Now that we’re in the depths of winter, let’s flash back to the glorious summer in 2025. In particular, the tremendous set by indie-pop sensations Lucius!
Their performance was on the too-small-for-them Harbor Stage (meaning Fort Stage would have been better!) but the gazillion people crammed under, behind and next to the tent sure loved them, including me.
Here are some photos from that sublime late July day, including special guests Nathaniel Rateliff, Jeff Tweedy and OMG Mavis Staples!
I’ll see you at the fort this summer!
Lucius’ Holly Laessig on July 27, 2025 during the Newport Folk Festival.
(Photo by Aimsel Ponti)Holly Laessig of Lucius at the Newport Folk Festival on July 27, 2025.
(Photo by Aimsel Ponti)Holly Laessig and Jess Wolfe of Lucius at the Newport Folk Festival on July 27, 2025.
(Photo by Aimsel Ponti)Holly Laessig pounding on a drum at the Newport Folk Festival on July 27, 2025.
(Photo by Aimsel Ponti)Jess Wolfe of Lucius goes to town on a drum during the Newport Folk Festival on July 27, 2025. (Photo by Aimsel Ponti)Holly Laessig and Jess Wolfe of Lucius with Mavis Staples at the Newport Folk Festival on July 27, 2025.
(Photo by Aimsel Ponti)Holly Laessig and Jess Wolfe of Lucius with Mavis Staples at the Newport Folk Festival on July 27, 2025.
(Photo by Aimsel Ponti)Lucius’ Jess Wolfe with Mavis Staples on July 27, 2025 during the Newport Folk Festival.
Photo by Aimsel PontiNathaniel Rateliff on stage with Lucius during the Newport Folk Festival on July 27, 2025.
(Photo by Aimsel Ponti)Holly Laessig, Jeff Tweedy and Jess Wolfe at the Newport Folk Festival on July 27, 2025 during the Lucius set on the Harbor Stage. (Photo by Aimsel Pont)i
Some musicians I love simply because their music resonates with me in a huge way. It makes me feel something.
Other times, there are artists I love because not only does their music resonate with me but their entire existence on this planet does.
Allison Russell falls into the second category.
Her second solo album The Returner was released in September. I heard some of its songs at the Black Deer Americana Festival last June and a bunch more when she played to a sold-out crowd at Portland House of Music in Portland, Maine on Dec. 8.
Barack Obama just released his annual list of favorite music and “The Returner” is on it.
Also, Russell is up for FOUR GRAMMY AWARDS. (Best Americana Album, Best American Roots Song, Best Americana Performance and Best American Roots Performance). The countdown to Feb. 4 is SO ON!
Allison Russell “The Returner.”
Can Russell sing and play several instruments, including the clarinet, really well?
Indeed she can.
But she also writes songs that are so full of love and hope that even when she’s singing about the horrors of racism and abuse, they burst with rays of light so bright, inclusive and kind-hearted, I can’t help but feel a groundswell of love and connection wash over me. Plus, Russell also knows how to make people dance. I’m looking at you, “All Without Within.”
Before the Portland performance, Russell and I sat down for a chat. I knew that she loved Sinéad O’Connor the same way that I did so I mentioned it was Sinéad’s birthday. Later that night, Russell would take my breath away singing an O’Connor song. But hold that thought for a moment as I share our conversation.
The Returner has been out for a few months. How are you feeling?
I’m just thrilled that people are listening so generously and we’re really proud of the work. It’s an auditory artifact of the circle work we’ve been doing and growing over the last couple of years since Outside Child came out so it makes me feel very happy and honored that folks are listening and seem to be connecting with the work.
Can you tell me about writing “Eve Was Black?”
I actually wrote it as a poem and submitted it to The New Yorker but it got rejected.
You got the last laugh, obviously.
It went through an evolution. Its first musical iteration was to accompany a ballet that was choregraphed by a fellow Canadian from Montreal, Kevin Thomas. He now runs a dance company in Memphis called Collage Dance. But we were doing a brief collaboration with Nashville Ballet and I decided to set that poem to music for that. Then I called my next door neighbors SistaStrings and asked them if they’d come put some strings on it. So the first iteration is just the three of us, me on banjo and them on strings and then when we were finishing the writing for The Returner I realized that Eve was part of that world and I really see the backbone of the album as three songs; “Eve Was Black”, “Demons” and “Snakelife” so I realized that that was its home. It went on a whole journey and started as a poem two years ago.
Do you have other songs that started a poems?
A few. It’s rare for me because usually poetry is poetry for me and I rarely feel the need to revisit it or try to put melody to it but that one wouldn’t go away. It stayed with me until it got realized into its current form.
Thank god because I can’t imagine the album without it. The epilogue that you wrote for The Returner. Tell me about writing that.
It’s part of a larger piece called “As Above Beneath,” and initially I was hoping during the Returner sessions (we recorded the whole record in six days, 16 women, ten songs, six days and our three chosen brothers and I was hoping at the end of the sessions to do an improvised piece where the goddesses would just play and I would speak or chant or sing or whatever happened. We never got to it. I was much more brief with these liner notes. Each song just has a haiku that’s attached to it and a prologue to sort of explain the intention but I wanted to let the songs speak for themselves and let people take their own journeys. But it felt right to have a little piece of that poem which I wrote as we were going into those sessions and that felt very much a part of the ethos of what we were doing.
The studio you recorded the album in. I know the albums that were recorded there (Joni’s Blue and Carole’s Tapestry among many others). Did you feel their presence? I can’t even imagine…
Yes, very much. All of us I think felt the presence of the good ghosts in that room. And Wendy and Lisa have their own studio above Studio D where we recorded. They’ve been there for 16 years creating music and they loaned us a ton of their amazing gear including the waterphone that I played on “Snakelife” which was just thrilling.
I was going to ask about that. I had to look up what that was! Did you have to learn how to play it?
Our first meeting when they were deciding if they wanted to do this with us, JT and I went over to their place about two months before the sessions when we happened to be in L.A. for some writing work and we hung out and we all just fell in love with each other. During that hang they let me play with all of their wonderful treasures in their studio and I became completely enchanted with the waterphone and couldn’t stop playing it. It’s so beautiful.
How did you originally connect with Wendy and Lisa?
Our beloved chosen brother Joe Henry who lives in Maine now. He’s a wonderful producer. He’s produced records you love like Joan Baez’s last record (Heaven Can Wait). For many years he and his wife Melanie were in L.A. His wife is the younger sister of Madonna and he used to manage Daniel Lanois and he’s worked a ton with T Bone Burnett. He produced Solomon Burke’s comeback that won the Grammy. Bettye Lavette’s comeback that won a Grammy. He’s done a ton. He’s a brilliant producer, he’s a brilliant writer too and he’s close friends with Wendy and Lisa so he introduced us.
The way that you look at things and write about things transcends so much. I mean I think about everything from my white girl privilege and beyond that, there’s so many lenses to look at it through. As a music fan…all of it. I don’t want to ask you where you get your strength because that’s horribly cliché, but what does it look like for you write a song like Eve Was Black? You invite people in, you don’t say fuck you, you say please come here.
I feel like it’s life, and I guess because of my personal history and the ways that I’ve survived which is only through the kindness of strangers who became family. I think a lot of it has to do with how I kind of came of age when I moved from Montreal to Vancouver. I started doing frontline work in a downtown Vancouver as a mental health worker, as a care worker for a non-profit society for low threshold housing meaning we weren’t telling people you don’t get a home if you fall back into your addiction. We weren’t telling people you don’t get a home unless you ascribe to a certain version of someone’s idea of what god was. It was unconditional love and care and understanding that all humans have basic needs that have to be met before any other healing work can happen. And we also opened the first ever safe injection site in North America, not just Canada but North America, called Insite. It was 2003. So at the same time that I was forming my first band called Po’ Girl, I was doing this frontline work. I did that work for seven years and the way that I approach everything is from the harm reduction model that I learned working there in the downtown eastside and so I’m really interested in outcomes and how we get to better outcomes for more people and being self-righteous about something, getting on a high horse about something, shaming people, none of it works. It just doesn’t work. It’s not gonna make any change, it’s just gonna drive division and anger and punitive or violent behaviors.
Hanif Abdurraqib is one of my favorite writers. When Sinéad died I was so overwhelmed I couldn’t find my own words, and he wrote this piece that was so cut to the quick and what she endured to be a truth teller and a visionary and a prophet of our time. She’s part of my survival. If she hadn’t made her stand on SNL in ’92 and if Tracy Chapman hadn’t sung “Behind the Wall” and if Tori Amos hadn’t written “Me and a Gun”, if I hadn’t heard those women singing about hard things I wouldn’t have left my home and I would have died there. We have to be able to talk about everything.
_________
As for the Dec. 8 show. I sat right up front with some good friends and soaked up every second of songs from “The Returner” and “Outside Child.” Songs like “4th Day Prayer,” “Shadowlands” and “Springtime” that Russell and the three luminescent musicians with her played. “Eve Was Black” was a favorite moment.
Towards the end of the show, Russell turned her attention to the passing last summer of Sinéad O’Connor and how much Sinead and her music meant to her. Then she sang a most unexpected Sinéad song. One from the Gospel Oak EP and one that brought stinging but happy tears to my eyes.
Here’s “This is to Mother You,” captured by my friend Stephanie Hicks Homon.
Russell ended the show with “Persephone” from Outside Child which some of us sang along with. No one in that room wasn’t touched to the core by the entire evening.
Russell has a handful of U.S. dates in January and is headed to Mexico as part of Brandi Carlile’s Girls Just Wanna Weekend. Then it’s off to the United Kingdom for a string of shows and back to North America for Canadian dates before more U.S. ones kick off.
Allison Russell is not just a singer-songwriter and multi-instrumentalist. She’s a humanitarian, teacher and connector. She cares deeply about humanity.
So yeah, come for the music but stay for everything else.
Because from where I sit, the world needs more of Allison Russell.
Follow her everywhere. Buy her records. See her live.
While my feet have been back on American soil for a few weeks, part of my heart is still in a gorgeous field in Tunbridge Wells, Kent where I spent three idyllic days hearing some of my favorite artists as well as a bunch of new-to-me ones.
Did it POUR on one of the days? Of course it did, it’s England after all. But that didn’t stop any of the music from happening.
Permit me to unpack some of what I heard and saw but before I forget, I simply must share that I tried my first ever Scotch Egg and my god it was delish!
Thankfully Aer Lingus had a flight that only partially broke my bank and I was also able to find a nifty hotel to lay my head at night without having to take out a second mortgage on my house.
I arrived on Thursday, June 15 by way of a layover in Dublin from Boston and after settling into my temporary digs, took a stroll around town and promptly found an incredible shop where I bought a Chewbacca seatbelt cover. BECAUSE OF COURSE I DID.
I also found some of the best pizza I have ever had and in a hilarious twist, ate it back in room paired with a cold bottle of Budweiser because I’m weird.
Tunbridge Wells is such a lovely place that I hope I get a chance to explore again
ONTO DAY ONE!
Friday, June 16
Black Deer offered a handy and affordable shuttle bus which was an ace option so I used it all three days. Whizzing along on the “wrong” side of the street on a narrow country road was a thrill for me and I hadn’t even reached the festival grounds.
Black Deer was held at Eridge Park which is a massive field at the bottom of a rolling hill. Many attendees camped right there on the grounds in either tents, trailers or the posh yurts that were available. Smart move as one could roll out of one’s sleeping bag and right into the grounds.
After getting the lay of the land and hearing bits of music from about seven total performance areas I headed for the photo pit to shoot my first pics of the day.
As a professional journalist, I pride myself on hardcore prep but this trip was just as much a mini-vacation as it was a quest to document the festival so I had to laugh when, 15 minutes before he took the stage I connected the dots and realized why the name Damian Lewis was familiar to me. OMG IT’S THE DUDE FROM HOMELAND!!!
He’s got an EMMY and a GOLDEN GLOBE on his mantel for his portrayal of Nicholas Brody. As a hardcore fan of the show I had to wipe the stars from my eyes for a few seconds and get a grip on myself. (And yes, he’s also in “Billions” though I haven’t seen that series).
Damian Lewis at Black Deer Festival on June 16, 2023. Photo by Aimsel Ponti
Turns out, Lewis is also a musician and his debut solo album “Mission Creep” was released ON THAT VERY DAY. It includes a cover of Neil Young’s “Harvest Moon” and is 13 tracks long. Who knew? Clearly several people as the The Ridge Stage tent was a madhouse during his set. Well done, Sergeant Brody!
Damian Lewis at Black Deer Festival on June 16, 2023. Photo by Aimsel Ponti
After a bit more wandering I caught part of This Is The Kit and if you don’t know their music, RUN DON’T WALK to wherever/however you listen to music. All bow to Kate Stables…
I found myself wondering why IN THE HELL I wasn’t familiar with Irish singer-songwriter CMAT. Her afternoon main stage set absolutely SLAYED and I especially adored “I Wanna Be a Cowboy, Baby.” CMAT’s got a terrific voice, sassy stage presence and I loved she and her band immensely.
CMAT on June 17, 2023. Photo by Aimsel Ponti
Later in the evening when the sun was contemplating setting Nathanial Rateliff & The Night Sweats closed out the evening on the main stage. They always put on a solid show. Always.
And honestly, hearing “S.O.B” live always makes me happy.
Lest there be any doubt of how stacked this festival is, other acts on this day included Bonny Light Horseman, Kurt Vile and The Violators and Willi Carlisle among a bunch of others. As in a TON.
Saturday, June 17
I woke up, TBH, not particularly well rested but none the less excited to hop aboard the bus and whisked back to Black Deer.
I get to write a sentence that I’ll likely never get to write again and one I write still completely freaking out over.
THE PRETENDERS FOLLOWED BONNIE RAITT ON THE MAIN STAGE.
I hope you heard the huge exhalation of breath that just happened for me even more than a month later.
But first, huge shout out to Calexico! It was my first time seeing them and man alive, entirely righteous set on the main stage.
Calexico on June 17, 2023. Black Deer Americana Festival. Photo by Aimsel Ponti
Under the tent at the Ridge Stage I had the extreme pleasure of catching most of Kyshona’s set and don’t think for a second I didn’t go up to her and fan girl later that day when I saw her near me watching Raitt’s set.
Me and Kyshona.
Because of the tricky decisions that had to be made, I missed most (but not all) of Amythyst Kiah’s set but do yourself a gigantic favor and get wise to what she’s all about.
Now about Bonnie Raitt…
Amythyst Kiah at Black Deer Americana Festival. June 17, 2023. Photo by Aimsel Ponti
I need to tell a quick back story. I’ve been a fan for decades of Raitt and have been fortunate enough to have seen her a few times through the years. But more to the point, on Record Store Day of 2023, which was on April 23, I got to interview her IN PERSON at Bull Moose Music in Scarborough, Maine. You can watch it here.
I had not been feeling well (not Covid) for most of that week and sadly, couldn’t make the show she had that night in Portland. I had to rally hard to do that interview because I wasn’t going to miss it for anything. Raitt was lovely to talk to.
The very next day, April 24, was the day I went to my hometown in Massachusetts and, long story short, it was that very day we found out my mother Louise had a massive brain tumor.
We lost her five weeks later.
As you imagine, the memories of last April are tangled up in bittersweet memories because as a music journalist, interviewing Raitt is a career highlight though the afterglow was so quickly extinguished 24 hours later.
So yeah, I needed to see her and my god what a set she performed at Black Deer. A dozen bangers including the Grammy winning ballad “Just Like That” as well as hits like “Nick of Time” and “Something to Talk About.” Raitt also conquered with her takes on INXS’ “Need You Tonight” and Talking Heads’ “Burning Down the House.”
But I have to say, there’s truly nothing quite like hearing Bonnie Raitt sing John Prine’s masterpiece “Angel From Montgomery.” I can’t begin to fathom how many times Raitt has sung it live since releasing in on 1974’s “Streetlights” album. This is one of those times that the saying “it never gets old” is accurate because “Angel From Montgomery” is that special. It’s Raitt’s “Over the Rainbow.”
Still on cloud 9,000 from Raitt’s set, those of us with photo passes were allowed into the pit for songs three and four from The Pretenders. Chrissie Hynde and company kicked the set off with “Losing My Sense of Taste” and “Message of Love” as I freaked out side stage waiting for the green light to go into the pit.
It happened and it was truly surreal being THAT CLOSE to a band I’ve loved since the early 80s. “Turf Accountant Daddy” and “Hate For Sale” were the songs (both from 2020’s “Hate For Sale” album).
Chrissie Hynde of The Pretenders. Black Deer 6-17.23 Photo by Aimsel Ponti
After doing my best with photos I had to make quick work of getting myself to The Ridge tent because one of my reasons for living had her set at just about the same time as The Pretenders.
It was singer-songwriter and all around SUPREME HUMAN BEING Allison Russell. Her 2021 album “Outside Child” is extraordinary as is “The Returner,” the first single from the album of the same set for an early September release.
Initially I was a bit crestfallen that I would have to try and be two places at one but then I remembered how lucky I was to even be there in the first place.
Allison Russell at Black Deer. June 17,2023. Photo by Aimsel Ponti
Allison Russell at Black Deer. June 17,2023. Photo by Aimsel Ponti
Allison Russell at Black Deer. June 17,2023. Photo by Aimsel Ponti
Allison Russell at Black Deer. June 17,2023. Photo by Aimsel Ponti
I made my way into the photo pit, took my fill of shots and heard a few more songs before trotting back to within hearing distance of The Pretenders.
Check out the entire setlist here and imagine little old me standing in that field taking it all in listening to “Hymn to Her, “Don’t Get Me Wrong,” “Talk of the Town” “Mystery Achievement” and “Middle of the Road.” It was goddamn transcendent and I fell asleep feeling nourished and with a huge smile on my face.
Sunday, June 18
At this point I was a Black Deer veteran and knew my way around, knew where my favorite food stalls were and where the shady spots were. I was comfortable, relaxed and rolled into Sunday with a sense of adventure and without an urgent agenda with one key exception: PATTY GRIFFIN! I’ve been a fan of the Maine native singer-songwriter since the 90s and have seen her countless times and have interviewed her more than once for the Portland Press Herald. She’s a songwriting GENIUS and it was a massive thrill to her perform in England.
As for the rest of the day, HELLO AMANDA SHIRES, BRANDY CLARK, LUKAS NELSON and PROMISE OF THE REAL AND STEVE EARLE. And to be entirely clear, that’s just some of the dozens of acts spread all over the Black Deer stages.
Patty Griffin at Black Deer. June 18, 2023. Photo by Aimsel Ponti
I mostly wandered around on Sunday hearing a song here and a song there and it was a perfect way to navigate the day. Two non-musical things that happened that day was watching what ended up being a downright riveting chili pepper eating contest and my first attempt at ax throwing. I landed one in the target but sure had fun throwing. I also sat (and had my nerdy photo taken) on one of the ACTUAL scooters used in “Quadrophenia.” There was even one of the helmets and an army jacket like you see in the film. The donation to sit on it benefited a local charity but the thrill for me was priceless.
While I’m at it, another absolute highlight of day one was riding the Ferris Wheel which afforded a terrific view of the grounds. I did however take a hard pass on the helter skelter as I’m certain I’d still be in a Kent hospital with a broken limb or two.
The helter skelter slide and ferris wheel at the Black Deer Americana Festival 2023. Photo by Aimsel Ponti
ALL OF THIS IS TO SAY: Black Deer is a marvelous, well thought-out, expertly curated festival. Also, everyone I met was really kind. I love that! I mean look at these lovely people and this wonderful scene:
Fans at the 2024 Black Deer Americana Festival in Kent, England. Photo by Aimsel PontiThe 2023 Black Deer Americana Festival from a distance. iPhone pic by Aimsel Ponti
I sure hope to make it back to to Kent for another one, that’s for damn sure.
Once again I find myself in this familiar, delicious space of having experienced something transcendent and not knowing what to do with myself. Not only that, I experienced it three nights in row. Once, twice, three times a Dresden Dolls show and I loveeee them!
What led to this shows is a long story.Fear not, it’s not my story to tell but I will say this: Amanda Palmer spent most of the pandemic in New Zealand. Brian Viglione’s been doing this, that and the other thing (giving drumming lessons, working with other bands and other cool shit) over the past few years. The last time punk cabaret duo extraordinaire Dresden Dolls played together was five years ago.
They’ve been missed. Indeed like the deserts miss the rain. Sure there are albums and YouTube clips to enjoy but the live show experience, well that’s another enchilada entirely.
But. They’re back. They’re goddamn back. Reunited and it feels so good!
I was lucky that I checked my email (I’m a bit OCD with that tbh) at just the right moment because it enabled me to say eff it and snag tickets to all three shows at the 400-person capacity Colony venue in Woodstock, New York. I mean I HAD TO. I knew I’d want to write about the shows so I frantically bought my tix and will always be thankful I didn’t miss out because it’s extremely rare that I’ll ask to be guest-listed. I fucking hate doing that. I’m a fan first. Always. So with golden tickets in hand, off I went to enchanting Woodstock.
By the time I got to Woodstock, I was tired af but all of that evaporated as I drove by the venue and into the parking lot and saw one of my favorite things: A line of Dresden Dolls fans. We are not normal. We’re all a bit mad and we’re all a bit tattered and torn. Said another way: We’re magnificent.
With steam punk, goth and new wave fashion sensibilities, the in-line chatter was rich and all three nights I made new pals and ran into some old ones. That’s just how it is at Dresden Dolls shows. We understand each other. It’s a thing. Always has been. We listen to each other and help each other and in the online community, the support fans have shown one another has surely saved some lives. I’m not kidding.
Anyway…
The Dresden Dolls played shows on Thursday, Friday and Saturday, Nov. 10, 11 and 12 and here I am, a handful of days later, still thinking about what I saw and heard.
The set lists on the three nights were fairly similar and my memories are already starting to blur together (in a wonderful way) so I’m not going to attempt much in the way of “on Thursday Amanda said this and on Friday, Brian did that” but rather will try and capture more of an overall take on the combined experiences. We cool?
Every show started with The Doors’ “Alabama Song” playing through Colony’s sound system giving way to Brian and Amanda’s arrival on the stage and launching into “Good Day.”
It’s track one from the 2003 self-titled debut album and goddamn it was glorious to hear it live, toy piano and all! Plus the song reminds me of when I first became a Dresden Dolls fan. Memories, light the corners of my mind…
“So you don’t wanna hear about my good song” sang Amanda as Brian, who can play anything, strummed his acoustic guitar behind the drum kit. The moment he set it down and grabbed his drumsticks we were off to the races and we didn’t stop for two and a half hours. My oh my what a good day indeed (times three).
With the start of the show I was able to exhale and felt the grin on my face widen because one of my favorite bands was playing and the room felt cozy, safe and perfect. The Colony seemed to understand what it has been tasked with. This was not an ordinary band (though, to be clear, few are) and these were not ordinary fans. The Colony’s old bones held us tightly and both the sound and site lines were great. Full disclosure, I opted to not be with the masses on the floor and camped out in the balcony (small, perimiter style one) all three nights which I loved. I could see well and it brought me immeasurable joy to be able to look down and see all of my fellow fans bobbing their heads, smiling and singing.
After “Good Day” it was “Sex Changes,” “Gravity,” “Bad Habit,” “Backstabber,” “Modern Moonlight” and “My Alcoholic Friends.” Each one exquisite, emotional, crazy, turbo-charged and insane on the membrane fucking spectacular. So much so that it took me a moment to realize something.
Amanda and Brian ripped through these seven songs before saying much of anything to us.Why? Because, in my opinion, they HAD TO. Because we were STARVING and needed nourishment before anything else. We couldn’t wait. And they needed to feed us. They needed to make that kind of primal connection with us. Hello could wait.
This was every once of us at the Colony:
Only after The Dolls made sure we were all satiated did the wine get flowing and the stories, chatter and mayhem begin in earnest.
We all needed not only to be fed, but maybe to be courted a bit. To be assured that order had in fact been restored to the universe and The Dresden Dolls were back in the same room at the same time.
Amanda Palmer at The Colony in Woodstock, New York. Nov. 2022. Photo by Aimsel PontiBrian Viglione. The Colony, Woodstock, New York. November 2022. Photo by Aimsel Ponti
Amanda and Brian sure did say their hellos, both enthusiastic with their gratitude for us all being there and having traveled far to be there. I was only 4.5 hours away but I heard there was a fan there from Brazil and I met ones from Arizona and California for sure. Then they delved back into that dare I say iconic first album for a quintessential fan favorite; “Missed Me.” It was good to the last drop, last note. The song gathers steam, and angst, as it goes along. Attacks and retreats. Attacks and retreats. Vocals, piano, drums. The holy trinity. Uh-Huh.
Over the course of the three nights, two guests came out and sang “Delilah” with the Dolls and they both SLAYED. I’m referring to Holly Miranda and Veronica Swift. Bravo! BRAVO!
We also heard one new song called “Whakanewha.” Amanda wrote this one as a Dolls song about her time in New Zealand. I hope they record it because holyyyyyy shittttttt.” Funny. Poignant. Complicated. Pure Dolls.
All three shows included a trio of classic Dolls covers and as far as I’m concerned they can play them at every show they ever do forever.
First was Beastie Boys’ “Fight For Your Right” with their friend Manta on bass, Amanda on drums (you read that right) and Brian on lead vocals and red-hot electric guitar.
Slight lyric modification was enthusiastically screamed by EVERYONE:
Your mom busted in and said, what’s that noise? Aw, mom you’re just jealous it’s the DRESDEN DOLLS!
After this, Brian grabbed his acoustic guitar and Amanda made her way to the balcony where she stood on the edge (semi-safely) and belted out Jacques Brel’s “Amsterdam.” I’ve known the song since about 9th grade thanks to an obsession with David Bowie who recorded his take on it 875,734 years ago. When I first heard the Dolls play it in 2017, I died. I still die when I hear them play it. Amanda sings it with gusto and is not shy about spraying fans with beer during it. It works. Trust me on this.
Later on we heard Sabbath’s “War Pigs.” Mmmmmm! Entirely satisfying.
As the show started to head into it’s final chunk of songs we all had a feeling some doozies were coming. I mean it wouldn’t be a Dolls show without “Coin Operated Boy.” And I’ll be never be alone. go….
The song makes people happy. It’s quirky and whimsical but also timeless and musically rich. The song is a self-contained circus. But then it hits you with lines line “This bridge was written to make you feel smitten/And with my sad picture of girl getting bitterer.” It’s like five songs on at once. I WANT A I WANT A I WANT A. And live, holy hostess ho hos, it’s a spiritual experience.
This brings us to the final four. The songs Amanda and Brian chose to send us back into our lives with are all ones that made me such a hardcore fan in the first place. These four are not fucking around. These four are everything. And then some.
Never have I ever heard Dresden Dolls play “Half Jack” in the way that I did in Woodstock. {BTW, one of the nights both of their dads were at the show and I had a lovely 15 minute chat with Jack Palmer}.
The studio version of “Half Jack” is six minutes long. Six arresting, haunting, scary, riveting, intense minutes.
NOW DOUBLE THAT.
The live “Half Jack” was a living,breathing life force. Amanda and Brian didn’t just play the song. They delivered it like a sermon. I was transfixed. I couldn’t believe what I was hearing and seeing. I was brought inside the song, into it’s chest cavity. I saw its teeth, its lungs, its heart. I saw it all. I heard it all. There was nothing held back. I get chills thinking about it. The heads below me nodding along were right there with me.
It was a put-a-fork-in-me-I’m-done type of experience but guess what? THE SHOW WASN’T OVER.
I still remember my Dolls PRIDE when I was watching an episode of “Weeds” so many years ago and “Girl Anachronism” was used to close out an episode. That song has an urgency to it like few others. 1 2 3 4 !!!!
We all obviously lost our minds.
Then we lost them again during the encore.
“Truce” closes out the 2003 album. This eight-and-a-half break-up juggernaut might be considered a “deep album cut” by some but not by anyone in that room. We sang. We absorbed. We listened as the planet was divided.
“I am the tower around which you orbited I am not proud, I am just taking orders I fall to the ground within hours of impact I hit back when hit and attack when attacked”
I mean Jesus Christ.
This brings us to the end. Unlike the dude at the end of The Last Crusade, Dresden Dolls chose wisely with their last song.
In 2006 the album “Yes, Virginia” was released. They played a bunch of songs from it at these shows but ONLY “Sing” could be the one to end with.
Consider these lines:
“There is this thing keeping everyone’s lungs and lips locked It is called fear and it’s seeing a great renaissance After the show you can not sing wherever you want But for now let’s just pretend we’re all gonna get bombed So sing”
AND WE DID. Boy did we ever. I don’t know how I didn’t cry all three nights.
And, get this, on night two Brian had something happen with one of his drums (don’t ask me, I don’t speak that language and will sound foolish trying) so in the heat of the moment a decision was made.
He and Amanda walked to the edge of the stage and Brian played the entire song (rather than just the beginning) on his acoustic guitar. He didn’t use an amp and neither of them used a microphone. Instead, we all sang it with them and Amanda fed us lyrics at key moments. I’ll never forger this.
On the third night, everyone on Amanda’s team plus the two dads and a few other friends all stood on stage with them for “Sing.” I wish you could see the smile on my face right now as I sit here like a dope thinking about it.
A new Dresden Dolls will happen. More shows with happen. Have faith. They’re back.
Sometimes the universe comes through just when you need it to.
Saturday, August 13, 2022, was one of those times.
Amanda Palmer is HIGH on my list of favorite musicians and I hadn’t seen her perform live since April of 2019 (or as many of us like to call it, the before times).
I saw her last weekend at the Old Dutch Church in Kingston, New York.
It was there that I laughed, cried, applauded, cheered and felt each note to my core.
I did all the things. This was a full-service show.
I mean for Christ sake, I even got a chiropractic treatment during the pre-show reception by a gentleman who was entirely kind to me and understood that my body, heart and mind needed help. It was part one of the healing experience that happened that night.
This show was an emotional booster shot. I’m stronger for it and I’m so thankful for that.
Despite a creepy hotel debacle and despite the fact that my car broke down in Massachusetts on the way back to Maine from New York on Sunday it was worth driving more than 600 miles.
Permit me to tell you why.
The performance was a benefit for 0+ based in Kingston. Their mission is to empower communities to take control of their collective well being through the exchange of art, music and wellness.
From their site:
“Underinsured artists and musicians create and perform in exchange for a variety of services donated by doctors, dentists and complementary care providers. O+ (pronounced O Positive) calls this exchange the art of medicine for the medicine of art.”
So yeah, O+ is the bomb and I was happy to support them.
Actor, MC and creater of the non-profit arts organization Chris Wells played host for the evening and rallied the audience to shout out their suggestions to make the world a better place. A poem might surface from him from the notes he took. He also led us all in a massive primal scream session. Those church walls absorbed a lot that night, that’s for shit sure.
Chamber pop piano-violin duo Gracie and Rachel were also there. They’re lovely. I was fortunate to have seem them a few times lately opening for both Tori Amos and Ani DiFranco.
Poet, essayist and neo-troubador animist Sophie Strand graced us with her presence and read a stunning piece. She’s new to me. I love her!
Svitlana Zavialova is a Ukrainian martial artist, painter and performance artist. Her performance resulted in a painting that fetched $750. She also wielded a sword when Amanda played “Drowning in the Sound” later in the evening. We’ll get to that. Trust me.
I didn’t get to catch more than a few moments of PowLo b-O.M.B. but he’s a super cool NYC subway foot drummer and guitar busker who was doing his thing outside the church.
Check out all of these people. They’re out there doing AMAZING THINGS.
Now about that Amanda performance…
After an enthusiastic introduction from Chris Wells, Amanda stood in the church’s pulpit and sang a song a cappella. But not just ANY SONG. She sang Tracy Chapman’s “Behind the Wall.” Raise your hand if you still have your original vinyl copy of Chapman’s absolutely brilliant debut album , home to “Fast Car,” Baby Can I Hold You” and the bone-chilling account of domestic violence that is “Behind the Wall.”
Amanda Palmer. 08.13.22. Photo by Aimsel Ponti
Turns out Chapman and Palmer both put in countless hours in different decades busking at the same exact spot in Harvard Square. BECAUSE OF COURSE THEY DID.
Hearing Amanda sing a song like “Behind the Wall” in a CHURCH was, well shit, it was a near religious experience.
And she was just getting started…
Still in the pulpit, Amanda picked up her ukulele to play a song near and dear to many hearts. From 2011’s “Amanda Palmer Goes Down Under” we heard “In My Mind.” Right from the start the words resonate.
“In my mind, in a future five years from now/I’m a hundred and twenty pounds/And I never get hungover, because I will be the picture of discipline/Never minding what state I’m in/And I will be someone I admire.”
When it came time for the “Fuck Yes” line from the song, she let us handle it and we damn well did.
Amanda’s 2019 album “There Will Be No Intermission” kills me in a way that few albums do. Every goddamn second of every track, including the musical interludes.
One of those songs that hits particularly hard is “The Thing About Things.” Amanda sings about loaning things out and not getting them back which then moves into singing about a complicated grandfather relationship and a stolen ring that gets lost -and then found -in a bar. The anguish is palpable and I could hear tears in Amanda’s voice during the lines “He wasn’t the type to give tokens of affection so I stole the ring when he died/And then twenty years on when I lost it in a bar, I thought that’s fine, I don’t want it him my life.” It was like when someone’s speaking at a funeral trying to hold it together and then realizing, fuck this, I don’t need to. Nor should I.
Amanda moved to the grand piano and played what she referred to as a “church song.”
Amanda Palmer at the Old Dutch Church in Kingston, New York. 8.13.22. Photo by Aimsel Ponti
It was “Jump (For Jeremy Geidt)” with the lines “We are miserable sinners/filthy fuckers.” This was of course glorious and she segued directly into one of my (many) favorite songs. From 2008’s “Who Killed Amanda Palmer” Amanda played “Ampersand” and here’s where I take a moment to shine a big, bright spotlight on something I don’t think gets talked about nearly enough: Amanda’s piano playing. It’s tremendous. I feel so strongly about this that I’m entirely ready for her to pull an Annie Lennox and release an instrumental album. (Lennox did this in 2019 with the magnificent 4-song piano EP “Ledidoptera.”)
But back to “Ampersand.” This is a truly classic Palmer song.
“And I may be romantic And I may risk my life for it But I ain’t gonna die for you You know I ain’t no Juliet”
Am I really going to talk about every song Amanda played at this show? YEP. Sure am. I can’t help it.
But before I launch into gushing about the next song, it’s worth mentioning that Amanda played this entire show with her father Jack, who had been visiting for the past several days, in the ICU unit of a local hospital. She shared this with us adding that because she had been spending so much time in the hospital, her rehearsal time for this show had been minimal and the songs might suffer for it.
They didn’t.
And she proved it by playing the frantic, fraught with drama “Runs in the Family,” which requires a flurry of piano not for the faint of heart.
Then it was back to “There Will Be No Intermission” for “Voicemail for Jill,” a song about abortion.
Before playing it, Amanda said this: “I wanted to play this song for really sad, obvious reasons. But I also was thinking backstage about what I wanted to say about the song. The tour that took me to New Zealand which is why I wound up away from America for over two years by accident was fundamentally a show about abortion rights. A lot of people did not really care for my show, including people close to me who didn’t understand why I had to get up on stage and talk about this stuff because it should be personal.” Everything feels terrible right now. But also I am seeing and finding people willing to fight the good fight in a way I never have before and this is what we have to fucking do.”
Damn right we do.
Amanda played “Voicemail for Jill” and the earth stood still for several minutes. And the piano was extra lovely on this one and brought tears to my eyes.
Leave it to Amanda to know the EXACT RIGHT SONG to play next. This woman knows how to read a room which is why “Coin Operated Boy” was the only song that could have come next.
From the 2004 self-titled Dresden Dolls album, “Coin Operated Boy” is pure delight. Yeah fine, Billy Joel’s piano sounds like a carnival, but Amanda’s sounds like a punk cabaret one. And while I’m thinking about it, hey Amanda, hey Brian, time to start thinking about a 20th anniversary re-issue of the album as it’s coming up fairly soon. Don’t ask me where the fucking time goes but here we are…
Amanda told us about recently seeing her longtime friend Regina Spektor perform at Carnegie Hall. Then she covered “Ode to Divorce,” the first track from Spektor’s EPIC 2004 album “Soviet Kitsch.” On Feb. 6, 2005 I saw Regina OPEN for Dresden Dolls in Portland, Maine. The Dolls’ set was professionally filmed and you can watch it here.
Amanda’s version of “Ode to Divorce” was sublime. Jesus.
It was time for us to experience Svitlana again. This time,wielding a huge sword and dancing/moving while Amanda played “Drowning in the Sound,” yet another jewel from “Intermission.” What’s more, Gracie and Rachel positioned themselves on opposite sides of the balcony to sing backing vocals during the song. I mean what in the actual fuck? It was transcendent.
Rehearsal shot. Amanda Palmer and Svitlana Zavialova. 08.13.22. Photo by Aimsel Ponti
Svitlana’s jerky, twitchy movements behind Amanda during the beginning of the song was stunning. Then she picked up that motherfucking sword and swirled around the stage and into the center aisle.
The piano came crashing down while Amanda sang and Svitlana wielded the sword like she was going into battle against dark forces that are both sinister and desperate for love.
The culmination was when Amanda’s arm stretched across one side of the piano and Svetlana’s the other as they reached for connection as Amanda sang the line “I’m watching everyone I love” over and over, holding the last note for several seconds as their hands reached for one other but never touched. It was a moment I won’t soon forget.
The show could have ended then and it would have been enough.
But it didn’t end.
Amanda wasn’t nearly done with us and in fact played a new song for us, an homage to her adopted home of New Zealand. She explained that she wrote very little during her time there and the one she played for us was written right before she left. “I gave myself a job. I needed to write a good love letter to this country that has taken care of me for two years.”
Jamie McFale is a fifth generation Kiwi that Amanda befriended during her time there and from whom she learned so much. She also talked about the loneliness she felt there. All of this and a ton more went into the song which mentions Jamie by name and captures pieces of conversations they had and the deeply personal things he shared with her. I hope she ends up recording and releasing it. It speaks to the complicated history of both the U.S. and New Zealand while also celebrating her love for the island country which kept she and her son Ash safe.
Poet Sophie Strand was introduced. Gracie sat next to Amanda at the piano and the two played together while Rachel played violin and Sophie read the piece “I Will Not Be Purified.” Holy shit. Now I want to ready everything she’s ever written. Again I say: Holy shit.
Now comes the part where I cried really hard.
The last song of “There Will Be No Intermission” is called “Death Thing.” I’ve always struggled with this song but not for the reasons you think. It’s not because I don’t like it. Quite the opposite is true. I just can’t casually listen to it while doing random stuff like the dishes or running errands in the car. “Death Thing” is a song that needs to be saved for when I can be quiet and feel safe.
And the song took on new meaning for me on May 29 of this year. This is the day my mother Louise died. Five weeks after a brain tumor diagnosis. I had been there for all of it. Driving the 90 minutes (it could have been 900 and it wouldn’t have mattered) back and forth to the hospital and then the wonderful spot where she spent about the last ten days of her life. I was there when she started to slip away, first by ending talking, then eating and drinking. I was there on the last day when I walked into her room and knew from the shift in her breathing that this was it.
I am, as you can imagine, still processing all of this. I let myself feel the pain in measured doses. Although I’m starting to believe and trust in the fact that my grief will not swallow me whole, even as tears stream down my face as I write this and I think about how much I miss my mother.
Amanda dedicated the song to Sophie who she had spent time with at the hospital in the days leading up the show.
Three notes in I knew what song it was. I was seated in the balcony of that church snapping photos. I put my camera down and held onto the Celtic cross that belonged to my mother that I now wear every day.
I told myself to just be present. To go full on Beatles and just let it goddamn be for once.
My shoulders shook as I quietly sobbed. But a few minutes later, as the song ended with Amanda singing the Sanskrit mantra “Jai guru deva, om” (which most of us know from The Beatles’ “Across the Universe.”) it occurred to me that I was still there, grief and all.
The show continued with the song “I Love You So Much” which is on the album Amanda made with her dad Jack a few years ago. He was going to be a surprise guest at the show. At this moment I’m not sure on how Jack is going but I sure hope he’s OK or at the very least, not in pain. Gracie graciously stepped in and sang his part.
The evening ended with a cover of the song “Another World” by Antony and The Johnsons. It’s from the 2009 album “The Crying Light.” I know next to nothing about this band but sure am curious. Head here to get yourself started at least.
I don’t know the original but figured out what it was by some old school lyrics googling. I have since listened to it and am of course wondering where the song has been my whole life.
Here’s a chunk of the lyrics:
I need another world A place where I can go I’m gonna miss the sea I’m gonna miss the snow I’m gonna miss the bees I miss the things that grow I’m gonna miss the trees
A lot happened during Amanda’s performance of the quite frankly sacred song. She moved from the piano back to where it all began; the pulpit. Rachel was below playing violin, Gracie was at the piano. Amanda wore a crown of small red flowers.
Father Nathan Monk walked up one of the side aisles, holding a small statue of Jesus. Svitlana walked up the center one holding a globe over her head. Sophie Strand rang bells. The four of them stood on that pulpit, then Chris Wells joined them and covered the glove with cloth and embraced it, as is in mourning. The church grew dark and the last strand of violin was heard. It was breathtaking. Truly breathtaking.
There’s a box of tissues on my desk right now because it’s hard to not cry as I get ready to write this.
I’m one of the lucky ones.
I got to see Joni Mitchell perform an entire set of songs at Newport Folk Festival on Sunday, July 24, 2022.
Every single day for the rest of my life before Sunday will now be considered the “before times.”
And not only did I see her sing, I was front row, dead center proudly wearing my JONI cap.
Let me be clear, what I’m about to share is not bragging rights. This is coming from a place of pure, unfettered (to use a Joni word) joy. It’s coming from a place of shock, disbelief and profound gratitude.
And it’s coming from a chamber of my heart that I didn’t know existed. One that has been waiting for just the right moment to open itself. One that has forever shifted what I thought I knew about the live music experience.
I can’t not document the experience and if you’re reading this, I probably don’t have to tell you the significance of Joni Mitchell. I mean my god…
But first, I need to share something. On April 24 of this year my mother Louise was diagnosed with a very large and very cancerous brain tumor. We lost her on May 26 and her funeral was on June 6. I’m mentioning this because losing her, and the way we lost her, also opened up a new part of my heart.
Those two new parts converged on Sunday night. The sorrow and the happiness collided and that salt from the many tears I shed that night likely changed by DNA permanently.
So there’s that.
Now then.
Here’s what happened.
First off, this was my fourth time attending the Newport Folk Festival. My first was in 2018. Then came 2019 and the Dolly Parton miracle. The six-day Folk On festival of 2021brought with it the surprise of Chaka Khan. By the way, I will be writing a separate thing about the rest of the festival! Coming soon! I mean HELLO, PAUL SIMON!
Now where was I?
Oh right. Sunday night.
Nothing could have ever prepared me for Joni Mitchell.
The schedule for the final performance of Sunday night initially said Brandi Carlile & Friends but it later changed into two different things: Brandi Carlile & Friends and then after a quick break The Coyote Set. “Coyote” is a track off of Mitchell’s “Hejira” album. Coincidence? Nah.
Every year one of the fun parts of Newport Folk Festival is to speculate based on unconfirmed hot tips and runaway imagination that the likes of maybe Neil Young or Taylor Swift will show up.
I mean shit man, the first time I went, John Prine walked on stage to sing with Margo Price and surprise act Mumford & Sons trotted out David Crosby for two songs. In 2019 Kermit the Frog had 10,000 people, including Jim James from My Morning Jacket, singing along to “The Rainbow Connection” with him. That historic fort is like a field of dreams. Things happen there.
So yes, there was chatter all weekend long about the possibility of Joni Mitchell showing up with Carlile because if anyone could make it happen it’s Brandi and her friend, festival director Jay Sweet.
For one of the festival days I didn’t even dare say Joni’s name aloud as I was legit nervous about jinxing anything.
Plus I was entirely caught up with seeing Natalie Merchant surprise us with a pair of songs. I was caught up with being absolutely slayed by Madi Diaz and Rhiannon Giddens. And I was caught up with every nano second of The Roots.
The Roots ended their soul-quaking performance and shortly after, Brandi Carlile, Tim Hanseroth, Phil Hanseroth and the rest of her band hit us with a five song set that included “The Joke” and “You and Me on the Rock” with Holly and Jess from Lucius on backing vocals. Then Brandi told us all to sit tight for just a little bit. Believe you me, no one was going ANYWHERE.
That’s when many people on that stage sprung into action setting up couches, fancy chairs and so many microphones. The set was adorned with flowers, stacks of books and several flameless candles. It looked like a living room. Why? BECAUSE IT WAS.
For the past couple of years, Carlile had been sharing with fans that she was part of a very special circle of friends who would gather in Mitchell’s California home for Joni jams. Folks like Herbie Hancock, Paul McCartney, Elton John and Bonnie Raitt. Mostly, from the way Carlile described it, Joni would crack jokes and take it all in rather than participate all that much.
As we all know, Mitchell had a mother of a health scare in March of 2015. A brain aneurysm resulted in her having to relearn just about everything. Remember that? Remember hearing the news and having time stand still because you couldn’t bear the thought of Mitchell leaving this earth because it just wasn’t her time yet. It was as frightening as it gets.
Still…she persisted. Joni Mitchell was not nearly done gracing us with her presence. And within the last year, as we found out on Sunday night, Mitchell started doing something that I don’t think anyone, including her, knew for sure would happen again. Joni Mitchell started singing.
The sun gave way to a cocoon of clouds and Brandi Carlile along with several musicians including her band (SistaStrings, Josh Neumann, Shooter Jennings, Matt Chamberlain, Phil and Tim Hanseroth) along with Celisse, Allison Russell, Wynonna Judd, Rick Whitfield, Taylor Goldsmith, Marcus Mumford, Holly Laessig, Jess Wolfe, Ben Lesser and Blake Mills formed a semi-circle of perfection on that living room set.
Brandi Carlile read a well-prepared speech which the occasion most certainly called for. She spoke about things like the power of togetherness and how it’s more powerful than any government and how radical love is. “If we love one another we might defend one other. ” She continued. “To power structures folk music is and always has been utterly fucking destructive. It’s a truth teller and it’s a power killer.” For several minutes Carlile honored the importance of the festival and how the sense of community means so much. She called out places like Sun Studios and Preservation Hall. But when she mentioned Laurel Canyon I felt a seismic shift in the universe. THIS WAS GOING TO HAPPEN.
Then Brandi told us all about the Joni jams. “We’re here to invite you into the living room.” She told us about all of Joni’s pets and her many orchids and the hidden door to the bathroom. “We are the cast and crew of the Joni Jams.” Then she told us how it doesn’t feel complete without Joni there to crack jokes and nod with approval. “How are we gonna have a Joni jam without our queen?”
Then Brandi Carlile said the two most important words she’s ever said: “WE’RE NOT!”
Please welcome back to the Newport stage for the first time since 1969…JONI MITCHELL!”
And there she was. Flesh and blood. Love and light. Slowly dancing her way to her gold wingback throne placed next to Brandi’s. The two of them embraced while the rest of us, fans and musicians alike lost our minds. Because of course we did.
Joni Mitchell and Brandi Carlile at Newport Folk Festival. July 24, 2022. Photo by Aimsel Ponti
Joni didn’t need to do anything. She could have just sat there in her blue beret and sunglasses and taken it all in. But she didn’t come all the way from the west coast to sit there. It had been 53 years since she last sang at Newport and the first song was “Carey.” Carlile sang the first few words but then OH MY GOD JONI STARTED SINGING!!!!!! Let me say that louder for those people in the back: JONI STARTED SINGING. I started trembling and I clutched the Celtic cross that belonged to my mother tightly. Was this really happening? WAS IT REALLY HAPPENING?
Joni Mitchell surrounded by an army of angels and in front of a stunned crowd was singing her song “Carey” with Brandi Carlile.
I lost it. I started crying and couldn’t stop for several minutes. My friend Hilary put her arm on me as she too got caught up in the moment and the gravity of it.
My friend Amy skillfully captured the entire set and as her clips are far superior to my own I enthusiastically will be sharing some of them. Here’s “Carey” and know that I’m the gal who yelled out “Am I dreaming” because I couldn’t help myself. Amy Karibian’s live footage is the bomb. Follow her on YouTube and thank me later.
Joni Mitchell having the time of her life at Newport Folk Festival. July 24, 2022. Photo by Aimsel PontiMagic at Newport Folk Festival. July 24, 2022. Photo by Aimsel Ponti
Here’s “Carey:”
lt could have been a one and done deal and it would have been enough. In the 90s I had tickets to see Mitchell in Massachusetts but for reasons I can’t recall, the show was canceled. I never thought I’d have the chance to see her live and was OK with that. It was enough to, as they say, be alive at the same time as her. So yes, it really would have been OK for her to have just done “Carey.”
BUT SHE WAS JUST GETTING STARTED!
Next up was another favorite Mitchell track (and yeah, I know, most of her songs are favorites because um, she’s Joni Mitchell). “Come in from the Cold” is from 1991’s “Night Ride Home.” Taylor Goldsmith and his golden voice sang it with Joni. Several people sang with Joni. Brandi, Holly and Jess to name a few. I was overwhelmed. It was overwhelming to stand there singing along. OVERWHELMING.
Here it is:
Next Joni took us back to 1974’s “Court and Spark” with “Help Me.” This was not just one or two quick songs. This was a goddamn concert. A JONI MITCHELL CONCERT. This version of “Help Me” featured superstar Celisse shredding with her red electric guitar while also slaying with her vocals. The arrangement was quite different from the original and as you’ll see below, entirely awesome. Jess and Holly’s “Didn’t it feel goods” did indeed feel really good. Jesus.
Then Joni made me cry again. By now she’s made the entire planet cry as footage has been shared far and wide. Joni Mitchell and Brandi Carlile sat there and sang “A Case Of You” from Blue.
I don’t know what to say. Joni Mitchell sang one of the most beautiful, poignant and heart-piercing songs ever written. Her song. HER SONG.
The chills I felt had chills. It was EVERYTHING.
Here it is:
“Thank you so much” said Joni with pure delight. Then Brandi told us it was party time. She told the Lucius girls to wipe the tears from their eyes then it was off to the goddamn races with “Big Yellow Taxi.” Holly and Jess did just that and crushed it because they always do. Joni was singing right along as was Brandi as was EVERYONE. Joni even went low for the last line of “put up a parking lot.”
I MEAN MY GOD PEOPLE!
Singing wasn’t the only thing Joni Mitchell came to Newport to do that night. She picked up an electric guitar and played “Just Like This Train” from “Court and Spark.” Guitar was one of the more recent skills Mitchell had to relearn and she explained during an interview on CBS that aired the day after Newport that she had to watch videos of herself playing to help her remember where to put her fingers. IT WORKED.
