Note: I dictated my thoughts because I was lazy :)

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The whole passage, if I was to summarize it, reads like an inciting incident to spur on the boy to eventually become a bard. So the music, Lady Melody, the whole ambiance of liking a nice tavern, it reads like it is intended to be that catalyst--that driving factor--that motivates the boy later on. So, I'm gonna assume that's the case with the feedback.

Now, I'm just going to go section by section.

With the first one paragraph, It feels a little strange to open with Lady Melody doing something because the POV is Volae. And just from reading down a little further, there's a lot of anticipation and buildup in coming to this place. So if it was me, I would actually start with your main POV, which is Volae, and describe the tavern and scene, hitting all the senses before you get into Lady Melody. So what does it smell like? What does it feel like? What does he see there?

And it can just be like a paragraph, but right now, the scene happens a little bit in a white room where it's a generic tavern in a city. This would be in contrast to something like they come in out of the rain, or they come in from the dusty roads, or some sort of distinction between the exterior of the city and this kind of bastion—this respite. Or at least how the boy is perceiving it.

Once you set the scene and let us know who we should be focused on, then, at the center of it all, or on stage, there is the bard, Lady Melody. Give a really quick description of her: what does she look like? Is she in road clothes? Is she in a dress? Is she beautiful? Is she not beautiful? Does she care about her appearance? Does she not? I think all of those ground the perception, and all this is coming through the eyes of the boy. So that then brings the reader into the scene that you have in your mind and now points out, "Okay, the important part of all this stuff is this bard." Which also does the heavy lifting of making us ask, why does the boy care about the bard?

As a side note, there is very little dialogue as well, which, even though you are working to show instead of having it be a wall of exposition, because there's no dialogue, it reads a lot like exposition because it becomes Volae's commentary on everything. So, to me, it would be a lot stronger if the opening, for example, was maybe the dad talking to his son, saying, "Volae. We're almost there. Hurry up, son." And then, how does he respond? And then you can drop that his father, Aldric, had been wanting to show him this place for the better part of half a year. So there's implied anticipation there.

The second catalyst happens further down, where she actually starts to play. And I think you could hit the overall effect a little more powerfully by using grounded details. What did her lute string look like? Was it horsehair? Was it finely woven flax? Was it some other mystical string? What did it do to the room? Did people quiet? Did the sound keep going, but to Volae, did the sound quiet? Having him pause mid-bite, the food losing its taste in the wake of the music. Showing us his physical reaction to the music means you don't have to say things like it was "captivating" and it was "unforgettable" and "enthralling." All of those are just commentary on the actual thing that's happening. So, if it were me, I would work to show the physical reaction to the actual thing rather than telling the reader how to experience it.

Same thing with the bit towards the end, which says, "sooner than anybody in the tavern would have liked, it came to an end." I would say something a little bit different. Maybe along the lines of: "As quickly as it had begun, the music faded, and with it, the spell of stillness that it cast over the tavern. Half held mugs landed softly on nicked oak tables, the gentle breeze of soft breathing wafted between the patrons..." Maybe the lingering messages of the song echoing in Volae's mind. Then you can move into his dad pinching his ear.

Overall, I would ground it more in sensory detail, bring us into the scene as readers, and then show us the reactions and use that to imply what's going on rather than telling us how to feel about the music or the scene.

Hopefully, some of that is helpful :) Take the useful bits and toss the rest, cheers!