann Singh. In the past year she has added her magical personal touch to Puerto Rican boleros with Miramar, sambas with her Brazilian collaboration with Marlysse Simmons and Bruno Alcalde, tributes to Paul Simon and Burt Bacharach, new classical electro-acoustic compositions with Gina Biver’s Fuse Ensemble. Also she recorded and performed a lovely set of female singer-songwriter material with the all-female Rosette Quartet, performed with the Richmond Symphony, and released her own set of improvisations with Ruckus, her all-star RVA free jazz band.
If you are open to variety, RVA, like this annual summary, is a firehose of variety. Missing the unmissable is inevitable. The good news is the flow doesn’t stop when the year does.
Top Five Books from Record Stores
by Tim Abbondelo, freelance music writer (Maggot Brain, Creem, Style Weekly)
“Daniel Johnston” (Rizzoli) by Lee Foster
Finally, a comprehensive chronicle of this late, peerless artist’s life, told through his visual work with remembrances from fans, many of whom are celebrated musicians and artists in their own right. At nearly 400 pages, this door-stopper works as an art object and doubles as a biography of Johnston’s 40-plus year career. Notably it comes with a seal of approval from his estate and surviving family, and benefits the ‘Hi, How Are You Project,’ a nonprofit educating young adults on mental health, named for Johnston’s 1983 album. Johnston lived with paranoid schizophrenia; his work and legacy survive as a ray of hope despite the myriad obstacles he faced in his lifetime.
“Kleenex/LiLiPUT” (Thrilling Living) by Marlene Marder
This once elusive tome proves we can still have nice things while, on the whole, the world as we know it goes to pot. Originally written in German and published in 1985 as “The Diary of the Guitarist Marlene Marder, Kleenex/LiliPUT,” this translation is a crucially updated telling, four decades later, of the seminal punk band’s contribution to late-20th century song through a candid and often hilarious first-person account, along with a new introduction and afterword by editor Grace Ambrose and translator Jen Calleja for more current context and perspective. The original foreword by Greil Marcus remains and has been made more prescient by intervening years. Don’t know what to listen to? Put on LiliPUT, always.
“Plenty for All: The Art of Rick Fröberg” (Akashic Books) by Rick Fröberg
This beloved singer and guitarist passed away unexpectedly in 2023. Before that untimely and preventable loss — specifically, in all the other countries with even a modicum of adequate healthcare — Fröberg fronted iconic San Diego punk bands Pitchfork, Drive Like Jehu, Hot Snakes and Obits. Less widely known was the artist’s graphic work, despite gracing many album covers along with a vast array of adjacent design work far and wide. He was a modest guy and did his thing for the love of it, I think. But this collection showcases his life’s work as it developed over his lifetime across mediums to include paintings, drawings, etchings and prints with the gravitas it deserves. Highly and heartily recommended.
“Let There Be Gwar” Compiled by Bob Gorman and Roger Gastman & “Mind Control Monthly – The Complete Collection 1990-1996,” Forward by Hunter Jackson / Techno Destructo (Beyond the Streets)
This one belongs on the shelf of every shock rock cognoscenti, not least of which those living within a whiff’s distance of the 20-year ripened stank emanating from the Slave Pit and the Dairy before that, where the band first met. So really all of the River City, clear past Henrico, on to the beltway and the entire world over. It’s a definitive guide told through interviews, photos, poster art, the band’s film and videography and ton of ephemera. Worthwhile and informative to even the most devout scumdogs of the universe and an absolute revelation for the uninitiated. The complete collection of Gwar’s fanzine, started by Dave Brockie (Oderus Urungus) with Jackson (Destructo) in 1990, is living rent free and in arms reach of the commode at home until further notice.
“Laughing Hyenas” (J-Card Press) by Steve Miller
Check it out: If getting old means reading histories of every next mysterious band that piqued my interest in those dial-up internet high school years, I’m here for it. Drawn from new interviews with surviving members, Miller’s portrait of ‘John Brannon’s band after Negative Approach’ is uncompromising in presenting their story within an industry that would preclude a traditionally happy ending for all those present. To this day, Laughing Hyenas’ unlikely marriage between blues and post-punk only hints at the uncanny pairing of Brannon’s sandpaper croon and the expert guitar work of Larissa Stolarchuk, who tragically passed away in 2006. Miller, a musician and member of fellow early Touch & Go bands, The Fix and Blight, lived it and grounds the work with authority. For its part, the publisher is amassing a stacked catalogue with titles of significant cult favorites including Apples in Stereo, Brainiac and De La Soul among them.