Next was a song that Mitchell told us she loved as a teenager by Frankie Lymon & the Teenagers and one that had been played at Joni jams. At Newport, “Why Do Fools Fall In Love” was delightful and Rick Whitfield sang lead vocals in Newport. Lots of us helped with the “ooh wahs”. Whitfield’s voice was fabulous and Carlile was right there with him as was Mitchell.
In 1976 Joni Mitchell released “Hejira” and in 2022 Taylor Goldsmith and Brandi Carlile sang “Amelia” from it with her. Look, I’m starting to run out of ways to describe how transcendent these songs were. It’s the most gigantic example of “I can’t even….” I’ve ever known.
Anyway…here’s “Amelia:”
Another oldie that Mitchell adores is “Love Potion No. 9,” penned by Jerry Leiber and Mike Stoller and made a hit by The Clovers and especially the Searchers with their 1964 recording of it.
If you had told me that morning that I’d be seeing Joni Mitchell later that day I would have been skeptical. And if you had told me I’d hear her sing “Love Potion No. 9” I sure as shit would have likely laughed in your face and sent you to rehab.
But remember, we were in the field of dreams. Or in this case, the fort of dreams. Joni took lead on a bunch of this tune. She and Carlile sang the line “I held my nose, I closed my eyes…” then Mitchell went wayyyy down low and sang “I took a drink” and it was hilarious and again I say…perfect.
Dig it:
The last studio album that Joni Mitchell released was 2007’s “Shine” and the title track, in my opinion, is one of the strongest, most eloquent and important songs in her astounding repertoire. The song is a prayer, a plea, a meditation, a poem and a hopeful incantation. I feel so strongly about “Shine” that I’m gonna share a bunch of lyrics.
Oh, let your little light shine Shine, shine, shine Let your little light shine Shine on good humor Shine on good will Shine on lousy leadership Licensed to kill Shine on dying soldiers In patriotic pain Shine on mass destruction In some God’s name Shine on the pioneers Those seekers of mental health Craving simplicity They traveled inward Past themselves Let their little lights shine May all their little lights shine
SHE SANG IT AT NEWPORT. When Carlile introduced the song I could have collapsed. Brandi took lead but Mitchell was right there, clear and strong. My shoulders shook. I don’t know how I made it through the song without evaporating in some kind of mystical rapture. Somewhere in the clouds above Fort Adams there are molecules floating around with notes of “Shine” attached to them. Songs are like tattoos, lest we forget.
Three more songs to tell you about.
The next one requires a quick, personal context story.
On the last day of school when I was in either first of second grade there was an assembly and the teachers put on a variety show for us. One of my teachers, Mrs. McDougal (hope I’m spelling that right…it’s been a minute) sang “Summertime” from George Gershwin’s “Porgy and Bess.” I had never heard anything like it before and I still remember it. I’m not exaggerating when I say that it a key moment of my childhood that made me into such a music lover. I swear to god. Since all those billions of years ago, that song has held a special place in my heart. In 1998 Herbie Hancock released the album “Gershwin’s World” which includes “Summertime” with Mitchell on vocals. I didn’t know about this until about 15 minutes ago. ANYWAY…Joni sang it at Newport.
I quietly sang along but also was suspended in a state of surreal wonder. What is happening? Joni Mitchell is singing “Summertime.” I’VE COME FULL CIRCLE. And she didn’t just sing it. SHE FUCKING SANG THE SHIT OUT OF IT. I’m watching and listening to the clip as I sit here and still can’t believe it.
Here’s “Summertime:”
In May of 1969 I wasn’t alive yet but Joni Mitchell released her “Clouds” album. On it is the song first made famous by Judy Collins, who, incidentally, is the person who brought Mitchell to Newport for the first time in 1967. “Both Sides Now” is just one of those songs. It’s one that most of us never tire of. It’s extraordinary and emotional EVERY SINGLE TIME.
I mean Christ, even on a good day that song can dismantle me. Every line of “Both Sides Now” is a work of art. Oh man, I am losing it again watching the clip from Sunday. The dizzy dancing way that I felt indeed was something that will always be with me. During the happiest moments and the ones where I’m clutching that cross and missing my mother badly.
Dreams and schemes and circus crowds, I’ve looked at life that way.
When Joni started singing “Both Sides Now” at Newport, Brandi Carlile put her hand on her own heart. We all did in one form or another.
Oh Joni, Joni, Joni. What would we ever do without you?
I really don’t know life at all but I do know this: Joni Mitchell at Newport Folk Festival was the most significant moment of live music I’ve ever known, and honestly, I’ve had a lot of them. I’m lucky. But this. THIS. This is the kind of moment that explains to me why I sacrificed sleep to get to the fort at the crack of dawn and stand for hours to hold my sacred spot. It’s why, over the years, I’ve gone to great lengths to see live music and to support the artists I love so dearly.
Music is everything. It’s everything. And Joni Mitchell is at the very core of this.
Here’s “Both Sides Now:”
But that’s not all. There was one more song. Brandi Carlile, Joni Mitchell and a stage full of first rate musicians sent us home with a sing-along.
In 1970 Mitchell released “Ladies of the Canyon.” It’s one of those perfect albums. And it’s home to “The Circle Game.”
Before the song started there was a earth-shaking “Joni Joni Joni” chant. That happened.
And the seasons, they go round and round And the painted ponies go up and down We’re captive on the carousel of time We can’t return, we can only look Behind, from where we came And go round and round and round, in the circle game
I couldn’t help but sing along (quietly) as I stood there knowing that tomorrow would feel entirely different. (It sure did).
I am not the same person I was when I woke up on Sunday morning. Neither are my dear friends who were by me at that railing in Newport.
Here’s “The Circle Game:”
I have to tell you two more things that happened that night. Both I’ll never quite get over because they were unreal.
As I said, my friends and I got there early and got spots front and center against the railing at the Fort stage. Point being is that it was a straight line between me and Joni. Last year I bought a blue cap with big yellow letters that say JONI on it. I LOVE it and only wear it on special occasions. Clearly this was one of them. Joni Mitchell spotted it and smiled at me and pointed it out. I smiled back. But then something else happened. I flashed her the “I LOVE YOU” hand symbol AND SHE DID IT BACK TO ME. I can’t even… I really can’t. I fully understand that Joni Mitchell is a human being just like the rest of us but understand that her music means the world to me and to have that brief moment with one my heroes meant so, so much, especially now with my heart so freshly fragile.
Joni Mitchell at Newport Folk Festival. July 24, 2022. Photo by Adam Shanker
The other thing that happened I am also in complete shock over.
Right when the show ended and I was still standing there (wondering what on earth I was going to do with the rest of my life) something entirely unexpected happened. A gentleman from the stage walked over to in front of where I was and pointed at me. Then he gently tossed me one of the candles AND THEN A SETLIST. I was speechless. I don’t know who he was but if ever he sees this by some miracle I hope he knows how thankful I will always be for these absolute TREASURES.
Candle and setlist from Joni Mitchell’s performance at Newport Folk Festival. July 24, 2022.
And there it is. My humble offering of what it was like to bear witness to Joni Mitchell’s first live performance in many, many years and her first time at Newport since 1969.
THANK YOU, Jay Sweet for making Newport Folk Festival what it is. You’re a superstar.
THANK YOU, Brandi Carlile for everything you do to make the world a better place. From your music to your activism to the way you lift others up, you’re a hero of mine. Truly.
THANK YOU, Joni Mitchell for the most remarkable night of my life. Your light is strong as is your heart and soul. Your words make my life better. If you ever decide to let a low-impact, low maintenance music journalist into one of your Joni Jams, my schedule is instantly clear.
By the way, you haven’t lived until you’ve heard Joni Mitchell laugh. She did this several times while on that stage in Newport. It was among the most divine and delightful sounds I’ve ever heard.
There is now only one name left on my bucket list.
Know this: Several days have passed since I miserably scraped the ice off my car at the bus station after midnight on a Saturday night. I had taken a bus from Boston’s Logan Airport back home to Maine and froze to death, under dressed, as arctic air constricted my lungs which were breathing much easier just hours before while in MEXICO.
Know this: I am still trying to wrap my head around what I just experienced over five picture-perfect days which included four holy-shit-are-you-kidding-me afternoons and nights of music.
Know this: Every party I ever attend for the rest of my life will not top the Friday night hot tub pool party starring Brandi Carlile and Holly and Jess from Lucius. FFS, I didn’t even go in the pool, but I was there until after 2 a.m. and what happened in Mexico ain’t stayin’ in Mexico. It’s just too good not to share. Just ask my friend Hilary who was on the receiving end of Carlile pouring tequila right into her mouth.
And know this: Brandi Carlile herself said the word “epic” doesn’t do the festival justice and she is of course entirely right about that. So let’s ditch that word IMMEDIATELY AND FOREVER.
Perhaps the word that does do Girls Just Wanna Weekend 3 justice has yet to be invented? I’m gonna think on that.
In the meantime, let me tell you all about my experience that took place between Feb. 1 and 5, 2022 at the Maya Riviera Hard Rock resort near Cancun, Mexico.
And let me be clear: I am sharing this for a few reasons. First off, DUH, it simply MUST be documented. It must.
But it’s more than that. It is my hope that you’ll walk away from having read this feeling a few embers sparking in your belly. A hunger pang. A thirst.
It is my hope that you’ll want to plan your own music adventure. As of this writing, it has not been announced if there will be a Girls Just Wanna Weekend festival next year but that doesn’t matter, find something else to get excited about and to obsess over and count the days down for. It can be a show in your own city or a multi-day festival halfway ’round the world. Whatever it is. Find it.
It is also my hope that you’ll have restored faith in kindness and generosity. For it was these two things that made the trip possible for me. With about two weeks before the start of the festival, I gently put it out to the universe that maybe there would be a way for me to attend. And look, I’m not claiming for a split second that I don’t live a fairly privileged life because I most certainly do. I just do so on a journalist’s budget.
In fact, I was fortunate to be able to swing a trip to the firstGirls Just Wanna Weekend in 2019. Never in a million years did I think I’d ever be able to go again.
Two women I didn’t know named Karen and Sheila reached out to me and made that miracle happen. For a couple of reasons they were unable to attend and sold me their package for a fraction of the cost. I will never forget this. Ever. EVER.
And that’s the thing about Brandi Carlile fans. We would give each other the goddamn shirts off our backs if they were needed. And her fans, known as The Bramily, are the definition of grace and kindheartedness. At this festival, a new world is created and it’s called the Brandi Bubble. I didn’t invent this term, it invented itself a few years ago and no one ever wants to leave it.
Imagine if Carlile is Santa and she swoops down onto the Island of Misfit Toys (an analogy she loves) holding a gold microphone in one hand and a bottle of tequila in the other. And she’s got two elves with guitars named Tim and Phil. Imagine if, instead of loading us all up on her sleigh she instead joins us and plays songs all night long.
But that’s not all. A bunch of other sleighs start landing on this island and what to our wondering eyes should appear but a shit ton of jaw-dropping-I-am-gonna-die-right-here-right-now upper level artists.
And HELLO, it’s a tropical paradise on the sea of the Mexican Caribbean. And there’s beaches and gigantic pools and massive amounts of food and drinks. And the huge Iguanas don’t mind if you photograph them because they’re gonna soak up the sun and tell everyone to lighten up AND SO IS SHERYL CROW BECAUSE SHE’S THERE TOO!
I know…I know.. Reel it in, Aimsel. But that’s the thing, I can’t reel it in. I won’t.
Here’s the lineup of artists who performed. Read it and then tell me again that I should reel it the eff in.
I’ll list them in order of appearance (At the Hard Rock Main Stage and Beach Stage. Note: There was also a second location at Unico Resort where daytime performances took place as part of Girls Just Wanna Weekend).
Margo Price (Main Stage)
Brandi Carlile (Main Stage)
Celisse (Beach Stage)
Allison Russell (Beach Stage)
YOLA (Main Stage)
Tanya Tucker (Main Stage)
Brandi & Friends (and omg, emphasis on the friends) (Main Stage)
Katie Pruitt (Beach Stage)
Brandi-Oke (Beach Stage). This was fans singing Brandi songs with Brandi and the band
Lucius (Main Stage)
Sheryl Crow (Main Stage)
Amythyst Kiah (Beach Stage)
KT Tunstall (Main Stage)
Indigo Girls (Main Stage)
Ladies of the 80’s (Main Stage) {this featured pretty much everyone on the above list playing 80s gems}
Now then, I’ve got a few thoughts to share on these performances but first, a side note: I missed some of the beach shows because I was obsessively and crazily holding my spot up against the railing right up front on all four days. Some days this vigil started at around 2 p.m. and on Friday morning it started at around 9 a.m. because of a couple of hardcore Indigo Girls fans who I realized upon looking out at the stage from my balcony were not messing around. These are my people. So I grabbed my stuff and joined them. I love being up front, I enjoy the show so much more from this spot and I’m willing to go to great lengths to be there. What’s so lovely about my fellow “rail riders” at this festival is that we had each other’s backs, got each other food and drinks and minded the spots during bathroom and shower breaks. It was worth the sunburn (oops) sore feet and back and beach stage FOMO. Zero regrets. Only joy.
And special shout out to my squad of Hilary, Michelle, Angie, Dayna, Marian and Stephanie. WE CRUSHED IT.
Tuesday night opened with a welcoming toast from Brandi and a ritual involving two locals and a conch shell and incense. This magic happened in the photo pit area and it was spellbinding. A blessing of sorts that set the tone for the next four days: Healing, love and redemption. And so much more than that.
Then it was off to the motherfuckin’ races with Margo Price and her crackerjack band. Price brought the fire and the twang because OF COURSE SHE DID and along with about ten originals she destroyed us with her take on Lesley Gore’s “You Don’t Own Me.” The fantastic photographer and videographer Shauna Ireland captured it and you can watch it HERE. YEAH MARGO!
Next up was a set from ringmaster and queen bee Carlile and her holy shit hallelujah band. BCB kicked it off with the Joni Mitchell-inspired “You and Me on the Rock” from the latest album “In These Silent Days” and I think we all sighed in relief that, somehow, we had all made it there and were seeing one of our favorite artists do her thing and do it better than most. “Fulton County Jane” was next and then, OMG, “Dying Day” from the 2009 album “Give Up The Ghost.” A few songs later we were hit with a doubleshot of covers; Joni’s “Woodstock” and Elton John’s “Rocketman.” I’ve heard these before but there was something extra special about hearing them in this setting, with the ocean behind the stage and I’m guessing around 4,000 fans knowing that we were all so, so lucky to be there.
Margo Price at Girls Just Wanna Weekend 2.1.22 Photo by Aimsel Ponti
The 16-song set ended with the one-two punch of “Hold Out Your Hand” and another “Silent” track, “This Time Tomorrow.”
Brandi Carlile at Girls Just Wanna Weekend on 2.1.22. Photo by Aimsel Ponti
AND THIS WAS JUST THE FIRST DAY.
I made my way back to my room, filled the jacuzzi tub (when in Rome, y’all) and soaked in disbelief as I listened to the happy post-show chatter down in the courtyard.
WEDNESDAY was my one heavy drinking day. I’ve always been a lightweight when it comes to booze but, well, I kinda let loose on this particular day and it began at 8 a.m. with a Bloody Mary at breakfast. Fast forward to noon at the Heaven pool where I was registered for the Lip Sync contest. I moseyed on up to that bar and order two Johnny Walker Black Label scotchs because, ya know, liquid courage. Then, about five minutes before I was due to go on, I ordered one more.
Microphone (not on OBV) in hand, I did my thing for 90 seconds with “Under Pressure” by Queen & David Bowie which is among my favorite all-time songs. No joke, it was an out of body experience free of insecurity and self-doubt. I loved every moment.
Aimsel in lip-sync action on 2.2.22. Photo by Hilary Cox
Post lip-sync, well TBH, I’m not entirely sure where I wound up, likely at the rail area for a bit but it’s a bit of a blur. I do know that I made a tactical error by missing Celisse’s beach set. SHE IS AMAZING. Like I can’t even amazing…Trust me on this. Thankfully though I saw her during the very next performance.
I did however make it to the beach stage in time forAllison Russell.
Know this: Allison Russell’s “Outside Child”was my FAVORITE ALBUM of 2021. I’m not alone in this. In fact, Russell was nominated for THREE Grammy Awards! “Outside Child” is up for Americana Album of the Year. The song “Nightflyer” is up for American Roots Song and American Roots Performance. Fun fact: Yola is also up for Best American Roots Song for “Diamond Studded Shoes” and best Americana Album for “I Stand for Myself.” I can’t cheer loud enough to express my happiness over this.
Allison Russell at Girls Just Wanna Weekend. 2.2.22. Photo by Aimsel Ponti
ALSO: SIGNAL BOOST: Allison will be at the State Theatre in Portland, Maine on March 9. Come hang with me and my friends! She’ll also be at The Sinclair in Cambridge, MA on March 8.
And while I’m at it, Yola will be at in Boston on Sept. 21.Just sayin’
ANYWAY… back to Allison’s set in Mexico.
She and her band played several tracks from “Outside Child” including “My-Brasil,” “Persephone” (Carlile’s 16-year-old niece Caroline, played banjo on this one!)” “The Runner” and “Nightflyer” during which she was joined by Brandi Carlile and Celisse. Sister Strings were also on stage with Russell. The sun was out, the day was magnificent and Allison Russell held the whole world in her hands and in her heart for that hour.
Allison Russell at Girls Just Wanna Weekend on 2.2.22. Photo by Aimsel Ponti
Know this: A few hours and again two days later Allison Russell’s star would shine in a way that took my breath away..three times. But hold that thought as I continue with the rest of Wednesday.
Allison Russell and Brandi Carlile are all smiles at Girls Just Wanna Weekend on 2.2.22. Photo by Aimsel Ponti
In the post-glow of Allison’s set, I repaired back to my railing spot where I re-joined some of my squad as we eagerly awaited Yola. Sometime in there I downed a cold Corona in about three sips and a few hours later I saw a woman walk by holding a delicious looking cocktail which she told me was a Sea Breeze. I ended up having two of them. When Yola took the stage at 7:45 I was FEELING GOOD. Not lampshade on my head good but close. Without a care in the world I readied myself for the British GODDESS to start her performance. Brandi introduced her saying “Right now, I don’t think you’re ready for what’s about to hit you. Her album ‘I Stand for Myself’ has been an absolute lightning bolt this year. She has been working so hard. She is absolutely incredible…” Yola lived up to this and started the night off with “Faraway Look.”
Yola at Girls Just Wanna Weekend on 2.2.22. Photo by Hilary Cox
Four days before “Stand for Myself” was released on July 30. Some friends and I were fortunate to score tickets to her album release show at a tiny venue in Newport, Rhode Island. It was a Newport Folk Festival adjacent performance and I’m still carrying with me a feeling of semi disbelief. Celisse, who was one of the surprise stars of Newport, was on stage with Yola for the show.
Months later, here I was in freakin’ Mexico seeing her again, this time with a complete understanding of how every damn song on “Stand for Myself” is 14 karat gold. “Diamond Studded Shoes” is a banger to end all bangers. “Be My Friend” has backing vocals from Carlile on it so OF COURSE Carlile came on stage and sang it with her friend. Glorious!
Yola first came to my attention in 2019 for two reasons: Her debut album “Walk Through Fire” and her mic drop moment with The Highwomen during their first live performance at Newport Folk Festival. She dipped into the “Walk” album in Mexico with “Faraway Look” and her cover of Elton John’s “Goodbye Yellow Brick Road.” I heard someone in the crowd say to someone else “I think I like YOLA’s version better than Elton’s.” Girlfriend, to you I say: SAMESIES! Yola sings the shit out of it and it’s a whole other thing.
After a set-ending “I Stand For Myself” with Celisse, Yola wasn’t done with us because she had another cover up her sleeve and once I realized what it was, I LOST MY MIND. First off all, I was three seconds years old when I learned that the tune was co-written by Michael McDonald AND Kenny Loggins.
So yeah, Yola sang “What a Fool Believes” by The Doobie Brothers and echoes of ALL OF US singing “she… had a place in his life/He… never made her think twice” are still crashing ’round those vicious waves behind that stage. This was the encore to end all encores. I mean my god. What is life?
When Yola ended her set I made an executive and wise decision for myself. I gave up my spectacular spot and enjoyed the rest of the show from my balcony. This was a MASSIVE perk of lucking out with a concert courtyard room with a faneffintastic view of the stage. I floated in and out of my room while the legendary Tanya Tucker did her thing and the nostalgia ran deep as I stood out there singing along with “Delta Dawn.” God love this woman.
Wednesday night ended with the Brandi & Friends set and I expected my FOMO for not being right up front to kick it at any second. It never did. The sound was sublime from my balcony and the set started with “Hold Out Your Hand” followed by Tanya Tucker joining BC for “That Wasn’t Me.” On “You and Me on the Rock” from “In These Silent Days,” Holly and Jess from Lucius are on backing vocals and so it only made sense for them to join Carlile and Co. on stage for the song which was all the more sensational live.
And then, holy shit, Katie Pruitt sang “Turpentine” with Carlile and then Margo Price dueted with her on Dolly Parton’s “Nine to Five.” I was pretty much jumping up and down at this point. Sisters with Strings accompanied the band on “Dreams” and then Caroline and Jay from Smalltown Strings got their turn on stage followed by Brandi and her sweet daughter Evangeline singing Joni’s “Both Sides Now” together. Every heart in that courtyard melted. Celisse was up next to play “Raise Hell” with the band and that too was a to die for moment. Still in death throes, we were treated to a pair of Highwomen tunes. The namesake track and “Crowded Table” which was the sing-a-long heard ’round the world.
Then. Somehow. It got even better. Because Indigo Girls Amy Ray and Emily Saliers sang “Cannonball” with Brandi and Allison Russell dueted on the single Brandi recorded with Alicia Keys called “A Beautiful Noise.” Voices rang out on that warm Mexican night and I’ll never forget hearing them. Carlile also killed us with “Party of One.” It was all entirely unreal.
AND THERE WERE STILL TWO MORE DAYS OF THIS MADNESS TO GO!
Thursday was the day many of us had been living for. LUCIUS BABY! It’s been a minute since their last album and the new one, “Second Nature” will be out on April 8. To say we’ve been hungry for new tunes is a gargantuan understatement. The first single “Next to Normal” is a tremendous dance-inducing banger that I hope someone remixes the hell out of. The second one, “White Lies,” released earlier this week, is a show-no-mercy to your heart ballad with their signature vocals that will knock your feet right out from under you. Schedule a good cry for this one. Christ…
THEY PLAYED BOTH OF THEM at Girls Just Wanna Weekend. The set opened with “Next to Normal” with Holly and Jess playing hand bedazzled KEYTARS for the absolute win!
Holly Laessig and Jess Wolfe from Lucius at Girls Just Wanna Weekend. 2.3.22. Photo by Aimsel Ponti
They also dusted off “Dusty Trails” and no one loves singing it more with them than Brandi Carlile. Twelve billion thumbs up for that one. Lucius also hit us with a different yet ULTRA COOL arrangement of the “Wildewoman” tune “Turn it Around” (a personal favorite) and I’m still reverberating from it a week later.
Lucius is doing a massive tour. GO SEE THEM and also, PRE-ORDER THE NEW ALBUM.
Now then…permit me to GUSH about Sheryl Crow. I’d seen her in the 90s at one of the Lilith Fair shows and again a few years back at Newport Folk Festival. But nothing could have prepared me for the all-out upper level holy guacamole set she and her band turned in that night.
Crow launched into her set with “Maybe Angels,” from her 1996 self-titled album and hit us right back with “A Change Would Do You Good.” It was then I realized in grand fashion just how many hit songs she has and HOW GODDAMN GREAT they all are.
A few songs later I was transported back to 1993 and the debut album to end all debut albums. “Tuesday Night Music Club” will always hold a special place in my heart and somewhere in a box somewhere I still have a promotional cassette of it that wound up at my college radio station. So yeah, it was something to hear “Leaving Las Vegas” live. Quite something. The same can be said for the very next song on the set list, also from the “Tuesday” album. “Strong Enough,” which she was joined by Holly and Jess on. It was a damn near religious experience. The same can be said later in the show with the song that ends “Tuesday Night Music Club.” For “I Shall Believe,” Holly and Jess were also joined by Brandi. Need I say more?
Sheryl Crow at Girls Just Wanna Weekend. 2.3.22. Photo by Aimsel Ponti
I’m gonna. MAD PROPS to “Steve McQueen,” “Everyday is a Winding Road” and “There Goes the Neighborhood.”
Also, you haven’t lived ’till you’ve heard “All I Wanna Do” live. It was like hearing the song for the first time and it sounding like a dose of pure sunlight on a river of butterscotch where the party never ends. All I wanted to do was go to Mexico and have some fun. I’m forever in your debt, Sheryl, for being a significant part of that.
Friday felt different from the moment I woke up because I knew, we all knew, it was the last day of the festival. I rose before the sunrise, like every other morning that week and stealthed my way over to the place with the early morning coffee while Mexico woke up. It was my second to last breakfast outside at Ipanema. I had the same server all week and it pains me that I can’t remember her name. She kept me in coffee and respected my “dias mio, no gracias!” to her suggested morning shots of tequila with a smile.
This was the day that, post-breakfast, I noticed that a small posse had started the rail vigil impossibly early and it’s the day I almost fell down the stairs in my flip flops on my way to frantically joining them.
I send out a bat signal to my squad and they were ace about taking shifts. It was quite welcomed when we were given the boot (but allowed to keep out stuff and hold out spots) from 3 to 5 p.m. for a couple of soundchecks as I was able to hit the Hacienda pool where I floated around for a solid half hour, clutching a can of Corona like the rock star tourist that I was.
When were allowed back into the area, the excitement was ratcheting up and the small legion of fans were joined, slowly, by other ones who were also intent on being right up front. The few, the proud, the rail nerds.
I was not happy about missing Amythyst Kiah’s set at the beach stage but took comfort in knowing that there will be other opportunities because her she’s not going anywhere. I’m still reminded of seeing part of the Our Native Daughters set in 2019 at the Newport Folk Festival. That’s the super group she’s in with with Rhiannon Giddens, Leyla McCalla and Allison Russell.
At 7:30 the last night on the main stage started off on a stupendous note because KT Tunstall strutted out on stage. The previous time I had seen Tunstall, at the inaugural Girls Just Wanna Weekend in 2019, she was a one-woman wrecking machine who slayed with multiple guitars and a looping pedal.
This time around she brought a secret weapon with her in the form of drummer Cat Myers. Whether the crowd knew her hits like “Black Horse And The Cherry Tree” “Suddenly I See” and “Other Side of The World” made little difference because as I looked, everyone was just as into it as I was. Tunstall was engaging, funny and best of all, a first-rate vocalist and musician who owned every inch of that gigantic stage.
KT Tunstall at Girls Just Wanna Weekend. 2.4.22. Photo by Aimsel Ponti
Indigo Girls were next. Lemme say that louder for the folks in the back: INDIGO GIRLS WERE NEXT!
In 1989 I saw them open for R.E.M. and I’ve been a devoted fan ever since. I can’t tell you how many times I’ve seen them because, although I have a giant glass jar of ticket stubs, I don’t actually keep track of how many times I’ve seen an artist live but I would not be at all surprised if that number was more than 30.
Accompanied by their at this point longtime violinist Lyris Hung, Amy Ray and Emily Saliers played their guts on for a solid hour stacked with tunes like “Chicken Man,” “Power of Two,” “Share The Moon,” “Galileo” and an all-star sing-along of “Closer to Fine.”
But for me there were two songs that were everything. First off, I will never tire of the Amy Ray penned “Kid Fears.” It’s just not possible. Since hearing Michael Stipe himself sing it live with them all those years ago to occasionally catching it on the radio or during an Indigo listening session, the song has never lost any of its hold one me. The Girls had many women to choose from for the Stipe part of the song during the GJWW and it was fun to wonder who it would be and also satisfying to know that it was guaranteed to be freakin’ awesome. Katie Pruitt did not disappoint!
Amy Ray of Indigo Girls at Girls Just Wanna Weekend. 2.4.22. Photo by Aimsel Ponti
The other IG song that is always fresh and enthralling to me is Ray tune and that’s “Go.” And for the love of all that’s holy on this planet, they followed it with Neil Young’s “Cortez the Killer.” I know, I know…Unreal!
Finally, after four days and nights in the sun with old friends and new hearing a world of unforgettable music, it all came down to the final set of the night:
LADIES OF THE 80s.
We collectively buckled up, fer sure like totally, and got ready to be rocked.
I’ve given this some thought and I can’t imagine how it could have started off on a better not than Allison Russell singing Tracy’s Chapman’s “Talkin’ Bout a Revolution.” I had to pause for a minute just now and just stare at my screen in a dream-like state because it really was that extraordinary. I still can’t believe it. And Ali was just getting warmed up for an even bigger statement later in the show.
Carlile bounced around singing Cyndi Lauper’s “Girls Just Wanna Have Fun” and then it was time for Yola to slay with Janet Jackson’s “What Have You Done For Me Lately.” I mean my god…
Katie Pruitt had her way with Pat Benatar’s “Hit Me With Your Best Shot” and then, get this, Sheryl Crow sang Belinda Carlile’s “Heaven Is A Place on Earth.”
And then came my favorite moment of the whole goddamn festival.
Allison Russell sang the Prince-penned and made famous by Sinead O’Connor ballad “Nothing Compares 2U.” And before she sang it, she dedicated it to O’Connor who recently lost her 17-year-old son Shane to suicide. And she dedicated to anyone who was struggling. It was raw and real and while Russell poured everything she had into singing that song, I think everyone there felt held tightly. It was sublime. It was healing. It was divine. That’s how it is with Allison Russell, there are no half measures. She goes all-in and boy was I ever there for it.
Somehow, and I’m not sure how, I managed to hold it together for the song and before I realized what was happening, queen Yola was back out there singing Whitney Houston’s “I Wanna Dance with Somebody” and them Sister Strings earned their place in the annals of GJWW history with their take on Salt -N- Pepa’s “Push it.” They pushed it real good, rest assured.
KT Tunstall had a double-shot for the ages, complete with an on-stage costume change. Eurythmics “Sweet Dreams” and The Bangles’ “Walk Like An Egyptian” ruled. They ruled hard.
Sheryl Crow, who by the way was wearing a dress she wore back in the late 80s when she has a back-up singer for Michael Jackson, got back in the spotlight for a duet of “(I’ve Had) The Time of Life” from “Dirty Dancing” with Solomon Dorsey.
Other 80s smash hits we heard by the all-star team of musicians included “What a Feeling,” “Let’s Hear it for the Boys.” “I’m Coming Out,” “Simply the Best” “Alone” (Heart) and “Like a Prayer.”
Holly and Jess with Lucius and Brandi Carlile during Ladies of the 80s. 2.4.22. Photo by Aimsel Ponti
And then Brandi Carlile held that golden mic and closed out the festival like she’s done twice before and in a way that can’t be topped. She and the Twins and every single person on stage and in that crowd sang Bonnie Tyler’s “Total Eclipse of the Heart.” Bright eyes were turned around and yeah, we lived in a powder keg and gave out sparks like our lives depended on it. BECAUSE OF COURSE WE DID.
My bones are still rattled and my vocal chords are still slightly charred and it’s the BEST FEELING.
However, the night wasn’t over just yet. It was time for the Lucius Hot Tub Time Machine!
With Covid-19 still very much a thing, event organizers were wise to hold it outside at the Heaven pool rather than in the night club of years past so there wasn’t an actual hot tub involved. Did that matter one bit? HELL NO.
Sometime around 12:30 with hundreds of us either in or around the sides of the pool the after party began with Holly and Jess on a giant inflatable swan being launched into the pool and waiting fans helping to pull them around in the most insane and perfect procession you’ve ever seen. With tunes being blasted from DJ Ben, this party wasn’t ending anytime soon.
And then Brandi Carlile got into the pool, both on the float and then straight-up being carried around on her back by fans. It was a sight to behold and the level of trust was huge.
Brandi Carlile getting ready to turn around and make her leap of faith into the pool 2.4.22 Photo by Aimsel Ponti.
The tequila was flowin’ like a river and Carlile was clearly having a blast as was everyone else who stuck around.
Like I said earlier, I stayed on dry land but was in the thick of it until I finally called it a night at around 2:15 ish. I heard later that this thing went on until after 3 a.m. and even after the sound was turned off. There are clips floating around of everyone singing “Amazing Grace” that give me chills.
Carlile shared on social media the next day that she needed some serious Tylenol but she had zero regrets. I don’t think any of us did. Time kind of stood still for those couple of hours. We were able to hit the pause button on the pandemic (BTW, thankfully only a handful of attendees tested positive while in Mexico and had to quarantine there and they received a ton of love and supplies from other fans) and we were able to just let loose. To me it felt like the mother of all safe spaces and troubles melted away like Judy Garland’s lemon drops. And you know what else? It was really fun! Several times I hugged some of my soaking wet friends and got to wave to queen bee Carlile. Not for one moment was I thinking about work or Covid or anything else other than what has happening outside of that moment. I can’t think of a greater gift than the present tense served up on a gorgeous night by the ocean in Mexico with like-minded fans and friends.
I got three hours of sleep that last night and as I sat at my favorite table outside on Ipanema with my coffee and French toast, I didn’t want for anything.
And as I end this this entirely too long review/essay/streamofconsciousness, I realize all the more how right Brandi Carlile was when she said that “epic” wasn’t the right word to describe the event. I think I now know what the right word might be, at least for me. Being with my friends in paradise seeing our favorite musicians: It felt like my heart was at home.
It’s been a handful of days since I walked out of New York City’s historic Stern Auditorium at Carnegie Hall after seeing Brandi Carlile and her stellar band play Joni Mitchell’s “Blue” album along with a handful of other songs.
Maybe I finally do know clouds after all because my head has certainly been in them ever since. I am riding a wave of not knowing what to do with the rest of my life but I’m doing so smiling.
By the way, this all happened on the eve of Mitchell’s 78th birthday and I was one of many voices that sang Happy Birthday to her at the end of the night. Joni herself wasn’t there, but I am certain she heard a recording of us later that evening from her California home.
Before I dive into what went down that night in Manhattan, a quick backstory:
Three years ago, I ventured to California for the Joni 75 birthday celebration at the Dorothy Chandler Pavilion in Los Angeles where I saw an all-star assemblage of musicians, including Carlile, play Joni songs all night long. I was there on the first night. On the second, Mitchell herself was there as it was her birthday. That’s the closest I’ll ever likely come to being in the same room as Joni.
Back in the 90s I had tickets to see Joni perform in Massachusetts but for reasons I can’t recall, the show was canceled. I’ve never seen her perform live but I am now, finally, OK with this having witnessed what I did at Carnegie Hall. Carlile reminded us to be thankful for the fact that we are indeed living in the time of Mitchell and she’s right. Boy is she right.
I scribbled notes like a woman possessed while also taking in every sacred second of the performance from my entirely righteous seat about a dozen rows from the stage to the left. I can read most of my handwriting but even if I didn’t jot down a single word the show is permanently imprinted on me because YES, SONGS ARE LIKE TATTOOS. At least these songs are. Good god almighty.
The show, sermon, celebration, homage, jubilee, event, ceremony (etc.) started at about 8:15 p.m. with a short film featuring footage from Carlile’s initial Blue show that happened in Los Angeles two years ago. It ends with a champagne toast and Brandi saying out loud that she’s determined to perform the show at Carnegie Hall. In other words, she manifested the hell out of this and let it be a giant life lesson for us all.
And then my friends…the show began and there was our queen, decked out in the sharpest blue velvet suit I ever hope to be in the same room as.
Carlile played “Blue” as the sequencing gods intended which of course means in order. This means the first song was “All I Want” and the second I heard the first few dulcimer notes played by Tim Hanseroth I knew that I was witnessing something truly special. Carlile’s vocals, which have never disappointed in the bazillion times I’ve seen her live, were, somehow, all the more glorious as they sang Mitchell’s words.
“Do you want, do you want, do you wanna dance with me baby? Do you wanna take a chance on maybe finding some sweet romance with me baby, well come on.” I mean HOLY SHIT. What’s more, Carlile did indeed dance a bit around the stage during the interlude. Automatic standing ovation.
Then all the musicians except for pianist and musical director Jon Cowherd left the stage and Carlile proudly proclaimed “Welcome to Blue at Carnegie Hall, my heart is pounding!” Hers wasn’t the only one, that’s for damn sure.
Carlile wondered aloud why in the hell she decided to do this to herself then answered her own question. “Blue is such an important album to all of us. I want to give people a chance to see Blue live. I had no interest in re-inventing the wheel,” she explained. Her goal was to perform the album the way Joni would have back in 1971, the year it was released. (Happy 50th Blue!)
“Blue has been a portal or gateway drug into the music of Joni Mitchell,” said Carlile and I concur. Once I heard “Blue” I became ravenous for the rest of Mitchell’s iconic catalog.
Carlile sang “My Old Man” with Cowherd on the grand piano. And how grand it was. “We don’t need no piece of paper from the city hall, keeping us tied and true, no my old man, keeping away my blues.” Look, I know we all overuse the word “epic” but GODDAMN IT THIS WAS EPIC. It really was.
This was the moment that I realized if the show ended right then and there I would have been satisfied.
But there were eight more “Blue” songs to come including some serious heavy hitters so I collected myself, and sat transfixed, ready, or so I thought, for “Little Green.”
Carlile has told the tale several times of how she and her wife Catherine Shepherd had their first disagreement when Brandi shunned “Blue” much to Catherine’s dismay. Apparently, Carlile didn’t think Mitchell was tough enough as a songwriter, especially because of the “I wanna shampoo you” line in “All I Want.” Shepherd then told Carlile that the song “Little Green” was about a very young Mitchell giving up her daughter for adoption in 1965. Then Shepherd played the track for her wife. Carlile told us, before singing it herself, that the song changed her life and changed what femininity meant to her. “I think this is the toughest song in the history of rock and roll that I’m about to play.” And play it she did. How any of us held it together that night I’ll never know.
Next up was “Carey” and Carlile’s words of “All right, we need to party now!” With a full band that included guest singers Jess Wolfe and Holly Laessig of Lucius. There were, of course, The Twins (Carlile’s career-long bandmates and songwriting parners Tim and Phil Hanseroth) and a string section that included her longtime cellist Josh Neumann. All told, the ensemble was 13 musicians strong. Oh and hi there, Matt Chamberlain, rock star drummer!
Carlile invited us to sing along with “Carey” though not all that many did, at least in my area. We were, after all, to hear her golden pipes and there was no need to drown them out with our own. “Carey” was phenomenal.
It was just the piano and string section of two violins and two cellos for “Blue’s” title track. It was breathtaking. To hear Brandi Carlile sing these lines damn near levitated me straight through the ceiling of a hall that was built in the late 1800s. Part of me is still floating in the ether above Seventh Avenue.
‘Everybody’s saying that hell’s the hippest way to go well I don’t think so, but I’m Gonna take a look around it though Blue I love you’
Transcendental.
It was back to the full band for “California” and Carlile declared “I think we’re all in Laurel Canyon tonight.” Tim Hanseroth’s dulcimer made sure of that. As did the pedal steel guitar I heard.
I think my favorite song of the night was “This Flight Tonight.” Holly and Jess joined Carlile who played an acoustic guitar. Looking at my notes, I see I scribbled five big stars on the page about this song. The sound was, well shit it was almost three-dimensional. This version went well beyond the album’s less than three minutes and every moment was glorious and jaw-dropping.
But there was no time to recover or bask in the afterglow because it was time to pull out one of the big guns. It was time for “River.” This one Carlile handled on her own at the piano. “I got drunk at Joni’s house one night and I tried to play this. It did not go over well. Herbie Hancock was there. It was fucked up,” shared Carlile to much laughter. She went on to say she thinks “River” redefined the way people look at Christmas music. “At some point in every person’s life it’ll be a holiday filled with loneliness or grief. There needed to be a song that embraces it,” said Carlile who is absolutely correct. Then she said the best thing she could have possibly said at that moment before playing the song: “So, Merry Fucking Christmas!”
Carlile destroyed me and everyone else in that hall that night with her rendition of “River.” Her vocals. I don’t think I’ll ever land on quite the right words to describe them.
Now then. I have a declaration. There will NEVER be a stronger one-two punch of an album that “River” into “A Case of You.” It’s just not possible. How these songs exist at all, let alone written by the SAME person on the SAME album right after each other. I can’t even… I know you can’t either. I imagine it’s just one of the reasons why Carlile considers “Blue” to be the greatest album ever made.
So I sit here not really knowing what to even say about Carlile singing “A Case of You.” And I think that’s everything you need to know.
“Blue” closes out with “The Last Time I Saw Richard.” When Carlile and company played it, the song seemed to get bigger as it went along. More cinematic and huge. It was like a cauldron of sounds was being stirred before us. A wild tempest. That finally glided down like a butterfly. I’ve never heard anything like it.
And although that was the final song from “Blue,” the show wasn’t over. Oh hell no.
For the first encore, Carlile visited “Ladies of the Canyon” for “Woodstock.” With Holly and Jess by her side we didn’t just go back to the garden. We were transported there via magic carpet and rocket ship. Jesus Christ. Carlile played her electric guitar and there was a wall of sound that filled every inch of that auditorium. This take on “Woodstock” had fangs. It was spectacular.
Carlile with a Twin on either side of her, took to the edge of the stage without microphones to pay homage to the building itself and the stories it holds. The three of them sang “Cannonball” from Carlile’s breakthrough album “The Story.” I’ve heard them play if this way a few times before but this, this was something entirely different.
On October 1, Carlile released her seventh studio album “In These Silent Days.” She told us that she allowed herself to go full-on Joni for one song, “You and Me on the Rock.” When she played it for Mitchell, Joni told her it “Sounded like a hit.” I”m pretty sure it’s well on its way to being just that. As with on the album, the Carnegie version featured Holly and Jess and wow, they sang the hell out of it.
The last studio album Joni Mitchell released was 2007’s “Shine” and the title track is how Carlile chose to end her unforgettable night in Manhattan. It was she, Holly and Jess and pianist Jon Cowherd. I’d heard the song before but it wouldn’t have mattered. This was the perfect choice to go out on because it’s pure Joni and is a plea to heal the planet and every human and animal on it. Nobody write a song quite like Joni Mitchell and this was no exception. This is why I’m gonna share a bunch of the “Shine” lyrics.
“Oh, let your little light shine Shine, shine, shine Let your little light shine Shine on good humor Shine on good will Shine on lousy leadership Licensed to kill Shine on dying soldiers In patriotic pain Shine on mass destruction In some God’s name Shine on the pioneers Those seekers of mental health Craving simplicity They traveled inward Past themselves Let their little lights shine May all their little lights shine”
So there it is. Brandi Carlile performing “Blue” at Carnegie Hall. It just doesn’t get any better.
But I am gonna share one more little story from the night because it speaks directly to the kind of person Carlile is.
My friends and I were out at a bar post-show when we got tipped off where the after party was. Still on a high from the performance and with no other particular place to go, ten of us hot-stepped it back a half mile or so to a joint across the street from Carnegie. It was well after midnight at this point but we were having a blast trying to catch a glimpse of Carlile and her celebrity packed party through the curtains. We knew we were silly but we didn’t care. When in Rome, right?
Sure enough, the evening winded down and Carlile came out and chatted, signed autographs and took photos with ALL OF US and by then our numbers had doubled. My selfie is mortifying so I won’t be sharing that here but I did ask Carlile how she was feeling and said she was relieved it was over but was feeling really good. Carlile certainly did not need to take the time to visit with us after one of the longest days of her life but she did it anyway because she loves her fans. This will never be lost on me. She’s a real-deal kind human. She’s also one of the most tremendous artists I’ve ever had the honor of interviewing several times through the years, writing about a whole bunch, seeing live more times that I can remember and most of all, just being a fan of.
REMEMBER:
SONGS ARE LIKE TATTOOS.
Mural on Stanton Street in New York City. 11/6/21. Photo by Aimsel PontiYours truly outside Carnegie Hall. Photo by Marian Starkey
One of the reasons I have this site is to document live music experiences because seeing live music is right up there with air, water and food as far as hierarchy of needs goes.
And there’s something extra special about seeing a musician whose music you love for the first time live.
Such was case on the night of Oct. 3 when my friend Le Anna and I ventured to Burlington, Vermont to see Roan Yellowthorn at The Higher Ground.
This was one of those times when I texted a friend and essentially said “Babe, come do a thing with me. I’ll have you back in 24 hours.” There was only one response that was acceptable and Le Anna nailed it: “I’m in.”
And talk about bonuses of epic proportion. Roan Yellowthorn was opening for singer-songwriter Melissa Ferrick who I’ve been a hardcore fan of for decades.
So who is Roan Yellowthorn? Permit me to unpack that question for you with gleeful enthusiasm.
Roan Yellowthorn is the name under which Jackie McLean records and performs under, at least for the moment but I’ll get to that part. Hang on.
McLean’s a native of Camden, Maine and I first became aware of Roan Yellowthorn toward the end of June of this year. The latest album, released in May, is called “Another Life” and it didn’t take long for it to become one of my favorite albums of the year with songs like “Acid Trip,” “Bloodline,” “Vampire,” and the title track among several others.
Jackie and I connected and I wrote a thing for the Portland Press Herald (my fabulous day job!) about her album and her backstory. Take three seconds and give it a read.
She now lives Plattsburgh, New York and I wasn’t sure when the opportunity would arise to get to see her do her thing live so heck yes, I drove four + hours each way. And I’d do it again.
Which brings me to that Sunday night in Vermont.
Jackie, who often plays her with percussionist husband Shawn Strack, opted to play her set solo. It was just she and her keys. The place wasn’t packed but the seated crowd was more than respectable.
I stood towards the back and moved around a bit to shoot photos but also had several moments of being still and taking in the five songs she played.
Listening to an album you love is like having your heart held. Hearing songs from it live is like your heart is being given a gentle squeeze. I love that feeling. I dare say I live for it.
You never know what a live experience is going to be like. There are SO MANY factors. What mood am I in walking in there? Where’s my head at? Where’s the artists head at? Did their soundcheck go OK and are they feeling good? You just never know until the house lights are dimmed and the artist walks on stage and starts their set.
Jackie Lee McLean/Roan Yellowthorn in Burlington Vermont. 10.3.21. Photo by Aimsel Ponti
Jackie did not disappoint. She opened with “Bloodline” and it was the perfect choice because hearing the refrain of “I’m fucked in the head, I’ve always been…” live was glorious. She also put a little twist in it on the line “I’m Not Fine” which went up way higher than on the album. Bonus points awarded!
From there she chose a track from the 2018 debut album “Fingerless Gloves.” Whomever said hell hath no fury like a woman scorned was ABSOLUTELY RIGHT. The song takes a look back at a relationship gone sour and it does so with a bouncy pop tune that packs a whole into it in under two and a half minutes.
Then McLean busted out a new song she has just written five days ago to make her performance, as she humorously put it “a little more nerve wracking.” The song is called “Invisalign” and she sang that she has “finally fixed my teeth after 20 years. ” Early on I thought to myself that it was sweet and clever. Then the song took a sharp turn into an emotional landscape that caught me completely off guard. WHICH I LOVED. “Sometimes when you have a dream/You watch it rip right at the seams/The thing you tried to keep alive is looking like it won’t survive/What are you without it now/A crown of thorns you wore around/Feeling humbled and ashamed/Can’t even bring yourself to speak its name.” Epic. Five Stars. A+.
McLean continued her too short but none the less stellar set with “Vampire,” which she explained is about the kind of vampires that aren’t interested in your blood but rather have their sites set on sucking the will to live out of you. Even without the percussion and other instruments on the studio version, McLean nailed the song with just her voice and keys. “No ropes can ever hold you/ You always will escape/You’re like a vampire who’s never gonna go away.”
“Acid Trip” is one of the singles from “Another Life” and hey, while I have you, check out the video with its more than 150K views. Great effing song right here:
The stripped down Vermont version still shined though and the refrain of “Yesterday I let it go/When you know you know” still packed a punch.
A few days after my Burlington visit I reached out to McLean and asked if she’d be cool if I tossed a few questions across state lines for her to answer. She was into it.
Jackie told me that it felt amazing to play at Higher Ground, a venue she’s wanted to play at for years. From there I wondered how it was for her to play her debut there as a solo performer. She said a lot about it and so here’s the full response:
I don’t always play solo. In the past, I’ve played mostly with my partner Shawn on percussion. We also have a full band we play with so we’ve been doing that lately too. But I have a special place in my heart for doing solo shows. I want to do more of them moving forward. There’s an intimacy that can’t be replicated. Even moreso after the past year we’ve had, I crave that feeling of connection. Playing solo feels very honest and vulnerable. I love it, especially when I’m performing in a place where the music is central and I know people will be listening. It’s a lot more nerve wracking to play solo because there’s nothing to fall back on. If I make a mistake, no other instrument will cover it up. It’s all on me. But there’s a rush I get from that challenge. Having to rely on myself. The feeling of completing a solo performance and doing it well is very rewarding. I am thankful for opportunities to play these kinds of shows. There’s no other feeling like it.
Then of course there’s the pandemic. We couldn’t NOT talk about it and I was curious about how it felt as Roan Yellowthorn has only played a tiny amount during it. Jackie had some thoughts and I’m sure glad she did because it offered unique insight into the grind and hustle of being a musician.
One thing about the pandemic in relation to shows, for me, is that it’s caused me to be more selective about the shows I do. Before the pandemic,I was grinding really hard. I went for years playing any show I could – no matter how far away it was, no matter whether or not there was any kind of guaranteed audience, no matter how little I got paid. I did many, many shows that required me to drive multiple hours for no money and play for only a handful of people. After a while, that gets really exhausting. After the imposed break from playing live shows, I can’t imagine going back to that again. I want to protect my energy. And I really only want to play shows that I feel will be a net positive experience. This was definitely an example of that. And it felt really good to get to have that experience.
McLean had mentioned to me that her next album will likely be under hew own name rather than Roan Yellowthorn. I asked for details.
I’ve been thinking about this a lot. For probably the past 3 years, I’ve gone back and forth about whether or not I should perform under my own name. I started out using “Roan Yellowthorn” as a kind of shield. It protected me from feeling too vulnerable. It gave me an alter ego to inhabit. Over the past year or so, I’ve become more comfortable in my own skin. With my own identity. With my own name. There’s a part of me that’s really yearning to integrate all of the parts of myself into one. To take the art that I create, art which is usually very personal and revealing, and claim it as my own. As of now, I do want to put out my next album under my own name. It feels like the next step in a natural evolution. I still have to figure out the logistics of making it happen. But it’s what I feel drawn to do right now.
As for that album, much of it was written fairly recently and McLean shared that she has has grown as an artist and a person. She hopes the album will see the light of day in 2022. I for one will be waiting!
