This week in The New Yorker, the great Amanda Petrusich profiles Lonnie Holley, whose new album, Mith, is a vital and timely consideration of the world we’ve made. She digs into his visual art, his interest in colliding worlds, and his ability to turn his personal myth to wider society. “The cover of Mith features a blurry black-and-white portrait of Holley, giving a thumbs-up,” she writes. “The gesture feels genuine. He is inviting us to try to make sense of the world together.” Read it, and see Lonnie with his own band and in a one-time appearance with The Messthetics at Big Ears 2019.