Coming on the eve of the final Lilith Fair, the all-female concert tour that Sarah McLachlan brought to life two summers ago, her Mirrorball (Arista) marks one of the most exciting and fruitful periods for female singer-songwriters since Laura Nyro and Carole King lit up concert halls in the late '60s and early '70s. Much of the excitement has hovered around Lilith itself, which boosted once underrated talents like Lucinda Williams and Shawn Colvin. But the soul of the new female pop machine is surely McLachlan, whose tunes have gained the kind of prom-night, dorm-room and beach-blanket popularity that shows people...
To continue reading:
or
Log-In