We went on a five-week road trip this summer in an RV all across the country and I wrote most of the songs during that time. I’ve written a few more since we’ve gotten back. I also took a break from social media towards the end of the summer that’s kind of still ongoing. Having that mental and emotional space freed up has really helped me to feel more creative and aligned. I think there have been some themes that have emerged. My last album was a lot about processing past trauma. I was really in the thick of it while I was writing. I feel like I’ve moved forward from that. Writing my last album was instrumental in the healing process. I feel free now to explore parts of my own universe. In this album, there are some songs about people who have been important to me. Portrait songs. And there are songs about where I am now. There’s no immediate trauma to explore. I don’t have as many questions as I did when I was writing the last album. In these songs, I’m examining realities that I see. It’s more taking stock of where I am and where I’ve been. The journey I’ve traveled so far.
Finally, I checked in with McLean the person, rather than just the artist. She went through some pretty intense stuff this year, some of which was in the public eye. I asked her to share with me whatever she felt comfortable sharing and kept the question open-ended. If it sounds like I’m being vague, it’s intentional. If you read my Press Herald story above then you know. Her dad’s famous and there’s a fair amount to unpack. Or not unpack. You can go down that rabbit hole later if you’re curious or you can leave it be. I’m here to say primarily that I love Jackie’s music and think Roan Yellowthorn is a great band. But also, I’ve come to understand how much McLean’s a survivor who has worked her ass off to find the light during some very dark times. So she has my respect twice, as a musician and as a warrior. Now onto Jackie’s thoughts on my check-in question.
In many ways, the initial media things that came out were very triggering for me. I went into kind of a cocoon after the Rolling Stone article came out and I felt like I didn’t even want to exist. I felt very vulnerable and half-understood. Like this very private part of me was being shared without the context of all of the other parts of me. It also felt scary not to have any control over how any of it might be perceived. It was honestly a mindfuck in many ways. But, weirdly, when my dad responded publicly, it felt oddly liberating. Like I was finally free after thirty years of bondage. Like everything was finally out on the table and nothing was hiding in the dark anymore.
At this point, I feel settled. I feel that I’ve said what I need to in order to make it clear where I am in the context of a family trauma. And, in many ways, I feel free now to move forward. The narcissistic parental abuse that I sustained throughout the first 29 years of my life still informs who I am and how I move through the world. But it’s not something that torments me the way that it did before. And it’s not big things that have changed. It’s little things. I can relax now without feeling as anxious. I don’t feel as much pressure to gain external validation. I feel more free to explore. To listen to my instincts. To do what makes me feel happy. I’m discovering myself for the first time. It’s a really good feeling that I’ve waited a long time to feel. And this feeling is a direct result of speaking out and, in effect, liberating myself.
Amen, Jackie. Amen.
Follow Roan Yellowthorn on Facebook, Instagram, Twitter and their website. Listen to their music. Buy their music. If they come anywhere near you, go see them live. I sure as shit can’t wait for my next chance.
Where do I even begin? First off, I need to catch my breath and get my color back which might take a while. I am freaking right the eff out.
Amanda Palmer and Reb Fountain have just released on YouTube their mashup of two songs I could have never imagined could work together.
I reached out to Palmer a few hours ago with some questions and she graciously responded and I’ll be sharing that interview shortly.
But first. Know this:
In the middle of August, Palmer and the New Zealand musician Reb Fountain sat at a piano together at Stebbing Studios in Auckland, Aotearoa New Zealand. They recorded their collaborative mashup of Robin Thicke’s up-until-now-unbearable 2013 hit “Blurred Lines” with “Rape Me,” a track from Nirvana’s 1993 album “In Utero.”
“Blurred Lines” is a grotesque, rape glorifying song. And it became a
big goddamn hit. You likely already know this. It’s vile. It’s offensive. It’s fucking awful. Also, breaking not-so-fun fact, Robin Thicke has been accused of sexual assault by supermodel Emily Ratajkowski. She says he grabbed her bare breasts on the set of the video for the goddamned song back in 2013. This news broke two days ago. My heart breaks for her for having to endure this. This song sucks tremendous ass. Everything about it.
Until now that is.
Conversely, Nirvana’s “Rape Me,” despite the title, is an anti-rape song penned by Kurt Cobain in the early 90s. The band only performed it live a couple of times, including on Saturday Night Live. “Rape Me” is not an “easy” song. Those are difficult words to hear, let alone sing along with. But it’s also empowering. A song can be many things at once, lest anyone forget.
In a brilliant act of alchemy, Palmer and Fountain recorded a mashup of the two songs and gave birth to something that has made a few of my friends sob uncontrollably while igniting fires under others.
As I write this, I’ve watched the clip about nine times and I’m still sorting out my feelings. Parts of my heart hurt while others are glowing. I’m not just shook. I’m jolted. I’m disturbed. I’m deeply moved and profoundly inspired. I need to invent new emotions. I’m stunned. I’m awestruck.
The “Blurred Lines” + “Rape Me” mashup was inspired by Lizz Winstead who asked Palmer to cover a traditionally sexist song for the fundraiser DoReMeToo. Palmer asked her Patrons for suggestions. We offered up a massive amount of them.
Side bar: I could go on and on with a massive back story about how Amanda Palmer has spent the entire pandemic in New Zealand because the world closed down in a hurry while she was on tour last year. But, honestly, that’s a story for another day and one that she tells the best so consider this your official nudge, if you’re a fan of hers, to hop onto her Patreon and sign up. I’ve been a proud patron for at least three years. I do this because she’s one of my favorite artists because of the way she is fearless with her songwriting. And the way she does a bunch of other stuff, including supporting several important causes..
But that’s not what this particular post is about. This particular post has one purpose:
TO MAKE SURE YOU KNOW ABOUT THIS SONG AND ITS VIDEO.
Yeah yeah yeah, I shared it on Facebook and Twitter and that’s swell and all but this is too important, too mind-blowing and too ground-shaking to not also share here.
I was not prepared for what Fountain and Palmer did with these two songs. Fountain with her gorgeous voice is singing the “Blurred Lines” lyrics knowing full well how gross they are. Palmer sings part of it with Fountain before veering into doing her own thing with “Rape Me.” The songs merge seamlessly. “I”m not the only one” sings Palmer. “Get up, do it like it hurts” responds Fountain.
When it gets towards the end both of them are out of their minds with Palmer screaming “RAPE ME” at the top of her lungs with both of their hands banging on the piano. “You know you want it, I know want it” Fountain quietly proclaims to end the song and both women sit there, staring right at and through the camera for several seconds. I’ve never seen or heard anything quite like it.
Screenshot of Reb Fountain and Amanda Palmer.
I forced myself to listen to one minute of the original “Blurred Lines” to remind myself of how much I hate it and yeah I know, Pharrell Williams sings on it song with Thicke and everyone loves him but whatever. It’s SUCH a bad song.
Amanda and Reb have reclaimed “Blurred Lines” and have re-introduced “Rape Me” into the here and now of #metoo and women taking their lives back. Somehow. They’ve done this.
Every time I watch the clip and listen to them sing, I pick up on different things. A whisper, a facial expression, a look of sarcasm, of sorrow, of rage. They’ve made a diamond. A fucking diamond.
I’ve been slayed by Amanda Palmer several times over. But this. This might be the deepest she’s stuck the sword in. Holy shit. HOLY SHIT.
And now I cant’ wait to dive into the Reb Fountain’s discography because I’m a fan for life.
Here’s my conversation with Amanda. I didn’t leave anything out of her responses.
How did you feel sitting at the piano with Reb recording this?
AP: I’d only hung out with Reb five or six times before this recording session, but we were fast friends when we met. We’ve got a lot in common: indie females in our 40s, both of us have kids, and we are, we figured – no shit – actually distant cousins (we’re both from the clan MacKinnon from the Isle of Skye in Scotland…we haven’t yet figured out if we’re 5th cousins or 8th cousins or whatever, but we are RELATED). I’m a last-minute musician, and love the fast process, and Reb is a seasoned pro, so we agreed to work on the arrangement the night before at her house in Auckland, and keep working on it the next day at the studio before the first take….that was it. By the time we actually sat down to the piano, we did three takes total, and we were spent. And pretty sure we’d nailed it. In the end we decided to use the middle one – take two. But you can see the lyrics on the piano – we had barely done a full rehearsal of the song before recording it, so we had those “am I getting this right” jitters, since the arrangement was so fresh in our heads. Before every take started, I would squeeze Reb’s left hand in my right hand. Then I’d lift my hands to the piano and play the first chord. There was something so powerful about the whole process, and the fact that we were staring down the barrel of a man behind a camera, singing these words. I don’t think I’ve ever felt a performance with another person feel more subtly powerful. Reb’s got a real gravitas to her person. She doesn’t fuck around, and it was infectous. She’s a real revered indie treasure here in New Zealand, I was honored she said yes.
Did you know right then and there how spectacular this was going to be?
AP: Yeah, I think we did. Though you never know, with film. Even if you feel it, doesn’t mean the camera caught it. I’ve filmed a few music videos and really felt the emotional weight of the performance come out of my body, only to see the cut a month later and feel nothing because the lighting was terrible, or the sound was terrible, or there was something really distracting in the frame and nobody fixed it. Film is a real bitch that way. You gotta trust.
When the song ended what did you and Reb do? Cry? Hug? Drink? I can only imagine how intense that must have felt.
AP:Ha! We hugged really hard. And then we took the whole crew out for amazing Korean food down the street. They’d worked a really hard emotional day and it was nice to take the load off with some wine. It’s also important to point out that – like many things in my life lately – we made this video by the skin of our teeth. It was filmed on August 14th, when New Zealand was completely open, maskless and frollicking along, having had no covid for well over a year. Three days later, on August 17th, there was a confirmed case of Delta in the community and the whole country was given a 6-hour warning to completely lock down at home. We are still in that lockdown. I don’t know what it is about me and my cosmic-ass timing in New Zealand (I’m only here because I was touring three cities in mid-march 2020, and have stayed here indefinitely)…but there’s something going on. This could have so easily not happened.
Was there any doubt about using “Rape Me” for your part?
AP: Not really, although I never know with people. The concept was born out of a big social media and patreon post that a made a few months ago asking for people to list the best ironic sexist cover options they could think of, because I’d agreed to do Lizz Winstead’s #DoReMeToo fundraiser for Abortion Access Front. And the list was ENDLESS! THERE ARE SO MANY SEXIST SONGS!!! But I noticed a few people name “Rape Me” and that rubbed me the wrong way. As a songwriter who is often misunderstood and misinterpreted, I think Kurt Cobain would be rolling in his grave if he knew that the song – which came from a deeply feminist place in him – was ending up on a list of sexist songs. So I was a little worried that people would be dumb and literal…because people can be really dumb and literal. But luckily that doesn’t seem to have happened. Just wait a few days though. You’ll probably see a headline saying “10 REASONS AMANDA PALMER IS LITERALLY PROMOTING RAPE IN HER NEW MASH-UP” because people just like to be dumb on the internet, and clickbait is clickbait.
___
Now, please, stop what you’re doing. Really stop. Don’t be distracted. Steady yourself.
Here’s the “Blurred Lines + Rape Me” mashup by Amanda Palmer and Reb Fountain:
Today feels like a holiday. A BIG HOLIDAY. I mean I took the goddamn off from work such is the significance of today.
Today, October 1, 2021 is ALBUM RELEASE DAY for BRANDI CARLILE!!!
Her seventh studio album “In These Silent Days” (Low Country Sound/Elektra Records) is out in the world and as I sit here and try to get a grip on myself, I’m on my 5th listening.
I awoke at about 6:15 this morning and ran downstairs like a seven year old version of myself on Christmas morning. I poured myself a cup of coffee, grabbed my Airpods, plunked myself down on the couch and took a few deep breaths.
Then I fired up Spotify (lest anyone feel the need to give me any grief about streaming, know that I have THREE signed copies of the album on vinyl that should be arriving, hopefully today but I didn’t want to wait until then to listen because I’m human) and dove into “In These Silent Days” like Dorothy taking the few steps on the yellow brick road towards salvation.
First off, here are a few key notes from the press release I received:
Inspired by the mining of her own history while writing this year’s #1 New York Times Best Selling memoir Broken Horses (Crown), In These Silent Days was conceived of while Carlile was quarantined at home with Phil and Tim Hanseroth. The ten songs chronicle acceptance, faith, loss and love and channel icons like David Bowie, Freddie Mercury, Elton John and Joni Mitchell—the latter two who, by some sort of cosmic alignment of the stars, have turned out to be close friends in addition to being her biggest heroes and inspirations.
Now here are my own thoughts on this motherfucking (I only use profanity when it is ABSOLUTELY REQUIRED) brilliant album.
“In These Silent Days” opens with the piano-based single “Right on Time” which dropped a few months ago and has more than two million streams on Spotify alone. The ballad is HUGE and emotional and heart-stabby and there’s already a harmony version and symphony version of it out there and they too are all the things.
When Carlile belts out the words “IT WASN’T RIGHT” toward the end of the song it’s a note for the ages. It’s a part the Red Sea kind of note. Such was the case when I heard it live in August. Jesus H. Christ.
Next up is the Joni Mitchell inspired “You and Me on The Rock” (featuring Holly and Jess from Lucius. OMG!). Before she and the band played it, Carlile told us at her Aug. 27 show at Thompson’s Point show in Portland, Maine that she could have made an entire Joni inspired album but decided to stick with the one song. When she played it for her friend Joni, Mitchell told her that it “sounds like a hit!”. And yeah. What Joni said. BTW, I have an entire Brandi related story about my JONI trucker cap but that’s a story for another day. “You and Me On The Rock” has early 70s vibes for days and I can’t imagine it won’t be released as a single. The song makes me and my inner flower child smile.
“This Time Tomorrow” is the third track and the only other one I’ve heard live from the album. It’s an acoustic ballad with just-kill-me-now-they’re-so-good harmony vocals from Tim and Phil Hanseroth. “The edges of the night might cause you sorrow/ You know I might not be around this time tomorrow/But I’ll always be with you…” I don’t care what is going on in your life, if you don’t get teary listening to this one I am going to check you for wires and batteries because you’re surely a robot.
“Broken Horses.” This one shares the title with Carlile’s memoir, published in March. Buckle up, y’all. This one slays. “I have worshipped at the alter of the puppet master’s rule,” wails Carlile as a gasoline soaked piano blazes behind for along with an electric guitar. “Only broken horses know to run,” proclaims Carlile and she’s not fucking around. This song ROCKS hard and I can’t wait to hear it live.
“Letter To The Past” has Carlile stepping off the gas pedal of “Broken Horses” and back into the ballad lane. “Folks are gonna lean on you and leave when the cracks appear/But darling I’ll be here/You’re my letter to the past.” Piano, acoustic guitar, just enough percussion and Carlile’s pristine voice. The song’s a thing of beauty. 100% lovely.
“Mama Werewolf.” The devil went down to Georgia decades ago but he’s still stomping his feet and he’s knocking at Carlile’s door with this song. “This curse again from my father’s kin/They fought the beast, I feel within/We don’t talk about it, And we don’t call its name/We just carry on, hoping it’ll change.” There’s a silver bullet in the song and Carlile looks for kindness. I’m here for it. All of it.
“When You’re Wrong.” Moody AF. “You lay down every night next to a goddamn liar/You may be here today, but tomorrow you’re a ghost.” It can’t be stated enough how phenomenal Carlile’s vocals are on this entire album. Even when she’s not belting a line out at the top of her lungs and, like on this track, is keeping things on the chiller side, those pipes are tremendous.
I found myself picking wildflowers in my mind listening to “Stay Gentle.” “Don’t let the world make you callous/Be ready to laugh/No one’s forgetten about us/There is light on your path.” I wonder if this is Elijah version of “The Mother” from “By The Way I Forgive You.” Either way, we should all heed this sweet advice because the world is so often a horrible place.
“Sinner Saints and Fools.” This might be, for the moment at least, my favorite track on the album. There’s a restrained fire and brimstone vibe to it as guitar licks rise like flames. The strings are like wolves showing their fangs. The drums fire warning shots. There’s a whole bunch going on over the course of four and a half minutes. It’s like an exorcism, prayer circle and whirling dervish sat down over a big old bottle of whiskey to settle a few scores. Hell to the yes.
“In These Silent Days” closes with the ballad “Throwing Good After Bad.” I wasn’t ready for it. If you see my heart anywhere, stick it in the closest mailbox, it’ll find its way back to me. Eventually. “People get addicted to the rush, the chase, the new/Just hoping that all that chaos will lead to something like this/I’ll get over you, but you won’t be whole until you do/You won’t find what you had, throwing good after bad.” Piano and voice. PIANO AND VOICE. Again, it doesn’t matter where you are in life. This song will slay you. I’m in pain listening to it. The hallmark of a truly excellent song as far as I’m concerned.
Brandi Carlile is one my absolute favorite artists. Half of this freakin’ site is posts about her. I’ll never run out of things to say about her. She keeps getting better. She keeps digging deeper. She keeps shining brighter. She keeps cutting out parts of her heart and serving them to us.
“In These Silent Days” is going to make her even bigger and more loved than she already is. This is it. She’s a superstar now. Be ready, world. Be ready.
Ponti out.
Brandi Carlie at Thompson’s Point in Portland, Maine on 8/27/21. iPhone photo by Aimsel Ponti
As I sit here and write, it’s been a few weeks since I got home from the 2021 Newport Folk On multi-day extravaganza. I’ve been dragging my feet with writing this because it’s been tricky figuring out exactly what I want to say. Also, I’ve mastered the fine art of procrastination so there’s that…
Here. Let me tell you something funny to kick things off. Margo Price was putting on a hella fine set (as she always does) on the Lawn stage on the first day in Newport. Toward the end of her stellar performance, I started to make my way over to the Quad stage to get ready to photograph Grace Potter.
But then a text from my friend Marian alerted me that Allison Russell (who released my favorite album of 2021 so far, called “Outside Child”) had just joined Price on stage to lend backing vocals to a song. In a smiling panic, I decided to hot step it back from whence I came. But I hot-stepped a bit too quickly and managed to fall. Badly. I mean holy hell, I fell like an anvil dropped from a roof and I don’t even know what I tripped on. Thankfully both cameras that were around my neck weren’t damaged. But my right knee sure was. I’m still grateful that a few fellow festival goers rushed to my aid, helped me back up and made sure I was OK. I took a few steps towards Margo-land then thought better of it and instead ducked into the nearby medical tent. They took one look at me and said “Get in here.” One ice pack, two ibuprofen, one ace bandage and about ten minutes later I limped my way back to that Quad stage just in time to photograph Grace. The festival doctor on duty at the time said I may need to consider going to get x-rayed. Had this happened at home I would have done a MUCH better job of self-care. But I soldiered on and although the knee is better, it’s still not quite fully healed. I give zero shits. This is all really funny to me because it could have been much worse and because I am my mother’s daughter: We fall. A few days later, while shooting a portrait of Allison, I pointed to my knee and jokingly blamed her for it and we shared a laugh.
Little did I know that the fall would be one of the least interesting things to happen over six glorious days in Newport. Little did I know.
And so, it is with a joy-filled heart that I share a few thoughts and photographs about some of what went down between Friday, July 23 and Wednesday, July 28.
Truth be told though, there was A TON of music, and it was impossible to see all of it. But I sure saw a whole bunch.
Wanna know the entire schedule and list of artists? It’shere.
This year wasn’t called The Newport Folk Festival. Instead it was called Folk On with half-capacity crowds of about 6,000 fans per day and it was split into a pair of 3-day sessions. First was the weekend of July 23, 24 and 25. Then there was the second session of Monday to Wednesday, July 26 to 28. I went to all of it. Because. Of course I did.
As a longtime music journalist , I’ve reviewed many shows for the newspaper I work for. Typically I take detailed notes the entire time including what songs were played , interesting things that happened, the vibe of the crowd, etc.
That format, while effective, is not how I’m gonna roll for this. Instead here are my highlights, served up with nerdy enthusiasm. I’m not gonna fret about tiny details. Instead, I’m gonna write from the heart because that’s the least I can do when it comes to offering up my documentation about what I saw, heard and experienced over those six unforgettable days in July.
Every artist that I mention below are worthy of your time and further exploration. Some are big names, others were entirely new to me. They all knocked my socks off one way or another.
Looking back now, it feels like I was granted access to Narnia. Through the back of the wardrobe I entered not into a snowy forest but a wonderland of live music that had a surreal feeling to it given the current status of the pandemic and the shaky ground we’re very much all still standing on.
Perhaps the pandemic is a cyclone and I landed in Oz? (minus crashing a house on anyone).
It’s like the world sort of stopped for those six days and allowed those of us who were there to fully inhale, hold those breaths for a few glorious moments and then exhale again with reinvigorated hearts.
Joni was right. You don’t know what you’ve got ’til it’s gone. I didn’t fully realize how badly I have missed live music and in particular the kind of live music experiences one has at Newport. This wasn’t just about live music, it was a community of kind-hearted musicians, staff, volunteers and fans. I felt an unspoken shared sense of tremendous appreciation that we were able to experience what we did.
Maybe that’s the entire point of what I’m trying to say.
Music, and in this case live music, is art. Humans need art. Art gives us access to something divine (however we choose to define that). Art makes us feel things differently. Art can access parts of our hearts and minds that are otherwise inaccessible. Art might not the antidote for what’s wrong in our individual lives or what’s wrong in the world. Or maybe it is? Hmmm.
Art might not be able to mend a broken heart or solve a problem. In fact it might make you feel it all the more. We are capable of feeling multitudes of emotions all at once. Art reminds us of this. Live music is my favorite form of art because when I’m experiencing it. I mean REALLY experiencing it, I’m able to let go of all the stories I tell myself about what life should be and feel like and I can just be present. You never know where a song might take you. You might be dancing one minute and weeping the next. Whatever emotion you’re feeling is exactly the right one even if it hurts. Sometimes it’s moments like “Wow, who is that horn player? They’re amazing!” or “OMG, I freakin’ love this song so much. I can’t wait to buy this album.” You never know where art is going to take you and that’s one of the things that I love so much about it.
Here are some of my favorite Newport moments. I hope to have many more of them in the years to come.
In the meantime, stay safe, please get vaccinated and please support your favorite artists in ways that work for you while also keeping your ears open for new ones to get excited about.
Let’s get to it!
Grace Potter at Newport Folk On. July 24, 2021. Photo by Aimsel Ponti
FRIDAY JULY 23
Resistance Revival Chorus opening the festival on the Quad stage!
Celisse, one of several new artists to me, BLOWING THE DAMN DOORS OF THE PLACE also on the Quad stage.
Lucy Freakin’ Dacus on the Quad stage.
Margo Price on the Lawn stage!
Grace Potter on the Quad stage(for two songs then things ended early because of weather but Grace got another set the next day!)
Lucy Dacus at Newport Folk On. July 24, 2021. Photo by Aimsel Ponti
SATURDAY JULY 24
Grace Potter starting the day off on the Quad stage. Solo performance. Piano, guitar, vocals. TREMENDOUS. I love her so much. She even hit us with a “White Rabbit” cover. Jesus H. Christ.
Yasmin Williams. Another new to me artist. I was MESMERIZED by her instrumental set. Williams is a guitarist phenom and I haven’t been this impressed since seeing Kaki King live.
Joy Oladokun on the Lawn stage. I caught part of her SUBLIME set.
Natalie Hemby on the Quad stage. Also caught part of the set from the Highwomen member and songwriting superstar.
Waxahatchee on the Quad stage. Katie Crutchfield had me transfixed for every moment. I’m a newer fan but OMG.
Randy Newman on the Lawn stage. I laid down on the grass far from the stage and caught a few songs. God love that man.
Jason Isbell on the lawn stage to close out the night. Isbell can do no wrong. Amirite?
YOLA at Newport Folk On. July 25, 2021. Photo by Aimsel PontiAllison Russell portrait at Fort Adams State Park during Newport Folk On. 7/27/21. Photo by Aimsel PontiSurprise guest Chaka Khan at Newport Folk On. July 25, 2021. Photo by Aimsel Ponti
SUNDAY JULY 25
Kevin Morby on the Lawn stage, joined by spouse Katie Crutchfield. Crackerjack set.
Devon Gilfillian on the Quad stage. I heard rather than saw part of this set. I regret not being there for the entire thing as he and his band tore through Marvin Gaye’s “What’s Going On” album. Holy shit.
Billy Strings on the Quad stage. Only caught a few songs but I totally get what all the fuss is about!
YOLA on the Lawn stage. I LOVEEEEEEE YOLA! Her new album “I Stand For Myself” is ALL THAT! And for her set at Newport she brought out special guest Brandi Carlile! Plus Celisse was there, Natalie Hemby was there! And she started her set with Elton John’s “Goodbye Yellow Brick Road”. WHAT A PERFORMANCE! I also saw her special pre-album release show on Monday night at the Newport Blues Cafe. EPIC.
Allison Russell’s Once & Future Sounds. This curated set which closed out Sunday night was created and led by Russell was WORTH THE ENTIRE TRIP TO NEWPORT. The focus was on Black women artists and the entire list ( I hope) included Russell, Amythyst Kiah, Joy Oladokum, Yola, Adia Victoria, Sunny War, Daisha “Rap Girl” McBride, Kyshona, Yasmin Williams, Celisse, Kam Franklin and essayist/poet Caroline Randall Williams. Margo Price, Natalie Hemby and Brandi Carile were also there. Apologies if I’m left anyone off this list. The entire set was powerful, important and overwhelmingly beautiful. I thought to myself “This could not possibly get any better.” And then it did. Somehow I managed to not hear about it advance because I hadn’t spend much time that day in the media tent so this was a COMPLETE SURPRISE. Seemingly out of nowhere at the end of the set Allison Russell suddenly introduced CHAKA KHAN!!! Before I had even caught my breath “Ain’t Nobody” started, followed by “I”m Every Woman.” It was PHENOMENAL. I still can’t believe it. In fact, I am going to share this image captured by my new friend, photographer Joshua Mellin. This was the EXACT MOMENT after Chaka was introduced. I was losing my mind and that’s my friend Hilary Cox to my right also losing her. Most photos of myself make me flinch but not this one. This one I love because it was one of the purest moments of joy I’ve ever known. It also felt like a pandemic-induced primal scream. And it sure felt good.
Yours truly in the Joni cap on July 25, 2021 at Newport Folk Festival’s “Folk On.” Fort Adams State Park, Newport, Rhode Island. Photo by Joshua MellinAoife O’Donovan at the Newport Folk On Festival. July 26, 2021. Photo by Aimsel Ponti
MONDAY JULY 26
Erin Rae on the Lawn stage. New artist to me! Note to self: Dig in!
Aoife O’Donovan on the Quad stage: I’ve been a fan of Aoife’s for many years and she never disappoints.
Ben Gibbard on the Quad stage. This is the singer from Death Cab For Cutie. I only caught a few songs of his solo, acoustic set but my oh my…
Allison Russell at the Newport Folk On Festival. July 24, 2021. Photo by Aimsel PontiSharon Van Etten at the Newport Folk On Festival. July 27, 2021. Photo by Aimsel Ponti
TUESDAY JULY 27
Emma Swift on the Lawn stage. She played all Bob Dylan covers and I loved ’em all.
Allison Russellon the Lawn stage. Again I say: ALBUM OF THE YEAR.
Bleachers on the Lawn stage. This was announced on Tuesday morning. Well done, Newport!
Sharon Van Etten on the Lawn stage. OMG I GOT TO FINALLY HEAR “SEVENTEEN LIVE” !!! Along with a new song or two. I love every single thing this woman does. 100%.
Beck on the Lawn stage. Also a last-minute-ish surprise-ish announcement.
Eric Burton from Black Pumas at the Newport Folk On Festival. July 28, 2021. Photo by Aimsel Ponti Katie Pruitt at the Newport Folk On Festival. July 28, 2021. Photo by Aimsel PontiJulien Baker at the Newport Folk On Festival. July 28, 2021. Photo by Aimsel PontiMike Calabrese and Rachael Price of Lake Street Dive. Newport Folk Festival’s “Folk On.” July, 28, 2021. Photo by Aimsel Ponti
WEDNESDAY JULY 28
Jake Blount on the Quad stage. New to me. Love this guy.
Katie Pruitt on the Quad stage. I’ve heard of Katie and finally listened to her album”Expectations” about a week before heading to Rhode Island. SEEING HER LIVE WAS A WHOLE OTHER THING. What a voice!
Black Pumas on the Lawn stage. I seem to recall we found out about this the day before so my friend Marian and I listened to their 2019 self-titled album in our Air B&B on Tuesday night. At that time I only knew one song. But as we listened the more I fell under their spell. The band is led by guitarist Adrian Quesafa and singer (and songwriter) Eric Burton. Holy shit.
Julien Baker on the Lawn stage. What a songwriter!
Lake Street Dive on the Quad stage. One of the best performances by them I’ve ever seen. Tons of new stuff, older stuff and covers of Steely Dan’s “Dirty Work” with Akie Bermiss on lead vocals AND Bowie’s “Starman”. OMFG.
Marian and I drove home Wednesday night and I was in a bit of a post-Newport daze for a few days after as my knee continued to recover. Two nights later she and I met up in Portland (Maine, we both live in the area) and BOOM! Right up front for Allison Russell, Marcus King Band and Nathaniel Rateliff, all of whom had crushed their sets at Newport earlier this week. It felt like a reunion.
As I set here now and close my eyes for a moment I can still feel that peaceful, present, calm and joyful feeling. I tend to run kind of anxious and worried. For those six days I wasn’t worried about much, other than remembering sunscreen and my water bottle and to charge my camera batteries. I got to absorb hours and hours and hours of riveting, soul-touching, smile-inducing, jaw-dropping and goddamn spectacular live music. It was unreal. Did that really happen? Did I really scream along with Sharon Van Etten to “Seventeen” and witness greatness in the form of Allison Russell? Did I really have a front row spot for Chaka Khan? Did Grace Potter absolutely SLAY? Did all those things really, truly happen?
Indeed they did. All these things and so many more and all of the other 6,000 fans there each day have their own wondrous list of moments and memories swirling around inside them.
I’ll end by sharing the dates for the 2022 Newport Folk Festival are July 22, 24.
Oh and HEY! Here’s one more photo! Special guest Brandi Carlile showed up right on time to jump on stage with YOLA.
Brandi Carlile on stage with YOLA during the Newport Folk On Festival.
July 25, 2021.
Photo by Aimsel Ponti
Singer-songwriter and multi-instrumentalist Maia Sharp has just released the best damn album of her career with “Mercy Rising.”
I told her during an interview a couple of weeks ago that I felt weird paying her that compliment because her body of work prior to “Mercy Rising” is tremendous and I’ve been a fan of her music for what feels like forever. Maia, however, appreciated where I was coming from. “It’s the most true to life. It is the most drawn from actual experience and emotion and strife than any of the other ones. Of course everybody says that their latest is their favorite but what makes it a favorite to me is it’s truly confessional. The other ones would have little glimmers of that but this one is all the way.”
ALL THE WAY INDEED.
The first Sharp song I ever knew is “Willing to Burn,” from her self-titled album released in 2002. I just gave it a fresh listen and it holds up nearly two decades later.
Ditto for “Long Way Home,” from that same album. We’ve all been there; on the shit end of a relationship when you realize that it ain’t you babe they’re looking for and you’re reduced to drive-bys as you look for the pieces of your heart along the side of the road.
Fast-forward eight years when Sharp released “Fine Upstanding Citizen” and I finally got to see her live in Portland, Maine. The single “Something Wild,” like “Willing to Burn” is as fresh to me as the day I first heard it as Sharp sings about how the hunt is often better than actually landing your prey and it’s usually better to leave well enough alone, despite how difficult it can be. “You were so beautiful from where I stood/So I chased you down and held you as close as I could/That’s when the fire turned cold/Maybe you’re not supposed to hold something wild.” Vocally, the standout track on the “Fine” album to me is “Kinder Blues,” which I still beg Sharp to play live. She usually does. Because she rules.
In 2015 Sharp released the album “The Dash Between The Dates,” homes to songs like the golden nugget that is “Nothing But the Radio.” Not only that, the album closes with the just-kill-me-now ballad “I Don’t Want Anything to Change” which Sharp penned years ago and was first recorded by none other than Bonnie Raitt on her 2005 album “Souls Alike.” Around that time, Raitt played in Portland (Maine) and Boston with Sharp as the opener and they sang the song together. In fact, another track on that Raitt album called “I Will Not Be Broken” features Sharp’s vocals and it’s one of my personal anthems. Sharp also co-wrote the song “Crooked Crown” on Raitt’s “Souls” album.
It’s my blog so I’ll veer off if I want to. You GOTTA take a minute and watch this clip from 2013 of Bonnie joining Maia and guitarist Linda Taylor on stage for “I Don’t Want Anything to Change.”
There have been other albums and singles so do yourself a favor and go down the Maia Sharp rabbit hole and listen to it all. If nothing else, listen to “Sober” from the 2012 album “Change The Ending.” Trust me. Oh and “Me After You” as well. Yeah. You GOTTA hear that one.
Now onto “Mercy Rising.” It is after all May 7, 2021. AKA ALBUM RELEASE DAY!
Here’s what Bonnie Raitt had to say in a press release about “Mercy Rising”
“I think I have my favorites then another slays me. Maia is a master in her absolute prime – out of the ballpark once again, but this one really ignites everything that is different and brilliant about her writing, singing, songwriting and production. I’m running out of superlatives!”.
Bonnie, I feel seen…
Sharp has ventured into a whole new galaxy of mood and emotion with “Mercy Rising” and boy oh boy am I here for it.
Sharp moved from her California home of many, many years to Nashville in 2019. I’m not going to unpack her personal life but yeah, some relationship stuff shifted. The good news is she’s settled comfortably into the Music City.
Sharp also had to deal with Covid-19 that hit her soon after a natural disaster hit the state of Tennessee. A tornado touched down and did substantial damage in her Nashville neighborhood in March of 2020, a very short time before the abrupt pandemic lock down.
“One street over houses were complete annihilated. Then for the next six blocks to the north of me it was just random annihilation. So that was very scary but I was very fortunate,” recalled Sharp. In the immediate aftermath lots of benefit shows and hugs happened and although the storm spared her, the virus didn’t and Sharp was knocked sideways by it with the added bonus of pneumonia. Thankfully a handful of local friends she referred to as “porch angels” kept her medicine cabinet and pantry well-stocked as she recovered.
Now where were we?
Maia Sharp. Photo by John Partipilo
THE NEW RECORD!
The title track, “Mercy Rising” opens the album and sets the tone for the rest of it. With stunning strings by Chris Carmichael the song is its own planet of mood.
“I’ve lived a revolution, every season come and gone/I’m looking to the sky/What’s taking so long/I’ve been counting constellations and I’m still waiting on mercy rising.”
Co-written with Sharp’s longtime friend and fellow musician Mindy Smith, it’s as if Sharp has crossed over into a whole other plain of existence as an artist. The song really is that good.
I asked Maia to break it down for me, how she came to the words “mercy rising.”
“I remember stewing for a really long time on that one and just playing through the chord progression with a feeling and a frustration that I wanted to get out about just feeling stuck and having changed so much about my life but still feeling like this one nagging element and it wasn’t changing. “
She continued.
“It was like OK I don’t know what to do, something has to change. I’ve changed everything I know how to change. Show me a shift. It wasn’t a religious thing. It was just like can something it nature just be different? Can that star be over there now? Just show me something changing. ” Sharp said she rambled like a crazy person for a long time before landing on “mercy rising”. “I felt like I needed some mercy from somewhere because I don’t feel like I’m creating it myself.”
I scribbled thoughts down about every track on the album and will share a few of them.
“Missions” is one that Maia wrote herself without any collaborators. It’s “ouch” factor is high in terms of opening a vein of emotion with lines like “I feel more alone than if you hadn’t come/You whisper to thank me for powering through and I hate that I love you this much.” My tones include the words EPIC and WOW and I’m sticking with them.
I noted the slow, moody groove of “Junkyard Dog” and its fantastic refrain. “Junkyard dog at the end of that chain/Junkyard dog howling out in vaine/Fighting for a love you don’t care about/Protecting something you can live without/I thought I was the queen of your castle/Turns out I’m just your junkyard dog.” Speaking of dogs, the track bares its razor sharp teeth and the musicians on it like Will Honaker and Joshua Grange absolutely slay. You even hear Sharp playing her sax on it. Pure fire.
“Not Your Friend” is another exposed heart confessional. “You might say that you never wanna see me again/But I’m not OK hearing about some girl that you might think be the one.” Despite the bitter pills being swallowed, the song is righteous and another feather in the cap of an absolutely spectacular album.
“Whatever We Are,” written by Sharp, Thomas Finchum and Sharp’s Roscoe & Etta musical partner Annu Schulze features Joshua Grange’s stellar guitar and Chris Carmichael’s strings and in the song, Sharp makes her way across the hot coals and into a place of peaceful resignation. Finchum and Schulze’s backing vocals make it all the more poignant.
Could I go on and on and on about the other songs on “Mercy Rising?” OF COURSE I COULD. But I ‘d rather send you off into the world to discover them for yourself and figure out what your favorites are. I really love the hell out of this album and think you will too.
ALSO: Here’s a little Maia Sharp 101 because her career is really quite something and if she’s a new artist to you, you’ll love these fun facts courtesy of a detailed press releases:
“Maia has always managed to play both sides of the songwriting field, writing for notable artists including Bonnie Raitt, The Chicks, Lisa Loeb, Trisha Yearwood, Art Garfunel, Cher, Edwin McCain, Terry Clark and many more while still recording her own albums. Through the years, “I Need this to be Love,” (Hardly Glamour 1997), “Willing to Burn” (Maia Sharp 2002), “Red Dress” (Fine, Upstanding Citizen 2005), “Death By Perfection” (Echo, 2010), “Me After You” (Change the Ending 2012) and “Nothing but the Radio” (The Dash Between the Dates, 2015) have all enjoyed Triple A (AAA) radio success. Her last two releases were with her due Roscoe & Etta (with writing/production partner Anna Schulze) yielding another Triple A favorite “Broken Headlights.”
HAPPY ALBUM RELEASE DAY, MAIA!
NOTE: Today, May 7, Maia will be performing LIVE on her FACEBOOK page at 7 p.m. (EDT). COOL!
Looking for a little fun on a Friday? OF COURSE YOU ARE!
I’m here to help by sharing the fabulous and fun new video from Los Angeles-based artist Therese Curatolo. Out TODAY, her single “Braille” is a playful, bouncy and frisky slice of jubilant pop pie with whipped cream and funk and served up with Curatolo’s radiant vocals along with some talkbox and keys from Swatkins (Allen Stone, Vulfpeck, Scary Pockets, Scary Agenda.”
If Curatolo’s name – or voice- ring a bell it’s because you might know her from Scary Pockets and Postmodern Jukebox wildly popular and massively streamed videos.
Curatolo describes the song as “the soundtrack to the frustrations of star-crossed lovers everywhere” and gets it done with lines like “Just give me time, I’ll get under your skin the way you’re under mine. I don’t why I so desperately seek the validation you hide.”
But the real payoff is the refrain. “I”m not blind I can see. I can also see braille, that doesn’t mean I can read it. I’m alive I can feel, I can also feel braille, that doesn’t mean I can read it. Just like I can’t read you.”
“Even the most extroverted person can hit a wall trying to connect with their secret crush, especially when they’re the world’s most introverted person. We’ve all been there. It’s a universal feeling. Braille is like relationship trauma bonding. It’s the perfect excuse to come together and share in our frustrations with dating and those pesky crushes you just can’t shake or quit,” said Curatolo of the song.
“Braille” was recorded in a bedroom-turned-studio at Curatolo’s brother Paul’s home in midtown Reno, Nevada (where she was raised).
As for the sensational video, it was shot in Los Angeles with DP Jess Dunlap (Katy Perry, Tiësto, Anderson .Paak ) and was directed by Kate Alden. Alden, who is from Portland, Maine ( YEAH!) is the co-founder of the production company Tesseract Creative. Her content has been written about in the New York Times and internationally recognized, amassing tens of millions of views for The Deli Series.
Still from the “Braille” video.
Now then…ARE YOU READY? Don’t expect to stay in your seat for “Braille.”
Whew. I’ve just taken 19 deep breaths and think I’m ready to write down some thoughts about “Broken Horses.”
Brandi Carlile’s highly anticipated memoir comes out on April 6 via Crown, an imprint of the Random House Publishing Group, a division of Penguin Random House LLC.
I devoured an advance copy in, no lie, 24 hours, stopping only to eat and sleep and not much of either of those things happened such was my state of rapture over what I was reading.
I’ve been a pretty devout Carlile fan since her second album “The Story” was released in 2007 but I still learned SO MUCH about her in the pages of “Broken Horses.”
Fear not, I will not give away the farm with any huge spoilers but do feel OK about sharing some of what I learned.
First and foremost, she almost died as a young child from meningococcal meningititis. We learn this on page one and she delves deeply into countless hospital stays, treatments and the connection between illness and stress which is something she still grapples with. A couple of times I got teary. It’s that intense and raw and real. I also dropped several f bombs of worry and surprise when reading through what those illnesses put her through.
From there we learn the trajectory of her life and the roles that religion and music have played in it, both of which are spoken about in detail. My heart broke open, healed itself and broke open again over the course of 309 pages but I also smiled a hell of a lot.
Carlile tells us all about her friendship -both personal and working- with Elton John and she shared a TON about the friendship she’s developed over the past couple of years with Joni Mitchell. The part about something very special that happened one night at one of the many jam sessions at Mitchell’s California home absolutely floored me. You’ll know it when you read it. Holy shit.
Carlile also lets us into her relationships with her sister Tiffany and brother Jay as well as their parents and grandparents and she shares some about her past romantic relationships. She does this because those experiences are part of her story and none of it feels out of place within the book’s pages.
Then of course there’s her wife Catherine and their two daughters Evangeline and Elijah. Carlile tells us just enough to appreciate their significance in her life without letting us into sacred chambers of their private lives. In other words, Carlile’s mastered the art of being an open book without telling us TOO much.
The other major topic that’s a huge thread running throughout the book is her musical partnership and gigantic friendships with Tim and Phil Hanseroth. Some of us hardcore fans know some of the backstory but in “Broken Horses,” Carlile puts all the pieces together eloquently and with hilarity and poignancy. These two dudes are the goddamn wind beneath Carlile’s wings and she wants to make sure we know this. I love this.
Carlile also shares stories about the long slog of gigs in her early days and the ins and out of getting signed along with the endless complexities, challenges and triumphs that come with it. The inner-workings of the music biz are something of a mystery to most of us and reading about some of it (the good and the bad) was hella enlightening.
By the end of “Broken Horses” you’ll also come to know and love her horse Sovereign and the significance he had in Carlile’s life in myriad ways.
Dolly Parton and Brandi Carlile at the 2019 Newport Folk Festival. Photo by Aimsel Ponti
I also completely NERDED OUT many times because Carlile talks about several key events in her career and I was lucky enough to have witnessed some of them including the Joni Mitchell 75th birthday tribute show in Los Angeles, the first Girls Just Wanna Weekend festival in Mexico, her introduction of Dolly Parton at the 2019 Newport Folk Festival which was also when The Highwomen made their debut and her epic, sold-out show at Madison Square Garden
Then there are the photographs! Dozens upon dozens of old family snapshots, current moments in time, studio moments and more are shared several times throughout the pages of “Broken Horses.” For all of you super fans out there, the photos alone are worth the cost of the book!
There are many songs referenced in “Broken Horses,” some Carlile ones and many others. The lyrics to ALL OF THEM are included at the end of the chapter they’re mentioned in and I love this. Carlile and the Hanseroths are not only phenomenal songwriters themselves, they have immense respect for other artists’ words and seeing lyrics to songs like Elton John and Bernie Taupin’s “Skyline Pigeon” is to me, Carlile’s way of saying “Hey, stop and read these before you head to the next chapter. These are important.”
One of my biggest takeaways from “Broken Horses” is a better understanding of Brandi Carlile the brand/entertainer and Brandi Carlile the person. She peels back some of the layers of this and the book is better for it as its easy for those lines to get blurred.
I know more about what Carlile cares about most (and worries about too) and it felt all the more authentic learning about them in the written form, in her own words.
“Broken Horses” flows along a path that is sometimes well-lit and sometimes dark and haunted. I held on tight, leaning into every twist and turn, walking over every hot coal and celebrating every victory right along with Carlile.
Brandi Carlile knows how to write a song. And she sure as shit knows how to sing them. She knows how to own a stage and engage with an audience and to empower people.
Wanna know something else?
She wrote one hell of a book.
Pour yourself a Jamesons or a tall glass of whatever and plan on losing yourself, just like I did, in “Broken Horses.”
Well holy shit, I know what my favorite song of 2020 is. I don’t say this lightly because as much as this year has been a hell scape in so many ways, there’s been a bumper crop of tremendous new music to enjoy. (I’m looking at you, Fiona Apple and Kathleen Edwards) among MANY others.
But the top slot goes to “The Keep Going Song” by The Bengsons, a song that arrived in my life at the exact right moment.
The Bengsons is the married dou of Abigail and Shaun Bengson who live in Queens, New York though they have only been there once, briefly, since January. I’ll get into that in a bit.
Shaun and Abigial Bengson. Photo by Paul de Luna
About a week ago a small smattering of friends shared a YouTube clip by an act I had never heard of (The Bengsons) and their song “The Keep Going Song.”
Later that same day, when I saw it pop up again, I threw my headphones on and decided to give it a whirl.
AND I HAVEN’T STOPPED SINGING IT SINCE.
How much do I love this song? So much that I fired off a semi-hysterical email disguised as a request for an interview. I was like the kid in “Stand By Me” who shows up at the tree fort all out of breath desperate to share exciting news. Though my news wasn’t about a dead body, it was a full-on fan girl declaration of my love for the song and asking if they’d be up for a chat.
ABIGAIL AND SHAUN SAID YES. We have a lovely conversation a few days ago and talked ALL ABOUT the song and I told them they’re my pretty much my new best friends and they seemed to be OK with that. Also, fun fact, there’s a Maine connection: Abigail’s sister lives in Augusta.
I’ll get into that chat in a second but first permit me to share my reaction to the first time I watched the video clip.
I almost immediately laughed upon hearing the line “we were in Louisville when the shit hit” and laughed a little more when they sang about more or less fleeing to Shaun’s parents house in Dayton, Ohio.
But then, I full-on sobbed. I watched the clip about five times that day and of course shared it.
Then I found it on Spotify and have listened to it dozens of times while out for my daily walk. When I’m not listening to it I’m humming or singing it or thinking about it.
These lines are repeated numerous times throughout “The Keep Going Song:”
This is the keep going keep going keep going on keep going on song This is the keep going keep going keep going on keep going on song
They layer the vocals with some looping sorcery and it’s fantastic sounding and also lends itself to sticking to every brain cell so that the song comes to mind on its own accord at random times.
But it’s the other lyrics that reach directly into my heart and soul and closely hold both.
Lines like these:
Hope you’re getting enough sleep And I hope you have enough good company Or enough good memories To last you a long time
And especially these:
I pray my rage is a fire That cleans my mind out And makes me ready to listen I pray my pain is a river That flows to the ocean That connects my pain to yours And I pray I pray my happiness like pollen That flies to you and pollenates your joy oh boy Oh boy is that possible? I don’t know I don’t know We are making this up as we go We have to make this up as we go The keep going song
In fact, what are we waiting for? Watch the video right here, right now and then I’ll tell you more.
Are you OK? Are you alright?
Dry your eyes and let me tell you about The Bengsons.
It didn’t take long for a Google search to reveal that The Bengsons are already a big damn deal. They wrote a critically acclaimed musical called “Hundred Days” and you can take a deep dive here. But a few amazing highlights from their bio includes having three singles featured on “So You Think You Can Dance.” and along with “Hundred Days” they’ve written several other shows and are recipients of the Jonathan Larson and Richard Rogers awards and are Drama Desk, Drama League and Lucile Lortel award nominees. Also, how cool is this? Abigail appeared on the HBO show “High Maintenance” and has toured as a member of the SUPER COOL band tUnE-YaRds which includes the time they appeared on Fallon.
So what were they doing in Louisville when the proverbial shit hit in March? Shaun filled me in. He and Abigial arrived there in early February as they had written the music for -and were due to also appear in- a show called “When the Mountains Meet the Sea,” by Jeff Augustin via the Actors Theatre of Louisville.
The show was part of the theater’s Humana Festival and they were able to get in one lone preview performance on March 11. Then the news came the next day that the world had, at least in part, stopped spinning and yeah, the shit sure had hit. Shaun told me all about the show and I sure hope they get another chance to stage it. It has a two-person cast as well as he and Abigail performing the songs they had written. “It’s a semi-autobiographical story. Jeff Augustin is Haitian American and a gay man and it’s a story about a son and a father ,” explained Shaun. “When the Mountains Meet the Sea” tells the story of the son carrying his father’s ashes back to Haiti and you get to see their two stories converge over the course of the play.”
On March 12 things got scary in a hurry and the couple, along with their toddler son Louis had 24 hours to get the hell out of dodge.
Thankfully, Shaun’s parents live just a few hours from Louisville in Dayton, Ohio. “We had no idea what was happening. But the only thing we knew was that the center of the outbreak was central Queens which is where we live. We thought, we’ll go to Dayton for like a week, week and a half ‘till this all blows over.
It still hasn’t blown over (Thanks, Trump) and they ended up spending nearly seven months there and recently repaired to Abigail’s home state of Vermont where her mother still lives and where they, when we’re not in a pandemic, often retreat to in between shows .
Despite only being to make it to their apartment in Queens once this entire time, The Bengsons don’t feel sorry for themselves. Quite the contrary, according to Shaun.
“I feel so grateful to have places to be and I feel so grateful that our work is able to go with us where we are. I just feel like we’re as lucky as you can be in this situation. We had to entirely change the entire conception of who we are, what our lives were over the course of a few weeks as I know so many people have.”
A few months into the sojourn in Ohio, they heard from their friends at Actors Theatre of Louisville who had recently been awarded grant money and were hoping The Bengsons would be up for contributing something for their now online season.
Shaun and Abigail put their heads together to come up with something meaningful. During this same time, the Black Lives Matter movement and nation-wide protests were in full-swing and this made them call into question how they fit it and what, if anything, should be their role as white artists. Shaun said that the material they had been working on all got scrapped once the protests started they started to re-approach the entire project.
Then in early July a pivotal phone call came. It was from Robert Fleming, a gay Black man who is executive artistic director of Actors Theatre in Louisville. He shared with the couple that as bad as things felt then, they would feel even bleaker in the fall and he encouraged The Bengsons to make something that might give people a little bit of a lift. Fleming was of course absolutely right about this. The pandemic is getting worse and Black people are still getting needlessly killed by the police.
