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Portugal. The Man returned to Boston on Thursday night to play Roadrunner in a trippy, art-house display of showmanship.

There were at least three Lou Reeds. First and most enduring was the front man of the Velvet Underground, the greaser poet from Long Island who had a cabbie’s voice and a knack for writing songs about drugs and sex and salvation that sounded like the gutter side of 1960s rock. Then came Reed the freelance auteur, churning out spotty solo albums and delivering gnomic anti-interviews to the press. (This same Reed licensed songs to The Simpsons and Beverly Hills 90210, and appeared in ads for Ameri

The Hugh Lane Gallery’s new exhibition is a chance to see art that recalibrated the concepts of celebrity and aesthetics across image, film and music

Album covers have become as necessary as the music itself, since designing vinyl sleeves for classical recordings in 1938.

The Look of Atmos Love: Above, ABC’s Martin Fry in the present day, looking up at the heights of sonic excellence that ABC’s The Lexicon of Love achieves in Atmos. ABC didn’t exactly fit into the expected early-1980s new-wave mold—and that was just fine with the band’s co-founding lead vocalist and chief songwriter, Martin Fry. “We always wanted to do something we felt represented a wider range of music across an entire album,” he explains. “You don’t want all the tracks to sound the same.