Some people seem destined to be stars.

Sunflower Bean is fronted by a supernova.

The New York-based Julia Cumming (bass, vocals), Nick Kivlen (guitar, vocals), and Jacob Faber (drums) flew to Ann Arbor specifically to play Sonic Lunch on July 12, and their 13-song spirited performance under sunny skies turned Liberty Plaza into a rock 'n' roll club.

"Are you guys here for a good time?" Cumming said. "Just because it's noon it doesn't mean we can't rock." She then taught the crowd to sing along with the "no, no, no" part of the chorus for "Crisis Fest."

Ken Vandermark is a method musician.

The Chicago-based saxophonist/clarinetist likes to construct scenarios and systems for his various bands and then write material that fits whatever methods he's devised. It's rigorous work that forces Vandermark and his musicians out of their comfort zones, but it has led to a voluminous and varied body of work that is among the most impressive in modern jazz and composition.

Vandermark's latest creation, Maker, came to Kerrytown Concert House on July 9 and ripped through a four-song, 75-minute set that touched on avant-garde jazz, funk, drones, minimalism, and Afrobeat. 

Ann Arbor Art Center’s Sanctuary exhibition features some pieces that focus on the meditative aspect of the titular concept, but other works confront the “double-edged sword” of what "sanctuary" means, lending to the gallery’s successful interpretation of a broad theme. 

Featuring work from 15 artists from Ypsi Alloy Studios, the show is described by the gallery as:

Raccoons, foxes, and hawks prey upon the Eastern Massasauga Rattlesnake.

But the Michigan Rattlers are most susceptible to being consumed by broken hearts, Bell's Two-Hearted, and the eternal debate about where your heart truly belongs.

Comprised of Petoskey-raised childhood friends Graham Young (guitar) and Adam Reed (upright bass), along with more recent members Christian Wilder (keyboards) and Anthony Audia (drums), the Los Angeles-based Michigan Rattlers returned to the Sonic Lunch concert series on July 5 and played 13 originals plus a cover of Leonard Cohen's "On the Level."

Young and Reed performed as a duo at Sonic Lunch last year and their close-harmony Americana was immediately striking for its beauty and simplicity. But as a quartet, Michigan Rattlers brought a honky-tonk rock 'n' roll vibe to their acoustic-guitar-based compositions.

I remember it; if you were a kid who grew up in Ann Arbor you do, too. The nights you spent in the hot summer air with cold lemonade, and the smell of the food trucks, the times you sat in the grass looking up at the sky, listening to bands on the main stage. It felt like a dream.

Top of the Park has been around now for 35 years and I've gone to it almost every year that I've lived in Ann Arbor. But this was the first time that I went alone to review a band. It's funny how being alone can sharpen your thinking and make you a keener observer.

By the time Chirp took the stage on June 30, the park had filled out. People stood or sat in chairs in front of the stage, while others sat in the grass or under the beer tent. Bassist Brian Long, guitarist-vocalist Jay Frydenlund, guitarist Ken Ball, and drummer John Gorine mix styles freely, touching on rock in their guitar work, jazz with the drum and bass solos, and soul through Frydenlund's voice.

Donita Simpson is racing to record and archive images of the Detroit art scene’s most important and enduring artists as she writes the first draft of the city’s contemporary art history. A generous selection from the award-winning portrait photographer’s years-long project is on view in Context Is Everything at Connections gallery in the University of Michigan's North Campus Research Complex.

After being introduced, Jazzmeia Horn came onto the Power Center stage on June 28 just as casual as she could be as she let us know she was new to town.

But the command performance of Betty Carter's "Tight" that followed showed Ann Arbor to be the only thing to which Horn was new.

Even though Top of the Park was entering its final weekend on Friday, the stage was still filled with infectious summer energy thanks to the music of Sumkali, The Ragbirds, and K. Jones and the Benzie Playboys.

All of these bands are based in Michigan, but their sounds are drawn from around the world.

The U-M Stamps Gallery’s exhibition Materials on Hand: The Art of Ellen Wilt brings together a remarkable variety of works executed over the Ann Arbor artist's long career.

Wilt originates from Pittsburgh, PA, but moved to Ann Arbor in 1949, where she has been active in the arts community since. She attended the University of Michigan, where she obtained both her BFA and MA from the Stamps School of Art & Design.

The Stamps gallery has gathered an impressive collection of Wilt’s work, highlighting her importance in the community. Collectors have loaned the gallery many of the works, allowing a rare glimpse into works that have been in private collections for decades. The gallery space itself is opened up, allowing for the inclusion of “over 50 carefully selected works from personal and private collections that highlight Wilt’s artistic contributions to Southeast Michigan.”

Zach Lupetin fell in love with the Ann Arbor Summer Festival and its free, outdoor Top of the Park concerts during his time as a University of Michigan student. Wednesday evening, some 11 years after graduating, he returned as a performer, leading his LA-based acoustic band The Dustbowl Revival in a joyous, spirited set.

Recalling his U-M years, when he led an earlier local band called the The Midnight Special, he spoke of the community’s deep appreciation for live music. “People come together no matter what,” he said mid-show. “It’s an honor to play music here.”

The Dustbowl Revival made a name for itself more or less in the Americana genre, with some flavors of old-time jazz and western swing woven in. The band’s latest album expands its sound further, and Wednesday’s set started with a trio of songs -- the sexy “Call My Name,” the clever and danceable “Gonna Fix You,” and the intense “If You Could See Me Now -- that incorporated more elements of rock, soul, and funk.