They decided to make what they’re calling a visual album. It’s a collection of original songs performed live in a space in Shaun’s now famous parents’ house. The “Keep Going Song” is the song they shared footage of and the stats are frankly astounding.
First, they uploaded it directly to their Facebook page on Oct. 15 and it’s been shared 33 THOUSAND times and has racked up more than 2.2 million views.
On Oct. 19 they uploaded it to YouTube. Within 24 hours it had more than 13,000 views. Now, as I write this on Halloween, it’s at more than 206,000 views and the number is rising in leaps and bounds.
The entire album is called “The Keep Going Song (Live from Our Home at the End of the World” and you can get a digital copy at the usual spots. On Spotify, the “Keep Going Song” has more than 33,000 streams. And side note, be sure to listen to the entire album It’s lovely and poignant and glorious.
Keep an eye of their YouTube channel as they’ll soon be releasing the entire performance.
Now back to that phone call that led them to “The Keep Going Song.”
“We thought it was an amazing thing to be asked and we really tried to think what is the thing what we could try to offer and it was all feeling very insufficient and finally we just decided maybe we could sing about resilience and that may be the thing we could do do, try and create a piece and resilience through not only hard times but also through self-analysis and thinking,” said Shaun who said he and Abigail took a hard look and how where they fit in and what have they contributed. “For a while we had written some stuff what was a bit more explicit and we tried it out and it tended to just make both white and Black friends alike just kind of feel bad. In the end, we came up with the idea of the ‘Keep Going Song’ chorus and then we essentially talked about what are the things that we wish that someone would say to us and what are the things that we wish we could say to our family and our people in Louisville.” The Bengsons set to work and sketched out a few ideas with a goal of creating pieces that would allow space for impromptu improvisation.
“We just figured out the rough structure for the song and talked about the things that we could say here, here and here and then Abigial took those ideas and just sang, half-prepared,” Shaun recalled.
It was at this exact moment of my conversation with Shaun that Abigail walked into the room and joined up. I brought her up to speed on the chat up until that point and then fan-girl kicked in (again) and I told her (read gushed) without taking a single breath all the reasons why I love the song so much.
I told her I thought the song doesn’t lash out at Trump, thought it could have and that it transcends politics in a really beautiful way.
“It really is a prayer and really coming a place of prayer and neither Shaun or I are religious in any particular way so praying meaning ‘I wish,’ praying meaning ‘I hope,’ praying meaning, ‘please,’ prayer meaning ‘do you hear me, are you out there.”
It’s as if Abigial and Shaun, if you pardon the spot-on brilliant pun, threw a Hail Mary pass with writing the song and wow, did they ever nail it.
I told them that the song stripped prayer of its religious connotations down to its purest form.” Abigail appreciated the sentiment. “That’s beautiful, that’s what we’re attempting right now and I think that prayer can be funny and can be upsetting and can be anything as long as it is coming from the center of you.”
Abigail went on to say that that the “keep going” line was something that she had been signing to herself as she moved through each day. “I would sing it when I was weeping and I would sing it while I was wiping a poopy butt and it just became a thing that helped me.” And she’s right. Listening to the song helps me. IMMENSELY.
” I felt like we couldn’t pretend that it was a normal time and I think we always assume whenever anybody comes to our shows that because they’re human beings we assume that they’re going through a hard time. It’s always complicated. It’s like we always kind of hope when you come into a space of music with us you can put something down and feel seen for a minute and that’s what we try to do for each other,” said Abigail.
She continued.
“Now we fail at that of course but our attempt is to fail as beautifully as possible at something worthy. So that’s what we’re trying. And then the actual lyrics to ‘The Keep Going Song,’ it was a prayer of in the moment and it was a prayer after much conversation with Shaun about what we’re hoping to offer. We would kind of say to each other, if you were just looking at one person’s tired face what would you want to say to them?”
I told Abigail and Shaun that the song tethers me to humanity at a time that I’m hanging on for dear life.
“My prayer is that this time is not just remembered as a time of horror. I like the idea that at any moment in history, when terrible things were happening that there were people who were trying to make beauty in the world and there were people who were waking up in the morning and walking the dog and taking care of the babies and doing what needed to be done,” explained Abigail. She said that it’s important for Louis, who is now four, to know that they were all together through a time of such uncertainty, especially as it’s day before the election.
Hey Abigail, Hey Shaun, you’ve done it. You have indeed made beauty in the world and my gratitude is without end. You brought grace into so many lives. You’ve found hope when there is fucking none to be found right now. You’ve brought light into a hole a thousand feet deep and you’ve reminded me of a basic truth that has survived being a punching bag for four years, a truth that has been spit on and knocked unconscious and made to bleed time and time again. It’s the truth that yes, I will keep going on. We will all keep going on. We will fight and we will pick ourselves back up and we will never forget what this year felt like.
In just over six minutes you’ve written the soundtrack for us. You’ve made us a map. You’ve healed at least some of the holes in our hearts. And boy, you released one hell of a song. And so yeah, when I say it’s my favorite song of 2020 I truly mean it. But it’s not just a song. Like Abigail so eloquently said, it’s a prayer.
Let me start by saying I have my therapist to thank for this review. I was complaining, literally the day before the album was dropping about my writing procrastination . I told her that one my favorite artists has an album coming out and I’d like to write something about it.
Then I told her I had already read a handful of reviews by other writers and mine would surely suck by comparison. From there I trotted down my usual path of imposter syndrome and self-doubt. Ya know, the usual spiel.
She told me to write it anyway. She told me, in kind therapist speech, to get the hell out of my own way.
And so, here I am. And with goddamn good reason.
Canadian singer-songwriter Kathleen Edwards is on my top ten list of all-time favorite artists. She’s been on this list for several years and will never be knocked off it.
Even when she put a pin in her music career to open Quitter’s Coffee in Ottawa back in 2014 and I wasn’t sure if she’d ever add to her four album catalog, it didn’t matter. That’s how much love I have for her music. That’s how much the four albums “Failer” (2003), “Back to Me” (2005), “Asking for Flowers (2008) and “Voyageur” (2012) mean to me.
Like many others, my first exposure to Edwards was by way of the “Failer” radio single “Six O”clock News” and I’ve never looked back. The voice, the songwriting, all of it. Fucking spectacular.
Through the years I’ve been fortunate to have seen Edwards a total of six times at shows here in Portland, Maine. At various size venues she captivated those in attendance and was always keen to chat with fans afterwards. The last time I saw Edwards live was in May of 2012. I also interviewed Edwards in 2005 and reviewed one of her shows in 2005 for the Portland Press Herald newspaper and you’ll find those at the end of this review.
From those four previous albums are so many favorite songs. These songs are part of my DNA at this point. These songs get me. I need these songs in my life.
Some of them are “Hockey Skates, “Mercury,” “Sweet Lil’ Duck,” “In State,” “Pink Emerson Radio,” “Old Time Sake,” “Away” “Alicia Ross, ” “Sure As Shit” “Goodnight, California,” “Empty Threat, “A Soft Place To Land,” “House Full Of Empty Rooms,” and “For the Record.”
And while I’m at it, I’ll also mention that in 2015 she covered Roxette’s “It’s Must Have Been Love” and it takes an already sad song and adds a Edwardsian layer of quiet, lovely angst to it. I mean Jesus. H. Christ take two seconds and take a quick listen.
If you’re not familiar with Kathleen Edwards, I encourage you with every cell in my body to do some exploration and join in the celebration that is her new album “Total Freedom,” releasing on August 14, 2020. Or as I like to call it: Kathleen Edwards day.
I started getting inklings that Edwards was back in music-making mode several months ago when quick clips of her clearly in a recording studio started showing up in her Instagram stories. She also hopped onto Instagram for a few live performances and I was beside myself watching them.
Then I heard that Edwards had been in Nashville having been invited to co-write a tune with Maren Morris. The song “Good Woman,”penned by Morris, Edwards and Ian Fitchuk landed on Morris’ “Girl”album, released last year. Edwards also sings backing vocals on it. Turns out, that invitation by Morris was how Edwards found her way back into wanting to make another record. Hey Maren, THANK YOU.
Edwards has gracefully shared via several interviews some of what’s gone down since she was last in the public eye and I don’t feel the need to rehash that all here. But I’ll say this: There was huge relationship and mental health issues that needed dealing with and healing from and I’m beyond thankful that Edwards was able to navigate through them.
Now I’ll go back to nerding out about “Total Freedom.”
On May 19th a press release arrived and I’m pretty sure I frightened my dog Odie (he’s often down by my feet when I’m working) with my excited shriek. The release shared the TRIUMPHANT news that, holy god, Kathleen Edwards was BACK and that “Total Freedom” was due out on August 14 and holy shit, the new single “Options Open” was out!
Here’s an excerpt from the release:
Edwards is back with a refreshed creative outlook and a new sense of freedom. Across the album’s eleven songs, Edwards revisits past relationships with a new perspective, explores her own resilience and optimism and for the first time pursues what she feels is right rather than what is expected.
I clumsily threw my headphones on and the earth stood still for those few minutes while I gave “Options Open” a first listen. Make fun of me if you want, but I was ALL ABOUT this song from the first second, the first guitar lick. About 15 seconds later, Edwards, voice was in my ears singing these lines:
I love you so much everything you do you say you speak it just works for me I blame it on the weekly flyer that took me down to Crappy Tire you were smiling when I looked up I guess we’ll always have a parking lot for 39 years I’ve been keeping my options open
By the end of that day, I had listened to “Options Open” about nine times and it was like getting caught up with an old friend over coffee on the deck that eventually segues into whiskey in the living room because so much has happened to get filled in on.
In the coming weeks, three more songs were set free. “Hard on Everyone,” “Birds On A Feeder” and “Fools Ride.” They’re all quintessential Edwards. Smart. Sound. Lyrically brilliant, per usual. Here’s a few lines from the moody af “Fools Ride.”
here comes the red flag flying in the shit parade a warning sign that I ignored signed my good name to a house you can’t afford there’s a run in the rug a pull in my sweater something true was in that letter loose ends you never tied now I know it was all a lie
Ouch/I LOVE IT!
Somewhere in there I started getting emails from her new label, Dualtone Records telling me all about super groovy pre-order options. Wearing my HARDCORE fan hat, I immediately ordered the limited edition gold vinyl edition of the album. As I write this, tracking info is telling me it’s arriving on Aug. 17. Can I blame Trump for messing with the postal system for the delay? I’d sure like to. Anyway, that’s not the only thing I ordered. My birthday was on July 2 so I decided to splurge. After all, artists aren’t able to tour right now and I sure try to do my part to support them financially so I pulled the trigger and bought myself a 10-minute “coffee'” Zoom chat with Edwards. This was a 100% fan geek moment which I have zero regrets about.
So about that Zoom chat! It happened on the afternoon of July 3, the day after my birthday and was supposed to be a ten minute convo. I simply can’t ever fully get out of journalist mode so I had a few key questions prepared and with permission, I was hopefully going to record audio of the chat to reference for whatever I knew I’d eventually end up writing. But, I’m a total loser when it comes to technology so the recording didn’t happen and to make matters worse, Kathleen had to see a giant, silly pic of my pooch in the background because, under pressure, I didn’t know how to switch off the goddamn virtual background during the Zoom session. But, she was cool about it and remembered me from all those years ago. We ended up Zooming for more than a half hour and it was a knife in my heart that I don’t have a recording of it because it quite honestly ended up being one of the best interviews I’ve ever done. We chatted up a storm about everything from the album to her depression. All of it. But yeah, I know, I gotta let go of the technology glitch. Plus, I’m hoping I’ll get another chance for a chat soon and you’ll all be the first to know if that happens as it’ll wind up here most certainly.
A few weeks later I reached out to her publicist and asked (read begged) them to send, for the love of all that’s holy on this planet, an advance copy of “Total Freedom.” A response, with a link, arrived soon after. I’ve been savoring the tracks, listening at different times of the day and night. Favorite songs rise to the top (I’m looking at you “Glenfern”) and then another one hip checks me (hi there, “Feelings Fade”) and I’m absolutely leveled by what Edwards does best: Deconstruct conflicts, relationship bullshit and any number of shitty things that comes with being an occupant of this planet. But she doesn’t do it in a way that’s depressing. Edwards’ brand of realness is its own category of documenting what it means to be a flawed human who hopscotches around the path of personal growth. Said another way, it is some of the finest songwriting you can ever hope to hear. And her singing voice has a quality to it that I’ve long struggled to find just the right words to describe and I’ll likely fail here as well. There’s a warmth to her voice yet it’s infused with a put ’em up ember. Can something be soft and yet ready to stab you at a moment’s notice? Can a voice hold your heart in its hand but also sink it’s teeth in and vampire out some blood from your veins? Can a voice wash over you like a summer sunset and then have you fighting back tears? Hers can.
Welcome back, Kathleen Edwards. I’ve missed you terribly but “Total Freedom” has been worth the wait. I love the hell out if. “Ashes to Ashes,” “Who Rescued Who” and “Take It With You When You Go.” ALL OF THEM. On a scale of one to five, I’m giving this album a 42.
Go here and order a copy along with a bunch of other swag.
P.S. My therapist will be proud. I’m publishing this thing the day BEFORE the album drops. I just banged this whole thing one in one fell swoop and I can’t wait until midnight when the world can experience “Total Freedom.”
FROM THE AIMSEL ARCHIVES
As a music journalist, I interviewed Edwards way back when for the paper I write for, the Portland Press Herald. The conversation dates back to 2008 and sadly it’s not online anymore but I was able to at least access the text in the paper’s archives and so, what the heck, here it is:
Portland Press Herald 3/27/08
Canadian singer-songwriter Kathleen Edwards is back with the new record ”Asking for Flowers” (Zoe), and she’s kicking off her American tour in Portland at the Big Easy. I caught up with Edwards a few days ago, and we talked about the new record and how she really digs Portland.
”I love coming to Portland and stuffing my face with every part of shellfish I can get my hands on. It’s a lot better than getting it in Saskatchewan,”Edwards said.
She’s pleased with the new album. ”I’m feeling really good about it,” she said, ”and I feel like I took a lot of risks in making this record. Until the first couple of reviews came out, I really didn’t know if I’d even made a good record.
”It’s not like your opinion of yourself is so securely based in what other people say, but good reviews and bad reviews sometimes determine whether you’re going to have 100 people at your show or 500 people at your show, and you always hope that you can move forward in what you do.”
Of the album’s title track, Edwards said, ”I think ‘Asking for Flowers’ is the best song I’ve ever written, but that’s because I feel I invested a lot and I was telling a story of a friend who is really close to me, and I wanted to do it justice and worked really hard to do that.”
Another song she likes, and it’s one of my favorites too, is ”Goodnight California.” ”I always wanted to record a song like that,” she said. ”It just took me three records to find the courage to do it. I remember being in the studio trying to describe what I wanted to do, and everybody kind of looks at you like, ‘What? A seven-minute song?”’
As it turns out, Edwards has struck gold, and it closes out the record divinely. It includes a string quartet in which Edwards plays the violin, but you’ll also hear her on vibraphone. A Hammond organ, electric guitar and harmonica bleed throughout the song; the percussion and bass are its heartbeat.
The first-person song ”Alicia Ross” is arresting in its intensity: ”Mamma, can you hear me?/ As I dragged on the day’s last cigarette/ He pulled me so hard off my very own back steps/ And he laid me in his garden/ All the years I’ve watched him tend.”
Alicia Ross was a real person. She was 25 years old when she was killed by a neighbor in Ontario. Her body went undiscovered for five weeks. It reminded me of the story of Amy St. Laurent, the young Biddeford woman who was murdered in 2001. What happened to St. Laurent hit me in the gut with the same force that the Alicia Ross slaying must have hit Edwards.
”I still don’t know why that story in particular – because there are so many stories all over the world of families losing daughters or mothers or children. It’s tragic every time, and I think this one was a very public display of agony,” aid.
The thought-provoking power of music is something that Edwards zeros in on, and ”Asking for Flowers” documents this repeatedly.
Wait. What? There’s more! I found another gem in the Press Herald archives. I reviewed Edwards show at the long defunct Big Easy in Portland (Maine!) in May of 2005 and get this, Mary Gauthier opened the show.
Kathleen Edwards began her North American tour in support of the record “Back to Me” on Friday night. The pressure was on when she released the record in March because 2003’s “Failer” was such a critical success.
However, she packed the house and is riding the wave of the title track, which is in heavy rotation on stations nationwide, including Portland’s WCLZ.
Indeed “Back to Me,” gets high marks as both a single and a record as a whole. With poignant songs like “Pink Emerson Radio,” “Away” and “Independent Thief,” Edwards continues to effectively express human conflict.
She was in fine form accompanied by a four-piece band. Blending a mix of songs from both records, Edwards owned the room.
“Don’t say you’ll change after the next time, you wouldn’t even be yourself if you were telling a lie. Maybe 20 years in state will change your mind,” sang Edwards in “In State.” Another standout was “Lone Wolf,” with Jim Bryson on xylophone.
Edwards graced us with two encores: the devastatingly beautiful “Away” and “Hockey Skates,” one of the finest examples of songwriting in the last few years. “I am so sick of consequence and the look on your face. I am tired of playing defense; I don’t even own hockey skates.”
Edwards truly loves Portland so don’t be surprised if she returns this year.
Opening acts don’t usually get much ink, but I’ve never seen The Big Easy more quiet and attentive than when Mary Gauthier played her 45-minute set. She was utterly captivating from the moment she and guitarist Thom Jutz took the stage.
People paid attention and hung on every word and with good reason. Her 2002 release “Filth & Fire” was named best independent record by The New York Times. “Mercy Now,” her debut with Lost Highway Records, was just released and has received almost unanimous rave reviews. It’s a sparse record with songs that rise from their own ashes and put an arresting chokehold on you despite its slow pace.
While she certainly has a Southern twang, there’s a whole other layer to her voice as she often is speaking, as much as singing, into the microphone ala Robbie Robertson. Her songs take aim at her struggles, her pain and her take on life’s journey and they hit the mark every time. The live performance took this to the next level and the audience didn’t know what hit them.
Gauthier was intense but accessible. Between her and Edwards it was a distinguished night of singing and songwriting artistry.
Today, April 17, 2020 is the day that Fiona Apple released her first album in eight years. It’s called “Fetch the Bolt Cutters.” Already, much has been said about it. Happy Googling.
I’ve listened to it five times so far.
Then I spent six minutes banging out this poem.
THIS IS MY ALBUM REVIEW.
I fetched my headphones for fetch the bolt cutters
Then I ran into each song like they were houses on fire
Lyrics are salty, fire-breathing IEDs
The piano a whirling dervish
A barking dog makes perfect sense
Name-dropping Hurricane Gloria
Kitchen utensils, maybe, clanging
Jackhammer drums
That voice, lying in wait, stalking its prey
Lunges with precision, tearing flesh from bone
Up from the well, shot from a crossbow
A spilled gallon of angsty warm blue
Words float in a state of zero gravity
Words stab in a crime of passion
Words claw their way out
Words bleed
Words cry
Words punch
Words heal
She’s back
Hey, Fiona.
It’s a rainy and frankly dark afternoon on the ninth day of April as I reach the end of the fourth week of working from home since we cleared the newsroom out, and wisely so, at the newspaper.
This time of self-isolation as the state of Maine, the entire country and the entire planet tries to get through this unprecedented time of dealing with a global pandemic caused by the spawn of Satan called Covid-19 is surreal. It’s also frightening and it keeps shooting anxiety-dipped arrows through my heart and soul and of the hearts and souls of just about everyone I know. But still, we persist.
I keep myself as well informed as possible and also go down enough streaming show holes to keep myself distracted. (Thank You, “Schitt’s Creek!”)
The other thing I do is take lots of walks and when I’m doing them solo, I listen to music, specifically a playlist created a few weeks ago when it became evident in a hurry that we were not going to be dodging this coronavirus bullet and plans and events fell away at breakneck speed.
As I write this, it’s up to 227 songs and is over 15 hours long. Every song has something to do with isolation, hope, longing, love, loneliness and everything thing else that keeps cropping up as I slog through each day, doing the best I can to get my work done, be present in my life, and support the local economy (in particular local musicians).
‘Love in a time of pandemic’ kicks off with the only song it really could: “The Ride” by Amanda Palmer. It’s from her album “There Will Be No Intermission.”The song is more than ten minutes long and I hang on every second, especially now. Like the rest of us, Palmer didn’t know when she wrote the song that we’d be dealing with a pandemic and that life would radically change with very little notice. And yet, the lyrics are entirely fitting, especially these lines:
I want you to think of me sitting and singing beside you
I wish we could meet all the people behind us in line
The climb to the crest is less frightening with someone to clutch you
But isn’t it nice when we’re all afraid at the same time?
Even seeing them typed out takes my breath away.
And yes, it is nice. I feel less alone. Don’t you?
We all know that no one likes a playlist more than the creator of it, so I’m not expecting people to spend 15 hours going down an Aimsel musical rabbit hole. But I do think you’ll find some tracks on it that will resonate with you. You might cry or dance or get really pissed off or even inspired. Hit shuffle play and have at it. Or use it as a jumping off point to create your own playlist and find your own bunch of songs that will help you. But do me one favor, and always start with “The Ride.”
Here are ten other songs that are on the playlist to give you a hint of what’s in store.
“The Year Will End Again” by Lucy Wainwright Roche
“Shelter” by Lone Justice
“These Four Walls” by Shawn Colvin
“Team” by Lorde
“We’re All In This Together” by Katie Herzig
“Let Love Rule” by Lenny Kravitz
“I Will Not Be Broken” by Bonnie Raitt
“Crazy Train” by Ozzy Osbourne
“Laughing With” by Regina Spektor
“Don’t Dream It’s Over” by Crowded House
And here’s the entire Love in a time of pandemic playlist:
Please. Stay Safe out there. We’ll get through this. One song at a time.
XX Ponti out.
p.s. I went for a very long walk a few weeks ago and brought my camera and some weird, vintage action figures/dolls with hastily crafted masks along for the trek. Below are two hots from that day. I needed to do something on that particular day. This was it.
Casco Bay Bridge between South Portland and Portland, Maine on 3/22/20. Photo by Aimsel Ponti
Mill Creek Park in South, Portland, Maine. 3.22.20 Photo by Aimsel Ponti
Two decades ago one of my all-time favorite albums was released: “You Were Here” by Canadian singer-songwriter Sarah Harmer. It’s home to the single “Basement Apt.” which I still hear on the radio. There are 11 other tracks on the record, all of them damn near perfect, especially “The Hideout,” “Don’t Get Your Back Up” and “Lodestar.”
Four years later came “All of Our Names” with the tracks “Almost,” “Greeting Card Aisle,” and “Silver Road.” Another stellar release if ever there was one. “I’m a Mountain” was released in 2005 and then “Oh Little Fire” in 2010. It’s also worth noting her debut album “Songs for Clem” from 1999. Harmer also started the band Weeping Tile in the early 90s and that’s a rabbit hole well worth your time.
After “Oh Little Fire,” all was quiet on the Harmer front, at least in terms of putting out new music other than a few rogue singles. That ended on February 21 with the release of her first album in a decade “Are You Gone.” The album is stupendous but hold that thought for a second as I fill in a few blanks.
A press release revealed that Harmer has been quite busy over the past decade as a grassroots organizer. She co-founded the citizen’s organization PERL (Protecting Escarpment Rural Land) and led the coalition’s successful efforts to prevent a quarry from being built on the Niagara escarpment while also becoming a fixture in local politics and advocacy. In other words, she became a different kind of rock star and is a huge environmentalist. Like I needed another reason to love her!
Sarah Harmer’s new album “Are You Gone” Image courtesy of Arts & Crafts
I also learned that Harmer considers “Are You Gone” to be a “spiritual successor of sorts” to “You Were Here” and that the album’s title is a “meditation on the idea idea of presence, and a bookend to the questions posed on ‘You Were Here.” Harmer wrote the tracks for “Are You Gone” over the past ten years.
But I will say I’ve missed Harmer, despite the deep appreciation for her previous albums. I’ve wondered on and off for the past decade if she’d head back into the studio but knew that even if she never recorded another thing she’d always be a favorite artist and that I’d always be thankful that I got to see her play live a few times, with the last time being in the fall of 2010 when she played a show at Port City Music Hall in Portland, Maine. Heck I even interviewed her back then for the Portland Press Herald. And I reviewed her show at The Big Easy, also in Portland, way back in April of 2004 when she was touring for “All of our Names”. That review is longer online but I found an old copy and it included these lines:
“Her voice is as crisp as line-dried sheets and clear as a dinner bell calling people into the interior of her thoughts: “Intensity of stars reflected in the water silently ignite, the oar dips in to oil like water and we are away,” from “Lodestar,” is but one example from “You were Here.”
This all brings me to Sunday night, March 1, 2020. Sarah Harmer played what appeared to be a sold-out (or very close to one) show at City Winery in Boston. After an opening set from Chris Pureka (she’s fantastic, check her out and thank me later), Harmer and her band played an 18-song set which included eight songs from “You Are Gone” along with the Weeping Tile one “In the Road,” “Greeting Card Aisle” from “All Of Our Names,” “Late Bloomer” from “Oh Little Fire” and four from “You Were Here” including “Basement Apt.” and another favorite of mine called “Don’t Get Your Back Up.”
Sarah Harmer at City Winery in Boston, MA on 3.1.20 Photo by Aimsel Ponti
Harmer was backed by a guitarist, keys player, drummer and bassist and my attempt at scribbling down their names when she introduced them was unsuccessful. But wow, they were fantastic and it didn’t hurt one bit that there were woman on keys and drums.
Harmer’s voice is as mesmerizing as ever and the decade that has passed since I last saw her live evaporated from the second the took the stage. Hers is a voice that exudes warmth but is also rife with feeling . You just want to keep listening to whatever she’s singing. But the vocals are only part of the story because lyrically, Harmer’s quite frankly the bomb.
Take the album’s first single “St. Peter’s Bay,” (which was the 7th song of the Boston show). Another press release offered the backstory and described the song as a “cinematic love-letter to wilderness and the depth of human feeling with a surprising backstory. “I wrote St. Peter’s Bay on the plane to Prince Edward Island for a Hockey Day in Canada theatre show, but the hockey part is only a prompt. The song is about the end of a relationship, set against the frozen shoreline of Lake Ontario. I thought what better way to start the record that with black and white pioneer era sound, and a tale of love burning down to its final ember” is what Harmer said about it.
“Every little crack in the ice seemed to be enough to make you think you might go under/So stay to the shore and wander some more and reconsider every direction/The ice out is black/Only thing looking back…is my own reflection.”
Another tremendous -perhaps my favorite- track from “Are You Gone” is “The Lookout,”which was part of the Boston performance. A piano is the first sound you hear and then Harmer starts with “Wake up every day I wonder what you’re thinkin’ about the weather/Later in the night I wonder if it’s ever gonna clear/If it’s raining here I hope that you’re not doing any better/I heard it on the wind from place that I’ve been and won’t go back to/It rattled the lock on an old thought that I was attached to.” From that moment on, the tempo picks up, dips back down again and flourishes along a path lined with Harmer’s bittersweet words. Goddamn great song right there.
Then there’s the fire-breathing track “New Low,” which, IMHO, should for sure be the next single. Horns and drum beats land like punches and the fast-paced tune clocks in at two minutes and thirty nine seconds which were all the more ferocious and effective live.
The second to last song of the night is another “Are You Gone” track called “Little Frogs,” a free-spirited, lively tune that packs Harmer packs so much into in under three minutes of alt.country glory.
The Boston show ended on a full-circle note was Harmer reminded so many of us why we were such huge fans in the first place: “Basement Apt.”
I gotta wash the sheets on my bed
Gotta watch the things that go unsaid
God I wish we’d leave it at this
Everytime I breathe
Everytime I time I try to leave
Everytime I breathe
Pure gold my friends, pure gold.
So hey, go get yourself a copy of “Are You Gone.” I bought it on vinyl at the Boston show and when Harmer eventually makes her way back to Maine, I’ll be the nerd with the sharpie awkwardly hanging around all starry-eyed.
I’m gonna stick the landing on this thing with ALL CAPS because my excitement is real and “Are You Gone” is certainly worthy.
On Saturday night, Sept. 14, 2019 I saw Brandi Carlile (with opener Mavis Staples !) at Madison Square Garden in New York City. This was a HUGE DEAL as it was Carlile’s first time headlining at this historic venue. What a year she’s having! I love ALL OF IT.
The show has been reviewed several times by several people and several media outlets. I’ve read some of these reviews and they’re fantastic. Look ’em up and have at it.
So what can I say about the show that hasn’t already said?
I decided to venture into uncharted waters and share my thoughts about the show in POEM FORM. And so. Here it is.
The Garden
By Aimsel L. Ponti
On Saturday night I witnessed a supernova in human form
I sat -and stood- among thousands
Together we sang
Together we cheered
Together we celebrated
On Saturday night I saw an epiphany in human form
I sat among thousands
We heard guitars and strings and bass
We heard drums and piano and a horn
We heard a voice from another planet
On Saturday night I experienced a miracle in human form
I sat among thousands
We listened as gratitude was expressed in unprecedented ways
We saw tears wiped away, some of them our own
We took the songs into our hearts, where they’ll stay forever
On Saturday night I understood transcendence in human form
I sat among thousands
We beheld a band at their zenith
We experienced music stripped to its core
We felt our hearts get catapulted up to the hallowed rafters
On Saturday night I realized the magnitude of music in human form
I sat among thousands
We were rapturous during a Joni song
We were beside ourselves with Mavis
We lost our minds with Amanda and Natalie
On Saturday night I saw a show at Madison Square Garden
I sat among thousands
I was awestruck and overwhelmed
I was ripped apart and reassembled
I was thankful, so very thankful for Brandi Carlile
In July of 2018 I attended the Newport Folk Festival for the very first time. When I left that festival I remember thinking to myself that the experience would never be topped. It just wasn’t possible.
Now for a little journalism 101: I am not going to bury the lede!
Instead I will shoot it into the sky like a 100 foot blazing arrow and to further embarrass myself, I’m going to do it in all caps and goddamn bold too. Ready?
DOLLY PARTON AND KERMIT THE FROG WERE SURPRISE GUESTS AT THE 2019 NEWPORT FOLK FESTIVAL.
I still can’t believe it. Dolly Parton ANDKermit the Frog. Both were surprises and both slayed every single person at the festival. Parton slayed us five times and Kermit did it with one song and a little help from Jim James (My Morning Jacket).
I’ll have more on the country icon and the beloved Muppet shortly. But first, a little unpacking of the rest of the festival.
As I quickly learned at my festival debut last year, it’s not possible to see all of the performances. There are a total of four stages and unless I had Orphan Black-esque clones with me, there are always brutal decisions to make. For example, I missed Sheryl Crow’s entire Fort stage set. Ditto for Kacey Musgraves, save for one song. And I foolishly only hung around the Quad stage long enough to see a few songs from Our Native Daughters. I’m still kicking myself over that misstep.Those are but three examples. But I also quickly learned that it’s futile to worry about what you missed, especially when you hear about the surprise guests that jump on stage all weekend long. For example, James Taylor’s boat docked by the fort and he joined Crow on a song. I didn’t see it.
But I sure saw a lot. Some acts I caught the entire sets of, some just a song or two. But everything I saw and heard touched me one way or another. Sometimes I got teary, other times I was spellbound by the music or singing and dancing along with everybody else. Other times I thought my heart was going to beat its way right out of my chest. Like when surprise guest Linda Perry, surrounded and accompanied by an array of extraordinary, mostly female musicians, sang her early 90s anthem “What’s Up?”
I mean for the love of god WATCH THIS:
It’s been more than 25 years since that song was first released and we’re all still trying to get up that great big hill up hope for a destination.
Newport Folk Festival is like spending three days in a place that’s one part Fantasy Island, one part Candy Land and one part heaven, all with a to-die-for live soundtrack and with 10,000 people who are damn happy to be there with you.
If you’re curious and want to see the entire schedule so as to better understand the magnitude of the lineup and why decision making was so rough click HERE.
For the past several days I’ve been thinking that I have to someone qualify this next part or include several disclaimers. But doing that would actually take some of its power away. Therefore, I’m declaring this as plainly as I can:
THE WOMEN WERE THE STARS OF THE 2019 NEWPORT FOLK FESTIVAL!
That is what I’m going to focus on.
Were the fellas also outstanding? Obviously.In particular J.S. Ondara (do yourself a favor and check him out!) and Jeff Tweedy.
J.S. Ondara on the Harbor Stage of the Newport Folk Festival. 7.28.19 Photo by Aimsel Ponti
Jeff Tweedy on the Fort Stage at the Newport Folk Festival. 7.27.19. Photo by Aimsel Ponti
So not only were the women the superstars of this year’s festival, one in particular led the charge. It would not be a stretch for the unofficial name of the 2019 Newport Folk Festival to be the Newport Brandi Carlile Folk Festival. She likely appeared on more stages than anyone else all weekend long (Amy Ray Band, Hozier, Sheryl Crow, etc. etc. etc) but she was also the leader on what was referred to on the festival schedule only as this:
In fact, it is this collaboration that I’ll spend the most time on because if I live to be 119, I don’t think I’ll ever see anything quite like it again.
It closed out Saturday night and although we had a whole other day of festival left to go, it’s the part of the festival that for me at least, was the most incredible part.
But there were many other moments of the festival that MUST be mentioned and these I’ll mention in the order that I saw them.
It all began on Friday morning.
YOLA. If you don’t know her name you likely will soon enough. Then you’ll listen to her debut album “Walk Through Fire” on repeat. She was the first act I saw at this year’s festival. YOLA is a British country soul singer and if Brandi Carlile was queen of the festival, YOLA was princess, or co-queen, or co-supreme being. She too was on several stages and for good reason, I mean listen to her sing.
YOLA on the Harbor Stage of the Newport Folk Festival. 7.26.19. Photo by Aimsel Ponti
Friday afternoon on the Quad stage, I’m With Her performed. They’re the trio of Sarah Jarosz, Aoife O’Donovan and Sara Watkins. To know them is to love them and even though all three of them have well-established solo careers, what they do as I’m With Her is its own galaxy of musical perfection.
Sara Watkins, Sara Jarosz and Aoife O’Donovan of I’m With Her on the Quad Stage at the Newport Folk Festival. 7.26.19. Photo by Aimsel Ponti
I also caught parts of sets by Adia Victoria, Liz Cooper & The Stampede and Lukas Nelson & Promise of the Real. All outstanding.
Amy Ray Band on the Harbor Stage were also tremendous. It didn’t suck one bit that Brandi Carlile hopped on stage for a handful of songs. Ray released the album “Holler” last year and it’s SO GOOD!
Amy Ray with special guest Brandi Carlile during the Amy Ray Band set on the Harbor Stage. 7.26.19. Photo by Aimsel Ponti
This brings me to what was arguably the most highly-anticipated performance of the entire festival: The world debut performance by The Highwomen. They’re the new country supergroup (and I don’t give three shits if you disagree with the use of the term. It’s accurate) of Brandi Carlile, Maren Morris, Natalie Hemby and Amanda Shires. Not unlike I’m With Her, all four women of The Highwomen have significant solo careers. They’ve joined forces to turn country music on its ear. The album drops on Sept. 6 and the first single is “Redesigning Women,” which they played twice at Newport because why the hell not right?
When festival director Jay Sweet took the stage to introduce The Highwomen the level of excitement beneath -and well beyond- that Quad stage tent was as palpable. I could barely contain myself. You know who couldn’t either? Brandi Carlile. This is the exact moment when she took to the stage, with her fellow Highwomen right behind her. If this isn’t the world’s most genuine expression of joy, I don’t know what the eff is.
Brandi Carlile walks onto the Quad Stage at Newport Folk Festival as The Highwomen get set to play their first-ever show. 7.26.19 iPhone Photo by Aimsel Ponti
The Highwomen played their entire new album in order, starting with “Highwomen” and ending with “Wheels of Laredo” plus a bonus replay of “Redesigning Women” and if that wasn’t enough, the set also include their take on Fleetwood Mac’s “The Chain” from the soundtrack of the film “The Kitchen.” I never had any intention of breaking the chain when Fleetwood Mac sings it and I sure as hell won’t now having heard Highwomen’s take on it. Plus they had YOLA and Sheryl Crow join them on a few songs. I loved every single nano-second of their set. Jason Isbell and Amanda Shires and their friend Chris Tompkins wrote a gay country love song called “If She Ever Leaves Me.” It’s on the album and the Highwomen played it. Holy Shit.
In a press release I received a few weeks ago, here’s what Carlile said about The Highwomen:
“Anyone can be a Highwoman,” Carlile notes. “It’s about banding together, abandoning as much ego as humanly possible, holding one another up and amplifying other women every chance we get. Shoulder to shoulder. One push, one love.”
COUNT ME IN!!!
Amanda Shires, Maren Morris, Brandi Carlile and Natalie Hemby playing their first show as The Highwomen at Newport Folk Festival. 7.26.19. Photos by Aimsel Ponti
Now onto Saturday!
Jade Bird was fantastic as was Gregory Alan Isakov and as I said above, Jeff Tweedy. I’m sad I missed Lucy Dacus, Ruston Kelly, Mountain Man and a bunch of other acts but such is festival life.
I did however catch Maggie Rogers’ set on the Fort stage and her performance was dynamic and an absolute blast to see and hear. Despite not playing my two favorite songs, “Alaska” and especially “Dog Years,” her set was fabulous and packed with tunes from “Heard It in a Past Life” along with John Prine’s “Angel From Montgomery.”
Maggie Rogers on the Fort Stage on 7.27.19 Photo by Aimsel Ponti
Soon it became time to gather for the semi-mysterious collaboration. I say semi-mysterious because it was already known that this was Brandi Carlile’s thing. And yes, the rumors about Dolly Parton were also flying around the media tent and the festival on a whole. But let me tell you, there is a HUGE difference between a rumor and actually witnessing something.
I skipped the photo pit for this performance and took up the spot secured to me by my friend and fellow Carlile fanatic Tracy Albernaz. Tracy was to my right and to her right was another friend, Marian Starkey. The three of us all went to Brandi’s Girls Just Wanna Weekend so it only made sense that we ended up together for this performance. To say we had a good spot would be an understatement. We were RIGHT UP against the railing, front and center. And the three of us, along with the other 10,000 fans around us, lost our minds. I may never quite find mine again and I’m entirely OK with that.
There were so many exceptional women on stage that night. SO MANY. And SO MUCH HAPPENED. Here are some highlights:
Pretty much the entire time, all four Highwomen were on stage along with Tim and Phil Hanseroth (Carlile’s bandmates,) Jason Isbell and Chris Powell (Carlile’s drummer).
Women of Bluegrass kicked things off. They’re Bonnie Payne, Molly Tuttle, Sierra Hull and damn it…who am I forgetting? If you know, by all means chime in via the comments. Thanks!
Amy Ray came out and busted out the Indigo Girls’ song “Go” (one of FAVORITE Ray-penned songs!!!) with Lucy Dacus and Carlile. It was a blistering storm of musical thunder. I freaked right out.
Surprise guest Linda Perry on the Fort Stage at Newport Folk Festival. 7.27.19Photo by Aimsel Ponti
Linda Perry (surprise guest) as I already mentioned DESTROYED us all with “What’s Up?”
Sheryl Crow and and an awestruck Maggie Rogers on the Fort Stage at Newport Folk Festival. 7.27.19 iPhone photo by Aimsel Ponti
Sheryl Crow sang “Strong Enough” with Maggie Rogers and YOLA. Oh and she also did “If It Makes You Happy” with Carlile and Maren Morris.
But nothing could have ever prepared any of us, including and perhaps especially Brandi Carlile for the arrival of Dolly Parton and Carlile’s the one who invited her in the first place. She wasn’t just in on the secret, she made it happen.
Here’s what Carlile said before Parton walked out onto the stage:
“Ladies and gentlemen of the Newport Folk Festival. On its 60th anniversary, I bring you one of the greatest surprises ever. The incomparable unicorn legend that is Dolly Parton…” WE ALL WENT BANANAS.
Dolly Parton on the Fort Stage. 7.27.19. Photo by Aimsel Ponti
Oh heck: WATCH THIS:
Parton sang an astounding FIVE SONGS!!
“Eagle When She Flies” came first. I have chills even thinking about it. The Highwomen were backing her up on it along with the all-star band. Even if Parton had JUST done that one song it would have been enough.
AND NEXT WAS “JOLENE.” At this point I’m dead. I mean WTF? I heard Dolly Parton SING ‘JOLENE” live. I can’t even. I just can’t…
Dolly Parton on the Fort Stage. 7.27.19. Photo by Aimsel Ponti
And it wasn’t over yet because next came a live music moment that will always live in the corner of my heart reserved for such moments. I didn’t believe it then and I still don’t believe it now. It will go down as one of the most sublime duets ever performed live.
Here’s Dolly Parton with Brandi Carlile singing Dolly’s “I Will Always Love You”:
I still have no idea how I held it together for this. Same goes for Brandi Carlile. You can tell at the end of the song that Carlile knows this is one of the most significant moments of her life. We all felt it. I still do. As I write this I’m watching the above clip with goosebumps all over. It’s that good. It’s the stuff that dreams are made of and I am sticking by that cliche because it fits.
And…say it with me: IT STILL WASN’T OVER.
Saturday night at Newport Folk Festival ended with a sing-along for the ages with “9 to 5.” Everyone joined in: Yola, Brandi, Linda, Jade, Maggie, Courtney Marie, Amy, Sheryl, Lucy, Natalie, Amanda, Rachael and Bridget (Lake Street Dive) to name some.
My friend Marion and I walked out of there in a dream-like state but also in a bit of a hurry. Despite having just experienced something that we could barely process, we hot-stepped with our festival-worn feet to her car parked a mile and a half away and experienced a Newport miracle: We found a parking spot directly across the street from the Jane Pickens Theatre. Our night wasn’t over because we had managed to snap up a pair of tickets to a festival after-show. These tickets were as hot as a ticket could get. Why?
Because they were for Mavis Staples! She and her crackerjack band put on a hell of a show and her 80th birthday which has been celebrated several times already this year was celebrated once again because of course it was.
Not only was Mavis herself spectacular, the stage was a revolving door of special guests. Lake Street Dive, Milk Carton Kids, Jeff Tweedy, YOLA, Jason Isbell, Hozier and Brandi Carlile all graced the stage that night during a 14 song set.
After all that you would have thought I would have slept like the dead. Hardly. I was awake until almost 2 a.m. because I could not come down from the high. And yeah, it was a music one. Of course it was! With the exception of a lone whiskey, water and watermelon seltzer was all this kid consumed all weekend long.
Mavis Staples played on Saturday night at the Jane Pickens Theater and was part of the If I Had A Song finale on the Fort Stage on Sunday. 7.28.19. Photo by Aimsel Ponti
ONTO SUNDAY!
After two BLISSFUL and long days of festival joy, not to mention the Mavis show on Saturday night, I didn’t have much gas left in the proverbial tank. As I walked into the festival (after a grueling 45 minutes in the blazing sun waiting in line) I thought to myself that I would see what I could see but may need to mostly chillax either in the media tent or in a spot far from the action.
Instead I went pretty much all in and saw as much as I could. Yeah, I took breaks when I needed to but for the most part, I immersed myself in the music and once I reached a certain point, it didn’t matter how hot (quite) or tired (mf exhausted) I was. I was INTO IT.
I started Sunday off by catching part of Preservation Hall Jazz Band on the Fort stage. Then I raced over to the Quad stage for part of J.S. Ondara’s riveting set. Then I zipped back (my Fit Bit damn near exploded it got so much action) to the Fort stage for some of Lake Street Dive’s set because I adore them.
Rachael Price of Lake Street Dive. LSD played on the Fort Stage. 7.28.19. Photo by Aimsel Ponti
I made it back to the Quad stage in time for the beginning of one of the most talked about sets of the weekend. As I said above, I didn’t see all of it. But I saw enough.
Our Native Daughters is Rhiannon Giddens, Amythyst Kiah, Leyla McCalla and Allison Russell. Google the hell out of them and go down a YouTube rabbit hole. Follow them on every platform. Get a copy of their album. Become a superfan! Trust me on this. Their music is important. Their message is important. And they’re tremendous. Got it?
Rhiannon Giddens from Our Native Daughters who played on the Quad Stage. 7.28.19. Photo by Aimsel Ponti
After catching the beginning of Hozier’s set (and damn it, I missed it when he brought out Brandi Carlile and sang “The Joke” with her), I ducked into the museum because on that stage is where Judy Collins was playing with Ari Hest. I was there long enough to hear Collins sing Mitchell’s “Chelsea Morning” and the sun poured in like butterscotch all over my heart.
Then it was time for the grand finale of the 2019 Newport Folk Festival over at the Fort stage. It was called If I Had A Song and songbooks were handed out.
While the rumor mill had been buzzing about Dolly Parton, what happened next was out of nowhere. Hats off to all those involved with guarding this secret. It needed to be guarded. I am SO GLAD I had no idea what was about to happen.
And so it came to be that what kicked off If I Had A Song was Kermit the Frog leading us in a sing-along of “The Rainbow Connection.” For the second verse, Kermit brought out Jim James of My Morning Jacket. I cried real tears. This was upper level special and I stood there ( crouched down to not block peoples’ views) and took it all in, doing my best to take photos while keeping my shit together.
BTW, Kermit the Frog duties have been handled masterfully for the past couple of years by puppeteer and singer Matt Vogel who was assisted by puppeteer Peter Linz at the Newport appearance.
Kermit the Frog on the Fort Stage 7.28.19. Photo by Aimsel Ponti
Here’s another photo of Kermit.
Kermit the Frog on the Fort Stage 7.28.19. Photo by Aimsel Ponti
The rest of the If I Had A Song was entirely glorious. The band was guitarist Chris Funk from Decemberists (he also served as bandleader) , Benmont Tench from the Heartbreakers on keys, John Stirrat from Wilco on bass, Taylor Goldsmith from Dawes on guitar and Sleater-Kinney alumnist Janet Weiss on drums. And Mr. Jason Isbell, AKA King of Twitter, was on guitar! Can you even stand it?
Robin Pecknold (Fleet Foxes), Jason Isbell and Eric D. Johnson played “Suite: Judy Blue Eyes” and halfway through it Judy Collins came on stage and finished it with them. I’m not making this up!
Collins stayed on stage and sang “Turn Turn Turn” with Robin Pecknold.
And the evening ended, as it always does, with “Goodnight Irene” this time led by none other than Ramblin’ Jack Elliot who is still bringin’ it at 88 years old.
I drove home that night, back to Maine, with my eyes on the road and my head in the clouds.
I thought about everything I had seen and heard over the previous 72 hours.
I thought about Brandi Carlile and YOLA. I thought about Linda Perry, Amy Ray and I’m With Her. I thought about Our Native Daughters and Lake Street Dive. I thought about The Highwomen.
I thought about, as you can imagine, a lot of things.
But what I thought about the most was Kermit sang “Rainbow Connection” and that moment when Dolly Parton walked out onto that stage.
The world needs more moments like these. May we all continue to find them.
I’ve been trying for a few weeks to come up with the sentence to end all sentences to start this post with. I was hoping for something whip-smart, witty and brilliant.
Then I realized something: the damn sentence doesn’t matter. So let’s just forge ahead shall we because I’ve got a hell of a good story to tell. As someone with ADHD, telling stories briefly and in a concise, succinct way is damn near impossible. I ramble. I give too many details. I can’t seem to help myself. That said, I invite you to settle in because I think you’ll appreciate this story, even if Palmer is an artist you’re not familiar with.
The video is for the song “Voicemail for Jill.” It’s a track from Amanda Palmer’s new album “There Will Be No Intermission.” The album and video were released on the same day: Friday, March 8. As for the album on a whole: NBD. Just my FAVORITE ALBUM OF 2019. Read my review here. Oh and while you’re there by all means poke around as I’ve written about Amanda a bunch of times and also reviewed a Dresden Dolls show.
OK so the video. Although this post is about my experience of being part of said video, it is also my sincere hope that a key takeaway is HOW IMPORTANT THE SONG AND VIDEO ARE, especially now as attempts are being made all over the country to dismantle abortion rights. The struggle is not only real, it’s terrifying.
“Voicemail for Jill” (click if you’d like to listen to the song before forging further ahead, I’ll of course include the actual video at the end of this post) is about abortion – and supporting rather than shaming women who have them. Amanda’s been trying to write such a song for many years. The song is structured as Amanda leaving a voicemail message from London to her friend Jill on the morning of Jill’s abortion in Boston. The message offers support, love, friendship, empathy and even the promise of a party; an abortion shower. “Voicemail for Jill” isn’t hellbent on being a straight-up political song, it’s more, at least in my opinion, one that is focused on compassion. The song acknowledges that no one is happy about getting an abortion. It offers a lifeline to women who have felt alone, misunderstood, villainized, threatened and judged.
Kate Adams as Jill in a still from “Voicemail for Jill”
“You don’t need to offer the right explanation
You don’t need to beg for redemption or ask for forgiveness
And you don’t need a courtroom inside of your head
Where you’re acting as judge and accused and defendant and witness”
So we’re clear on how importance this song is right? OK.
Now I’m going to nerd out about being in the video.
First off, in addition to being a GIANT fan of Amanda’s, I am also one of her patrons. This means I kick in a little dough every month to support her making art. Patreon is a fantastic platform. For info click here.
I mention Patreon because membership has its perks, including being on the receiving end of casting call for the “Voicemail for Jill” video shoot that went out in early January.
The post included these words from Amanda: “This video – if i get it right – feels like it will be more than just a video, it will be a love letter, it will be a message in a bottle to women everywhere, it will be…a thing. i really, really, wanna get it right.”
I scanned the list of what the shoot was looking for and it was only when I came upon the last category that I dared to dream I could maybe get cast: Party Attendees. Requirements were this: All ethnicities, genders, personal clothing style, and body types. You will be being genial, happy, and having fun at a “party”.. possibly dancing, general nice frivolity. I had to email the video team a photo and a little bit about myself and then wait and see. I sat on this for a day or two. Then I gave myself permission to take a little risk and sent in my stuff. A couple of weeks later I got a response. I WAS IN! As you can imagine, I lost my mind with excitement. Me? In a music video? And not just ANY music video. AN AMANDA PALMER ONE. What the what? How can this be happening?
Then I started to worry. Not full scale panic, but a mid-range level of worry and all my worries were born out of massive insecurity.
Would I look dumb?
Would I look fat?
Would I be a zillion times less cooler than everyone else?
Would I screw up?
Would I make a fool of myself?
I sat with these thoughts long enough to remind myself of a key piece of information:
THIS ISN’T ABOUT ME. This is about creating art because art -in all its forms – is essential. So in a sense, I insecurity-shamed myself to, well… get over myself. I had to take all of that bullshit out of the equation. It tried to bite me a few more times, but I did my best to firmly (but with empathy) kick it to the curb.
