{"id":13159,"date":"2026-07-09T11:38:59","date_gmt":"2026-07-09T11:38:59","guid":{"rendered":"https:\/\/culturalleft.org\/cl\/2026\/07\/09\/jack-white-frozen-charlotte-review-brutal-squalid-blues-rock-that-just-about-sells-its-own-ridiculousness-culture-the-guardian\/"},"modified":"2026-07-09T11:38:59","modified_gmt":"2026-07-09T11:38:59","slug":"jack-white-frozen-charlotte-review-brutal-squalid-blues-rock-that-just-about-sells-its-own-ridiculousness-culture-the-guardian","status":"publish","type":"post","link":"https:\/\/culturalleft.org\/cl\/2026\/07\/09\/jack-white-frozen-charlotte-review-brutal-squalid-blues-rock-that-just-about-sells-its-own-ridiculousness-culture-the-guardian\/","title":{"rendered":"Jack White: Frozen Charlotte review \u2013 brutal, squalid blues-rock that just about sells its own ridiculousness Culture | The Guardian"},"content":{"rendered":"

(Third Man)<\/strong>
Following the superb No Name, White continues his fan service with stripped back songs and nasty, anarchic riffs \u2013 though it all ends up feeling a little samey<\/p>\n

It\u2019s a strange thing to say about one of the most prolific artists of his \u2013 or any \u2013 generation, but: Jack White has been undergoing something of a career renaissance of late. After firmly establishing himself as one of the most beloved and defining figures of 21st-century rock with his early-00s blues duo the White Stripes, White seemed to get bigger and bigger over the next decade-plus, releasing albums with well-liked side projects the Raconteurs and the Dead Weather, dropping a couple of fine solo albums, and helping spark the music industry\u2019s vinyl revival with his label and pressing plant Third Man Records.<\/p>\n

But, at some point in the mid-2010s \u2013 around the release of his third solo album, 2018\u2019s Boarding House Reach, let\u2019s say \u2013 White\u2019s influence and celebrity seemed to be outweighing his actual output, with rising pop stars like Billie Eilish and Olivia Rodrigo naming him a prime influence. Record plants the world over became backed-up, thanks to pop stars releasing dozens of gimmicky vinyl variants of their own albums, resulting in months-long delays for indie artists \u2013 hardly a problem White was responsible for (and likely one he himself was annoyed by), but certainly the result of a craze he had helped spark. At the same time, all the quirks and codes of White\u2019s output \u2013 the specific colour schemes and sometimes arcane guiding opinions \u2013 threatened to overwhelm the immediacy and sharpness that had once been the core of White\u2019s actual music.<\/p>\n

Continue reading…<\/a>\u00a0<\/p>\n

Read More<\/a><\/p>","protected":false},"excerpt":{"rendered":"

(Third Man)Following the superb No Name, White continues his fan service with stripped back songs and nasty, anarchic riffs \u2013 though it all ends up feeling a little samey It\u2019s a strange thing to say about one of the most prolific artists of his \u2013 or any \u2013 generation, but: Jack White has been undergoing...<\/p>\n","protected":false},"author":1,"featured_media":13160,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-13159","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"\nJack White: Frozen Charlotte review \u2013 brutal, squalid blues-rock that just about sells its own ridiculousness Culture | The Guardian - Cultural Left<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/culturalleft.org\/cl\/2026\/07\/09\/jack-white-frozen-charlotte-review-brutal-squalid-blues-rock-that-just-about-sells-its-own-ridiculousness-culture-the-guardian\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jack White: Frozen Charlotte review \u2013 brutal, squalid blues-rock that just about sells its own ridiculousness Culture | The Guardian - 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