The original day of shooting that included the party scene had to be rescheduled because the director got sick. Then my jury duty almost caused me having to miss the entire thing. But somehow, it all worked out and the next thing you know it’s Thursday, Feb. 7 and worked for for half the day before heading to Boston for the shoot. My friend and co-worker Sally, god love her, was in charge of my make-up. I own it but rarely wear it and am terrible at putting it on. Sal worked wonders. To be clear, wearing make-up was not required. But I figured fuck it, I may as well try and look good-ish. Eyeshadow, eye liner and mascara helped the cause. We were instructed to show up ready to go wearing what we might wear to a party. We were also told to bring a second option. It was up to the director what we’d end up wearing.
So I busted out one of my favorite items of clothing. It’s one that I rarely have occasion to wear, a burgundy colored velvet motorcycle jacket. I also busted out my EPIC pair of tall, dark red heeled leather boots that are the absolute BOMB, even if I can barely walk in them. I threw a few other things in a bag (as instructed) and then it was off to Boston (I drove in other footwear, lest anyone be worried about that). Said outfit can be seen in the photo below.
Being welcomed by Amanda Palmer at the “Voicemail for Jill” video shoot. Photo by Jesse Epstein
And when I say I was off to Boston, I don’t mean just ANY location. Holy shit, the party scene was shot on the top floor of the legendary CLOUD CLUB! If you’re a hardcore fan of Dresden Dolls and/or Amanda Palmer then you likely know what the Cloud Club is. If not, fear not, there’s a groovy website that will tell you everything you want to know. But the short version is that Cloud Club is a pair of side by side townhouses in Boston owned by Lee Barron who bought them in the 70s and founded an artist co-op like none other. And holy shit, Lee was there on video shoot night . Amanda Palmer has kept an apartment there since the late 90s. Want to take a massive walk down Cloud Club memory lane? Carve out some time for this. Or to go even further back, check out THIS. Cloud Club holds a huge amount of Dresden Dolls/Amanda Palmer history. If those walls could talk…(and frankly, it wouldn’t surprise me one bit if they did).
Knowing that I was about to be granted access to this sacred locale was a trip all on its own to try wrap my head around.
One by one us party extras assembled outside Cloud Club at the appointed time. We were all big Amanda Palmer fans, some of us based in New England and a few from way further than that. One woman, Dianna, had come all the way from the west coast just to participate in the video shoot. She was literally in Boston for about 48 hours. That is impressively hardcore! We were let in by one and the nicest guy in the world named Eli who let us all use his first floor apartment as a greenroom/place to hang before it was time to head upstairs. During this pre-shoot time was when a woman named Jacque walked in. We had met and hung out at one of the three Dresden Dolls shows in Boston in November of 2017. I hadn’t seen her since and had no idea she was in the shoot yet there she was and this was both entirely fabulous and surprising yet not surprising at all. Things in the world of Amanda Palmer sometimes work in mysterious ways.
Now where was I? Oh yes, the first level of Cloud Club. This is where we first met the video’s director, Amber Sealey who could not have been any more welcoming. She also gave our outfits the once over and a few of us, including me, got asked to make a few modifications. Off went the black jeans and blue Taos boots and on went my retro blue patterned pants and yes…the red boots. In all, there were ten of us party extras and we all looked fab!
Climbing the stairs to the top level of Cloud Club I felt like ascending the stairs to another dimension. Said dimension isn’t all that different that the one we’re normally in. But there were a few key differences. In the Cloud Club dimension, the only tense that that mattered was the present. My past didn’t haunt me and the future felt vague. In the Cloud Club dimension I could spend actual time with one of my favorite musicians. And once I climbed that final step and was standing in the sanctuary that is the top floor of the Cloud Club, another realization struck me: This was really happening!
The top level of Cloud Club is the dream-like creation of Lee Barron and it’s the kind of place that once are in, you don’t want to leave. It’s magical, mystical, forest-like and you don’t feel like you’re in Boston. Narnia maybe. But not Boston or not anywhere you could ever find on a map.
Have you ever been in a music video? Me neither. I had no idea what to expect. I had to sign a “music video actor release” for god’s sake. And BTW, this was a paid gig!
I was immediately impressed with everyone involved from the director to the people handling cameras and dealing with lighting and people dealing with everything else that goes into an undertaking such as this. I may have not had anything to compare this to, but it sure as shit was a highly professional undertaking.
THANK GOD THERE WAS WINE. Though I’m more of a whisky girl, I have to say that the wine that was out both as a prop and for our enjoyment helped me immensely to loosen up. Despite my best efforts, I was nervous. This was all SO NEW to me. I appear on TV once a month to talk about upcoming concerts, I have a radio show and I host events from time to time. I’m not shy…usually. But this was a WHOLE OTHER THING. When I was a sophomore in high school I got a TINY part in a play. I had TWO lines and I forgot one of them. What the fuck was I doing in a music video? Even as a “party goer” extra surely I was going to massively fail. More wine, please. But I reminded myself: this was about helping to MAKE ART, not about my bullshit insecurity.
Amber started to talk to us about what was going to happen, how it was all going to go down. She instructed yours truly walk across the room and start talking to another party goer. Other people were given loose direction and we were all told to not look at the camera.
I don’t follow directions well. I had a physical therapist once tell me (lovingly, he was great) that I was a motor moron. I also realized there would be scenes that we’d be dancing in (which, HELLO, was clearly stated in the casting call). Oh god. What had I gotten myself into? But wait. The art! Remember the art, I told myself. We forged ahead.
At some point, I can’t remember the exact moment because there was a lot going on, Amanda joined us and talked to us for a bit. I’ve been a giant fan of hers for many years and as a journalist I’ve interviewed her and written about her for the Portland Press Herald newspaper as well as this music blog. But until this point I had never had anything resembling a substantial face to face conversation with her. Said another way, she didn’t know who the hell I was. There was no reason why she would. I had never hung around after a show to get something signed. In the fall of 2017 she walked up the steps of a Harvard Square church where an event she was part of was happening and I was the only person there in line at the moment and she asked me what door I thought she should go in. Even then I didn’t actually say hello or introduce myself. It’s not so much that I was starstruck (and trust me, I can be starstruck. Read my piece about meeting Bono for proof) it’s just, I don’t know, I just never wanted to engage in a quick, meaningless exchange with the likes of Amanda. But I don’t know, scanning my memory now surely I may have said hello when Dresden Dolls played at a Bull Moose record store in Maine about a million years ago? I guess it doesn’t matter. The point is that here was a unique opportunity that might actually permit at least snippets of real conversation in a non-rushed, non meet & greet and non fan-meeting-artist setting.
So when the moment to say hello was in front of me, I did indeed introduce myself and it came as no surprise that Amanda was super cool about it. She put two and two together that I was Aimsel Ponti of Aimsel on the Record. Over the course of the next few hours in between shots and such, we had little moments, like bonding over The Cure. But, and this part is an essential one, for the most part it just felt normal. Well I mean as normal as being in a video shoot can be. We were all part of a production which was on a time schedule and there was work to be done. Said another way: this wasn’t social hour, we all had jobs to do. Any “fun” as far as I’m concerned was a bonus. Little did I know what would ensue.
During the entire shoot, mostly 80s alternative music was being played. They were of course just shooting video so the audio didn’t matter. In fact, us party goer extras hadn’t even heard “Voicemail for Jill” at the time the shoot was happening. That would come later in a very unexpected way. Hold that thought.
Kate Adams (Jill), director Amber Sealey and Amanda Palmer. Photo by Hayley Rosenblum
Kate Adams, who portrayed Jill, had also arrived and she was lovely. We were into it now. This was happening. Scenes were being shot. Conversations were happening around the room. Different things were happening. It was all being filmed. I didn’t really know where the cameras were. It almost didn’t matter.
For one scene Amber had us all sit in a circle, some in chairs and some on the floor, in the corner of the room. It was the ten of us, plus Amanda with Kate in middle. The scene involved a sheet cake, after all this was an abortion shower. As Amanda put it so goddamn perfectly with epic timing: it was not a birthday cake, it was not a birthday party. Zing!
The scene involved clinking glasses, eating cake and showing the Jill character a whole lot of love. But the scene also involved something else, something that will always stay with me. Amber said she was going to point to a few of us and ask us to share something personal. The first person called upon, and I won’t say whom because it was indeed quite personal, shared that her son had died about five years ago from a drug overdose. She was, as you can imagine, quite emotional when speaking about her son and this of course made all of us quite emotional. It was rough. But it was honest. Then Amber asked someone else to share and in that moment, I prayed to god that I wasn’t going to get called on. Me, who loves to talk and loves the spotlight, didn’t want to say one word. I was teetering on the edge of full blown tears and I don’t even know why. I felt that had I been called on I would have burst out crying without explanation or gone the other way and made some dumb joke. Thankfully, I wasn’t called on. I think in all three people shared and it all got quite real in a hurry.
A still from “Voicemail for Jill.” Me, Zia Revere and Amanda Palmer.
From there we were moved to the center of the room and dancing happened. I had just enough wine in me to do as I was told and it was REALLY FUN. Then we were told to all draw in close for the mother of all group hugs with Kate in the middle.
When the shoot officially wrapped it occurred to Amanda that we should probably hear the song, “Voicemail for Jill.” We of course thought this was an excellent idea. But it wasn’t mean to be. It kept cutting out and the issue couldn’t be resolved.
Get ready. Because you won’t believe what happened next. I still can’t. Amanda made a quick, executive decision and we all marched down two flights of stairs into HER ACTUAL APARTMENT. Crammed into the kitchen with a different audio set-up, Amanda again tried to play us the song. Nope. It still wasn’t working correctly.
Are you ready for this next part?
Amanda had us all move over into the room off the kitchen. This room was full of all sorts of Dresden Dolls stuff (cds, merchandise, etc). But there was something else of note in that room: a baby grand piano. She was going to play the song live for us. Her goddess-of-all-things assistant Hayley Rosenblum pulled up the lyrics for Amanda on a phone and Amanda sat down and played it. I happened to be at a spot where I was literally standing inches from part of the piano. A few times during the song, I closed my eyes and put my palm on top of it to feel the vibrations. I’ve never done or experienced anything like that before. Not to mention the fact that “Voicemail for Jill” is beautiful and emotional and powerful and tear-inducing.
I’ve been around the sun a few times. I’ve had more than my fair share of to-die-for experiences both as a music journalist and as a fan but I gotta tell you, this was a whole other thing.
When it was time to leave about six of us repaired to a bar around the corner just to hang for a bit and chat. I for one couldn’t quite process what had just happened over the past few hours but I for sure wasn’t ready to let the evening end. I think everyone felt that way. Contact info was exchanged and some of us are still in touch and it’s lovely.
This was all in early February. A month later the video was released. I didn’t know what to expect, but I knew it would be something quite special. I fully expected the party scene to only be featured for a fleeting second but it was actually in there for a longer period of time than I thought. I didn’t know if I would see myself (or would even want to) but there I am, I think for three different moments (and to be clear, these moments are super quick).
Most of the video is of Jill’s character hooking up with the man, sleeping with him, arguing with him and then walking through Boston on the way to her abortion appointment. You don’t need me to narrate it for you, just watch it. It’s stunning and intense. I can’t believe they turned it around in a month. Amber Sealey and everyone involved in the production of the “Voicemail for Jill” video is a goddamn hero in my book.
I’m going to share again what Amanda had said before the video was made: “This video – if i get it right – feels like it will be more than just a video, it will be a love letter, it will be a message in a bottle to women everywhere, it will be…a thing. i really, really, wanna get it right.” Amanda, Amber, Kate, everyone, you sure did get it right. I’m in awe of this video. In absolute awe of it. Being even just a tiny part of it is something I’m proud of, even if I still can’t believe it happened.
I think I’ve said everything I need to say.
Clear your head for a moment.
Here’s “Voicemail for Jill”
Video credits:
Amber Sealey (Director), Matt Crum (Cinematographer), Stefanie Sparks (Producer), Jesse Epstein(Producer), Patrick Nelson Barnes (Editor) and Matt Crum (Colorist). A complete list of cast and crew appears in the description of the YouTube clip.
“The role of a writer is not to say what we can all say, but what we are unable to say.”
+ Anaïs Nin
Amanda Palmer’s latest album “There Will Be No Intermission” comes out on March 8 which coincides, by design, with International Women’s Day.
I’ve had it since February 9 and as I figure out what I want to say about it I can tell you -and I’m not making this up – that I’ve easily listened to the entire album (all 74 minutes) at least 50 times. Paraphrasing my own comment that I made on Palmer’s Patreon page (I’ve been proud Patron of hers since 2017), I feel spellbound, hypnotized and pretty obsessed with “There Will Be No Intermission.”
I hear the songs in my head even when I’m not listening to it. That’s the thing about art, sometimes it’s like being struck by lightning and it changes you. Sometimes you’re ready for this and sometimes you’re not and you have to kind of take shelter and hide from its impact. Art can hurt. Art can be traumatic to experience. It can stir shit up for you in a way that you never knew was possible. Art can do a real knife-twisting number on you if you let it.
Such is the case with “There Will Be No Intermission.” It has turned me inside-out. It’s like Amanda Palmer performed open-heart surgery on every emotion I’ve got. “There Will Be No Intermission” has challenged me to contemplate some pretty heavy things in my life. It has made me uncomfortable and caught me off guard. It has made me feel deep sorrow. But, and this is the biggest but I’ve uttered in a long time, “There Will Be No Intermission” has also made my heart grow about 17 sizes bigger. It has filled with me immeasurable joy. It has loosened some things up for me, kind of like a deep tissue massage for the soul. God forgive me for the “Jerry Maguire” reference but TWBNI had me at hello, from the first few strains of the Jherok Bischoff-helmed instrumental track “All The Things” that opens the album. And it kept me enthralled until the final nano-second of the closing track “Death Thing.”
My initial thoughts after the first listening of the record was a combination of “what the fuck did I listen listen to?” and “this is my favorite album of the year without question.”
When the album ended after that first time hearing it, I needed to hang back for a bit and collect myself, like, say, after a particularly intense therapy session. When that feeling dissipated enough my next move revealed itself: I needed to listen to the album again (and again, and again and again). And that’s exactly what I’ve done over these past few weeks at home, at work and in the car. Sure I’ve listened to other things as well of course but if too much time passed between listenings I’d feel myself get a little twitchy and would dive back in. I’m still doing that.
As a longtime fan of Palmer’s, I’m well aware that no topic is off limits and there’s rarely a filter. But nothing could have prepared me for “There Will Be No Intermission.” It was, in a sense, like agreeing to a trust fall. Would I be caught by loving hands or dropped on the ground like a bag of old bones, wounded and alone? The answer is of course both. But, like my friend Nina said to me many years ago, if passion brings pain, that is the price of living well. And for every emotional cut and bruise I endured with these songs, the salve was always Palmer’s sincerity with her lyrics, vocals and playing. Said another way, I was made to feel safe and bathed in light as she led me over and through some dark and formidable terrain. Amanda Palmer has laid herself completely bare (both literally and figuratively as she’s nude on the album cover) with this album. “There Will Be No Intermission” is a no holds-barred manifesto that has eaten me alive and spit me out feeling better – and stronger – than I was before I heard it.
“There Will Be No Intermission” has twenty tracks. Ten of them are gorgeous inter-song instrumentals with the brilliant Jherek Bischoff on double-bass, sub bass synth, cymbals and bass drums. And there’s also, cellos, violins, violas, vibraphone and glockenspiel from a wondrous cast of players. The album opening “All The Things” is delicate and haunting with an air of suspense. It has a calming effect like a cup of chamomile tea. But it’s like you’re feeling your way around the back of the wardrobe and light starts to pour through the cracks and you’re not really sure if you’ll end up in Narnia or the ninth ring of hell. All of the inter-songs reference other songs on the album. They’re the intricate embroidery that not so much hold the album together but add another layer of grace and beauty to it.
“There Will Be No Intermission” album cover. Image courtesy of the artist
And then there are the ten songs…
It took me several days to figure out how to talk about them. Then I gave myself a frustration headache because still, after all these years on this planet, I still get “objective” and “subjective” confused no matter how many times I try to get it through my apparently quite thick skull. Writing 101. And yet here I am.
So I’m going to do the only thing that makes sense: I’ll tell you how the songs made me feel and will throw in some other relevant info as needed. But before I do that, I’ll also toss it out there that Palmer’s vocals and playing (both ukelele and especially piano) are the best they’ve ever been.
So here’s this:
Aimsel’s Unofficial Field Guide to “There Will Be No Intermission”
“The Ride.” Palmer. Wait. Hold up. Screw the conventional journalistic style of using last name after the first reference. That rings hollow in this context. We cool? OK. Amanda wrote this one in 36 hours after spending several hours reading comments on a Patreon post what were in response to her asking her patrons to tell her what they were afraid of. And, long (and super incredible) story short, a couple of days later she recorded the song in one take and sent a private link to the video that was filmed of her playing it to her Patrons. I remember being absolutely leveled by it. In fact, I just watched that ten-minute clip again. Yep. Still leveled. And I was leveled again when I saw that the she decided to tackle it again when recording TWBNI.
“The climb to the crest is less frightening with someone to clutch you
But isn’t it nice when we’re all afraid at the same time?”
Amanda uses a roller-coaster metaphor to talk about fear and life and connection and “The Ride” infuses me with hope, especially in this time of an insane White House occupant among other more-than-I-can-bear things going on right now. We’re all alone in this world. Except when we’re not. “The Ride” reminds me of the latter.
“Drowning In the Sound.” Amanda wrote it during a two-day songwriting exercise and she drew some of its inspiration from solicited comments on Patreon. “It wound up being a response to the insanity of internet politics melded with the recent total eclipse and the devastation of Hurricane Harvey and, you know, other stuff,” wrote Amanda on her site about the track. I’ve had my fingers crossed from the moment I heard it that it would end up on the album. “If you can hear/If you’re around/I’m over here/I’m over here/I’m watching everyone I love/drowning in the sound.” The version on TWBNI is bigger and better which I feel weird even saying because that original take is so, so good.
“The Thing About Things.” This one first surfaced, at least in a recorded version, in 2015 yet somehow managed to slip through my cracks (and I call myself a fan!). So it was new to me and although I’ve now gone back and listened to that first version, I fell in love with the TWBNI one. Amanda, playing her ukelele, sings about the complexities of certain possessions, in particular a stolen, lost and then found ring that belonged to her grandfather. “The thing about things is that they can start meaning things nobody actually said/and if you’re not allowed to love people alive then you learn how to love people dead.” This one hit me hard because I cling to certain objects with an irrational sense of nostalgia and have slowly started to loosen my death grip on them. (But don’t anyone mess with the monkey doll named Bosco that my grandfather gave me when I was five). The song is heart-rending and yet cathartic, a hallmark of my favorite Amanda songs.
“Judy Blume.” Amanda wrote this one about one her writer heroes, Judy Blume! This one first saw the light of the day last year and the video to it, is well, shit you GOTTA see it so here click here. Judy Blume’s books were most certainly in my childhood wheelhouse but even if you’re not familiar with Blume’s work, the song is a lovely and certainly painfully accurate portrait of being a pre-teen (I can’t bring myself to officially say the word “tween”) and teenage girl. Amanda’s vocals capture that anguish and her words make several Blume book references. “I don’t remember my friends from gymnastics class/but i remember when Deenie was at the school dance/Buddy feeling her up in the locker room/Margaret bored counting hats in the synagogue.”
“Bigger On The Inside.” I think this one kills me the most of all the songs on this album. This is the cry ugly, uncontrollable tears song. It’s also the first song Amanda ever released on her Patreon, back in 2015 and it featured cellist Zoë Keating. The song is about a TON of stuff that had been going on in and around Amanda’s life, most of which was extremely difficult. There’s also a live version from 2013. The TWBNI version clocks in at 8 minutes and 29 seconds and it’s exactly as long as it needs to be. “You took my hand when you woke up/I had been crying in the darkness/We all die alone but I am so, so glad/That you are here.”
“Machete.” Amanda originally released “Machete” as a demo in 2016. There’s a compelling backstory on this one that’s worth diving into (as is the case with many of Amanda’s songs) so dive in when you can. “Machete” is frantic and huge and Amanda’s vocals damn near reach caterwaul level as she sings the line toward the end of it “So I took your machete and I sliced off your hand!” Strings come crashing in all around like they’re on acid and it’s goddamn glorious. I can’t wait to hear this one live in Boston next month.
“Voicemail For Jill.” Amanda has written a song about abortion that offers understanding, empathy, compassion, support and solace to any woman who was gone through the experience of having one while also giving the rest of us women, or for that matter humans, some insight into that private world. The song has a quiet urgency to it. It puts words to the fact that support can be hard (if not impossible) to come by for women who have had abortions . Several women have already shared online how much this song means to them.
“You don’t need to offer the right explanation
You don’t need to beg for redemption or ask for forgiveness
And you don’t need a courtroom inside of your head
Where you’re acting as judge and accused and defendant and witness
There’s a video dropping for “Voicemail For Jill” on album release day (March 8) and I’m going to have a lot to say about that in a separate post so stay tuned for that.
Update: In an unexpected twist of fate, I ended up IN THE VIDEO for “Voicemail for Jill.”
Read all about that experience here.
“A Mother’s Confession.” This is one of the most intimate songs I’ve ever heard from Amanda. Amanda and her husband, writer Neil Gaiman, have a three year old son named Anthony (Ash for short). “A Mother’s Confession” at nearly 11 minutes long is a fiercely honest portrait of parenting fuck-ups including unintentional shoplifting, speeding tickets and accidentally leaving the baby in the car. But it’s not just that. “A Mother’s Confession” also bursts with little moments of human connection and there’s a multi-voiced chorus at the end of the track singing a line that’s repeated throughout the song: “At least the baby didn’t die.” It gives the song just a pinch of levity, enough to make it all the more accessible and real.
“Look Mummy, No Hands” is the only song on the album that Amanda didn’t write. It was written by British actress, singer and comedian Dillie Keane. Keane is part of the comedy cabaret trio Fascinating Aida and “Look Mummy, No Hands” is on their 1997 album “It, Wit, Don’t Give a Shit Girls.” The song is a melancholy tinged and is about, I suppose, the shifting dynamics between mother and daughter. Palmer has been playing it live for several years and there’s also a version on the 2013 album “An Evening with Neil Gaiman and Amanda Palmer.” I’m pleased as punch that “Look Mummy, No Hands” was recorded for TWBNI because there’s an ache in Amanda’s voice as she’s singing it that gives me chills and has me picturing the song being sung by a woman at a piano in a dingy bar that she thinks is empty. But unknown to the woman, there’s someone in the corner sobbing into their long empty whiskey glass. Is that someone me? Is it you? Is it all of us?
“Death Thing.” I said that “Bigger on the Inside” kills me more than any other song on “There Will Be No Intermission” but now I’m not so sure because I’m sitting here crying (again) while listening to “Death Thing.” If death is a hard topic for you to think about (it’s brutal for me) this song might take your breath away, as it does mine. The song builds and builds upon itself. I am not going to quote any of the lyrics, my instinct is telling me not to. “Death Thing” closes out “There Will Be No Intermission” because it had to. It was the only one that could. Sometimes we, as humans, are able to hold it all in and keep our emotions at arms length where they can’t do any real damage. There have been several times over the past three weeks that I’ve been able to maintain that distance when listening to “Death Thing.” But there have been a few times, like tonight, when the song rips my heart wide open, not to destroy it, but rather to hold it close.
Final thoughts…
I don’t know if you’re an Amanda Palmer fan or if you’ve never heard of her. I also don’t know if “There Will Be No Intermission” is going to resonate with you like it has with me. Some of these songs might take you to places you don’t want to go with their unflinching lyrics. But they’re also some of the most provocative, beautiful, honest and empowering songs I’ve ever heard. Do me one favor and promise me this: If this album isn’t your bag, go out there and find one that is. That is my wish for you: To find some music that touches you in the way that this album touches me.
“I want you to think of me sitting and singing beside you,” sings Amanda in “The Ride.”
“There Will Be No Intermission” album notes:
Produced, mixed and engineered by John Congleton.
Recorded at 54 Sound in Los Angeles
Mixed at Elmwood West
Mastered by Greg Calibi at Sterling Sound in New York
All songs written by Amanda Palmer, published by Eight Foot Music with the exception of “Look Mummy, No Hands,” written by Dillie Keane
I promised myself I’d be short-winded with this post and I’ll try really hard to stick to that.
So let me say this right out of the gate: A couple of days ago I got a HUGE new tattoo and it’s a Shawn Colvin lyric with some headphones. It was done by the enormously talented artist Cyndi Lou at Tsunami Tattoo in Portland, Maine.
I’ve been planning this for several years. It finally happened on February 24 and I absolutely LOVE IT.
I have long wanted a tattoo that would truly capture the importance of music in my life. Can the emotional response that I have to music be explained? Can it really be captured? Are there even words? During this multi-year thought process I kept coming back to the same thing: a line from a song. The line is simple but it says everything that needs to be said, at least for me.
In the fall of 1992 singer-songwriter Shawn Colvin released the album “Fat City.” At the time I was living in Keene, NH where I attended Keene State College. Pretty much every track from it I played one time or another on my WKNH radio show during that time. Since then my love for Colvin continues to grow and I’ve seen seen her several times live starting in the mid 90s. In fact, I just saw her a few weeks ago in Mexico at Brandi Carlile’s Girls Just Wanna Weekend festival. Shawn Colvin’s one of the great ones. Now then…where was I?
Shawn Colvin’s “Fat City” album was released on October 27, 1992. Image courtesy of Columbia Records
The time of Fat City’s release was also a time in my life that I was in the midst of trying to extract myself from a relationship (my first one at that) with an alcoholic who I was surely enabling but too afraid to walk away from. I was so very young, so very insecure and so very clueless.
Mercifully, she left and I mean really left by moving to California. We parted on good terms and a massive weight was lifted from my tattered and torn shoulders.
“Fat City” was a soundtrack to much of this and I don’t mean it in a depressing way. I just mean it was a key album in my life during those years in New Hampshire, which included as many happy times as rough ones. God I love that album. Every damn song. All 11 of them. Mad, unfettered love. And I still do. For me, it’s a perfect album. Guests on it include Richard Thompson, Mary Chapin Carpenter, Chris Whitley, Bruce Hornsby, Bela Fleck and even Joni Mitchell who played a little percussion, among many others.
Whoops. I’m rambling. So yeah. THE TATTOO.
“Fat City” closes with the Colvin-penned balled “I Don’t Know Why” and the song has been killing me now for 27 years. There are times I can’t listen to it without crying. The song is as beautiful as a song can be about love; something I knew absolutely nothing about back in 1992.
There’s one line that is repeated twice during the song that has resonated with me in a hugely significant way since the first time I heard it all those lifetimes ago.
And so it’s that line I got forever inked on my left arm. I came up with the idea of adding the headphones because it speaks to the fact that probably half of my life has been spent wearing them as both a music lover and music journalist.
Oh and speaking of music writing, most of the interviews I’ve done with artists have been via telephone. That’s standard practice as the stories I’ve written are often previewing upcoming shows. There was one time in the mid 90s that I interviewed Ani DiFranco in person in a locker room and it was, as you can imagine, effing awesome. But there was a more recent in-person interview that happened. This one took place in 2015 at a venue in Rockport, Massachusetts. It was with Shawn Colvin.
ANYWAY….
My tattoo is only a few days old so it’s very much in healing mode. It will look a little different in a few weeks and perhaps I’ll pop back in here and add a “finished” photo. But I couldn’t wait to share with you what it looks like now because looking at it makes me so happy.
I’d love to know some of the ways you’ve expressed your own love for music so please feel free to comment below.
I got back from Mexico a week ago and by now the trip laundry is all done, my suitcase is back up in the garage rafters and I’ve acclimated to being back in the cold Maine winter.
But what I haven’t yet been able to do is unpack in my heart, soul and mind as to just how extraordinary the experience was of attending Brandi Carlile’s Just Wanna Weekend concert extravaganza at the Hard Rock Hotel in Mexico’s Maya Riviera.
Yours truly. Photo on left in front of the main stage by Laurel Goode. Girls Just Wanna Weekend sand sculpture and nerdy selfie snapped by me.
First, a little back story in case the concept of GJWW is unfamiliar to you. Several months ago musician Brandi Carlile had something of an epiphany inspired in part by the social media account Book More Women. Book More Women took it upon themselves (and I’m so glad they did) to post two versions of music festival posters. The first version was the original and the second one is with all of the male acts removed. The end result in just about every case including heavy hitter festivals like Bonnaroo, Bottlerock, Tumbleweed, Coachella and Firefly are sobering and frankly depressing. According to Book More Women’s Twitter account, in 2017 only 26% of acts playing major US music festivals featured at least one female or non-binary act. Pardon my French but what in the actual fuck? The numbers only improved marginally in 2018.
Brandi Carlile, who attended all three years of Lilith Fair in the 90s as a teenager, got an idea. What if she threw a festival of all female acts and what if she threw it at an all-inclusive resort in Mexico? Would this send a message to the world that an all-female lineup is not only a viable thing but one that people would travel from far and wide to attend and pay a good chuck of money to be able to do so? Could the success of an event like this maybe move the needle a little bit and serve as an agent of change in a music industry that, god damn it, is still dominated (especially in country music, don’t even get me started…) by men?
In a word: YES!!!!!!!!!!!!!!!!!!!!!!!
Brandi Carlile is all smiles on the Heaven Beach Stage during Girls Just Wanna Weekend. Photo by Aimsel Ponti
About three nights ago I was flopped on the couch channel surfing and landed on a old favorite film of mine, “Field of Dreams.” This led me to picturing Brandi Carlile four-wheeling through the Seattle area woods where she lives and hearing the trees whisper to her in the voice of say, Meryl Streep “If you book it, they will come.” Well we came alright, more than 2,000 of us. And I’m a million percent sure that everyone who was there is now wandering around the planet not knowing what in the hell to do with the rest of our lives, such was the impact of this MAGICAL EVENT.
The happiest lit sign a gal could ever hope to see in the concert courtyard of Girls Just Wanna Weekend. Photo by Aimsel Ponti
Now then. Shall we get down to brass tacks?
First off, giant shout-out to event organizers Cloud Nine and to the entire staff at the Hard Rock Hotel. This place is GLORIOUS and our needs as attendees were well taken care of at every turn.
The Hard Rock Hotel at Maya Riviera, Mexico. Photos by Aimsel Ponti
Girls Just Wanna Weekend began on Wednesday, January 30 and we said our goodbyes to Mexico on Sunday, Feb. 3. All told there were 15 performances over the course of FOUR PERFECT DAYS AND NIGHTS.
A happy crowd cheers, sings and feels all the things. Photo by Aimsel Ponti
Here’s a list of what happened when:
Wednesday 1/30
Shawn Colvin: Main Stage
Brandi Carlile: Main Stage
Thursday 1/31 The Secret Sisters: Heaven Beach Stage KT Tunstall: Main Stage Brandi & Friends: Songs in the Round (Amy Ray and Emily Saliers of Indigo Girls, Brandi Carlile, Maren Morris, KT Tunstall and Shawn Colvin): Main Stage Indigo Girls: Main Stage
Indigo Girls Photo by Aimsel Ponti
Friday 2/1 Indigo Girls Songwriting Workshop: Heaven Beach Stage (this ended up being more of a performance with some Q&A moments. It ruled!) Brandi-Oke (Brandi and her band backing up several fans singing BC songs and a surprise appearance from Holly and Jess from Lucius who sang “The Story”): Heaven Beach Stage Lucius: Main Stage Maren Morris: Main Stage
Maren Morris Photo by Aimsel Ponti
Saturday 2/2 Sam Rae: Heaven Beach Stage. Sam plays cello in Brandi’s band and is also a solo artist who sings and plays acoustic and electric guitar and cello. She’s the bomb! Ruby Amanfu: Heaven Beach Stage
Ruby Amanfu (left) backed by Katie Herzig and Butterfly Boucher. Photo by Aimsel Ponti
Mavis Staples: Main Stage
Mavis Staples on the main stage during Girls Just Wanna Weekend. Photo by Aimsel Ponti
Brandi Carlile: Main Stage Ladies of the 80s: Main Stage (Brandi Carlile and band, KT Tunstall, Ruby Amanfu, Lucius, The Secret Sisters, Katie Herzig, Butterfly Boucher).
Ruby Amanfu with Brandi Guitar and her bitchin’ keytar. Photo by Aimsel Ponti
Without hesitation, I can report that every single one of these performances was tremendous and it seemed abundantly evident that every single musician who was on those two stages was damn happy to be there.
Here are some highlights:
Sam Rae made us all cry when she proposed to her girlfriend from the Heaven Beach stage.
Mavis Staples just about ripped a hole in the sky with her performance.
Mavis Staples was joined by Brandi Carlile for The Band’s classic tune “The Weight”.
Shawn Colvin delivered one of the best performances from her I’ve ever seen and she got the call to come to Mexico about 48 hours before she took the stage after her good friend and fellow musician Patty Griffin had to cancel because her appendix decided it needed to go.
Lucius just about gave us all a heart attack when they took the stage during Brandi-Oke and sang “The Story.”
Yep. I recorded it. Voila!
Special guest Katie Herzig belted out The Bangles’ “Eternal Flame” during Ladies of the 80s. Herzig also gave us a dazzling rendition of Belinda Carlisle’s “Heave Is A Place on Earth.”
These are but five examples off the top of my head.
Brandi Carlile and Ruby Amanfu Photo by Aimsel Ponti
Want a few more? Of course you do!
Brandi Carlile and Shawn Colvin. Photo by Aimsel Ponti
Shawn Colvin joined Brandi Carlile to sing Jane Siberry’s “Calling All Angels”.
Shawn Colvin also destroyed me with her take on the Tom Waits tune “Ol 55.”
Brandi joined Marren Morris and they dueted on a brand new song called “Common” on Morris’s upcoming album “Girl.”
Indigo Girls started their main stage set off with “Fugitive” and I damn near died such is my love for that song.
There’s not a better cover out there of Talking Heads’ “Slippery People” than the one that Mavis Staples and her band delivered.
I also can’t forget when KT Tunstall sang Don Henley’s “The Boys of Summer” with Carlile.
KT Tunstall Photo by Aimsel Ponti
There was also that moment when surprise guest Jeff Tweedy joined Mavis Staples on a song he wrote for her.
Another surprise guest in the person of Anderson East was brought on stage by Carlile during the Ladies of the 80s show and he sang his ass off during Bon Jovi’s “Living on a Prayer.”
Then there was Ruby Amanfu’s jaw-dropping version of Madonna’s “Like A Prayer.”
Also, Barack Obama’s White House photographer and good friend of Brandi Carlile Pete Souza was there all weekend snapping photos. He let me snap this pic of his Fun Meter button which was turned up to MAX!
(super famous and incredible) Photographer Pete Souza’s fun meter button made by two clever and awesome women named Erin & Becca. Photo by Aimsel Ponti
And for the love of all that is epic on this planet, the festival ending take on Bonnie Tyler’s “Total Eclipse of the Heart” sung by Brandi with Phil Hanseroth’s earth-shaking “Turn around” backing vocals was something I’ll never forget. I am euphoric and dizzy thinking about all of this stuff.
And let me be clear, these are just SOME of GJWW’s countless moments.
For a music fan, Girls Just Wanna Weekend was like a trip to Fantasy Island. Except rather than an island, we were at a GORGEOUS resort on the ocean with more pools than I could count and endless close encounters with huge iguanas who are pre-historic creatures who love the resort as much as we all did and seemed entirely fine posing for all of our photos. If you were looking for a party with a swim-up bar it was yours for the taking. And if you were looking to find a more quiet spot to chill with your book, that too was available, such was the expansiveness of the resort grounds.
Holly and Jess from Lucius on the main stage during Girls Just Wanna Weekend. Photo by Aimsel Ponti
Another facet of Girls Just Wanna Weekend that was so refreshing was that I can honestly say that over the five days I was there, I didn’t encounter a single person who wasn’t friendly. “Hola!” and “Hey where are you from?” were two catch phrases uttered by pretty much all of us, all of the time.
Imagine being in paradise and then imagine that said paradise also featured performances from a bunch of your favorite bands. This was what Girls Just Wanna Weekend was all about.
On the last day of the festival I heard that Brandi was sitting by one of the pools with her daughter Evangeline. My first thought was to run over there and say Hi. Then I dialed myself down and said “nah, leave them be.” About ten minutes later I put my music journalist hat on – sort of – and decided to walk over there with the goal of asking one simple question.
Here’s the thing, it’s one thing to interview an artist on the phone (I’ve been fortunate enough to have done this on three occasions with Carlile) but it’s something entirely different to approach them “in the wild.”
Being the brilliant journalist that I am, I left my bag with friends and therefore had NOTHING TO WRITE WITH when I walked over to her. This is actually hilarious to me because I ALWAYS have pen and paper with me. Always. To make matters worse my memory isn’t what it used to be. But still I persisted and made my way over to her. I led with “hi, just so you know I won’t be asking for a photograph or autograph.”
Carlile was super nice and she is ALWAYS super nice. I told her briefly who I was and that I would be writing about the entire festival and asked if she wouldn’t mind summing it up for me, what it meant to her, in a sentence or two.
She did just that and in an epic journalist fail, I don’t have a direct quote for you. But I can tell you that she lit up when speaking about how thankful she was that we were all there and how proud she of Girls Just Wanna Weekend. And she most certainly should be.
Girls Just Wanna Weekend was truly one of the most monumental experiences of my life. For a handful of days, many miles from home, I took it all in as best I could.
Brandi Carlile bathed in light during the final night of Girls Just Wanna Weekend. Photo by Aimsel Ponti
I’m already thinking about next year’s Festival because rumor has it, it will happen! Save your pennies, friends. It’s sooooooo worth it.
Here’s a few lines from a Carlile song that seem to be an appropriate way to capture some of the spirit of Girls Just Wanna Weekend:
Hold out your hand
Take hold of mine now
Round and round we go
Don’t you wanna dance
And now for the video recap with gratitude as always to my tech savvy pal Shamus Alley for letting me send him a shit-ton of clips and creating something truly special.
THANK YOU, Brandi Carlile and everyone involved with making Girls Just Wanna Weekend one of the most enthralling and memorable experiences any music fan can ever hope to have.
On the occasion of his birthday, here are the 50 best songs by David Bowie.
Relax, it’s all OK. The word “best” is entirely subjective. I’m clear on that. I’m just a fan among many others who wants to share my love for my favorite musician.
Before I share this list, let me just state for the record that my heart is still broken about losing him. I couldn’t listen to Blackstar for a solid six months (after a joyful three-times-in-a-row listening the day after it was released on his birthday in 2016). I still sometimes can’t believe we’re living in a world without David Bowie in it. And when my grief is at its worst, that’s when I remind myself why his departure was so deeply felt by so many people: HIS MUSIC.
When I got the call from a friend very early on the morning of 1/11/16 telling me that he had died (which as we know was on the 10th but the news broke early on the 11th) I felt something break inside me. I had never cried about the death of someone famous. I never got to meet David Bowie though I’ll always be thankful I got to see him perform live on three separate occasions. I can’t imagine what it must have been like – and still be like- for those closest to him.
I’m going to share a quick story before I share the list of songs because it’s something I’ll never forget.
In December of 2015 I interviewed Blackstar producer (and producer of several other DB records), musician and longtime friend of David Bowie, Tony Visconti. The interviewwas via telephone and was in advance of a performance in Portland, Maine (where I live) from Holy Holy. Holy Holy featured Visconti on bass and former Bowie drummer (not to mention one of the Spiders from Mars) Woody Woodmansey among other first-rate musicians. They were on tour playing “The Man Who Sold the World” album in its entirety as well as some other 70s era Bowie tracks. I of course went to the show on January 7, 2016 (the day before Bowie’s 69th birthday) and got to say hello to Tony in person. What a lovely, friendly, wonderful man (not to mention tremendous producer and musician!). The show was fantastic.
A few days later Bowie was gone. On January 22, still in shock, five friends and I (two from Maine and three high school ones from my home state of Massachusetts) met for dinner in Boston before going to see the Holy Holy show at the Wilbur Theater. These tickets were purchased months earlier. I was half expecting that show to be cancelled and we would have absolutely understood if it had.
The six of us were happy to be spending time together but the sorrow was palpable. We had lost our hero. We didn’t really know what to do or say. While we were eating who walks in but Tony Visconti accompanied by two other people. They were seated close to us. In a moment of huge uncertainty I walked over and said hello. Before I even got the word out of my mouth it struck me that I probably shouldn’t have. I should have let Tony and his friends be. He had just lost someone very dear to him. I was a random journalist/fan from Maine invading his space. Tony was so kind and introduced me to his companions. I didn’t say anything about Bowie. I mean what could I say? I was nervous and shaky. I wandered back to my table, my friends unaware of who was sitting so close to us. I managed to whisper to my friend Becky “Beck, that’s Tony Visconti over there.” She couldn’t believe it. And here’s the reason why I’m sharing this story with you now. About 20 minutes later, Tony walked over to our table and said hello to everyone and told us he hoped we enjoyed the show. And if that’s not the classiest, kindest thing ever, I don’t know what is. Before the show started Woody and Tony came out on stage and talked to the audience for a few minutes, both in tears. And then the show began and it was an emotional roller coaster but also a magnificent experience of shared grief and immense love for a man and his music.
So about that list…
These songs aren’t really in a specific order except for the first one on it, though it does sort of flow in and out of being chronological. Also, I of course love WAY more than 50 Bowie songs, these are just my absolute favorites.
I’ll start by saying that as soon as I hit the almighty “publish” button on this thing I’m going to start twitching and a wall of angst will close in around me as I’ll suddenly remember all of the incredible songs I left off of this list.
As someone who wears a few hats as a music journalist, radio host and music blogger I am inundated with new music in a way that I can’t even begin to keep up with. This causes me equal parts joy and stress. But here’s the good news: I’m not going to let that stop me from sharing this year’s crop of songs because this list comes from an honest place and one of sheer joy.
Some of these songs are from artists I am a hardcore fan of, others are ones I’m just getting to know. But they’re all songs that I have mad love and respect for and ones that have moved me to tears, made me dance, raise my fist in the air and most of all, experience the range of emotions that can only be elicited from music.
I started working on this list in January and every time a strong struck me in just the right way, I added to it. A few came in just under the proverbial wire (I’m looking at you, SHEL and Dido) and in some cases, there are two songs from the same artist because I couldn’t help myself.
I’m now going to sit and write out this list and if I have something specific to say about a song on it, I’ll say it. In some cases I may share a photo and/or video. These songs are not are in any particular order. I love all of these songs for different reasons and with different parts of my heart, mind and soul.
So we’re good on the disclaimers front right?
OK then. With a mixture of nerves, excitement and above all love I offer up my list of the 43 best songs of 2018!
1. “Mr. Weinstein Will See You Now” by Amanda Palmer & Jasmine Power. I had a lot to say about this song and video. Amanda Palmer is many things to me including hero, spirit animal, source of huge inspiration, incredible songwriter and all around spectacular human. Take your time with this song and this video. (btw, video is NSFW).
2. “Heroin” by Lucy Wainwright Roche. Holy shit.I could easily put the entire “Little Beast” album on this list. Tremendous record. Do yourself a favor and check out”Little Beast” and LWR’s previous stuff too.
3. “Party of One” by Brandi Carlile. First off, I’m THRILLED beyond words that Carlile got SIX Grammy Nominations! “By The Way, I Forgive You” is among my absolute favorite records of the year. And yeah, ‘The Joke’ is epic. But it’s the song “Party of One” that REALLY kills me on the album. It straight up makes me cry. I saw Carlile many times in 2018 and the song brought me to tears in Massachusetts, Maine, Rhode Island and Colorado. BTW, I interviewed Carlile a few months ago. Read it here. Also, I reviewed “By The Way, I Forgive You.” And while I’m at it, here’s my review of her show at Red Rocks in August. She’s also a huge part of my review of the 2018 Newport Folk Festival. I guess you could say I’m a big fan. How big? This kid is going on the Girls Just Wanna Weekend Mexico trip in January. (and yep, I’ll be writing about it here).
Also, HOLY SHIT. A video for the song starring Elisabeth Moss was dropped on Dec. 11. I can’t even…
Brandi Carlile at the Newport Folk Festival. 7.29.18. Photo by Aimsel Ponti
4.“Dreamers” by Judy Collins. I saw Collins sing this live in Portland (Maine) a few months back and I sat there in stunned silence, tears rolling down my face such is its impact. One of the most important songs of 2018 hands down. “Dreamers” is written from the perspective of an immigrant woman and it’s a poignant, emotional song of stark desperation with some “fuck you, Trump” in there as well (in not so many words). It’s just the famous, timeless vocals of Collins, no instruments. Ready yourself and click here.
5.“Halls of Sarah” by Neko Case. Case’s “Hell-On” is another one on my very short list of favorite albums of 2018. This woman can do no wrong in my book. That voice! That songwriting! “Halls of Sarah” is a goddamn spectacular song off of a goddamn spectacular record. P.S. Follow Case on Twitter. She takes no shit and it’s glorious.
6.“Good As Gold” by Sarah Shook & the Disarmers. From the “Years” album. I’ve got a mad crush of Shook and am still in discovery mode with her whiskey drinkin’ outlaw country sound. I’m pissed I haven’t seen she and her band live yet but I have feeling that will change in 2019. So yeah, “Good As Gold.” Love at first listen. Catchy AF.
7.“Famous” by Serena Ryder (featuring Simon Ward of The Strumbellas). As far as singing along with a huge, gorgeous melody goes, it doesn’t get much better than this one. I’ve been addicted to this song since I first heard it months ago on WCLZ. “Famous” makes me happy.
8.“Wouldn’t Want To Be Like You” by Sheryl Crow (featuring Annie Clark). I mean it’s Sheryl Crow with St. Vincent for god’s sake. I ain’t got nuthin’ else to say about this mighty fine song. Just listen.
9.“Such A Simple Thing” by Ray LaMontagne. Lest you think there wasn’t gonna be any fellas on this list. I know a beautiful song when I hear one. This song is a million percent lovely.
10.“I Can Change” by Lake Street Dive. My oh my what a song. I adore this band. Had a chance to chat with singer Rachael Price last summer. Not only is the song a tender ballad that will hit you in the feels, the video is pretty special too.
11. “City Looks Pretty” by Courtney Barnett. From her scorching album “Tell Me How You Really Feel.” Interviewed Barnett this summer and saw her explosive yet all smiles set at Newport Folk Festival. She’s the absolute bomb and “City Looks Pretty” is but one example.
Courtney Barnett at the Newport Folk Festival. 7.28.18. Photo by Aimsel Ponti
12.“Diamonds” by JanaeSound. JanaeSound’s real name is Janay Woodruff and she lives right here in Maine. This is my favorite local song of the year and I’ve all but worn it out on my Music from 207 local radio show on WCLZ. I also wrote about her. We’re lucky to have her in Maine. “Diamonds” is sacred to me and it’s got heart and inspiration to spare.
13.“Fruity” by Rubblebucket. I love this song because it’s fun, vibrant and full of surprises. Saw the band open for Lake Street Dive last summer and they were fabulous. Dig “Fruity!”
14. “Strangers” by Katie Herzig. The song is from the sensational album “Moment of Bliss” and Katie Herzig is a wildly talented and innovative artist. Here’s our chat from April and here’s “Strangers.”
15. “The Things We Do to Each Other” by Cowboy Junkies. Somehow I managed to forget how much I LOVE this band. But I fell back in love big-time upon hearing their “All That Reckoning” album and seeing them live at The Music Hall in Portsmouth, NH last summer. Just so happens I recorded their jaw-dropping take on Bowie’s “Five Years”. I digress. Check out the entire “All That Reckoning” album when you can. In the meantime, here’s “The Things We Do To Each Other.”
16. “Parking Lot Pirouette” by Amanda Shires. Her exquisite album is called “To The Sunset.” Just listen to this moody tune. Jesus.
17. “Never Surrender” by Rose Cousins. You’re damn right I mean a cover of the 80s Corey Hart song. Rose Cousins has taken the already powerful song (there, I said it) and turned it into something truly remarkable. Among the best damn covers I’ve ever heard of any song. So if you’re lost and on your own…listen to this!
18. “All This Time” by Katie Herzig. Yep, she made the list again. This is my favorite “Moment of Bliss” track. Why? Hear for yourself.
19. “Me & My Dog” by Julien Baker, Phoebe Bridgers and Lucy Dacus as boygenuis. The three of them released an EP together under the name boygenius and it’s insanely good. They’re all SO GOOD on their own. Together it’s almost more than I can stand as evidenced by “Me & My Dog.”
20. “Broken Headlights” by Roscoe & Etta. Roscoe & Etta is the dynamic duo of singer-songwriters Maia Sharp and Anna Schulze. They made an album together and I love it start to finish. Saw them this summer in Portland, Maine and they were all that. “Broken Headlights” is the album’s first single.
Anna Schulze and Maia Sharp of Roscoe & Etta. Photo by Patrik Giardino
21. “Fireworks” by First Aid Kit. From their “Ruins” album. In a word: SWOON! Also, here’s my interview with Klara Söderberg and my review of their February show in Boston. And most importantly, here’s the dreamy “Fireworks.”
22. “Spark, Set Fire” by The Western Den. They’re the Boston duo of Deni Hlavinka and Chris West and they’re a very recent discovery for me. If “Spark, Set Fire” is any indication, I have a very good feeling we’re gonna get along just fine.
23. “Don’t Let Go” by Tiny Deaths. The album is called “Magic” and it most certainly is. I listened to it several times through during a road trip a few months ago and love it. Tiny Deaths is the dream-pop duo of vocalist Claire De Lune and producer Grant Cutler. Fun fact, the song “Oceans” was one of my favorite songs of 2016. I’m still obsessed with it. But let’s focus on the “Magic” album and this effin’ great song “Don’t Let Go.”
24. “The River” by KT Tunstall. Scottish singer-songwriter K.T. Tunstall released her sixth studio album called “Wax” in October. I’m savoring each track, including “The River.”
25. “423” by Roscoe & Etta. I simply HAD to include another one from the Roscoe & Etta album. Love the imagery and Sharp and Schulze’s vocals together. And the refrain is spectacular, but in your head say another word for spectacular because I use it too much. Behold: “423.”
26. “Venice Bitch” by Lana Del Rey. Truth be told, I only know a handful of Lana Del Rey songs and I love them all. As for this one, you GOTTA love the “fresh out of fucks forever” line. Also, I LOVE that this song clocks in at just under ten minutes. Dig it.
27. “The Wanderer” by Emilie Mover. Mover, out of Toronto, is another artist on this list that I didn’t know about until about five minutes ago. But I do know that this single, a cover of the early 60’s Dion song “The Wanderer” is swoon-worthy. I’m confident you’ll agree.
28. “Django” by Janelle Monáe featuring Zoe Kravitz. First of all, and you don’t need me to tell you this, the entire “Dirty Computer” album is an absolute banger. Second of all, the song gives a shout out to Eve Ensler’s “Vagina Monologues.” So you’re damn right that “Django Jane” is on this list.
29. “Fine With the Dark” by Amy Ray. Ray’s latest solo album is called “Holler” and it’s extraordinary. Any number of songs could have made this list but at the moment I’m all about “Fine With the Dark.”
30. “Fugitive” by Indigo Girls. The song first appeared on their 1994 studio album “Swamp Ophelia” and is in my top five list of favorite songs by the duo of Amy Ray and Emily Saliers. So why is the song on this list? Because a double live album was released earlier this year of Indigo Girls live with The University of Colorado Symphony Orchestra. Here’s my review. Anyway…when I heard the symphony version of “Fugitive” I wept and cheered and pretty much lost my mind. Just when I thought I couldn’t love a song anymore, Indigo Girls hit me (and the world) with THIS.
31. “Wild One” by I’m With Her.I’m With Her is the trio of Sarah Jarosz, Aoife O’Donovan and Sara Watkins. After a few songs here and there over the past couple of years the debut full-length album “See You Around” was released in February. I chose “Wild One” for this list because it makes me entirely sad and happy and their voices together destroy me.
32. “The Night That Bowie Died” by KT Tunstall. Another track from “Wax.” I’m still not over losing Bowie and when I saw his name in this song title I steeled myself and put my headphones on. The reward was huge.
33. “Are We Good?” by Eleanor Friedberger. From her 2018 album “Rebound.” I can’t remember when I first heard this song as I scan the past 12 months but listening to it again as I write this I remember why I stuck it on this list. Maybe I got a press release about it? Delivery mechanism doesn’t matter, the song is excellent. Lend an ear.
34. “Neon Prayer Flags” by The Wind and The Wave. From their latest album “Human Beings Let You Down.” All I know is that I can’t get enough of Patty Lynn’s voice. She and musical partner Dwight Baker have a fantastic thing going with this band. Plus, the song talks about therapy so of course I love it.
35. “Some Kind of Window” by Rachael Yamagata. Rachael’s one of my favorite singers on the planet and she surprised us all with the release of a seemingly-out-of-nowhere EP called “Porch Songs” a couple of months ago. There are five songs on it and they all put me into emotional orbit. I chose “Some Kind of Window” because the lines “I don’t know where my will has gone, I never felt so shut down before” are effin’ fantastic and Yamagata sings them in a profound, soul-searing way. Just listen!
36. “Black Monday” by Neneh Cherry. I’ll be honest, I haven’t really kept up with Cherry’s career. I’m lame. Up until this point I pretty much only knew her now 30-year-old hit “Buffalo Stance.” But then one fine I got wind of her latest album “Broken Politics” and I guess I got wind at the exact moment that I actually had time to listen to it. Wow. It’s going to knock your socks entirely off. Her vocals are to die-for. I’m still getting to know the album but “Black Monday” sure as shit made my list.
37. “Follow Me Home” by SHEL. It was love at first listen with the four mesmerizing Holbrook sisters back in 2016. Since then I’ve seen them in a Tennessee cave, at a festival in North Carolina and a festival in Colorado. Their latest project is scoring the new Catherine Zeta-Jones Facebook Watch series “Queen America.” Out of that came the song “Follow Me Home,” released a little over a week ago. I have a heart attack every time a press release arrives with SHEL in the subject line and this was no exception. Listen to the song and fall under the SHEL spell.
38.”Extralife” by Darlingside. Pleased as punch to report that I FINALLY saw them live a week ago and they were dreamy and I was transfixed. I’ve adored Darlingside for a couple of years and the adoration grew all the more with the release of their album “Extralife.” The title track made my list because when I listen to it I leave my body and float up to 60s folk heaven. Here it is.
39.”Hurricanes” by Dido. Cause …want to thank her… for releasing her first album since 2013. Well technically it’s not out quite yet. “Still on My Mind” is set for a March 2019 release BUT the first single “Hurricanes” was shared with the world on the 12th of November and it’s lovely and lush and well heck, just listen.
40. “Right Down the Line” by Lucius. Yes indeed I mean a cover of the 1978 Gerry Rafferty hit. It’s one of ten tracks on the “Nudes” album, released in March. The indie-pop quartet of singers Jess Wolfe and Holly Laessig, guitarist Casey Foubert and drummer John Dion can do no wrong in my book. I got hip to them in 2013 and everything they’ve done since then has been fantastic. I was lucky enough to see them last year with Roger Waters. Holy shit. Anyway, “Nudes” is an acoustic album of new stuff, old stuff and some covers including their marvelous take on “Right Down the Line.”
Holly and Jess from Lucius on stage with Lukas Nelson and the Promise of the Real at the Newport Folk Festival. 7.28.18. Photo by Aimsel Ponti
41. “Blue Again” by Weakened Friends. I do sometimes like to rock out. Weakened Friends is the Portland, Maine trio of singer-guitarist Sonia Sturino, bass player Annie Hoffman and drummer Cam Jones. They just won a Boston Music Award for Alt/Indie artist of the year. YEAH! “Blue Again” is from their tremendous debut full-length album “Common Blah.”
42. “Social Life” by Armies. Because it’s commentary on social media is blistering and spot-on. Also, I’m all about the vocals of Dave Gutter and Anna Lombard. “Social Life” is from the band’s second album “Armies II.” They’re a Maine act but do all sorts of cool stuff all over the place. There’s a video coming at some point for the song that was filmed at the album release show a few months ago (I was there). For now, take a listen to “Social Life.”
43. “Only Lonely” by The Ballroom Thieves. The Ballroom Thieves is the trio of Martin Earley, Devin Mauch and Calin Peters. OMG I love this band. I even bought a necklace Martin made at a show a couple of years ago. I also love the fact that they now call Maine home. “Only Lonely” will have you at the first chill howl. It’s from their “Paper Crown” EP. Enjoy.
There aren’t enough deep breaths in the world to settle me down enough so that I can be calm and properly centered to be able to write this review.
Why?
Because in one of the most unexpected concert experiences of my life I saw these artists pay tribute to Joni Mitchell in honor of her 75th birthday by performing her songs live:
Brandi Carlile, Glen Hansard, Emmylou Harris, Norah Jones, Chaka Khan, Diana Krall, Kris Kristofferson, Los Lobos with La Marisoul, Cesar Castro & Xochi Flores, Graham Nash, SEAL, James Taylor and Rufus Wainwright.
For real.
How can I begin to wrap my head around this? A handful of days ago (Tuesday, 11/6/18 to be exact) I sat in the fourth row of the balcony at the Dorothy Chandler Pavilion in Los Angeles and watched and listened as, one by one, all of these artists were introduced and backed by a STELLAR band under the direction of co-musical directors Brian Blade (drums) and Jon Cowherd (piano) performed an eclectic collection of career-spanning Joni Mitchell songs.
It was nothing short of a miracle that I was even at this show to begin with. A California trip with another agenda was already booked when what to my wondering eyes should appear but a Tweet telling me that Brandi Carlile and James Taylor had been added to the already stacked lineup and more importantly, a handful of tickets had been released. With my calendar in one hand and my credit card in the other I snagged two tickets in a state of delirium and for the next month leading up the show had to pinch myself because I felt like Charlie Bucket holding the golden ticket.
The stage at the gorgeous Dorothy Chandler Pavilion was adorned with an old canoe, wooden skis and other retro, rustic props that gave it a cabin in the woods kind of feel. Couches were on either side and were both put to good use throughout the evening. Nothing quite like seeing Emmylou Harris perched on one watching other artists. I digress.
Throughout the entire show images of Joni were projected on a giant screen behind the stage and we’d also see occasional clips of interviews with her as well as well wishes from Elton John and Peter Gabriel.
And so it began, just after 7:30 p.m. on election night no less.
A voice welcomed us and the first artist was announced. With said announcement came the first of several heart-stopping moments. It was Norah Jones who stood center stage and opened the show with a lovely version of “Court and Spark.” Jones would return to the stage during the second half of the show, this time at the piano where she played “Borderline,” a track from Mitchell’s 1994 Turbulent Indigo album.
When Jones finished with “Court and Spark” I realized that I had an entire evening of moments ahead of me when time would stand still for a few seconds before the next name was announced. If only this kind of exquisite anticipation could be bottled.
Glen Hansard was next with “Coyote” and the dude nailed it, which came as no surprise. With vocals that made me think of Cat Stevens it was a joyous thing to watch Hansard shine with his acoustic guitar.
While I could say something about every single song that was played during the 22 song show, I know you have to get back to your life at some point so instead, I’m referring to my scribbled notes and will share what were my favorite moments of the night. But let me a thousand percent clear before I do. EVERY SINGLE PERFORMER WAS EPIC and it can’t be stated enough how spectacular the band was.
That said, I’m gonna jump to the seventh song of the evening. It was “Help Me” from “Court and Spark” and OMG, Chaka Khan owned it. Immensely. I don’t even know what to say about it so here’s this:
Two songs later came Los Lobos with Marisoul playing “Nothing Can Be Done,” a favorite of mine from 1991’s “Night Ride Home.” Spectacular.
Truly nothing could have prepared me for the song that closed out the first set. I’ve since read that Joni specifically asked SEAL to perform it. I have the chills even thinking about how incredible and vocally tremendous he was on “Both Sides Now.”
Seal performs onstage at Joni 75: A Birthday Celebration Live At The Dorothy Chandler Pavilion on November 7, 2018 in Los Angeles, California. Photo by Vivien Killilea/Getty Images for The Music Center
Put on some headphones and be prepared to lose your shit. Ready?
As you can imagine, we all went insane at the end of the song and SEAL got a much-deserved standing ovation.
The house lights came back on and I sat there in a daze because I couldn’t believe there was still a second set to come.
And so it was that Graham Nash opened the second set of the show by sitting at the grand piano where he said “I’m honored to be here. Most of the songs you’ll hear tonight will have been written by Joan except this one. I wrote this song for Joni almost 50 years ago.” With that, Nash played “Our House” and I got full-on teary. Halfway through the song he invited us all too sing along. Most did. I was too overwhelmed with emotion to pull it together but everyone else sounded great. I did manage one “la la la la la” out but barely. And damn it, I’m getting teary again watching the YouTube clip of it even now.
Quick but supreme shout-outs to Diana Krall for “Amelia” and Rufus Waingwright for “All I Want.” Both were exceptional and I have huge love for both artists. My god…
If you’ve ever read any of my other posts here (and I sure hope you have or will) you likely know that I am a MASSIVE BRANDI CARLILE FAN. HUGE. RABID. HARDCORE. She was indeed the artist I was most excited to see and along with SEAL, Carlile was the highlight of the night for me.
First came “A Case Of You” from 1971’s “Blue” which she sang with Kris Kristofferson who also played an acoustic guitar. Kristofferson is a living legend. He’s 82 years young. Look, I’ll level with you and you’ll hear it for yourself below, his vocals weren’t so hot but I say this with reverence and respect. The man can do no wrong. Carlile clearly holds him in the same regard as the rest of us and the smile on her face, one of adoration and of realizing the significance of the moment was one of the most genuine goddamn things I’ve ever had the honor to bear witness to. She deferred to him for much of the song but when she sang, and I’m sorry but I HAVE to use profanity, it brought the fucking house down.
Brandi Carlile (L) and Kris Kristofferson perform onstage at Joni 75: A Birthday Celebration Live At The Dorothy Chandler Pavilion on November 7, 2018 in Los Angeles, California. Photo by Vivien Killilea/Getty Images for The Music Center
Then it was time for Carlile to shine on her own as she sang “Down To You,” another track from Court and Spark. Her performance of that song has been absorbed by my very cells.
Here’s a clip of “Both Sides Now” and “Down To You.” Take note of (and you really don’t need me to say this, it will be quite evident) how tremendous the band is during “Down To You). When “Down To You” ended I clapped and cheered with everything I had. Part of me is still in Los Angeles in that balcony and I’m still cheering.
Brandi Carlile performs onstage at Joni 75: A Birthday Celebration Live At The Dorothy Chandler Pavilion on November 7, 2018 in Los Angeles, California. Photo by Vivien Killilea/Getty Images for The Music Center
Time for another shout-out. This time to James Taylor for “Woodstock.” It didn’t hurt ONE BIT that SEAL lent some backing vocals to it.
The time had come to land the Joni love plane and I’m awarding high marks to all those involved in the decision of what song to end with. It had to be one that would work with several singers. And it had to be iconic. And upbeat also wouldn’t hurt.
I was at the first night of two shows. This clip below is from the second night which fell on the official date of Joni’s 75th birthday. Joni Mitchell was out on the stage for it and everyone sang Happy Birthday to her. A cake was brought out and she’s beaming. Although I wish I had been there on that night, I will always be thankful for being at night one. I had tickets to see Mitchell in the mid 90s but the show ended up being cancelled (I can’t remember why) so I’ve never seen her live. But that’s OK for obvious reasons: Joni Mitchell’s contribution to music can’t be measured. Her songwriting is something that I’ll always be in awe of. Same goes for her vocals. And if you’ll pardon the tired cliche I’ll say this: the world is very much a better place with Joni Mitchell and her music in it. I don’t know what else to say about it so I’ll leave it there.
Years from now as I look back on the night of November 6, 2018, I am certain those same feelings will come over me that did as I sat there and took it all in: Ones of sincere wonder and awe. Ones of immense gratitude. And ones of love for all of the artists who performed that night all because of a shared sentiment: Love for Joni Mitchell.
Lastly, I for sure would like to thank my spouse Tracy for dealing with my hysteria over this entire show and for going with me to it. You’re the best!
Here’s the set-list:
1. Court and Spark – Norah Jones
2. Coyote – Glen Hansard
3. For the Roses – Diana Krall
4. Blue – Rufus Wainwright
5. Cold Blue Steel – Emmylou Harris
6. The Magdalene Laundries – Emmylou Harris
7. Help Me – Chaka Khan
8. Dreamland – Los Lobos
9. Nothing Can Be Done – Los Lobos
10. River – James Taylor
11. Both Sides Now – Seal
INTERMISSION
12. Our House – Graham Nash
13. A Strange Boy – Seal
14. All I Want – Rufus Wainwright
15. Borderline – Norah Jones
16. Amelia – Diana Krall
17. The Boho Dance – Glen Hansard
18 A Case of You – Kris Kristofferson and Brandi Carlile
19. Down To You – Brandi Carlile
20. Two Grey Rooms – Chaka Khan
21. Woodstock – James Taylor
22. Big Yellow Taxi – Everyone (!)
And here’s a Spotify Playlist of all of the songs performed, in order!
P.S. Here are a couple of MIGHTY FINE shots from night two. You gotta love how Emmylou Harris and Norah Jones are in the background of the one of Brandi and Kris with Joni.
LOS ANGELES, CA – NOVEMBER 07: (L-R) Joni Mitchell, Brandi Carlile and Kris Kristofferson attend Joni 75: A Birthday Celebration Live At The Dorothy Chandler Pavilion on November 7, 2018 in Los Angeles, California. Photo by Vivien Killilea/Getty Images for The Music Center
LOS ANGELES, CA – NOVEMBER 07: James Taylor (L) and Joni Mitchell attend Joni 75: A Birthday Celebration Live At The Dorothy Chandler Pavilion on November 7, 2018 in Los Angeles, California. Photo by Vivien Killilea/Getty Images for The Music Center
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Well holy hell. It’s one day since Kavanaugh was confirmed and my head is still in my hands.
So today I did what I always do to help myself cope, at least for a few moments.
I listened to music.
A ton of it.
And, with all due respect to all the MANY male musicians that I adore out there, today was all about us women. Because it had to be,
The 50 song playlist is called “Coping Mechanisms 2018” and here’s how I describe it:
An assemblage of songs by female artists to acknowledge despair, document trauma, instill hope, remind of us the beauty in the world, inspire a revolution and to serve as a reminder about the importance of art, especially when things are at their darkest.
It starts and ends with songs by Tori Amos because of course it does. I’ll share ten of the songs below via YouTube and will link to the entire Spotify playlist below.
“Silent All These Years” by Tori Amos
“This Woman’s Work” by Kate Bush
“Talkin’Bout A Revolution” by Tracy Chapman
“Nameless, Faceless” by Courtney Barnett
“Not Ready to Make Nice” by Dixie Chicks
“I’m An Animal” by Neko Case
“You Are The Problem Here” by First Aid Kit
“Hold Out Your Hand” by Brandi Carlile
“Sing” by The Dresden Dolls
“Hit The Road, Jack” by Shirley Horn
Can a song fix everything? Who’s to say?
But can 50 of them help?
I believe they can.
Ponti out.
SPOTIFY PLAYLIST LINK
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Please contact me if you’re interested in sponsorship opportunities.
So as to not bury the lede let me say right off the bat that Amanda Palmer released a video yesterday to what I’ve already said I think is the most important song of 2018: “Mr. Weinstein Will See You Now.”
And in breaking news, I interviewed her via email about the video, the response to it and how fucked up everything feels right now.
But let me do this right and lay it all out for you. I’ve been working on this off and on all day, starting early this morning and twelve hours later I’m ready to hit “publish.”
Hi. It’s late morning on Saturday, October 6, 2018 as I start this post and a lot of stuff went down yesterday. Not since the day Trump was elected in 2016 have I felt such politically-charged emotion. But it goes WAY beyond that and I know many of you are right there with me. Never as a woman and as a human have I felt more offended, insulted, dismissed, disappointed and hopeless. Holy shit. But hold that thought for a second.
Now it’s 4:45 in the afternoon and I just watched the senate vote to confirm Kavanaugh and it’s like knowing someone is going to die but then when it actually happens it still hurts just as much. You can’t really be prepared can you?
By the way, this is indeed a music blog and we’ll get there because OMFG the video of “Mr. Weinstein Will See You Now” was one of things that happened yesterday and it’s the reason why I’m writing now. But I’ve got to set the scene first because it very much feeds into my response to said video and why I think it’s so important for as many people as possible to see it.
Here’s where I’m at:
I 100% believe Dr. Christine Blasey Ford. Her bravery is remarkable. I, like many of you, watched in horror, expected horror, but horror just the same, as Senator Susan Collins (from Maine where I live) spent 45 minutes saying she didn’t believe Dr. Ford. When she finally ended her “speech” I started to shake and teetered on the edge of a teary tantrum. Later today is the official vote, otherwise known as the final nail in the coffin of not believing victims of sexual assault with the added bonus of having reproductive freedom potentially jeopardized when Kavanaugh gets on that bench. Meanwhile, POTUS took it upon himself to make a grotesquely erroneous comment via Twitter recently about trauma and how it impacts memory. Then he straight up mocked Dr. Ford’s testimony a few days ago at a rally. HE MOCKED HER. Over the past ten days or so I have read countless stories that women have shared about being sexually assaulted. Some of these women are friends of mine. I’ve read and heard stories of women I know who were raped and didn’t report it for fear of not being believed and for fear of it bringing shame to their family and for many other reasons. My heart has been shattered. All of ours have been. I feel unprecedented anger and acute helplessness and it all sucks tremendously. While I’m at it let me add that in my opinion, #metoo is NOT a movement. It’s a reckoning. I’m starting to cringe when I hear it referred to as a “movement” even by allies because “movement” is not nearly strong enough of a word. “Movement” feels way too temporary. Reckoning is better but I’m not sure if that is even strong enough. Revolution is getting closer to the marker. #metoo revolution. Now that’s more like it. I know, this is really just a matter of semantics. But still…
I am woman hear me roar and watch me revolt.
Despite everything, I am able to find moments of peace and hope because there’s a huge sense of “we’re in this together,” especially, of course, among women. There’s a huge feeling of “we’re not gonna take this anymore” and we’re all figuring out strategies in our own ways. But my god, this hurts. My heart breaks for Dr. Ford. It breaks for everyone who has relived past traumas because there’s been a mine field of triggers.
What else? So much. Too much.
What next? Everything.
We will march. We will protest (and THANK YOU to everyone who did SO MUCH to try and stop this horrible confirmation from happening). We will vote. We will be heard. We will not be silenced. We will be believed.
We will also let our creative selves shine. I NEED art. It helps me make sense of things that can’t be understood. It helps to say the things that need to be said. It helps to make me feel less alone, knowing there are people out there who are harnessing all of their rage, their sorrow, their pain and their hope and they’re making things. Paintings, poems, films, music, you name it. ALL OF IT. Sometimes I need a song to show me the way to my own heart, to crack a rib and let the emotions in. Art, and for me music in particular, is one of the best ways to truly feel human. And now today, and not for the the first time , Palmer and the people she chooses to work with, have fused music with film and the result is something remarkable.
Now about that video…
One year ago yesterday, October 5, 2017, the New York Timesstory broke a huge story and the world learned that Harvey Weinstein is an absolute monster thanks to the bravery of women like Ashley Judd and others who told their story. We all know what happened next. #metoo was born. Weinstein’s now in jail.
A few months after this all broke, Amanda Palmer and Jasmine Power collaborated on the song “Mr. Weinstein Will See You Now” and they released it on May 23.
Mr. Weinstein Will See You Now Single cover by Coco Karol
If you haven’t heard it yet, decide on your own if you’d rather have your first listening be by way of the video that just came out or first via just the audio. There’s no wrong way to be introduced to the song. It’s going to destroy you either way. I don’t know how else to say it. But it’s also an incredible, stunning song so don’t fear it, just know it’s no “Walking on Sunshine.” It gives voice to the women, and there were many of them- that were assaulted, abused, threatened or otherwise mistreated by Weinstein. But it’s bigger than that. I’ve listened to the song at this point a couple of dozen times and every listen twists and turns inside my heart. But it’s also a MAGNIFICENT piece of music. Art can be both things: Painful and beautiful. It should be. You don’t need me to tell you that.
In July, Palmer along with Power, director and choreograph Noémie Lafrance, producer Natalie Galazka along with a huge crew and cast assembled at rectory of a church in Brooklyn, New York and shot a video for “Mr. Weinstein Will See You Now.”
A still from the “Mr. Weinstein Will See You Now” video shoot. Photo by Hayley Rosenblum
In all, 60 women along with a few men were involved in the making of it. It was paid for by Palmer’s nearly 12,000 Patrons. I’m one of them. We all contribute to Palmer’s Patreon so that she can make art without having to worry about how the bills will be paid.
Yesterday was the day the video was released, on the one year anniversary of the Times Weinstein story. I watched it after watching Senator Collins offer up her “yes” in that morning cloture vote and before her 3 p.m. shit show speech that made it official and sent millions of women (and of course several men) into an unprecedented tailspin. It was between those two things right around lunchtime when I set aside six minutes, put my headphones on and watched the video to “Mr. Weinstein Will See You Now.”
I watched it two more times over the course of the day and evening and have since watched it again. There’s a lot to take in. I’m not going to say much about it because it speaks for itself. But it may be helpful for you to read a bit of what Palmer shared about it on Patreon.
Palmer wrote that that she and director Noémie Lafrance spoke at length and agreed that the video should not be sentimental, it should not exploit, it should not be patronizing and it should not be obvious. As for what it should be? Three words: raw fucking power.
I think it’s also important to share Palmer’s reasons for making this video which she also shared on Patreon:
“it has come to this. in order to effect change, we are having to expose our darkest pain in public forums. on the internet. in newspapers. in the streets. in the senate, in front of hundreds of millions of people watching.
it seems infinitely complicated to address these issues when they’re already so over-saturated and raw. how to not make things worse? how can we express ourselves and our righteous anger in our own terms, on our own dime, in our own time?
that’s what i wanted to do with this video.”
She did that. And she did a hell of a lot more than that.
Now it’s half past eight and I’m in my pajamas watching the Red Sox game because I can’t handle any more coverage of today’s events. I say that yet I check Twitter every 15 minutes.
Earlier today I reached out to Palmer via email with a handful of questions. A few minutes ago, I heard back from her and in the interest of clarity, I will share them in their entirety.
What reactions have you been getting so far, on day one, on the video? From what I’ve seen on social media people are feeling quite moved and affected by it. Any surprises on the feedback front?
Amanda: You know, I should be used to this by now, but I’m not. The reaction from my community on the internet is astounding – people are really finding it cathartic, triggering in a good way, and empowering, which was my hope. The reaction from the flesh and blood human beings who came out in the hundreds to see the screening in LA the other night was equally powerful, there were a lot of abuse and assault survivors sharing their stories. So many women poured so much time, rage an energy into making this video happen. And the response from the media was just….deafeningly silent. I’m used to most mainstream media not picking up on stuff like this, but the feminist media, where are they? Why aren’t they amplifying the art? Where’s Bust? And Bitch? And Ms. and Elleand Teen Vogue on and on…the other feminist allies? We sent them all the clip. It’s astonishing to me that every single article that’s run on this video has been written by a man . It’s just bananas. There’s this part of me that feels like I’m in fourth grade again, getting shoved away from the cool lunch table. It’s possible that everybody in feminist-land was just too wrapped up in the political cycle, but…just, wow. There are so few artists out there doing what we just managed to do, and it was really frustrating – for all of us – to see such loud silence on that front. On the other hand, this is the kind of problem that I’ve been facing for fifteen years. The media follows, but only very lazily, and the most powerful women in the arts are usually blazing way ahead with no regard to the coverage. So I continue to build the Patreon for this very reason: so that I will never need to rely on the media to be the force that authenticates or holds the keys to the amplification of our work.
With both the song and now the video, you’ve given voice to victims through a stunning piece of art. I believe it’s helping people, likely more than you’ll ever know. How does that make you feel?
Amanda: It makes me feel like I’m doing my job.
Did you watch any of the Collins shitshow ? If so, alone or with anyone? How was that for you? I mean we all knew deep down she was gonna go this way but it still HURT SO MUCH. Thoughts on that? Especially since it ended up being on the same goddamn day as the one year anniversary (anniversary feels like such the wrong word) of the Weinstein stuff blowing up. I felt so empowered when I watched the video (along with several other intense emotions) and then so defeated watching Collins speech. How was/it for you? How are you feeling right now? Honestly, I don’t know what to feel right now because it’s so easy just to sink into my couch a pile of tears. Thoughts?
Amanda: I’m feeling so hurt. I cried in yoga yesterday, I woke up today and read the news and cried. I cried and streamed to twitter. I cried and listened to my new album mixes, which couldn’t wait, because we have to head to mastering soon. I’ve just been crying a shit ton. I can’t believe what is happening to my country. It feels like our rights and freedoms and achievements – as women and minorities – are going to just get slowly chipped away at, one by one, and like frogs in boiling water
we’re going to wake up one day with no fucking abortion rights and no immigration rights and it’s just going to be one brutal dictatorship of capitalist frat boys who will not share their toys. It really feels like that. I am also getting ready for what feels like the fight of my life. I’m ready to put down everything else right now and fight for justice for women and other disenfranchised people. Fuck everything. We need a full on revolution. Today. And believe me, I’ve been texting my allies. We are organizing, we are pissed, and we are going to change this.
And what that, here’s the brand new video for Mr. Weinstein Will See You Now
Ponti out
Aimsel on the Record is sponsored in part by L.B. Kitchenin Portland, Maine.
Please contact me if you’re interested in sponsorship opportunities.
Natalie Merchant , accompanied by longtime guitarist Erik Della Penna, played two shows at the Hancock Shaker Village in Pittsfield, Massachusetts on Saturday and Sunday, Sept. 22 & 23. I was at the Sunday night show and, having been a fan of Merchant’s for more than 30 years, I still can’t believe I saw her in a rustic barn that held a little over 200 people.
Hancock Shaker Village is a wondrous utopia that’s open from April through December. There are 20 buildings ( I went into most of them!), several gardens, farm animals, a fantastic gift shop, countless Shaker artifacts and much more spread over 10 lovely acres. Hancock Shaker Village was founded in the late 1780s and lasted until 1959. The property was sold to a local group that, thankfully, was committed to preserving its heritage. Click here for the whole story.
Natalie Merchant’s performance was held in a barn toward the back of the property. Photography was prohibited, understandably so, however staff did let me pop in during the daytime to snap a few interior shots. I was also able to take one quick one before the performance started and got a nice exterior one. I put them together in the collage below to hopefully capture just how small and intimate the space was. When I first made my way over to it at midday, I was quickly surrounded by dozens and dozens of chickens who were clearly living their best lives . They were making a bit of a racquet with their assorted squawks and it was a joyful noise, especially when combined with an orchestra of animal sounds coming from the back of the nearby Round Stone Barn.
Here are four shots of the barn Merchant performed in. Photos by Aimsel Ponti
The first time I ever saw Natalie Merchant live was on July 23, 1988 at what was then called Great Woods in Mansfield, MA. This was the 10,000 Maniacs “In My Tribe” tour. Robyn Hitchcock was the opening act! I had become a fan earlier that year when the album was released. And when I say fan I mean HUGE FAN. This entire album is still sacred to me. I damn near wore my vinyl copy of it out. I remember discovering the previous album “The Wishing Chair” and also managing to track down a copy of their 1983 debut record “Secrets of the I Ching.” I had never heard a voice quite like Merchant’s and over the next several years saw 10,000 Maniacs several times on tours for “In My Tribe, “Blind Man’s Zoo” and “Our Time In Eden.” One of the things I specifically remember about a Maniacs show at Smith College in Northampton, MA ( I went to Keene State in NH an hour away) is that it was on a cold, snowy night and upon seeing several fans without tickets to the sold out show pressed against the windows outside, Merchant asked security let them inside.
When Merchant parted ways with the 10,000 Maniacs, I remember experiencing a moment of worry because I couldn’t bear the thought of no longer hearing new material from one of the greatest singers, not to mention songwriters, of my lifetime. This worry was of course short-lived. On June 20, 1995 Natalie Merchant released her debut solo album, “Tigerlily” and I was indeed hypnotized and mesmerized by its first single “Carnival.” The follow-up was “Wonder” and it remains one of the most hopeful songs you’ll ever want to hear about overcoming obstacles. The third track that was all over the radio was “Jealousy.” All three of these tracks are solid tunes that have stood the test of time but it’s the rest of the album that spin my spurs even more beginning with “San Andreas Fault” and going all the way through to the closing track “Seven Years.”
And now I’m gonna say something that some Merchant fans might consider sacrilegious. Ready? In 2015 Merchant released “Paradise Is There: The New Tigerlily Recordings.” Every track on the album was stripped down and strings were added to others, including “Beloved Wife.” The first time I listened to this new take on “Tigerlily” was on a long drive and I do declare….I like it better than the original. Now one could argue, quite well in fact, the the two versions are the proverbial apples and oranges and they wouldn’t be wrong. It’s all so subjective isn’t it? All I know is that I was moved almost to tears a few times listening to the stripped down versions of songs like “River” and “I May Know the Word.”
But I digress. This is after all a concert review. But wait, for those of you who aren’t as hardcore of a Merchant fan as I am, permit me to briefly mention her discography after 1995’s “Tigerlily.” In 1998 Merchant released the incredible “Ophelia” album and to this day, I still love the entire thing. This is the album that gave us “Life is Sweet” and “Kind & Generous.” And it’s also home to “My Skin” and “Effigy.”
“Motherland” with the single “Just Can’t Last” came next in 2001. “The House Carpenter’s Daughter,” was released in 2003, “Leave Your Sleep” in 2010 and a self-titled album in 2014. When she toured for that album I interviewed her in advance of her performance here in Portland, Maine. After all those years of being a fan, I was finally able to wear my journalist hat. Merchant was lovely to chat with. Read it HERE. I also reviewed that show and you can read that HERE.
OK. Back to the day of the show at Hancock Shaker Village. I had such a perfect time roaming the grounds and seeing historical preservation up close and personal. Several sheep and goats and cows posed for photos for me and the entire afternoon was picture-perfect. I think the most compelling part of the village is the Round Stone Barn. Every inch of it held so much history.
The incredible Round Stone Barn at Hancock Shaker Village. Just one of the many must-see features of the spot that lies a stone’s throw from the New York border. Photo by Aimsel Ponti
Night started to fall on Pittsfield as we stood in line awaiting the 7 p.m. opening of the barn where the show was happening. The moment came and I secured my aisle seat, about halfway back. In a space as small as the barn, this meant I was 30-something feet from the small stage.
I quickly made a few concert friends (I’m looking at you, Daina and Sven) and the magic hour of 8 p.m. arrived and after a welcome from a few Hancock Shaker Village staffers, the show began with “Weeping Pilgrim.” A few things became immediately evident: Natalie Merchant’s vocals were pristine, Erik Della Penna’s guitar sublime and the acoustics were damn near perfect as the duo made their way through the gentle, traditional tune with the lines “I weep and I moan and I move slowly, I’m a poor mourning pilgrim bound for Canaan Land.”
Merchant was charming, mischievous and hilarious throughout the entire show. Her first order of business was moving a couple of fans who were behind some of the barn’s support pillars to unobstructed seats. Throughout the 19-song performance she offered historical notes about The Shakers and told us how when her daughter was young she used to love hearing Shaker hymns sung to her by her mother.
Merchant also surprised many of us by including three tracks from the iconic 10,000 Maniacs album “In My Tribe” in the set. After a few lines of Jim Croce’s “Operator,” Merchant sang “Don’t Talk” and “Hey Jack Kerouac” back to back then she took an audience request later in the show and sang “What’s the Matter Here?” At the end of the evening she teased out a few lines of “Verdi Cries” (I died a little) and a bit of “Ophelia’s” “My Skin” before launching into the “Tigerlily” hit “Wonder.”
Here’s another funny thing that happened at this show. Most of the songs were played with Merchant singing and Della Penna on guitar. However for a handful of them Merchant sat behind a Korg electric piano and incredibly, gave it away at the end of the night. She told us she never liked the thing and showed off the many sounds it was capable of making. Without fanfare she asked if anyone wanted it and a fan up front immediately said yes and the matter was settled. When the show ended with “Kind & Generous,” Merchant unplugged the Korg, picked it up and handed it to the lucky guy who now owns a piece of musical history. At first I thought this was odd but then I realized that sometimes when you’re truly done with having something in your life you sometimes need the damn thing gone…immediately.
Natalie Merchant also told us something that most of us already know: She doesn’t play too many shows anymore. What I for one didn’t know is that she teaches music to kids in what she described as inner-city schools and clearly extracts tremendous joy from this. You know how you can tell when somebody really loves something because their face lights up when they’re talking about it? It was like that.
Natalie Merchant has been a favorite musician of mine for more than 30 years. She’s got a voice like none other and her songwriting is equally incredible. As a fan I’ve been fortunate enough to have met Merchant “in real life” I think four or five times thanks to college radio connections that got me backstage passes to a “Blind Man’s Zoo” show, a chance meeting on the street after a show in Boston and a pre-show meet and greet experience at a 1997 Lilith Fair show among a few other random times. She’s always been so kind and generous with her time.
The show at Hancock Shaker Village in that chilly barn was really something extra special. I hope to see Merchant again some time but for now, I will treasure the memories of this intimate show because I literally sat there the entire time almost in disbelief. That’s how good she was and that’s how awestruck I was to be seeing her there.
Here’s the set list from the 9/23 show along with where you can find the songs:
“Weeping Pilgrim” (The House Carpenter’s Daughter, 2003)
“Motherland” (Motherland, 2001)
“Life if Sweet” (Ophelia, 1998)
“If No One Ever Marries Me” (Leave Your Sleep, 2010)
“Cowboy Romance” (Tigerlily, 1995)
“Nursery Rhyme of Innocence and Experience” (Leave Your Sleep, 2010)
“Sally Ann” (The House Carpenter’s Daughter, 2003)
“Build A Levee” (Motherland, 2001)
“Golden Boy” (Motherland, 2001)
“Don’t Talk” (10,000 Maniacs, In My Tribe, 1987. Preceded by a few lines of Jim Croce’s “Operator”)
“Hey Jack Kerouac” (10,000 Maniacs, In My Tribe, 1987.
“Carnival” (Tigerlily, 1995)
“Break Your Heart” (Ophelia, 1998)
“Saint Judas” (Motherland, 2001)
“What’s The Matter Here?” (10,000 Maniacs, In My Tribe, 1987)
“The Bonny Light Horseman”( She sung this one acapella . Song is on the 2018 Lúnasa album Cas. Natalie is a guest vocalist on this track).
“Maggie Said” (Natalie Merchant, 2014)
Natalie sat at the piano for these. She played a few lines of “Verdi Cries” and then a bit of “My Skin” and finally all of “Wonder” (Tigerlily 1995)
“Kind & Generous” (Ophelia, 1998)
Ponti Out
Aimsel on the Record in sponsored in part by LB Kitchen in Portland, Maine
Please contact me if you’re interested in sponsorship opportunities.
Let me ask you something. Has there been a place you’ve wanted to go to for pretty much your entire life? As a live music fan, there are venues around the globe that I still haven’t been to but the one that’s been on the top of my list since the 80s is the one I FINALLY saw a show at in August.
What you’re about to read is a review of a recent Brandi Carlile concert. (Spoiler alert, I LOVED the show). But that’s not where the story begins, it begins with the band U2.
I’m in my 40s and have been a fan of U2 for as long as I can remember. On June 3, 1983 U2 played, in the cold rain no less, at Red Rocks Ampitheatre in Morrison, Colorado. It was the only time they’ve ever played there and several of the songs from that show were released on the “Under A Blood Red Sky” EP. This was the first U2 thing I ever bought. The show was released on video in 1984 (I still have a VHS copy somewhere) but initially, I saw it on MTV as individual clips. These clips are what made me a fan of U2.
This brings me to “Sunday Bloody Sunday.” This was the first performance footage I saw of U2 and to this day I can’t watch it without getting the chills and without being reminded of how much I love this band. But the main reason this footage has stayed so close to my heart for so long is where it was filmed. To me, Red Rocks has never quite been a real place. It’s been a dreamscape, an alternate reality, a musical nirvana and a sacred locale that surely can’t actually exist. And yet performances have been happening there for more than 100 years. I don’t have a good answer to the question of why it took me so long to finally bridge the gap between fantasy and the real world. Maybe I was afraid it wouldn’t live up to my expectations. Maybe I was afraid that if I actually stood in that place of my dreams that it would somehow shift its place in my heart. I’m still not sure. But what I can tell you is this: I can’t imagine a better act for my first visit to the hallowed ground that is Red Rocks than Brandi Carlile.
But first, in case you haven’t seen this, here’s the “Sunday, Bloody Sunday” footage that I used to stand in front of the TV and imitate Bono’s moves to and lip sync the lyrics to. Here’s the video that put its hooks into me decades ago and that has kept my desire to see a show at Red Rocks a constant pull in my heart for so, so long:
OK so onto the evening of Sunday, August 12. Whew…
I kept going in and out of almost a dreamlike state as the four us (my gal Tracy and our local pals Jodi and Jen) arrived on the grounds of Red Rocks and it got all the more real when we stopped at the box office and I was handed tickets. I had an all out Charlie Bucket Golden Ticket moment as I stood there with the pair of killer seats I had bought for Tracy and I months and months ago.
Fast forward to securing a parking spot and beginning the march to one of the entrances where the line moved along at a respectable pace and I took in the breathtaking scenery around me, all the while coming to terms with the fact that within a few minutes I would cross the proverbial threshold and would be standing inside Red Rocks.
As for that first moment, it’s hard to put into words. Something you’ve visualized for decades is never quite what you imagined it would be. But I have to say, when the full view of the venue lay before me two worlds collided; the younger version of myself watching Bono hold up that white flag and the present day version of myself finally standing in a musical version of the promised land.
The first order of business was to climb to the top and take it all in while also loving the hell out of The Secret Sisters set.
Standing at the top of Red Rocks on 8/12/18 while The Secret Sisters played a stellar set. Photo by Aimsel Ponti
It took a moment for my brain and heart to sync up such was the poignancy of the moment.
From there we spent a little time in the visitor’s center which you simply must do because the Performer’s Hall of Fame documents hundreds of shows that have taken place at Red Rocks including, of course, that legendary U2 one.
Next up was a set from Shovels & Rope. They’re the duo of Cary Ann Hearst and Michael Trent and I’m a huge fan. The fact that they were on this bill was another layer of frosting on the concert cake.
By this time Tra and I were in our 7th row seats ( off to the side a bit but entirely fabulous) which were none too shabby! From there I snapped a few more photos so as to try and capture to scope of Red Rocks’ natural magnificence.
Another view of heaven, aka Red Rocks. Photo by Aimsel Ponti
The last bit of sunlight faded and the time for Brandi Carlile and her nothing less than 100% dynamite band to take the stage was drawing near. This was my sixth time seeing her this summer and the final show of my incredible #summerofbrandi2018.
Previously in 2018 I had seen BC twice in Boston, once in Portland, Maine, once at the Newport Folk Festival and the night before the Red Rocks show at a private fan performance in Boulder. My love for her music is as deep as the ocean and it grew all the more after the release of her latest album “By The Way, I Forgive You.”
Yours truly nerding out just before Carlile took the stage.
And then it happened. The show started by way of a string trio medley that I’d heard at previous shows this year. It was all the more riveting because this was happening at RED ROCKS! I had chills that were multiplying more than Sandy and Danny combined and they didn’t stop until well after the last song about two hours later.
Brandi Carlile and the Hanseroth twins at Red Rocks on 8.12.18. Photo by Aimsel Ponti
What followed were no less than 20 songs. It began with “Every Time I Hear That Song” and ended with the lights out all being turned off and thousands of us holding up our phones while Brandi and Laura and Lydia of the Secret Sisters sang ‘Amazing Grace” in what was one of the most memorable endings to a concert I’ve ever had the pleasure of witnessing.
In between Carlile and company delivered a tremendous set of tunes that included Dolly Parton’s “Coat of Many Colors” which was sung by Brandi’s niece Caroline in advance of an upcoming talent show competition. The kid nailed it.
Shovels & Rope were invited to play their song “Cleanup Hitter” with Carlile and holy shit, it was fantastic.
Red Rocks at night. Divine! Photo by Aimsel Ponti
The Secret Sisters sang backup on one of my favorite “By The Way” songs, “Sugartooth” and then stayed put for a rendition of their song “Mississippi” from their Grammy-nominated album “You Don’t Own Me Anymore.” And yeah, it was goddamn great.
Back to back covers late in the set just about put me over the edge, despite having seen Carlile sing them both at previous shows this year. It didn’t matter. This was Red Rocks and Brandi Carlile sang Joni Mitchell’s “A Case Of You” and for the love of all that is holy in this universe, it was one of those moments that was a reminder of why the live music experience means so much to me. Hearing Carlile’s voice ring out in that Colorado night against a backdrop of piano and strings was everything.
No sooner did the Mitchell song end did Carlile and the band break into “Babe I’m Gonna Leave You.” I always like to remind people, in the interest of given songwriting credit where it’s due, that the song was written in the late 50s by a woman named Anne Bredon and the first famous recording of it was by Joan Baez in 1962. The version however that is arguably best known and most revered is the one recorded by Led Zeppelin in 1969 on their debut album.
Carlile made the song her own and I think the world might have damn well stopped spinning for a few minutes while she sang it. Here’s a great clip of her singing it on July 21 in Portland, Maine (where I live) with gratitude to the fan who captured this and posted it.
Hearing “Babe I’m Gonna Leave You” at Red Rocks elevated the song to yet another level of rock perfection and is one of about 12 bazillion examples of Carlile’s vocal capabilities.
Here’s a shot of Carlile as projected on a giant video monitor to the right of the stage. Photo by Aimsel Ponti
The last song they played before the encores was one I still can’t make it through without crying and that’s “Party of One” from “By The Way, I Forgive You.” I always think I’m going to survive and then the strings come in like a wave and I lose it. But at least I can say I’ve cried in four different states during the same song this summer.
Here’s a decent video by a YouTuber named Annalie Benjamin of the song being played at Red Rocks.
I dried my eyes and we were all rewarded with the return of the band to the stage for three encore songs beginning with a when-in-rome esque medley of John Denver’s “Take Me Home Country Roads,” “Rocky Mountain High” and “Sunshine on my Shoulders.” It didn’t suck one bit that the band’s former fiddler Jeb Bows joined them for this little slice of magic. Hell even I sang along.
Next up was the sing-along of the ages with the song “Hold Out Your Hand” during which every kid of the band came out on stage not to mention former White House (when we had a sane POTUS named Obama) photographer and friend of the Carlile clan, Pete Souza. And so did Shovels & Rope and The Secret Sisters. The devil sure as shit wasn’t getting our souls that night. We were in the throes of redemption in the form of a glorious song.
But perhaps what gave me the biggest chills of the night was “Amazing Grace.” I’d been to shows before when fans were asked to shine their phones. But this was something altogether different and I think everyone there knew it.
Shout-out of gratitude to YouTuber RESphoto for capturing this:
It was perhaps the finest example of how pristine the acoustics are in the natural wonder of Red Rocks , a place that took more than 200 million years to form.
“I don’t think I’ve ever seen anything so beautiful” said Carlile at the end of the song and she was absolutely right. This was one time that the prevalence of technology at a concert made for an unforgettable live music moment full of wonder, full of angelic vocals and full of upwards of 9,000 fans who knew this was something special.
I’ll always be thankful that I was one of them.
I’ll end with seven words that you’ ll just have to trust me on:
GO SEE A SHOW AT RED ROCKS
Ponti out.
Aimsel on the Record in sponsored in part by LB Kitchenin Portland, Maine.
Please contact me if you’re interested in sponsorship opportunities.
They’ve just released their first new album since 1982. It’s called “Here We Go Love” and you are going to LOVE IT!
Before I dive into it, here’s a quick discography reminder:
The debut album was 1980’s “I Just Can’t Stop It,” then came “Wha’ppen?” in 1981 and “Special Beat Service.” in 1982.
A snapshot of some of the songs we know and love from these records includes “Mirror in the Bathroom,” “Best Friend,” “Can’t Get Used to Losing You,” “Doors of Your Heart,” “I Confess” and the mother of all English Beat songs…. “Save It for Later.”
First just a a quick note to avoid any confusion:
“Here We Go Love” is The English Beat starring Dave Wakeling. Dave, originally from Birmingham, England has been living in California for several years. Dave’s former Beat band mate, Ranking Roger, is based in England and is doing his own thing under the name The New English Beat featuring Ranking Roger and they put out an album called “Bounce” in 2016.
One more thing, lest ANYONE forget, when the original Beat broke up in 1983, Dave and Roger formed General Public and as much I’m trying to stay focused here, let’s take a minute to listen to “Tenderness” because I love that song immensely and so do you:
NOW WHERE WERE WE?
Ah yes, it’s 2018 and BAM! “Here We Love Love” is out in the world and it’s a FANTASTIC record. As I write this, I’ve probably listened to it start to finish no less than 25 times.
From the bouncy rallying cry of “How Can You Stand There” to the edgy “Here We Go Love” to the politically charged “If Killing Worked,” the poignant “Never Die,” the uplifting “The Love You Give” and the supremely catchy “The One and the Only,” I dare say they haven’t missed a beat. I’m 100 % standing by that pun so don’t give me any side-eye. And once you listen to “Here We Go Love” you’ll be right there with me.
Let’s listen to “How Can You Stand There?”
“How Can You Stand There?” pulls you off the couch to not only dance but to pay better attention to the world around you with lines like “Warning signs all around this town/Something’s up, something’s coming down. Made aware by the plagues and quakes/We’re wound up tight like it’s gonna break now.” With signature Beat horns, fabulous ska rhythm and Wakeling’s vocals sounding sensational, this song is fresh and lively but also maintains that Beat sound we fell in love with in the first place.
The English Beat’s Dave Wakeling Photo by Eugenio Iglesias
A couple of months back, I sat with Dave in his tour bus in a motel parking lot on the outskirts of Boston and hit record on our conversation. Here’s how it went:
When was the last time The English Beat has released something new?
That’s a question for the ages. There’s a best of record every 18 months. The last one came out just a few months ago in England called “You Just Can’t Beat It.”
What’s different when those come out?
This wasn’t anything new, this was more like a condensed Reader’s Digest medium level. It’s a cheaper release. You’re trying to sell it to people who didn’t buy the records in the first place. It’s one of those. Now next year it’s going to be a bit more of a deal I think. There’s going to be some television advertised stuff.
Here and in England?
I think so. It’s heading toward the 40th anniversary .
Of the band forming?
Of first playing and all of that yes. It’s going to be a big deal.
Who plays on the new album? People you have hired? People you’ve been working on off and on for years?
It’s a great combination of both. So there were a few people that had been in and out of the group over the last 20 years while I’ve been in California. Particularly some backing vocalists that I’ve enjoyed the most singing with; Kevin Williams and Jillarney Jones. I only sang with them a couple of times. They were in the group overlapping but at different times and just two of my favorite voices so I got to do the harmony vocals with them which was really nice. I’ve got some people from the (current) band on the record and then I’ve got some people from previous lineups on the record.
Tell me, because you haven’t recorded new material in quite a while, are these songs that date back from many years? When were they written?
It’s a combination. We started with 40 songs, a mixture of ones that were burning hot at the moment, new ones that had made the live set at the moment, oldies that had somehow slipped the net and that could be because perhaps a punky song wasn’t fashionable if things were terribly ska at the time or a ska song wasn’t so fashionable if ska wasn’t fashionable now or it was more 80s pop now. So there were a couple of songs that had slipped through the net a long time ago and then there were some that were probably as good if not better but they’d only just started recently and they’d still got quite a ways to travel before they were finished composing. So there are two or three now that are already starting that process for the next one. I let a small circle of people listen to the demos and I polled them; different congregations of votes from men or women around different songs, certain songs, a mixture of both and we whittled it down to a really well-balanced collection. There was one of everything at least. I didn’t rig the votes or anything but it turned out a decent spread and balance and now we’ve got 13 and they fit together really well. They tell a good story thematically and now they want to know if you want 10 or 12 on the record.
What does it mean to you, after all this time, to have a brand new English Beat record out in the world?
There was some trepidation and that’s turned into resolution. The record sounds as good as we can get it.
What can you tell me about your songwriting process?
I have to go through some deep manic depressive state and then I start walking in circles, talking and rhyming couplets which turns into a poem which then ends up being good enough to turn into a song which then gets worked on for about nine months.
While I have you, let’s talk about the ultimate, iconic English Beat song “Save it for Later.” I want to know, when did you say to yourself, ‘OK, I’ve got something really special here with this song?’
It’s special for me. I would play in on the guitar. I was about 19 or 20 when I wrote it and I would just play it round and round and then on my 21st birthday I got a National steel dobro and I couldn’t stop playing it, I just played it over and over.
On a dobro?
Yeah. It rang like a bell. Then when we started the group I ‘d say ‘Ooh, I’ve got one’ and then it didn’t make the cut. It didn’t make it until the third album. For the first album “I Just Can’t Stop It” 1980) it was deemed too old wave. Then the second record, I knew it was bound to get on it. Nope. We’d gone kind of world beat by then and that was too rock. So we didn’t do it then. At the time we sort of had a veto, there was five of us. If one of us went “that’s vile,” then we couldn’t do it which is why we never had any songs on TV commercials because one person thought it was vile.
You’ve been playing the hits like “Mirror in the Bathroom” and “Twist & Crawl” for a very long time. Speaking as a fan, I still very much love those songs and I love hearing them live. Do you feed off of that when you see how the crowd reacts?
To play the “Save it for Laters” or the bigger hit songs, it fills the room with a nice ambience and time sort of stands still for a second and everybody’s very jolly and the opportunity comes up that you can play a new song and you sort of paid for the entrance fee.
And the new songs are great!
That’s the luckiest part of it. People can be funny about wanting to hear new material. You’ve got to be careful, especially because there’s a list of 40 songs they want to hear of which you’re going to do 20 so they’re already 50% pissed off. There’s something about concerts that are meaning more to people. There are few places left where you can go somewhere and have an experience, you can judge it yourself, you can trust your own ears and eyes and intuition and share a space with common songs. You can’t really do what watching TV. I like it that concerts mean more and it’s what I do anyway and so it means that if you get it right and you’re willing to be a bit open and connect and have some general mirth and fun with it you can generate a terrific atmosphere in a room; warm and more reaching out from the audience to the crowd and the audience between themselves as well.
Want in on some of that mirth Dave speaks of? Click here for the current tour schedule! And needless to say, pick up a copy of “Here We Go Love” because it’s a brilliant record whether you’re an old-school Beat fan or they’re brand new to you.
Here’s where you’ll find complete album credits for “Here We Go Love”. Take a minute to check it out because it these musicians put their hearts and souls into the album and there are a lot of them.
Dave Wakeling and yours truly in Boston.
Ponti out
Aimsel on the Record is sponsored in part by LB Kitchenin Portland, Maine.
Please contact meif you’re interested in sponsorship opportunities.
I don’t really know why it took me this long to finally realize the dream of attending the Newport Folk Festival. I’m reminded of a favorite line from writer Gail Godwin: “Some things arrive in their own mysterious hour, on their own terms and not yours, to be seized or relinquished forever.” OK so that’s a bit dramatic but the point is… I FINALLY WENT.
There’s a piece of my heart still out there at Fort Adams Park and likely will be forever, such was the impact of this storied festival.
I scribbled a few notes here and there in my reporter’s notebook but I’m not looking at them now. Instead, I’m gonna just write from the heart because after thinking about the experience three plus weeks later, I already know there’s no way this can be a traditional “review.” Maybe it’s an essay or a love letter or a journal entry.
Let me start by saying that walking into this festival on that Friday morning, July 27, I felt like Dorothy Gale stepping into Technicolor, Charlie Bucket walking into the Wonka factory , Edmund Pevensie stepping through the wardrobe into Narnia and Alice descending into the rabbit hole. Remove all scary or challenging parts of those stories and that may give you some idea of what it felt like for this music fan to be at this festival.
Before I unpack anything about what I saw and heard over the next three days, I think it’s important to mention that I’ve wanted to attend this festival since 1992. This is the year this compilation album below was released and I still have it. Before that I had heard of the festival but didn’t have a full understanding of just how special it is. But when I heard Indigo Girls singing Paul Simon’s “American Tune” I lost my mind. I knew that someday I would make it to Newport. Little did I know it wouldn’t happen until 2018. But let me say, in no uncertain terms and hell yes in all caps: IT WAS WORTH THE WAIT!!!
So there I was on a Friday morning on what was my first time in Newport and probably only my second or third time in the state of Rhode Island.
Upon arriving to the entrance to Fort Adams I saw a sign that told me everything I needed to know. It wasn’t a sign from God or a sign from the universe. It was literally a sign. This sign:
iPhone photo happily shot from my car window after I said Hi to the police officers by the entrance and told them I was a first-timer and made one of them high-five me.
I parked my car, gathered up my stuff and began the seaside stroll to the front gates where I picked up my media pass and photo pass. I had purchased my actual tickets last November the second they went on sale in what was one of the most nail-biting ticket buying experiences of my life. I reached out to festival people a few weeks before the opening day requesting the photo pass and they graciously provided me with one and I’ll always be thankful for that because even though I am a complete rookie when it comes to photography, it was awesome to be in the photo pit all weekend where every single photographer I spoke to was incredibly kind. Early on I had a problem with my camera (which, TBH, I barely know how to use) and asked one of them for help and I was feeling quite embarrassed about it. Turns out it’s always a good idea to make sure ones lens is actually on properly. This guy, I wish I could remember his name, was amazing and didn’t make me feel foolish. I mention this because that’s what it was like the entire weekend. Every person I spoke to, rubbed shoulders with, asked questions to, hung out with and watched performances with was kind, in a good mood and super happy to be there. Said another way: there were no assholes at the Newport Folk Festival.
If you’ve never been to the Newport Folk Festival you may not know that when tickets go on sale in November, the lineup isn’t announced. That comes months later on a rolling basis and every announcement feels like the moment in “A Christmas Story” when Ralphie’s Dad tells him to look behind the desk because Santa left one more present there.
Even when acts I wasn’t familiar with were announced it sent a shiver of excitement down my spine because I knew that I’d end up loving some of them. (I’m looking at you, The War And Treaty, Bedouine and Beneath The Sacred Mountain to name a few).
The first announcement came on January 31 and it was Courtney Barnett!! Then every couple of days or weeks other ones would appear and every single time I smiled and it was like kernels of popcorn exploding inside my heart. Rachael & Vilray? YEP! Darlingside? YEP! Passenger? YEP! Phoebe Bridgers? YEP! The Lone Bellow? YEP! Jason Isbell? YEP!
On March 21 things took a turn for the even more exciting when my favorite name of 2018 was announced: Brandi Carlile!
Five days later another bomb was dropped: Lucius!
Three days later: Amanda Shires!
Then the floodgates opened with announcements of Margo Price, Tuck and Patti, Jenny Lewis, Glen Hansard and OMFG St. Vincent among many others.
For a complete list of 2018 performers click here.
Anyway….back to that Friday morning, July 27. I joined the ever-growing line of festival goers and we excitedly awaited for the 10 a.m. opening of the gates. About 15 minutes before that magic moment, festival producer Jay Sweet appeared and made some enthusiastic, cheer-inducing announcements most of which I couldn’t hear but I’m quite certain included a welcome and a promise of good times ahead.
And then it happened. The gates opened and I watched as several hardcore fans made their way as quickly yet calmly as possible to the Fort Stage to secure a good spot for their blankets and chairs.
BTW, the festival has four stages: Quad, Harbor, Museum and the almighty Fort Stage.
I was immediately overwhelmed but not in a bad way, more of in a “Oh my God, I’m finally here! way.” But I also had a mission and that was to see the first act of the day on the Quad Stage, Tuck and Patti. Tuck is one of the most incredible jazz guitarists you’ll ever want to see and Patti is one of the most incredible vocalists on the planet. They’ve been playing together (and have been married) for many years and have a ton of albums out. I had only seem them once, in the mid 90s in Portland, Maine. It came as no surprise that they put on a sensational show and I can’t imagine starting off my first festival experience any other way. Also, about a week or so before the show, I Tweeted a request to them for the song “Takes my Breath Away” from the album “Tears of Joy.” Not only did they end their set with the song, they thanked me (not by name but that hardly matters) for the “sweet request.” I felt like Rudolph when Clarice called him cute.
Tuck and Patti at the Newport Folk Festival 7.27.18 Photo by Aimsel Ponti
Here’s the part of this Newport tale where I tell you that many brutal decisions had to be made all weekend long because with the four stages, acts overlap and some acts that I love I only saw a little bit of and some I missed entirely. (My apologies, Glen Hansard).
Jenny Lewis at the Newport Folk Festival. 7.28.18. Photo by Aimsel Ponti
It was torture, for example, leaving Jenny Lewis’ set early but the reward was Courtney Barnett. If only all problems could be like this one.
Amanda Shires at the Newport Folk Festival. 7.27.18 Photo by Aimsel Ponti
I also only caught a few songs of the AMAZING Amanda Shires as I made a mad dash to the photo pit for Margo Price. (BTW, OMG, Amanda’s new album…get it!) I had seen Price earlier in the year here in Maine and knew she was not to be missed. It was during her set that I experienced my first legendary Newport moment. The festival is FAMOUS for guest appearances and this year was no exception. When Margo Price played the John Prine song “In Spite of Ourselves,” she was joined by JOHN PRINE!
Margo Price with John Prine at the Newport Folk Festival. 7.27.18. Photo by Aimsel Ponti
Yeah, that happened. Three songs later, one of my favorite moments of the entire three days went down and I still can’t believe it happened. Not only did Price sing Dolly Parton’s “9 to 5”, she was joined by BRANDI CARLILE. I lost my mind and still haven’t quite found it. I have loved this song forever (I’m old af and saw the movie in the freakin’ theater) and seeing a duet by Price and Carlile was, if you’ll pardon the over-used but entirely justified word, EPIC!
Thanks to the fella named Chad for getting the whole song. Dude! Owe you one.
Margo Price with Brandi Carlile at the Newport Folk Festival. 7.27.18 Photo by Aimsel Ponti
Still on a musical high from Margo Price, I readied myself for another band that I’m ALL ABOUT. This time it was Lucius who were joined by a trio of mesmerizing dancers called The Seaweed Sisters.
Lucius with the Seaweed Sisters at the Newport Folk Festival. 7.27.18. Photo by Aimsel Ponti
They opened their set with the arresting and vocally over the moon “Go Home” (from 2013’s debut album “Wildewoman”) and then went right into the Gerry Rafferty tune “Right Down the Line” (from the 2018 album “Nudes.) Their 12-song set was sheer bliss for every single second and when they played “Dusty Trails” (from 2016’s “Good Grief” another spectacular Newport moment happened. They brought out Brandi Carlile to sing it with them. I’m still feeling the afterglow of this. Holy shit.
Lucius also played tribute to musician and producer Richard Swift who passed away on July 3 at the age of 41 by playing his song “Most of What I Know.” Swift is sorely missed by many and his name was mentioned a number of times over the course of the weekend.
Lucius at the Newport Folk Festival. 7.27.18. Photo by Aimsel Ponti
Friday wasn’t nearly done with slaying me though, not by a longshot. I managed to catch a few songs by Rachael & Vilray (LOVE THEM) and while cooling my heels for a bit in the media tent (they needed cooling, it was blazing hot out all weekend) I listened to Ben Harper & Charlie Musselwhite who tore it up on the nearby Quad Stage. I also mourned missing sets by Darlingside (LOVE THEM) and This Is The Kit (newish band to me and love them too).
Rachael and Vilray at the Newport Folk Festival. 7.27.18. Photo by Aimsel Ponti
At 5:40 however I was all business as I hit the Quad state for the entire St. Vincent set. For this performance she didn’t play guitar (she’s a goddamn brilliant guitarist) but rather was accompanied by pianist Thomas “Doveman” Bartlett for a 13 song set that included “Los Ageless, “Pills, “Slow Disco” and “New York.”
St. Vincent at the Newport Folk Festival. 7.27.18. Photo by Aimsel Ponti
She changed the first line of “New York” and sang “Newport isn’t Newport without you love.” As you imagine, we all went crazy. Annie Clark also pulled out an unexpected cover that I melted over. She sang Joni Mitchell’s “Court and Spark” and it was a tender and beautiful and true “Newport” moment if ever there was one.
St. Vincent Photo by Aimsel Ponti
Friday night was closed out on the Fort Stage by Jason Isbell and the 400 Unit. I had just seen them a week before at Thompson’s Point in Portland with co-headliner Brandi Carlile where they put on a hell of a great show. Little did I know that another giant Newport surprise was coming at the end of their set Jason Isbell introduced surprise guest DAVID CROSBY and before I had time to even catch my breath they tore into “Wooden Ships” and then “Ohio” and again…I lost my mind.
Jason Isbell with David Crosby at the Newport Folk Festival. 7.27.18. Photo by Aimsel Ponti
I’m pretty sure all 10,000 of us did. Then Isbell ended with the tear-my-heart-wide open “If We Were Vampires” and I walked out of day one delirious.
When I went to bed on Friday night at my friend Judy’s house about 40 minutes away I was as exhausted as a person could be. I had gotten too much sun and not enough water. I had also experienced one of the best days of my life in terms of live music. My last thought before drifting off that night was “Oh my god, there are TWO MORE DAYS!”
Lukas Nelson at the Newport Folk Festival. 7.28.18. Photo by Aimsel Ponti
Holly and Jess from Lucius on stage with Lukas Nelson and the Promise of the Real at the Newport Folk Festival. 7.28.18. Photo by Aimsel Ponti
Saturday brought with it another round of live music thrills and chills that only the Newport Folk Festival can provide. My first order of business after some wandering around from stage to stage for a bit was Lukas Nelson & Promise of Real. Newport moments kept happening and every one was joyous. Holly and Jess from Lucius joined Nelson for “Die Alone” which make perfect sense as they’re on five songs on the album he put out last year.
Tarriona “Tank” Ball of Tank & The Bangas at the Newport Folk Festival. 7.28.18. Photo by Aimsel Ponti
Then it was off to the Quad Stage where I caught the first few songs of a performance that will long be talked about by the earth-shattering Tank & The Bangas. I should have stayed for their entire set because their take on Nirvana’s “Smells Like Teen Spirit” was one for the ages.
Other Saturday highlights for me were Phoebe Bridgers, Jenny Lewis and Courtney Barnett.
Courtney Barnett at the Newport Folk Festival. 7.28.18.Photo by Aimsel Ponti
But there was one other act on Saturday night. It was the unannounced one to close out the day on the Fort Stage. Speculation had been running wild all day on Friday with guesses including Neil Young. But by my arrival on Saturday morning, the cat had been let out of the bag and word had gotten out that the Saturday night surprise was Mumford & Sons. When they first broke out in 2009 with “Sigh No More” I was an instant fan thanks to songs like “The Cave” and “Little Lion Man.” In 2012 I still felt the love with “Babel” with the track “Lover of the Light” and the bonus track cover of Simon and Garfunkel’s “The Boxer” Heck Mumford even brought their Gentlemen of the Road tour to Portland, Maine in the summer of 2015 and 15,000 of us attended the Munjoy Hill show. But then I sort of lost track of the band and still haven’t really listened to 2015’s “Wilder Mind” album. So when I heard they were the surprise act I’ll be honest, I was underwhelmed. Guess what? I WAS DEAD WRONG AND I ADMIT IT.
Marcus Mumford or Mumford and Sons at the Newport Folk Festival. 7.28.18. Photo by Aimsel Ponti
Jay Sweet himself came out on stage to introduce them and from the moment the four of them took the stage to the moment the show ended in glorious fashion (I’ll get to that) I was 100 % all-in and screaming along with the “You really fucked it up this time” refrain of “Little Lion Man” just like everyone else there that night. Marcus and company sounded fantastic and I immediately fell back in love with them.
Brandi Carlile and Maggie Rogers joined Mumford and Sons on stage at the Newport Folk Festival. 7.28.18 Photo by Aimsel Ponti
It didn’t hurt one bit that they set was jam-packed with guests including -you guessed it- Brandi Carlile who sang “The Boxer” with them. She was one of many surprises. Jerry Douglass was also out on that stage. Phoebe Bridgers sang Radiohead’s “All I Need” with Mumford ans Sons and it was to-die-for. But there were two other surprises during the Mumford set that I still can’t believe. Maggie Rogers, who was not one of the weekend’s scheduled performers, was introduced and sang her enchanting tune “Alaska” with the band. I LOVE this song and hearing it in this context was an unexpected joyful moment.
Maggie Rogers on stage with Mumford and Sons at the Newport Folk Festival. 7.28.18. Photo by Aimsel Ponti
The Mumford and Sons set could have ended right then and there and I would have left that night elated. Little did I know that another Newport moment was about to happen and even as I write this I can’t believe I witnessed it.
Mavis Staples with Brandi Carlile and Maggie Rogers perform with Mumford and Sons (among others) at the closing Saturday night set of the Newport Folk Festival. 7.28.18. Photo by Aimsel Ponti
Mavis Staples was introduced and she sang, with her glorious voice, The Band’s “The Weight” with Mumford and company. Phoebe, Maggie and Brandi were also there to sing it. When Mavis took lead on the second voice I could barely process it.
I walked out of the festival on Saturday night even more delirious then I had been on Friday night.
And then came Sunday.
A happy crowd, including Marian Starkey, get ready for Brandi Carlile at the Newport Folk Festival. 7.29.18. Photo by Aimsel Ponti
I’m going to start by saying that I didn’t stay for the final performance of the night, the Change is Gonna Come set led by Jon Batiste with the Dap-Kings. The set featured the Preservation Hall Jazz Band, Rachael Price (Rachael & Vilray, Lake Street Dive), Valerie June, surprise guests Brittany Howard (Alabama Shakes), Chris Thile, Leon Bridges, Mavis Staples, Brandi Carlile and several other Newport luminaries. The 2018 Newport Folk Festival ended with an all-star jam of the Staple Singers “Freedom Highway.”
I had given all I had to give by the time Brandi Carlile finished her set just before 6 p.m. and walked to my car all smiles. Sunday had been the hottest of the three days and I stood under that sun with my new pal Marian for hours upon hours with no regrets so that we could be right up front for Carlile’s set. I missed my gal and my dog and as I made the three hour drive home on Sunday night back to Maine, I knew I had experienced something I will never forget. So that’s why I had no regrets about my early departure.
BUT HERE’S WHAT I DID SEE ON SUNDAY!
Sunday was the day I spent just about all of my time parked at The Fort Stage. I did catch a few songs on other stages by The War and Treaty (SO GREAT!) and Jen Cloher (SO GREAT!) but Fort Stage was my Sunday destiny. This was my first time seeing Passenger (Michael Rosenberg) and his solo acoustic set was outstanding. I only knew the radio singles “Let Her Go,” “Scare Away the Dark” and the new one “Hell or High Water” but truly enjoyed the entire set. His voice is exceptional and I did indeed sing at the top of my voice during “Scare Away the Dark.” That song’s damn near perfect.
Passenger at the Newport Folk Festival. 7.29.18. Photo by Aimsel Ponti
After Passenger it was the magnificent act The Lone Bellow. Holy bananas. I experienced just about every emotion one can experience during their set and experienced temporarily straightness, such was the handsomeness of Zach Williams. Looks aside, my oh my, those harmonies, those lyrics, all of it…
The Lone Bellow at the Newport Folk Festival. 7.29.18. Photo by Aimsel Ponti
The Lone Bellow paid tribute to Scott Hutchinson from Frightened Rabbit with the new song “There Is Love All Around You” and it was beautiful.
Zach Williams from The Lone Bellow at the Newport Folk Festival. 7.29.18. Photo by Aimsel Ponti
After The Lone Bellow it was Gary Clark Jr. I had heard the name but was otherwise fairly unfamiliar with Clark other than knowing he was known to be a hell of a guitarist from Texas. Despite not knowing any of the songs, I thoroughly enjoyed -and rocked out to- the entire set by Clark and his band. Standing near a mega-fan who was more into the performance than just about anyone I had ever seen at a show added to the experience.
By the time Clark finished his set at 4:15, I was hotter than hot and had drained the last of my water, which had been heroically been procured by my friend Marian who braved the crowd to keep us fed and hydrated. No, I will not loan her out for future festivals so don’t ask. She’s the festival friend everyone needs and I also applaud what a huge Lucius fan she is and how she hilariously described herself as a “heat-seeking missile” when it came to being at the right stages at the right times for the many Holly and Jess surprise moments during other acts’ sets.
Brandi Carlile front and center at the Newport Folk Festival. 7.29.18. Photo by Aimsel Ponti
Brandi Carlile at the Newport Folk Festival. 7.29.18. Photo by Aimsel Ponti
When Brandi Carlile and her band hit the stage at 4:45 p.m. on Sunday, July 29, I was a live-wire, a whirling-sun-baked dervish. I didn’t bother using my photo pass for entry to the pit, I stayed right where I was, right up front with Marian and a throng of fellow Brandi fans who shared water, snacks and love for Carlile and the performance we were all about to lose ourselves in.
At this point in 2018, I had already seen Carlile three times; twice in Boston and once in Portland and since the Newport show I’ve seen her at a private fan club show in Boulder and at another bucket list location: Red Rocks Ampitheater (review coming soon!)
I see Carlile as much as I do because she and her band put on one of the best live shows you’ll ever want to see. They’re THAT GOOD. Carlile’s latest album “By The Way, I Forgive You” is my favorite album of 2018 with songs like “Sugar Tooth” and “Party of One,” not to mention the single to end all singles, “The Joke.” Plus she and twins Phil and Tim Hanseroth chose covers like nobody’s business. The entire band is at the top of their games and every Carlile show is a goddamn spiritual experience. Festival sets are never as long as regular show ones but Carlile demolished the 11 songs with every fiber of her being, as did the band. They came out swinging with “Raise Hell” from 2012’s “Bear Creek” and then hit us with the song that for many of us, started it all. The title track from her 2007 second album “The Story.”
Next it was Carlile with twins Phil and Tim Hanseroth for the three-part harmony vocal supremacy with the song “The Eye.”
“The Mother” from “By The Way” tells of the birth of Carlile’s first daughter Evangeline and the emotional roller-coaster that ensued for Carlile. She and her wife Catherine welcome a second daughter, Elijah, a few months ago.
Then Carlile played “The Joke” and almost in a daze, I cheered my heart and soul out. The Lone Bellow joined Carlile for “Sugartooth,” a song about losing a friend to drug addiction and what came next was a one-two punch of covers that just about leveled me. Between the two songs I pretty much screamed out something along the lines of “you’re killing me!” and it made Carlile laugh for a few seconds. (I was right the eff up front ).
First she sang Joni Mitchell’s “A Case of You.” I had never heard her sing this before and to say she nailed it would be the biggest understatement of my entire writing career. Even now, a few weeks later, I’m struggling to find the words to capture to gravity of the performance. At this point I was feeling this performance more than I had felt just about any other show I have been to (and trust me when I say, I’ve seen thousands). That’s when Carlile and company busted out with a tune that although I had seen a couple of times before, was all the more intense on the Newport stage. If Wikipedia is to be believed (and I’ll give it the benefit of the doubt on this one) the song “Babe I’m Gonna Leave You” was written in the late 50s by a woman named Anne Bredon while she was a student at University of California, Berkeley. It ended up being recorded by none other than Joan Baez on her 1962 “Joan Baez in Concert, Part I” album. Seven years later, Led Zeppelin recorded it for their 1969 debut self-titled album. Fun fact: I saw Robert Plant in Boston earlier this year and he sang it. A few month laters, on that same stage, was when I first heard Carlile’s version. The Newport version was one of the most electrifying moments I’ve ever witnessed.
Then Carlile sat at the piano and played a song I have yet to make it through yet without crying. That song is “Party of One”and it’s the closing track on “By The Way, I Forgive You.” Every time I think I’m going to make it through I always fall apart when the strings come in, especially live.
Brandi Carlile ended the Newport set with the spirited anthem “Hold Out Your Hand” and was joined by The Lone Bellow, The War and The Treaty, The Watson Twins as well as little Evangeline and a couple of the twins’ adorable kids.
She gave it everything she had and so did the band and so did us fans.
Not only will I never forget all of the music I saw and heard at the 2018 Newport Folk Festival, I will never forget the 100% positive vibe. It may sound cliche but it’s entirely true. From the musicians joining each other on stage all weekend long to the enthusiastic open-hearted fans, I now understand why this festival is so well loved and respected. It also explains why tickets vanish moments after they go on sale.
Parting thoughts:
If you’re going to attend this festival here are my four pieces of advice:
Be ready when tickets go on sale in the fall. I mean REALLY ready.
Bring a reusable water bottle and put serious thought into getting one of those little hand-held +fans/water misters. I saw two elderly women with them and I won’t hit this festival again without one of them.
Don’t try to see everything. It’s not possible. See what you can and enjoy every moment.
Expect the unexpected. Fort Adams becomes a field of dreams (by the ocean) during this festival.
Thank you Newport Folk Festival for being so welcoming, so memorable, so magical and such an authentic live music experience. I’ll be back. You can count on it.
Oh and hey, here’s this! (with gratitude as always to my tech hero Shamus Alley)
Ponti out.
Aimsel on the Record is sponsored in part by LB Kitchenin Portland, Maine.
Please contact me if you’re interested in sponsorship opportunities!
On Friday, June 22, 2018, I met Bono and The Edge from U2 on a sidewalk (of sorts) in Boston.
This is a moment I never thought would happen and one that I still can’t believe actually did.
Know that I’m coming it this from the perspective of a GIANT U2 fan and I’m sharing this story because it’s a lesson in never giving on your dreams. I’m also sharing it because I think it’s amazing that Bono and Edge did this (meet fans before a show) because they certainly didn’t have to.
How did I come to meet U2 on this particular day? Well in part thanks to Instagram. But hold that thought for just a moment and let me tell you, briefly, about my love for U2 and how it all began.
A thousand years ago in the early-ish days of MTV I saw this video and couldn’t believe my eyes and ears. I immediately bought a copy of the “Under a Blood Red Sky” EP and soon after “War,” “October” and “Boy.” My love for this band was instantaneous and immense. There’s a handful of junior high friends out there that might remember the sleepover when this clip came on MTV and I acted out Bono’s flag-raising and lip-synced along like it was the most important moment of my entire life.
The first time I saw U2 live was on “The Unforgettable Fire” tour. To this day, that first time seeing U2 live was one of the greatest night of my life. Since then I’ve seen thousands of concerts and I’ve seen U2 about a dozen times through the years. But that first time…my oh my.
Then of course there was last summer when I saw them on the 30th anniversary tour for “The Joshua Tree.” That too was one of the greatest nights of my life. You can read about it here.
OK so getting back to that moment in Boston on June 22 of this year. I got wind of the fact that members of U2 would sometimes come out and say hi to fans before shows by way of Instagram Stories. An ember started burning in my mind and since my buddy Colin and I were already going in early to Boston to secure a “good number” in the general admission floor seats line, I mentioned to him about what I had seen on social media and said something along the lines of “Um, maybe we should see if this is happening when we go to Boston.” He was of course totally on board.
On the day of the show we arrived in Boston via the Amtrak Downeaster at around 11 a.m. and immediately acquired the all-important numbered bracelets. Then we were able to establish where to go to wait in case the miracle of the band actually stopping to say hello was going to happen.
In a medium-sized paved area by what I’ll call the “artist entrance” to the colossal TD Garden we came across about 25 fellow U2 fans. They were all very friendly and helpful and they included Rebecca from San Francisco, Maggie from Rhode Island, Leah from Australia and Josie from The Netherlands.
It was a bit of a downer to hear that the day before (night one of the two nights of Boston shows) that the make-shift meet & greet didn’t happen because the band was running late. But still we persisted because a. today was a new day and b. what else we were doing ? Colin and I had packed water and snacks and it was really fun trading stories with other huge fans about previous shows and such.
And the hours passed…
A few fans knew the deal from previous stops on the tour and told us that the first thing we needed to keep an eye out for was U2’s head security guy who, if this thing was going to happen, could at some point appear to survey the scene.
Somewhere around 3 p.m. he did indeed appear and this was the first moment I experienced a massive rush of nervous excitement and the first moment that I thought to myself “holy shit, this might actually happen.”
From there it was a lot of “hurry up and wait” and as the minutes ticked on I went in and out of losing hope and just staying calm and present.
More and more security personnel started assembling and some barriers were put up on either end of the line of fans and a black rope was stretched in front of us .
And now it’s 4:45 going on 5 p.m. and there are maybe 200 of us out there. I can’t deal at all. My new pal Rebecca and I both enabled one other’s stress and talked ourselves out of it and reminded ourselves that no matter what happens, we were going to see a spectacular concert in a few hours and all would be OK.
Then right around 5 p.m. two miracles occurred. A pair of huge black Escalades pulled up, doors were opened and out popped Edge and Bono.
As you can only imagine, I am beside myself at this point.
Here’s the moment of Bono’s arrival:
Bono arrives to say hello to fans in Boston on 6.22.18 Photo by Aimsel Ponti
Bono walked right by me and made his way to the far right side of the line and Edge made his way to the far left. I was pretty much smack dab in the middle.
Everything was happening pretty quickly at this point and yet time also stood still.
I looked to my left and saw Edge approaching and I looked to the right and Bono was getting closer. With my heart in my throat I started snapping photos and here’s a collage of the scene unfolding right in front of me of their approaches as well as some pics I snapped when they were literally RIGHT IN FRONT OF ME along with a”I couldn’t help myself” selfie once I had had my moment with them:
U2’s Bono and Edge in Boston on 6.22.18 Photos by a very excited Aimsel Ponti
If I never take another photo for the rest of my life I think I’ll be OK because I managed to get this one:
U2’s Edge and Bono are all smiles as they greet fans in Boston, MA on 6.22.18. Photo by Aimsel Ponti
Colin and my new friends and I all shared photos with one another and I’m very thankful because otherwise I wouldn’t have these two to share. The first one is the moment I shook Bono’s hand. I knew full well that if I was able to speak with him at all it would be very brief. I also knew that an autograph wasn’t something I needed to ask for. Honestly, I just wanted to shake his hand.
And so the moment came and I said hello and asked if I could shake his hand. He said hello and something like “of course” and we did indeed shake hands. I had not planned what I was going to say to him. What came out was “Thank you. I guess I’ve waited for this moment for 35 years.” This was for me all I needed to say to one of my heroes. I also got to say thanks and get a handshake with Edge.
The moment of shaking hands with Bono after just doing the same with Edge in Boston on 6.22.18. Photo by a fellow U2 fan
This other photo I couldn’t believe when it was texted to me. Someone (was it you, Colin?) managed to get this shot of the back of me with Edge and Bono smiling at me and honestly, I can hardly look at this without my heart growing about 1,000 times bigger and I get a little teary too, such was the gravity of the moment.
Edge and Bono smiling at yours truly in Boston, MA on 6.22.18.
A few minutes after all these photos were taken I called my spouse Tracy back in Maine and told her, with my voice shaking, that I had just met Edge and Bono and then, for real, I started crying.
I thought about it later and realized the tears came from many places but were mostly because I have loved this band so much for so long that it was almost an existential moment to actually meet them. Along with David Bowie, they are a primary reason that my life has centered around music for so long. They’re one of the reasons why I am a music writer. They’re one of the reasons that music is essential to both my happiness and sanity.
So in as much as Edge and Bono are just humans like the rest of us, for me they’re also something else. They represent what it feels like as a 14 year old kid to love a band’s music so much that you know that you’re going to feel that way forever.
When I stood there in Boston and shook their hands I was 14 again. But I was also 40-something me. And as I sit here and finish this post nine days after the moment happened, I’m again overcome with emotions. And that’s the crux of it isn’t it? Feeling that emotion, acknowledging that despite years of being a writer, at the end of the day I’m still a fan who loves music and really loves the band from Dublin, Ireland called U2.
As for the concert later that night, it proved that they’re still the best live band out there.
Bono, The Edge, Adam Clayton and Larry Mullen Jr. of U2 performing live in Boston at the TD Garden on 6.22.18. Photo by Aimsel Ponti
Thanks for taking the time to relive this moment with me. It truly meant everything to me and if you’re a music fan at all, I know you get it.
Indigo Girls have a live album coming out at the end of the month! Hold that thought for a quick second.
Truth be told, I’m experiencing a significant Indigo Girls high at the moment having recently seem them at the incredible Stone Mountain Arts Center in Brownfield, ME and the lovely Music Hall in Portsmouth, NH. The first show was Amy Ray and Emily Saliers as a duo and the second one featured the phenomenal violinist Lyris Hung (who also produced Salier’s debut solo album “Murmuration Nation”) and had the sensational opening act of Michelle Malone.
If I stopped and thought about it, or better yet dumped out my giant ticket stub jar, I’m certain I could report that I’ve seen Indigo Girls live likely more than most other acts I’m a fan of. Since seeing them open for R.E.M. on the “Green” tour I’ve been all about them. Oh and hell yes, Michael Stipe came out onto the stage and sang “Kid Fears” with them. Indigo Girls were one of the first acts I ever interviewed. I was a nervous wreck as they were both on the phone and I’m pretty sure I have the cassette of that phoner recorded when the “Nomads” album came out in a box somewhere.
Lyrics. Harmonies. Vocals. Musicality. Passion. Indigo Girls have so much of this going on and with each new album favorite songs are established. And as for the live experiences-from huge venues to tiny ones- I have never walked out of a show feeling anything less than joyful.
And hey, super quick, lest there be any doubt, Indigo Girls are STILL MAKING GREAT STUDIO ALBUMS. If you don’t have a copy of 2015’s “One Lost Day” march yourself to your favorite independent record store or hop online and get it. Two reasons are this and this.
Now let’s get to the heart of the matter. The new album is coming out on June 29. And not just any album. It’s a LIVE album recorded with the University Of Colorado Symphony Orchestra and I’ve had at least 22 (one for each track) heart attacks while listening to the entire thing through at least a dozen times over the past two weeks.
Here’s what I can tell you about it:
The album was recorded in front of a sold-out audience last year in Boulder, Colorado and was mixed by Grammy winner Trina Shoemaker (Sheryl Crow, Emmylou Harris, Nancy Griffith.) I was surprised to learn that Indigo Girls, have played more than 50 shows with symphonies across the US and am thrilled that a recording of one of these shows is being shared with the world.
Album cover art courtesy of Rounder Records
And here are five specific reasons why I’m losing my mind over this album and why , if you’re even a casual Indigo Girls fan, you should hop onlineand pre-order it. They’ve got some REALLY cool bundles available including signed vinyl, Kleen Kanteens and the winter cap and socks you didn’t know you needed until right this moment among other cool stuff.
ONE:“Fugitive.” I started crying for real when I heard this version version of the Amy-penned tune on this record. It’s one of my absolute favorite Indigo Girls songs and when the horns started followed by a crash of symbols and a whole bunch of strings it was almost too much for my fragile heart to handle. I’m listening to it now as I write this and it’s huge. It’s tremendous. It’s overwhelming. If music was a shaft of light racing down from heaven in the form of a lightning bolt it would sound like this symphony of version of “Fugitive.” “I’m harboring a fugitive, a defector of a kind/She lives in my soul drinks of my wine/And I’d give my last breath to keep us alive.”
TWO:“Mystery,” written by Emily, is another favorite IG song. The studio version, which like “Fugitive” is on the 1994 album “Swamp Ophelia” features backing vocals from Jane Siberry and it STILL kills me all these years later. I mean my god, these words: “Oh you set up your place in my thoughts/Moved in and made my thinking crowded/Now we’re out in the back with the barking dogs/My heart the red sun your heart the moon clouded.” I’m hearing a flute and the horns sound like a sunrise. Cellos and violins and whatever other strings I’m hearing are rising and falling like waves. It’s striking hearing Emily and Amy’s vocals and guitars against a backdrop of what has to be a 50 member symphony.
Photo by Evan Carter
THREE:“Sugar Tongue,” written by Amy is from the 2009 album “Poseidon and the Bitter Bug.” Amy’s vocals are at their zenith of range, power and emotion. The energy builds upon itself with the symphony making its presence known in a gentle way for about the first 45 seconds and then, boom, it’s like the song was struck by a bolt of lightning. With each listen I pick up on more subtleties and try in vain to identify the instruments.
FOUR:“Ghost,” written by Emily is from 1992’s “Rites of Passage” and the song has been splitting hearts wide open -including mine – since the day it was released. “And you kiss me like a lover/Then you sting me like a viper/I go follow to the river/Play your memory like a piper.” Now imagine this song tricked out with a symphony behind it and it becomes a cinematic ride propelled by Emily and Amy’s soaring voices with a wall of sound behind it that only a symphony orchestra could provide.
FIVE:“Go” written by Amy is from the 1999 album “Come On Now Social” and holy hell when the refrain of “Raise your hands/raise your hands high” comes around I want to not only raise them but somehow hurl myself into outer space. There’s what I’m calling a “horn break” in this symphony version and I hear a tuba (or maybe a few of them) and a bunch of other brass throwing notes like punches and the song reaches a fever pitch that is goddamn larger than life. Are you feeling me right now because I can’t handle how good this song is and when you hear it I hope you’re as blown away as I am by it because for the love of all that is holy in this world, it’s tremendous. Seriously, I’m hanging on for dear life with “Go” in my ears right now. I’m smitten with this version. Oh and hey there, Emily, FANTASTIC electric guitar.
So those are my five current favorites. The other thing about this symphony album is the set list. The deep album cuts like “Damo,” “Yoke,” “Compromise,” “War Rugs” and “Come on Home” all get a new lease on life in this format and I imagine some fans will be nudged to revisit some of the IG more recent albums that are home to these tunes.
Also, you haven’t lived until you’ve heard the symphony version of “Closer to Fine” that closes out the album. Complete with xylophone and the strings singing right along with the “I went to the doctor/I went to mountains/I looked to the children/I drank from the fountains.”
Oh and by the way…here’s “Galileo” from the symphony album.
I can’t wait for this album to drop because I hope you all experience some semblance of the musical and emotional fulfillment that I’ve been feeling these past couple of weeks.
Are you on fire from the years? (yep, “Kid Fears” is on it too). I can tell you that my heart and soul are on fire because of this album.
Indigo Girls Live with the University of Colorado Symphony Orchestra. Out 6/29/18 on Rounder Records.
Let me get right to it: Amanda Palmer and Welsh musician Jasmine Power have just released a song called “Mr. Weinstein Will See You Now.”
I don’t think I’ve listened to a song more times in a 72 hour period than I have this one. With each listen, it seeps in all the more. While listening to it I’ve wiped tears from my eyes. While listening to it I felt anger in my belly churn and burn. While listening to it I have wanted to run screaming to the top of the nearest mountain and with skinned knees and a thundering heart plead with the universe for those who have been hurt by Harvey Weinstein, Bill Cosby and other monsters posing as men to know some semblance of peace, healing and in some cases…goddamn revenge.
Can a song offer that? I’m not sure if it’s my place to say. But I paused for a moment to consider other songs that have documented abuse that I feel have been important. Ones by Tracy Chapman, Tori Amos, 10,000 Maniacs ,Suzanne Vega and Sinead O’Connor came to mind.
Before we get to the actual song, here’s a little backstory that I think is key for you to know about.
This is from what was sent out to inquiring journalists. Jasmine Power, by way of a mutual friend, was at Amanda Palmer’s house for dinner a few months back. The two clicked and three days later wound up in a studio together to record a song. Palmer explained that the news about Stormy Daniels was at fever pitch. “I found myself thinking about closed doors to hotel rooms across the world over time and how they’ve been the backdrops of so many of these painful encounters. That was the starting point, and we wrote with the idea of a split self: two voices inside one woman’s head.”
British film-music arranger Matt Nicholson added strings (and oh my god, did he ever!) and orchestration with the goal of making the song more cinematic so as to “kick Hollywood in the face.” Mission accomplished. And then some… “It doesn’t sound like anything I’ve ever made before; it’s almost a mini piece of theater,” Palmer added.
Palmer went on to say that she’d been thinking about how to address the #Metoo movement in a song. “It’s so personal to these women, these stories, and it felt wrong to write something funny and cabaret; the topic is too harrowing. It’s not surprising, that, just like the movement itself, it took two women getting into a room together, comparing notes and joining forces to create something almost like an anthem for taking back our narrative.”
Initially, the song was called “The Hotel Room” but Palmer thought a bolder statement would be to call it “Mr. Weinstein Will See You Now.” She heard from a feminist friend that using that title could stir controversy because Palmer couldn’t tell a story that wasn’t hers; at least not about this topic. Palmer’s response was that if that’s the case, it’s the “end of all art as we know it.” But she also reached out to Rose McGowan on Twitter with the lyrics and McGowan offered her approval of the title.
Amanda Palmer and Jasmine Power Photo by Matt Nicholson
Lastly, before you listen to the song (and it is strongly suggested you do so with headphones for maximum impact), I’m going to share with you Amanda’s response to questions I sent directly to her about how she was feeling as she stood on the precipice of the song’s release.
“Every time I release a song, I’m faced with a mystery. I’ve learned by now not to have any expectations whatsoever; it never works. Things that I think will be understood are often misunderstood, and things that I think will be misunderstood are sometimes embraced with zero drama. But that’s the way I like it, and it prods me on to simply make what I make and let the public deal with it in their own way, it’s not like I have any control over it anyway. I’ve played this song in private for a quite a few people now, and I can tell you this: men seem to appreciate it intellectually and say ‘this song is good’ and women look me in the eye and say “Holy fuck.” But all that being said, I’m always in a kind of brace position when a song comes out, because I’m so used to being misinterpreted. At the very least, a conversation starts. I don’t care if people like the song, the lyrics, the orchestral production, but if it gets people thinking about or arguing about the issues, well…hopefully there’s some progress in there.”
So there you have it. Grab your headphones and listen to this when you can really hear it without distraction or interruption.
I think this is the most important song of 2018. I think music like this is vital. And musically speaking, I think the song is a masterpiece. From the vocals from both women to the heart-piercing piano to the holy-god-almighty string crescendos and most importantly the lyrics, “Mr. Weinstein Will See You Now” is brilliant. So yeah, I’ll add my voice to the chorus of other women when I say with 100% sincerity: HOLY FUCK.
Also, through June 30, 100% of digital proceeds will go to the TIMESUPNOW legal defense fund. Here’s where you can buy it:
I’ve been waiting for a while to say these seven perfect words and since it’s been about four years since any of us got to say them, permit me to bust out in all caps:
Oh and then there’s “Feel Alive.” The single was released toward the end of 2017 and I love it so much it made it onto my Best of 2017 list.
Oh and let’s not forget “Beat of Your Own.”
Point being, Herzig’s made an extraordinarily album with “Moment of Bliss” and along with its release came the glorious news of a tour which includes a date in Boston in July.
I’ve only seen Herzig twice before, both at venues here in Portland, Maine. The first time was at Empire in 2012. In fact, I interviewed Herzig for the Portland Press Herald in advance of that show.
The second time was when she came to Port City Music Hall during the tour for her 2014 album “Walk Through Walls.” {Sidebar, go buy this album if you don’t already have it.} On the day of that show Herzig was kind enough to swing by my office at the Portland Press Herald for a Newsroom Session and as long as you promise to picture me with better hair, fashion and about 30 pounds trimmer you can see that session HERE. and I strongly encourage you to do so because during the session Herzig performs two acoustic songs which thankfully is the focus of it rather than the dopey interviewer. (yours truly.)
Want to know if Herzig is coming to your city? OF COURSE YOU DO! Find that HERE.
Katie Herzig Photo courtesy of the artist
Herzig is originally from Fort Collins, Colorado and has been in Nashville for the past several years. Her solo discography dates back to 2004’s “Watch Them Fall” and several have followed. Make it a point to go deep down the rabbit hole of her music because her stuff is really different.
I reached out to Herzig and asked if she’d be up for a conversation about “Moment of Bliss” and other stuff she’s been working on these past couple of years. With fingers crossed I waited and indeed she responded and a week later we were on the phone chatting up a storm. Here’s that conversation in which we covered not only “The Moment of Bliss” but also delved into the inner-workings of how Herzig makes a living with music.
AP: Congrats. Your record’s been out a little over a month. How are you feeling about it?
KH: It has been such a long time coming that mostly there’s only relief. This record took a long time to get out; my records take a long time to get out anyway so for some reason this felt longer. Just a lot of life happened in there so it just kind of drew out the process. And now in this day and age with releasing singles upon singles leading up to the album it just really stretches it out so by the time the album was here I was just like ‘thank god, let’s just do this.’ So yeah, I felt much relief.
AP: Can you walk me through the chronology of singles? What was the first one?
KH: “Strangers” then it was “Feel Alive” then I think we did “Me Without You,” that was around the holidays and then we started off January with “Beat of Your Own” and then we totally threw in “Weightlifting” on a whim two weeks before the record came out.
AP: You must be getting some decent radio play? Is that a safe assumption?
KH: I had a lot of support at AAA and different singles along the way at different stations There was no AAA-sounding obvious radio song so I didn’t put money into it. A lot of that turns out to be trying to get on playlists. There are stores playing it.
AP: I would imagine every little bit helps like if you’re added to one of those Spotify fresh tracks playlists.
KH: To be honest there’s always this huge decision and it happens with all my friends who are independent, who are putting out music and trying to make smart moves about how to spend money and how to promote it. Do you put money into the playlist thing? Into the radio thing? In the last album I did, we put a lot of money into a lot of things and this time I’m gonna try to not do that again. It’s all kind of random.
AP: How much difference does radio airplay make with getting people in the door on a tour?
KH: I think if a radio station is playing you a significant amount and at good times it does make a difference. I think the difference is, and I feel like I got a taste of this, in certain towns where -and this was back when “Free My Mind” was happening because that got to Top 20 or something like that so there were certain markets that were getting a lot of spins and I would show up and more people would come. But it was a much more fickle crowd, it was a ‘people there to hear one song’ kind of feeling. So you feel the difference between what radio does. There’s always gonna be people who dig in further and listen to your whole catalog but it feels a little more seasonal, the radio thing.
AP: Have you worked with Cason Cooley before as a producer and what did he bring to the table? How would you described his contribution to “Moment of Bliss?
KH: This will be the third full length record we’ve done together and then he did half of “Apple Tree” with me. We’ve also been co-producing some other stuff together. I’m a very hands-on in production artist so a lot of times, an example would be, I would pretty much have a pretty fully-formed song and I just need help getting across the finish line. So a lot of times that’s where he steps in. And then at other times he’ll have a musical idea and I’ll take it and run with it, write lyrics and then we’ll come back to it and he’ll help me finish it. So it can be from the beginning we’re writing and recording together and then other times it’s kind of more fully-formed and I bring it to him.
AP: Did I see that you posted that “Feel Alive” was on “American Idol” or something like that?
KH: I think so. I work with a licensing company, Secret Road, and those things, a lot of times they tell you the day of. Then I turned it on but I never heard it so I don’t know for sure.
AP: You’ve had a robust history of TV placements. It’s a bit of a mystery how that all works behind the scenes. You hire somebody who specifically does that right? Licensing to TV and film?
KH: Yeah. That’s been a huge part of my career; working with a licensing company that is essentially representing me and pitching me to TV, film and commercials and some of that stuff means me writing for those things. Some of it is just them using music that I’ve already created. Some of my music has started as writing something for them and then it became my own thing.
AP: As a fan my process is -when I’m watching a show -like the recent reboot of “Twin Peaks,” I hear a song I like, rewind it, open the SoundHound app and then I immediately follow the artist on every platform so that I don’t forget. My point is, it’s awesome and I’ve become fans of artists because of one little TV placement so I think it’s a very powerful tool.
KH: It is. That’s kind of what my career has been built on. That and me opening for other artists mixed with a little bit of radio. It’s kind of a hodgepodge and I think the licensing stuff can be a really powerful thing because especially if these are TV shows that people care about and songs become the backdrop in these emotional moments. It can form this instant connection.
AP: I can’t imagine “Me Without You” isn’t going to get a placement. You’ll get off this call from me and will get another one telling you that- I’m manifesting it for you.
AP: So today, my favorite song from the album is “All This Time.” What’s your favorite right now?
KH: Right now I would say. Wait did you say “All This Time?”
AP: Yeah.
KH: That’s the one I would say because it took on a whole new meaning for me recently.
AP: How long have you lived in Nashville for?
KH: I moved here in 2006 so 12 years.
AP: What do you like about Nashville and what’s hard?
KH: The music community here is super supportive and collaborative. It’s such an easy and inviting town to make music in from writing to recording to putting music out. And because the talent and quality level is so high, it just ups your game at every level. I find it to be an energy like nowhere else, where music is a part of the fabric of this town. It’s so normal to be a musician here and to have a career in it. If I moved from here I would greatly miss that. What’s challenging for me is that I miss the West and I miss being closer to my family and I miss bike lanes.
AP: I know this record was a long time coming but you’re also someone who gets involved with a lot of other projects so what else has been going on?
KH: I have been collaborating with Ingrid Michaelson on her new project. Cason and I are co-producing that project with her. Now that the record’s out I’m starting to prepare for a tour. There’s so much work in getting this thing out now I’m getting back to music. It becomes so much about content and deadlines and artwork and all that stuff. I’m just kind of in the process of figuring it all out.
AP: It seems like a new album has about a two-year trajectory as you release singles and videos and such so “Moment of Bliss” is still kind of a newborn.
KH: It’s just a weird thing too because to me these songs and this thing, it doesn’t feel that way and so I have to keep reminding myself of that. Especially with the little I put out, this doesn’t happen very often for me.
AP: Speaking of things you put out, I’ve never really been much of a Cold Play fan but I sure love your take on “Viva La Vida.” I had forgotten you had done it and it’s gorgeous.
KH: Have you ever heard their song “Midnight?”
AP: I only know the radio hits so if you tell me listen to “Midnight” I totally will. I liked them when they first came out, I don’t know what happened. I’m just a terrible person. {note, 3 days after this interview with Katie I did indeed listen to “Midnight” with an open heard and mind. What can I say? It’s a goddamn beautiful song. Like REALLY beautiful.)
AP: As I think about “Moment of Bliss” as a whole, there’s just so much going on and I extract a lot of hope and positivity and also acknowledging things that are kind of a struggle. But say you’ve just gotten on an elevator with some random person and are asked to describe your record to someone who hasn’t heard it. What would you say?
KH: As I was making this album it felt like a completion of an idea. It felt like the completion of this season of making the last three albums and somebody even pointed it out to me saying this feels like the third in a trilogy. This is the third I’ve done with Cason and just kind of the evolution of where this vision and these influences and these seasons of life back to back kind of have gone where they’ve ended up. I do feel like this is a reflection of…there was kind of like this acknowledgment of a beginning and this world of possibility and it started with “The Waking Sleep” and these new sounds also this way of me taking in life and then this second “Walk Through Walls” was very much me working through this very difficult reason and then this one kind of feels a little bit like the aftermath of that and the arrival of some reflective maturity and some experiences and the resignation. It feels like resignation to these things I do as an artist. This is a very natural progression of what I’ve done and I am kind of indulging in these things that I have done in music in these landscapes and these tendencies and layers of sound, themes. And that doesn’t mean I’m gonna necessarily never do any of that again but it did feel like getting it out of my system in a way. Whatever comes next is gonna feel really different but who knows?
AP: I’m looking out this super cool cover. Buttefly (Boucher) did all the art and layout right?
KH: Yes she did.
AP: The yellow squares over your eyes. Are those symbolic of something? The whole thing looks amazing I’m just wondering if there’s any symbolism in there? What went into the decision with that?
KH: There’s a really interesting story behind this album of that almost like art and life getting so tied up, talk about manifesting stuff. You write these songs and you explore these ideas and then the album is done and you’re doing the artwork and you’re realizing some of these themes are coming to life in your own life. For me, “Moment of Bliss,” what was like, that, you know, and even coming up with an album title, that whole journey can be very difficult and once “Moment of “Bliss” revealed itself it like really revealed itself. If I talk too much you’re gonna have to ask me more questions.
AP: Dream collaboration. With anyone? Dead or alive. Who comes to mind?
AP: (after lightning fast Googling) Wow, he did “Brokeback Mountain” and “Babel.”
KH: I first heard him on “Friday Night Lights” and there’s one song in “Babel” what was in “Friday Night Lights” and it was like ‘oh my god what is this?” so I tracked him down. Artists like him or like Bon Iver, there’s something I identify with in how I make music that is almost like it doesn’t have to be the most put together, clean thing. There’s just those layers of things happening that move in a certain way that just gets you. So I want to do something where we put this guy, Justin Vernon and me in a room and see what happens.
AP: I don’t think that that’s that unrealistic of a request.
When I walked into the Rickie Lee Jones show the other night at AURA in Portland, Maine and plunked myself down in my front row (to the left a bit) seat I had no intentions of writing about it. I was there strictly as a fan. I had bought the tickets months ago the moment they went on sale and had been quietly feeling the slow burn of anticipation for the show. But 47 seconds into “Weasel and the White Boys Cool” I couldn’t help myself, I pulled out my notebook and pen and started scribbling notes because my jaw was on the floor by how fantastic Jones and her two band-mates sounded.
Rickie Lee Jones is a national treasure as far as I’m concerned. She’s one of our songwriting greats and her vocals are unique in that no one sounds quite like RLJ. Her voice is clear and bright but also jazzy and moody, depending on the song.
Some people think of Jones simply in terms of the 1979 track “Chuck E’s in Love” from her debut self-titled album. OK. Fine. The song’s terrific and all. But man alive, there’s SO MUCH more to her career than that. In fact, on that very same album is where you’ll find the song she closed out her show with in Portland the other night called “Coolsville.”
“And now a hungry night you want more and more/And you chip in your little kiss/Well I jumped all his jokers/But he trumped all my tricks” is just a tiny bit of the spellbinding lyrics. At times her vocals sink so low you swear she’s shaking hands with the devil.
Rickie Lee Jones performing at AURA in Portland, Maine on 3.27.18 Photo by Aimsel Ponti
Jones played acoustic guitar most of the night but did sit at a baby grand piano for a couple of songs. She was accompanied by a terrific electric guitarist named Cliff Hines and a sensational percussionist named Mike Dillon.
She did hit us with “Chuck E.’s In Love” early on but no complaints because, again, it’s a damn good song and this was version was a stripped down chilled out one.
Jones’ third song of the night is one of her finest lyrical moments and it’s another one from that famous first album that is just shy of celebrating its 40th anniversary.
Warner Bros. Records
“Last Chance Texaco” is straight-up one of the best songs out there by anyone. When Jones started playing I for real got the chills and came damn close to having to pinch myself.
“A long stretch of headlights bends into I-9/Tiptoe into truck stops/And sleepy diesel eyes/Volcanoes rumble in the taxi and glow in the dark/Camels in the driver’s seat/A slow, easy mark.”
Jones sounded as good -if not better- on this night in Portland than perhaps I’ve ever heard her before. This was about my 5th time seeing her live.
The show continued along its riveting course with “Love Is Gonna Bring Us Back Alive.” It’s from the 1989 Jones album “Flying Cowboys” which is nothing less than sacred to me. The album was my gateway into knowing and loving the music of Jones.
With an easy smile, sparkling eyes, blue dress and black beret, Rickie Lee Jones looked genuinely happy up on that stage and although I wish the show had been maybe two or three songs longer, every second was captivating and it reminded me SO MUCH of why I love her music.
Other holy-bananas-this-is-so-great moments from the show included “We Belong Together” and “Living It Up” from her 1981 “Pirates” album, her interpretation of the Arthur Hamilton penned standard “Cry Me A River” which Jones told us was made famous by Julie London in the 50s, “Mink Coat at the Bus Stop” from 2003’s “The Evening of My Best Day” and “Cloud of Unknowing” from 2003’s “Ghostyhead.” Oh and especially “Eucalyptus Trail” from 2009’s “Balm in Gilead” with the lines “All my old friends have gone underground/They fall so hard, I am the last of my kind in this town.” This seems like the perfect line to end with because Rickie Lee Jones has always felt like an old friend and I’m glad sure glad she resurfaced to put on such an extraordinary mid-week show in Maine.
Here’s a clip someone shot in Paris, France last month of Jones playing “We Belong Together” which I’m sharing so you can hear for yourself how goddamn glorious Jones still is live.
The Orpheum Theatre in Boston, MA marquee Photo by Aimsel Ponti
Let me say this right out of the gate: K.D. Lang is one of the greatest singers on the planet as far as I’m concerned. I put her vocals right up there with Judy Garland in terms of sheer excellence. Her version of Cohen’s “Hallelujah” from her 2004 album “Hymns of the 49th Parallel” is the only one I care about. And her take on “Black Coffee” from 1988’s “Shadowland” and Cole Porter’s “So in Love” from the 1990 benefit album “Red Hot + Blue” will forever kill me. I love this woman’s voice SO MUCH. Oh and right, then there’s her take on Roy Orbison’s “Crying.” Good God in heaven.
I hadn’t seen Lang live in years. Like since the 90s if memory serves. And so I found myself filled with a sense of longing and joy when I heard she was on the road celebrating the 25th anniversary of her 1992 “Ingenue” album. (the tour started last year for those of you doing math out there.)
Fast forward to last Thursday night in Boston where I sat about 15 rows back in a not sold-out but damn close crowd entirely enraptured with Lang and her STELLAR seven-piece band as they served up all ten tracks of “Ingenue” like a fine wine.
Before I spill my heart out about how much I loved this show, let me quickly say that I LOVE it when artists mark anniversaries of albums by taking them out on the road and playing them in their entirety. I’m looking at you, Brandi Carlile and Shawn Colvin and U2 as a few recent examples. We live in a shuffle play world but I immensely appreciate hearing an album performed in the order in which it was originally sequenced. And this is especially true with “Ingenue” because this album is like a fantastic voyage of climbing a ladder that leads straight to the core of the human heart beginning with “Save Me” and ending with one of the 90s’ finest musical moments: “Constant Craving.”
After a scintillating opening set from Australian guitar duo the Grigoryan Brothers the house lights dimmed and the stage lights lit up to the sounds of “Save Me” and then Lang’s vocals started and it was downright spiritual because, and I can’t emphasize this enough, SHE SOUNDED AMAZING. I looked at my friend Jen with my jaw dropped and settled in for what proved to be a luxurious and musically spellbinding performance of a divine album which, by the way, Nonesuch Records has released a 25th Anniversary edition of which includes a second disc of “MTV Unplugged Tracks.”
After the first three tracks of “Save Me,” “The Mind of Love” and “Miss Chatelaine” Lang told us they were going to play the rest of the album pretty much without stopping and this proved to be an excellent decision because the album flows so well and banter between songs wasn’t needed.
“Outside Myself” with the lines “I have been in a storm of the sun/Basking, senseless to what I’ve become/A fool to worship just light/When after all it, follows night” is my favorite track on the album and I will forever bow to Lang and Benjamin Mink for writing it.
But for sure the rightful moment when we all lost our minds (in a subdued but none-the-less thrilled manner) was then Lang and company closed out “Ingenue” with the Grammy-winning tune ““Constant Craving.” What a way to end an album.
K.D. Lang at Boston’s Orpheum Theatre on March 22, 2018. Mediocre but enthusiastic iPhone photo by Aimsel Ponti
When “Ingenue” ended the show was far from over and Lang’s next tune was “Honey and Smoke” from the 2016 album “case/lang/veirs” that she made with Neko Case and Laura Veirs. If you don’t have the album GET IT. Trust me on this.
K.D. Lang in Boston. 3.22.18 Photo by Aimsel Ponti
Then we heard “I Dream of Spring” from Lang’s 2008 “Watershed” album during which she played an acoustic guitar. The song is slow and moody and like everything else we heard in Boston at this show, it sounded goddamn glorious.
This brings me to what I’m calling the “H3” part of the show. Lang sang three covers all starting with the letter H and all written by her fellow Canadians.
First was Joni Mitchell’s “Help Me”, next was Neil Young’s “Helpless” and finally Leonard Cohen’s “Hallelujah” which you already know how I feel about.
Needing to catch a bus back home I had to dash after “Hallelujah” but from what I gather, Lang and her band closed out the show with “Sing it Loud,” the title track from the 2011 album “K.D. Lang and the Siss Boom Bang: Sing it Loud” album. It’s a breezy, charming tune and next time I won’t miss it. The last song of the night is one that Lang’s never recorded but has sung a number of times through the years. It’s called “Sleeping Alone” and the song is honey sweet, sexy and a perfect way to say goodnight with. Damn me for not being there for it. Sleep is, after all, over-rated.
So what’s the takeaway from all this? I’ll repeat my opening sentence:
K.D. Lang is one of the greatest singers on the planet as far as I’m concerned.
I’ve been trying to write this Brandi Carlile album review for a few weeks now and I’m still struggling with what exactly I want to say. The album (produced by Dave Cobb and Shooter Jennings) has such an emotional hold on me that I’m a bit of a mess. I wasn’t sure if I could string my thoughts together enough to even attempt a review. Then it came to me; Conventional album review wisdom (if it even exists) be damned! This is what I’m going to do instead:
AN OPEN LETTER TO BRANDI CARLILE & ‘BY THE WAY, I FORGIVE YOU”
Brandi Carlile performing at Ryman Auditorium. 4.25.17 Photo by Aimsel Ponti
Dear Brandi Carlile and your album “By The Way, I Forgive You,”
Holy hell, what have you done?
You’ve made an album that has called open season on my heart. You’ve torn it out and put it back together nine ways to Sunday. You’ve made an album that has made me take a LONG look at the notion of forgiveness. You’ve made an album that, with each listening, permeates my bone marrow, my soul and everything I thought I knew about music.
You and the Twins and everyone else involved have made an album that is nothing less than brilliant.
So to simply say THANK YOU doesn’t seem enough. It doesn’t seem nearly enough.
Permit me to unpack “By The Way, I Forgive You” song by song, so as to tell you the impact each song continues to have on me. Know that I’ve sung these songs at the top of my lungs on the highway. I’ve listened to them while walking my dog. I’ve listened to them at work. I’ve listened to them at home on my turntable (hell yeah, I have it on vinyl too.” I discover something new each time.
I can’t imagine what it’s going to be like hearing these songs live in the coming months.
Ready?
ONE: “Every Time I Hear That Song.” I don’t keep a journal. I wish I could. But I don’t because I’m too afraid of it being read by anyone. And I’m too afraid, I’ve realized, of documenting my deepest secrets. This is one of the reasons why music is so important to me. Certain songs I adopt as journal entries and no matter how much time has passed, every time I hear that a certain song, there’s an emotional charge. This makes “Every Time I Hear That Song” something of a song within a song. This song gives me permission to revisit past experiences, past relationships, past moments of connection, past pain, sorrow and all the rest of it. And you’ve packaged this all in a gorgeous song. And when you and Tim and Phil sing the lines “By The Way, I Forgive You/I never will forget you for giving me what I found/Without you around I’ve been doing just fine/’Cept for anytime I hear that song,” it’s profound. And speaking of forgiveness, you’ve asked us to look at forgiveness under a microscope. Goddamn it. I have found myself budging on things I never thought I’d budge on. I have found myself slowly starting to forgive myself for past mistakes. You have made a song into something of a movement. And you’ve asked your fans to document moments of forgiveness with a contest you ran and I saw some of the entries and people are baring their souls and it’s beautiful. Dear Brandi and ‘By the Way, I Forgive You,” this song is everything. It really is.
TWO: “The Joke”
When this single was dropped last fall I, like many other people, fell outta my chair. The song is HUGE and lush with strings and crescendos and Mount Everest vocals. I’ve been swooning over this song for a while now. But I’m going to share with you part of a Facebook post (with permission) by a friend of my named Ryan. He’s a new fan and this is what he posted the other day: “Sorry everybody, it’s another Brandi Carlile post. I can’t tell you how rapt I am with her. As I previously offered, I am glad I don’t have a song on the radio right now because it would sound foolish if it came on after “The Joke”. We’re all playing checkers. She’s playing chess. I haven’t liked music this much in years.” Then a few days later Ryan shared this: “As we’ve covered here previously, I recently was floored by hearing the new Brandi Carlile single on WCLZ. I finally found some solely listen- to-music time tonight, and am just now listening the whole record. This is a jaw dropping startlingly gorgeous and extremely visceral piece of art. It is astonishingly beautiful. Anyone who is not listening to her has got to stop and take a look at least. I am so mad at myself for having never given her time these past few years. This is my favorite record of the year so far, by miles.” Ryan’s discovery of Carlile reminded me of the scene at the end of “Field of Dreams” when Kevin Costner’s brother-in-law could finally see the ballplayers and was floored by it. Welcome, Ryan, to the party. Here, have a Jameson’s.
THREE: “Hold Out Your Hand”
This is is a barn burnin’ foot stompin’ feel good tune, complete with a sonic boom of a chorus. It’s an outlaw’s anthem and a redemptive, devil defying proclamation of faith all wrapped up into one gigantic song that makes me want to both dance around in a cowboy hat and go running up the stairs of the nearest church. And yet Carlile also slips in some not foolin’ around lyrics in the form of “Here is a license for killing your own native son/For a careless mistake and a fake plastic gun?”
FOUR: “The Mother”
I’ve been hearing this one live for at least a year (maybe two) and am so glad it landed on the album. “Evangeline” is the name of Carlile and her wife Catherine’s three-year-old daughter. The song is one that mothers – and parents- will surely identify with. And for non-moms like me , it let me into a world I know I’ll never fully understand. And Carlile does so in such a sweet, playful, gentle and wise way. “She’s fair and she is quiet, Lord, she doesn’t look like me/She made me love the morning, she’s a holiday at sea/The New York streets are busy as they always used to be/But I am the mother of Evangeline.” I haven’t heard such a wonderful snapshot of parenthood since Bowie’s “Kooks.”
FIVE: “Whatever You Do”
This song’s first line is everything. “If I don’t owe you a favor, you don’t know me.” God I love that. That said, this is among the most heavyhearted songs on the album. “There’s a road left behind me that I’d rather not speak of/And a hard one ahead of me, too/I love you, whatever you do/But I’ve got a life to live too.” The only things that allows me to hold it together listening to it is how resplendent the song is. The strings come in slowly then build and then Carlile’s voice floats up to the sky like a soul escaping a body it no longer needs.
SIX: “Fulton County Jane Doe”
If I’m Dolly Parton , I’m putting a version of this on my next album. Call me crazy but I can hear her singing this one in my head. And that, my friends, is very much meant as a compliment. The song seems to be about second chances. And maybe third of fourth ones too.
SEVEN: “Sugartooth”
Not since K’s Choice released the song “Not An Addict” more than 20 years ago has a song about addiction hit me so hard. The addiction struggle is sadly very real everywhere, even here in Maine. Carlile has painted a portrait of it that explains the disease in an understandable way and with empathy rather than judgment. “He wanted to be a better man/But life kicked him down like an old tin can/He would give you the shirt on his back/If not for a sugartooth.”
EIGHT: “Most Of All”
If you’ve ever lost anyone important to you, this song is going to make you cry. “Most Of All” is heart-rending but it’s also bursting with love and hope and gratitude. It’s also full of kind-hearted inspiration. “But most of all/She taught me how to fight/How to move across the line between the wrong and the right.” Prepare to feel all the proverbial things with this one. But don’t you love songs that do that? I sure do.
NINE: “Harder to Forgive”
This is a knee slapping gem of a song that had me at the first line because it’s so true! “I love the songs I hated when I was young/Because they take me back where I come .” Word, Brandi, word. The song is upbeat and snappy but with brooding lyrics; a perfect combination in my book. Plus the electric guitar and wailing vocals toward the end are motherfuckin’ spectacular.
TEN: “Party Of One”
This was the only song the album could have ended with and it is a reminder that the best way to listen to an album is all the way through, in the order in which they were intended to be heard. In other words, this is not an album to be listened to on shuffle play. Trust me on this. “Party Of One” is one of the saddest Carlile songs I’ve ever heard but it’s also stop-you-in-your-tracks stunning. At just under six minutes, it opens with a piano that sounds like its weeping. “Waiter send this to the table, the party of one/The only other lonely soul in this place” are the opening lines. From there the song speaks of love at first sight and a love that is without end. But also of a defeated love. It doesn’t matter what is happening in your life, this song’s gonna kill you. And just when you think you’re going to survive the song, in come the strings and then the drums and you’re swept up in a whole other layer of emotion. This song is a self-contained symphony of feelings, a relief map of longing and a timeline of a love that despite all the bullshit, won’t ever really be extinguished. Amen.
The holy trinity of Brandi Carlile, Tim Hanseroth and Phil Hanseroth have collectively written ten songs that are going to touch a TON of people both as they listen to them and see and hear them performed live. “By The Way, I Forgive You” has touched me in a way I didn’t know an album could. I didn’t know I could love a Carlile album as much as “The Story” but upon hearing this one, the code was cracked and another compartment of my heart was accessed.
Ponti out.
P.S. I’ve had the pleasure of interviewing Carlile on three occasions for the Portland Press Herald/MaineTodaycom. 2012 , 2015and2018.
Last night I had front row seats to see Robert Plant & The Sensational Space Shifters play a sold-out show at Boston’s Orpheum Theatre. A few weeks ago I was ticketless but planned on hopping on a bus to Boston with the hopes of scoring a last-minute ticket on the street but then a friend swooped in and invited me to join her. It wasn’t quite clear to either of us just how good the seats were until the usher escorted us as far down front as one could ever hope to go.
Robert Plant at the Orpheum Theatre in Boston. 2.16.18 Photo by Aimsel Ponti
In the weeks leading up to this show I listened to the hell out of Plant’s latest album, the tremendous “Carry Fire,” released last fall and assorted other tracks from the 10 previous albums that he’s released since 1982. Through this process I was able to answer an important question before stepping foot into that theater:
Would I be able to be fully present seeing the 2018 Robert Plant and in a sense, meet him where he was today? Or in my mind would I be the 13-year-old version of myself who stood alone at the end of junior high dances listening to what was always the last song of the night? Of course the song I’m referring to is “Stairway to Heaven.” Would I be able to reconcile in my head that I would be seeing the dude who I still hear ALL THE TIME on two different classic rock stations here in Maine singing songs that still kill me like “All My Love” and “Going to California?” Could I leave 13-year-old me and the Zeppelin version of Plant back in that happy nostalgic rock vault of my mind and be 100% present in the here and now knowing that I would be seeing someone who I’ve never quite considered to be entirely human but rather a musical deity?
The answer was a resounding YES.
It became clear to me within the first few notes of the show’s opening song “New World” from “Carry Fire” that this was going to be an entirely brilliant show by Plant and his spectacular band.
Look, I’ll level with you: Having seats that close and having Robert Plant standing about a dozen feet away from me for sure hit me in the proverbial feels. I’m only human and I had several flashes of “Holy God! That’s Robert Plant!!!” I mean for the love of God, Led Zeppelin is one of the greatest bands that ever was and not unlike when I saw Roger Waters last fall, I almost had to pinch myself a few times. But not often because most of the time I was too busy rocking out and enjoying the show and the damn near overwhelming artistry of the band. In fact, the Sensational Space Shifters are so good l need to take a moment to tell you who they all are:
Justin Adams on electric and acoustic guitar, oud, and percussion, John Baggott on keyboards, moog, loops and percussion, bassist Billy Fuller, drummer Dave Smith, Liam “Skin” Tyson on dobro, electric and acoustic guitar, and opening act and newest Space Shifter Seth Lakeman on fiddle.
Robert Plant and The Sensational Space Shifters played several tunes from “Carry Fire,” a few from previous albums and I’ll end the suspense now by saying, yep, they did indeed play a handful of Led Zeppelin songs. Different arrangements of course but still with the bones of the original takes.
Vocally, Plant’s voice has evolved. At 69, he’s still got those legendary pipes, he just uses them differently. His voice has a texture and depth to it that doesn’t need to howl like he did in the Zeppelin heyday. His is a voice that carries the songs down a bluesy, rootsy, Americana river. He digs deep when he needs to but doesn’t try to burn houses down with it. It’s another finely-tuned instrument amongst the others in his exceptional band.
So let’s get down the nuts and bolts of this show. All told Robert Plant and the Sensational Space Shifters played 15 songs including “New World,” “The May Queen” and “Carry Fire” from the new record. The rest of the set was a melange of tracks from “Lullaby And…The Ceaseless Roar,” “Mighty ReArranger,” “Raising Sand” (the album he made with Alison Krauss,) “Dreamland” and “The Principle of Moments.” I’ll tell you about the Zeppelin tunes in a minute because these aforementioned songs need some serious accolades dropped on them.
2005’s “The Mighty Rearranger” is home to one of my absolute favorite Plant songs. “All The King’s Horses” is a a delicately gorgeous song. Hearing it live was profound.
“Swift and true straight to my heart,
Love has come calling and I’m back here again
I pour myself a brand new start
Glad to be falling for the beauty within”
In 2002, Plant released the “Dreamland” album with a cover of a Bukka White song called “Fixin’ to Die.” This was a song played in Boston with its teeth bared.
“In the Mood” from 1983’s “The Principle of Moments” was the show’s first encore and Plant exuberantly exclaimed “I’m in the mood, Boston!” during it. And so were we.
“Rainbow” from 2014’s “Lullaby And…The Ceaseless Roar” was another standout Boston moment.
“I’m reachin’ for the stars
In the sky above
Oh, I will bring their beauty home
The colors of my love
And I will be a rainbow
Now your storm is gone”
Sheer perfection.
As for the Led Zeppelin songs. I was hoping that Plant and his band would play at least one but I never expected to hear an astounding five.
The first one was “That’s the Way” from Led Zeppelin III, released in 1970. It’s one of the most stirring and lovely songs I’ve ever heard. Sitting here writing this review a little over 12 hours after the show ended I frankly can’t believe I heard him sing it live. With acoustic guitar, standup bass and some kind of tiny mandolin, the song was transcendent.
From that same album comes the traditional tune “Gallows Pole.” The Boston performance of it turned into an all-out hootenanny with foot-stomping and hand clapping.
On Zeppelin’s 1969 debut album they covered a tune penned by Anne Bredon in the 50s and recorded by Joan Baez on her 1962 live album. When Plant and company launched into “Babe I’m Gonna Leave You” the crowd went crazy and that certainly includes me. There was a massive acoustic guitar interlude in the middle of it that was jaw-dropping from Liam Tyson and it just about had me on the floor. The entire song clocked in somewhere in the neighborhood of ten minutes and every second was spellbinding. Plant’s vocals were on fire, the band was on fire and the entire room was on fire.
It took a few moments for it to sink in, because it was different from the 1971 original, that “Misty Mountain Hop” was happening. But once Plant sang the lines “Walkin’ in the park just the other day, baby/ What do you what do you think I saw?,” I really don’t know how it could have gotten any better. Mad props to Lakeman’s soaring fiddle on this one.
The evening ended on, upon reflection, the best possible way it could have ended. After a trippy, psychedelic intro far removed from the 1969 original, Liam Tyson played one of the most significant guitar riffs a music fan could ever hope to hear.
I thought I was gonna have a heart attack when his guitar screamed out with “Whole Lotta Love,” soon joined with Plant singing “You need cooling/Baby I’m not fooling.”
I caught myself a few times during it hearing the original version in my head but set those thoughts aside to fully absorb this 2018 interpretation which was interspersed with parts of the traditional sea shanty “Santy Anno.”
This was the moment where two worlds collided; mini-me growing up hearing Led Zeppelin songs on the radio and coming from my brother’s stereo and present day music lover me who walked out of this show with a profound appreciation of present day Robert Plant and his out of this world band.
Robert Plant and the Sensational Space Shifters at The Orpheum Theatre in Boston. 2.16.18 Photo by Aimsel Ponti
Robert Plant and the Sensational Space Shifters tour continues and if you have a way of catching one of the shows by all means DO SO. Even if I had absolutely no idea who Plant was and hadn’t known a single song I would have loved this show immensely. True musicianship across a wide range of material led by guy who is indeed mostly human but will always be something of that fabled deity who has meant so much to so many for so long.
Here’s a few glimpses of what I saw last night. Video editing props as always to Shamus Alley.
When you’ve been waiting far too long to see a band you love, I say go all in! Which is exactly what my friend Kathryn and I did at the First Aid Kit show at the House of Blues in Boston.
When tickets went on sale last October we bought general admission floor seats and also kicked in an extra $20 each for pre-show access to The Foundation Room which is attached to the House of Blues. This was a damn good decision because I never wanted to leave said room because it was like being in a far flung corner of heaven that looked like a Zen lounge with Buddhas and couches and little rooms and built-into the wall tables and incredible art and an all around calming vibe. And proper, low lighting too!
What’s more, we got to enter the venue when the doors opened through a special entrance. When the clock struck seven we were able to make the proverbial “mad dash” and snagged a spot right up front. And when I say right up front I mean RIGHT up front. My arms were draped over the barrier between the photo pit and stage. I thought to myself “why not?” and it ended up being the right decision because the show was a thousand perfect spectacular and although sometimes the sound can be not as good when right up front, such was not the case at this show; it was PERFECT.
Klara Söderberg Photo by Aimsel Ponti
After an outstanding opening set from Van William, Swedish sisters Johanna and Klara Söderberg took the stage at 9 p.m. sharp along with a keys player/trombonist, drummer and pedal steel player/guitarist/mandolinist; all of whom were first-rate players. Johanna plays bass and Klara plays guitar and together they’re a force of nature; especially when the vocals start.
From my spot Klara was right in front of me and her sister Johanna was about a dozen feet away. They opened the show with “Rebel Heart,” the first track from their latest album “Ruins.” Side note; If you haven’t listened to “Ruins” yet, for the love of all that is holy, make that a priority. The album’s a damn masterpiece. “Rebel Heart” is moody and emotional and I can’t think of a better one to set the tone for the entire show. Vocally, the song is like Jack climbing the beanstalk in that it goes higher and higher and ultimately reaches high into the heavens. Hearing it live also brought with it a sigh of relief for me. I was FINALLY seeing First Aid Kit live and holy shit, it was amazing. “It’s a Shame” came next and it’s another favorite “Ruins” track.
Johanna Söderberg Photo by Aimsel Ponti
Rather than give you a blow by blow of the entire setlist I’ll instead tell a few of the standout moments as long as you promise to believe me when I say that every nano second of this show was spot-on perfect. First Aid Kit really is THAT GOOD. A few times I turned around to look at the thousand people behind and above me and knew that we were all witnessing something special.
One of these special moments was the title track to their “Stay Gold” album. Hearing it live gave me happy chills that I’m still feeling days later.
This brings me to perhaps the most potent song of the night and it’s one they released as a single last year on International Women’s Day. The song was written in response to hearing about a lenient sentence of a convicted rapist. Klara and Johanna were fucking pissed and wrote a fierce, truth-bomby song about it. And this was months before the #metoo and #timesup movement. “You Are The Problem Here” has these lyrics: (and I’m including several lines because this is important.)
“I am so sick and tired of this world
All these women with their dreams shattered
From some man’s sweaty, desperate touch
God damn it, I’ve had enough
When did you come to think refusal was sexy?
Can’t you see the tears in her eyes?
How did you ever think you had the right to
Put your entitled hands up her thighs?
You are the problem here
You are the problem here
No one made you do anything
You are the problem here
You are the problem here
No one made you do anything
And I
And I hope you fucking suffer”
Suffice to say it brought the house down. When it ended Klara and Johanna told us “Ladies, we have your backs and we love you.”
I had barely caught my breath when First Aid Kid played my favorite song from “Ruins” called “To Live a Life.” Sharing lyrics again because I love them SO VERY MUCH.
“I wrote you a letter
To make myself feel better
To redeem some part of me
I thought I had lost
And we were a lost cause
Long before we fell apart
‘Cause honey, I was too eager
And you were too smart
Yet I look for you
In these empty rooms
You’re a phone call away
I’m on the interstate
And I’ve been drinking cheap wine
Just to pass the time
I’m falling behind
And it doesn’t matter
Who you are to me”
The song is slow and the pedal steel guitar was played just enough along with acoustic guitar. When Klara and Johanna’s voices collided it was like music was showing me the face of God.
And there there was the dreamy “Fireworks” and the oh-my-god-are-you-kidding-me cover of Heart’s “Crazy on You,” that I pretty much lost my mind during. And there was “EmmyLou” and, well, you get the idea.
During the encore, Van William came out and sang his song “Revolution” with First Aid Kit. I found myself singing along as it’s something of a radio hit and since Klara and Johanna are on the album with William it made sense for them to sing it with him during the live show. Damn fine song. After “Master Pretender” from the 2014 album “Stay Gold” it was time to close out the show with another song from that album. “Silver Lining” is the first song I ever heard from First Aid Kit and it’s been a personal anthem for me and I suspects thousands upon thousands of other fans. It’s a song that never grows old and one that always does its job of inspiring me, lifting me out of a dark space and helping me to do just what it tells me to do; keep on keepin’ on. Hearing it live by a band that stood just a few feet away from me in a room of other adoring fans was a moment I won’t soon forget. Klara and Johanna are still in their mid 20s and I can’t wait to see what comes next for them. “Ruins” is their 5th album and in three weeks since it’s been out has received high praise and understandably so. They’ve struck a nerve with their lyrics, their harmonies, their playing and their message. I absolutely bow to them.
First Aid Kit live at The House of Blues in Boston on 2.7.18 Photo by Aimsel Ponti
Here’s a few quick segments I shot from my to-die-for spot. With huge appreciation as always to my pal Shamus Alley who will always have way more technical skills and patience then I ever hope to possess.
THANK YOU First Aid Kit for making my first time seeing you so memorable and moving.
My love for Paula Cole began in 1994 upon hearing her debut album “Harbinger” with the songs “Happy Home,”“Ordinary” and “Watch the Woman’s Hands.” And then in March of 1995 I saw her for the first time live opening for Sarah McLachlan at the State Theatre in Portland, Maine. My friends and I were right up front and our jaws collectively dropped hearing Cole sing and bang on something like a pizza pan. It was a “holy shit” moment I’ll never forget and to this day I still maintain that Cole has one of the most powerful and gorgeous voices I ever hope to hear.
In 1996 Cole released the self-produced album “This Fire” and it won her a Grammy for Best New Artist. The album tore up the charts with “Where Have All the Cowboys Gone?” and “I Don’t Want to Wait.” And the single “Me” is still a personal theme song.
“Amen” followed in 1999 with the song “Pearl” which is even more a theme song for this writer. The album’s single “I Believe In Love” is still is a contender for a planetary national anthem as far as I’m concerned.
A lot has happened since then. Cole took a several year hiatus to care for her daughter who was born with severe asthma, went through a rough divorce and stepped way out of the spotlight. When she came back to the music world it was in a much quieter way but with no less impact in terms of the music. 2007 brought with it “Courage” followed by “Ithaca,” “Raven,” “7” and the live “This Bright Red Feeling” in 2016.
This past August, Cole released a glorious double-album called “Ballads.” It’s all songs she loves from the 30s to the 60s from artists including Rodgers & Hart, Billie Holiday, John Coltrane, Bob Dylan and Bobbie Gentry to name a few.
I saw her play the entire album live in Massachusetts last summer and the show did not disappoint.
This brings us to now. At present, Cole is on faculty at Berklee College of Music in Boston, plays shows regularly and lives on Massachusetts’ North Shore with her family.
I got her on the phone the other day for a candid chat about music, life and turning 50 and it is with sincere joy I share this conversation.
How long have you been teaching at Berklee School of Music and what specifically do you teach?
I’m in my 5th. It’s hard to believe. I’m in the voice department. I teach singers all kinds of things; how to relate to the rhythm section, things about the voice and learning new material. The most specialized thing that I do is my songwriting class. They are very wonderful to me and I can tour as I need to.
“Ballads” has been out in the world since August. What’s your favorite song to perform live from it?
“I just know “God Bless the Child” inside and out so well it feels like hand in glove and it’s like swimming, it feels so great. And the lyric writing on those two Bob Dylan songs is so wonderful (“The Lonesome Death of Hattie Carroll” and “The Ballad of Hollis Brown.“) I love those. The lyrics are like mini-novels. I felt like they could be re-interpreted and blended into some of these other writers’ work. Interestingly, most of these songs are from the 30s and the 60s. With maybe just a couple falling outside those boundaries. Those were such times of social upheaval in America and great content was written through all of our suffering. I’m drawn to the angst and the suffering and the meaning.
I really appreciate that you care so much about these old songs and wanted them to have another lease on life. I can’t imagine my favorite not ever being “Ode to Billie Joe” because it’s such a good song but then I hear on ones like “What a Little Moonlight Can Do” and that’s pretty awesome too and “Skylark” too. It’s just such a great record.
I can credit you for inspiring me to record “Ode to Billie Joe.”
I don’t know if you should give me that much credit.
Yeah, I would.
I’m flattered. That’s one of those songs that just never really gets old and to hear you do it is the combination of her lyrics and your vocals it’s incredible. Every once in a while, I dip my toe into a bunch of her other songs like that record she did with Glen Campbell. And I just love the fact that Bobbie Gentry’s out there somewhere. Who knows what she’s doing; if she’s a recluse or what’s happening with her but I love that somewhere out in the world Bobbie Gentry is somewhere sitting at a table drinking tea right now for all we know.
I heard she was in the San Fernando Valley somewhere.
Why hasn’t there been a documentary done about her? Or maybe there is and I don’t know about it.
I just want to give her a hug and just thank her.
And speaking of other people’s songs, did my eyes and ears deceive me or did I see a recent clip on YouTube of you covering Aerosmith’s “Dream On?” It’s fucking awesome. How long have you been doing that one for and what inspired it?
It was a Kickstarter pledge finally manifesting. It’s really fun and the audience loved it. I guess when you step over lines and barriers, you know a woman doing a big cock-rock song or a woman stepping into classic rock, it’s just much more of a man’s playing field and it used to happen when I sang “Black Dog” a lot as well. It just gets a lot of attention.
That’s awesome. I listen to some of the big classic rock stations around here sometimes and it’s awesome but it’s also frustrating because hours can go by without hearing a woman artist.
That’s right. It’s a desert. They might play Stevie Nicks but that’s it.
Or a Heart song. I love it but sometimes the feminist in me roars.
I love hearing stuff. Robert Plant when he sings and Steven Tyler when he sings, that so works for me.
Maybe I’ll start a secret fund for your next Kickstarter campaign and I’ll have you do “All My Love” because that’s my favorite Led Zeppelin song.
You’re turning 50 on April 5. What are you going to do to celebrate? But don’t jump out of an airplane, that scares me too much.
The closer I get to it the more pressure I feel. I don’t want to do anything typical. I’d like to do something that allows me to stretch and grow into some areas where I have not had growth; learning more things. Because you know in mid-life we’re kind of patterned to stay in our groove and make income. But what I’d really like to do is shake some of these chains and learn and one thing I’d really love to do is learn more whole systems design and permaculture, especially with this author named Ben Falk. He and his wife Erica have a farm in Vermont and a learning center. I tried to register for the course but I can’t because I have gigs and I can’t pull out of the shows. I decided instead of going to Paris or something I wanted to do that; I wanted to learn. I think what I’m headed for once the kids start stretching their wings and flying off independently from our nest, I would like to move to an era of more social justice work. I would like very much to work for sustainability and less plastic, less petroleum and less pigs. The three Ps; we’re addicted to those things; we’re addicted to meat eating, we’re addicted to plastic, we’re addicted to petrol. I think being a vegan – and sometimes I struggle because I fall off the wagon with dairy- but I think being a vegan is one of the most awesome and subversive acts someone can make that creates real change. So if I can even continue that and influence more people to see the light in that movement where you’re not participating in the holocaust of animals and you are being more conscientious about your waste and your food and what you do. I want to be on that trajectory. Yes, I’ll still make music but something is gonna shift and I feel 50 is a doorway for that. I can’t be doing back-breaking work, I’m feeling it in my body for sure. But I’m in good health. I’m very aware of my lifetime being finite and I want to be meaningful and purposeful. I’m tired of being as quiet as I’ve been quite frankly. The planet needs more advocacy and I’ll probably move into that role a little more.
The two aren’t mutually exclusive though as I imagine organizations like P.E.T.A. and people involved with Earth Day would love to have you play benefits for them and such.
Definitely. I play benefits every year. It’s hard to choose. I tend to be a bit of a hermit because people ask things of me and it’s hard balancing all the things in my life, whether it’s teaching or touring, even a Kickstarter campaign, I’m still not done with that fulfilling all those pledges. And then of course being a homemaker and a mom. I’m pretty domestic when I’m home. Getting older is nice, you take less bullshit on, you feel more entitled to your opinions, I definitely would not want to be 25 again. Or 35. So far I really like myself at almost 50. I’m fortunate to have my partner David and my sweet kids and my sweet fans. I’m so lucky to be healthy. I’m really aware of that. And I feel like, well, if I’m still here because so many in the music business aren’t. Look at Dolores O’Riordan and Prince and David Bowie. All these heartbreaks. But I’m still here and there’s something to be said about that. I think my trajectory was too fast in the pop world; it was inauthentic then. I pulled myself back and it’s been very slow and small since but it’s real and still here like the tortoise. I’m still here and I think it’s actually manifesting well for me. I think I’ve got more so much more creativity in me yet.
I love to hear that. Let me ask you this final question. This is going to sound cliché but I’m genuinely interested in your response. I’m wondering what bums you out about the current state of affairs with the music business and what makes you still feel hopeful?
What sucks is that musicians are the most beautiful species of homo sapiens in my opinion. We’re sensitive, we design and and we make something from nothing and yet I don’t feel that our gifts are appreciated enough by our society the way say Finland supports their artists or Canada. Musicians struggle to exist in this society and more so now than ever with the digitization, distribution, Spotify; a single stream is .0005 cents. It’s a non-money amount so how are these sensitives, with a very gifted and specific skill set, how will they have time or make the very thing that heals us in our pain. It’s proven again and again. You look at the data; music heals society, where there is music there is healing and there is less crime, there’s more business fruition. The whole society is healthier. So I travel the world and I see the societies where art is supported and everyone is supported, it has an effect on the whole. That bums me out that our American society does not support that arts sufficiently compared to the rest of the world. It’s a shame.
What gives you hope? Maybe your students?
Yes. I’ve gotten close to enough millennials now through teaching and even through touring with younger players now. They show me something, they’re learning in a principled fashion that inspires me. It’s less materialistic, it’s more about seeking meaning and I really respect that. They are inheriting a more difficult workplace, a more fraught world, a more polluted world with less natural resources. It’s really different. It will be harder for them. You and I are luckier in many ways even just that we listen to vinyl. Maybe we have a hope of Social Security, maybe not. They’re looking at it in a more spiritual, more holistic way and idealistic way. I appreciate them. They’re open to listening to all kinds of music. They’re listening to their musical ancestors.
19 has been my favorite number for as long as I can remember and although I didn’t plan on having my list of favorite songs of 2017 wind up being 19, it’s somehow perfect that it landed there.
Suffice to say, I listened to and loved hundreds of songs this year so making this list was no easy task. But I told myself not to worry, just sit back and think about it and see what came to mind. Most importantly, I told myself to be honest about this list; to only pick songs that I really do love for one reason or another.
Some of these artists I’ve loved for many years, some are new to me. But they’ve all created songs that touch my heart and so I’ve made this list to show my gratitude to these artists and to inspire you to think about what your favorite songs of 2017 are.
Before diving into the songs let me make this statement:
I am in awe of people who can play instruments well.
I am in awe of people who can write incredible lyrics.
I am in awe of people who can sing.
I am in awe of people who can interpret other people’s songs and make them their own.
I am in awe of people who are passionate about their craft.
I am in awe of all of the artists on this list.
And with that I present my 19 favorite songs of 2017. I love them all and they truly are in no particular order.
“Liability by Lorde” from “Melodrama” I could have picked several songs from this album but I went with this one because it’s stark and gorgeous and sad and an emotional masterpiece. Also, I got to see her perform it live with Jack Antonoff on piano at Saturday Night Live in March. Read all about that adventure of being in that audience here.
2. “Wayfaring Stranger” by SHEL.This is from their “Undercover” EP, released in October. IT IS SPECTACULAR. I chose their take on the 100+ year old traditional tune “Wayfaring Stranger” because it’s haunting and spellbinding. Eva’s vocals are delicate yet potent. Sarah’s violin is downright arresting and the song transports me to some far off place typically reserved for dreams.
3. “Only Lonely” by The Ballroom Thieves. They’re a folk rock trio out of Boston and for real, they just keep getting better. This is their brand new single. You’re going to love it. Be sure to also listen to their 2016 album “Deadeye”.
4. “Train Go By” by Josh Ritter. This is from his latest album “Gathering.” There’s something healing and heartfelt about this song. It holds my heart right in its hands. Josh is a heck of a cool guy. Read my interview with him here.
5. “Million Reasons” by Lady Gaga. “Joanne’s” a tremendous album which I realize came out in 2016 and this so I’m cheating a little by including a song from it. My rationalization is that the single didn’t come out until November and I didn’t fully appreciate the song until early 2017 . Also, be sure to watch the Gaga documentary on “Netflix. It’s Fantastic. This song kills me.
6. “Hollow” by Kris Delmhorst. Singer-songwriter Kris Delmhorst made one hell of a record this year. It’s called “The Wild” and I wrote all about it here. “Hollow” will level you if you’re feeling at all fragile so be ready. I LOVE the line “A song just ain’t no use at all if there’s no one who can play it.”
7. “Mississippi” by The Secret Sisters. From the album that has an excellent chance of winning a Grammy for best folk album; “You Don’t Own Me Anymore.” Here’s a live version of the dark and haunting song that I chose for this list. Lydia and Laura Rogers for the freakin’ win!
8. “I Couldn’t Be” by SnugHouse. They’re a local band here in Portland, Maine and they put out a self-titled EP a handful of months ago that I adore. I’ve played this song a ton of my WCLZ radio show, Music from 207. (You can listen every Wednesday and Sunday night at 7 p.m.). The harmonies slay me. Incredible song.
9. “Wash Up” by Bridget Kearney. Bridget plays standup bass and sings backing vocals in a tiny little band called Lake Street Dive. (I’m kidding, they’re hardly tiny and I pretty much worship them). She dropped her first solo album called “Won’t Let You Down” last Spring. Here’s the convoshe and I had about it. “Wash Up” is on my running playlist and I love every bright and shiny second of this song.
10. “Send My Love (To Your New Lover) by I’m With Her. I’m With Her is the trio of Sara Watkins, Sarah Jarosz and Aoife O’Donovan. They’ve sent this Adele song clear over the vocals rainbow and into a whole other galaxy of perfection. Enjoy! P.S. their debut album “See You Around” is out in February. Countdown is SO ON.
11. “Keep Me In My Heart” by The Wailin’ Jennys. The Wailin’ Jennys are Nicky Mehta, Ruth Moody and Maine native Heather Masse. They released their covers album “Fifteen” in October. Holy god I love it so much. Read my review HERE.I could have chosen a number of songs from it for this list but went with the Warren Zevon one because frankly, it’s one of the most poignant, heart-opening songs I know of. Zevon wrote it when he knew he was dying. I love his version of course but I also am really struck by this divine take by The Wailin’ Jennys.
12. “Hang on Me” by St. Vincent. Annie Clark’s latest record “Masseduction” is an innovative masterpiece. I love every song on the damn thing but chose this one because it’s the album’s opening track and it gives the listener -ok me – a come hither stare and the song pulses with vibrations and not only that, her vocals shine. The song is the rocket ship – and a gorgeous one at that – that takes you to the planet that is the rest of the record.
13. “The Joke” by Brandi Carlile. This song knocked me off my feet. It’s huge and sweeping and emotional with piano and strings and some of the best vocals I’ve ever heard from Carlile. The rest of the album “By The Way, I Forgive You,” comes out in February and if this song, as well as the other one she’s shared called “The Mother” is any indication, I for one can’t wait for it’s release day. I also can’t wait for August! I’ll be visiting Red Rocks for the first time ever to see Carlile and will of course share a review here then.
14. “Appointments” by Julien Baker. Baker is a new artist for me but I’m planning on familiarizing myself with her story and the rest of her music because this song is everything…and then some. It’s from her album “Turn Out the Lights.” What I do know is that Baker’s out of Memphis and I can’t wait to let the rest of her music seep into me. Because this song fucking kills me. Well done, Julien.
15. “Drowning in the Sound” by Amanda Palmer. Honestly, I don’t even know what to say about this one. Amanda Palmer wrote it in two days. This is what she said about it: “It wound up being a response to the insanity of internet politics melded with the recent total eclipse and the devastation of hurricane harvey….and, y’know…other stuff.” Take a deep breath or 12 and listen to this.
16. “Deleted” by Amy Shark. This song’s from her “Night Thinker” EP. I had no idea who this Australian artist was until one random day in June, I heard an unplugged session on WCLZ, a radio station here in Maine. Shark wasn’t performing in Maine but was doing some promotional visits apparently in New England and anyway, I heard the sessionwhile driving and it really slayed me. She’s getting bigger by the minute and she can count me among her fans because that “Night Thinker” EP is fantastic. Anyway…what can I say? I LOVE SAD SONGS. They resonate with me in a different way than happier ones. This one’s extra sad. We’ve all been there.
17. “Goose Snow Cone” by Aimee Mann. As far as I’m concerned, it’s Aimee Mann’s world, we’re just livin’ it it. “Mental Illness,” her latest album and home to “Goose Snow Cone” is a must-have record if you’re even a casual Mann fan. She’s a consistently upper-level-holy-god songwriter and that voice has been part of my musical DNA for more than three decades.
18. It’s a Shame” by First Aid Kit. Like many others, I got hip to the Swedish duo of sisters Johanna and Klara Söderberg when they released their third album “Stay Gold” with the song that will be a lifelong theme song “Silver Lining.” In fact, the entire record is terrific. But that was 2014 and while the creative process can’t be rushed, I for one have been waiting with massive anticipation for the next one. The good news is that they’ve finished it and it’s called “Ruins” and it will be out in the world on January 18. YEAH! For now we’ve got this tremendous single “It’s a Shame.” Welcome back, Johanna and Klara. See you in a few months in Boston. P.S. You can also hear the gorgeous “Fireworks,” and breezy “Postcards” also from Ruins.
19. “Feel Alive” by Katie Herzig. Herzig can do no wrong in my book. I love everything of hers I’ve ever heard and this bright and hopeful song is no exception. Her next album, “Moment of Bliss” will be out in 2018 but for now we’ve got this one and the heartfelt ballad”Me Without You” to more than tide us over.
And so there you have it. Thanks, 2017, for these and SO MANY other songs. I needed all of them to get me through.
When I woke up this morning before my alarm the first thing I did was check my phone to see if the MUCH anticipated Amanda Palmer video had dropped yet. It hadn’t. Two nights earlier I had a dream about the video. One day earlier I had been pretty much beside myself with anticipation. Palmer had been dropping hints about the new video for the past few weeks and some of her posts inferred that the video might be considered controversial by some.
I’ll admit, I was nervous. Was Amanda about to unleash something that would bring her a world of backlash? But then I remembered, this is Amanda Fucking Palmer we’re talking about. If she has something to say she’s going to say it and she’s going to say it intelligently and then she’ll willingly engage in public debate about it. She will not back down but she’ll also hear all sides of something and will participate in a back and forth. And in the end, not everyone loves everything she does and says. I am not one of those people. I think she’s brilliant and has a heart as big, bold, messy, complicated, compassionate, artistic, bloody and authentic as anyone I’ve ever been a fan of. This is in fact one of the things that I’ve long admired about her. Amanda Palmer, like her or not, is as real as they come.
Which brings us to today.
A few hours ago I got the notification that the video was now out in the world. So I put my headphones on and took the deepest breath quite possibly of 2017 and hit play.
Within ONE NOTE I was spellbound. Because Amanda Palmer and Jherek Bischoff, with a cast of several musicians including cellist Zoe Keating had just released their take on Pink Floyd’s “Mother,” identifiable from the very first note. The first thing on the screen is a close-up of Palmer looking on the verge of tears as she sings the lines “Mother do you think they’ll drop the bomb?/Mother do you think they’ll like this song?/Mother do you think they’ll try to break my balls?/Mother, should I build the wall?”
Holy shit. I sat there stunned and felt a hurricane of emotions whirling inside my ribcage. The hints Palmer dropped in the days leading up to the sharing of “Mother” told us that it had something to do with her disdain for the current administration. But I could have never predicted that she would have chosen such a PERFECT song with which to express it. And let me be perfectly clear, Amanda Palmer is a spectacular songwriter and she could have written an original and it would have likely been epic. But she didn’t need to. The perfect song was already out in the world. She and musician/composer Jherek Bischoff did something incredible with it.
The imagery in the video is startling and tear-inducing and evoked so many things at once. In it you’ll see children building a wall. You’ll see Melissa auf der Maur. You’ll see Zoe Keating playing her cello. You’ll see Jherek Bischoff conducting a string quartet. You’ll see dancers and actors , including one portraying our current President, creating a piece of work that is difficult to take in with one viewing. I’ve now watched it four times and I’m still discovering new things.
Screen shots from “Mother.”
I am not going to tell you how the video ends. You’ll see that in a moment. Some people’s feathers might get ruffled. Not mine. I think it was one of the boldest, bravest things Palmer could have done. My interpretation is that it’s meant as a moment of honest-to-God compassion. A moment of “I know everything is really fucked up right now but I am determined to not let my heart turn black.” It’s edgy. It’s going to make some people uncomfortable. I get that. But I hope people also appreciate the artistic message of it.
I am not going to say this is Amanda Palmer’s finest hour because I know with every drop of blood in my veins there are many more to come. But this is the most extraordinary videos she and her team have ever done. And believe me, between her solo and Dresden Dolls material there is some insanely great videos out there.
By the time I got to the end of my first viewing of “Mother,” I was trembling. TREMBLING. I felt like crying and yet I also felt hopeful. Isn’t that what art is all about?
Yours truly. One take. No “let me get the best angle.” This was the one and only selfie I took, just before sitting down to write.
OK then. Here’s “Mother.” With endless depths of appreciation to Amanda and Jherek.
I’ll start by saying that the Saturday night Dresden Dolls show at the Paradise Rock Club was one of the best nights of my life.
Amanda Palmer and Brian Viglione AKA The Dresden Dolls at the Paradise Rock Club in Boston, MA 11.4.17 Photo by Aimsel Ponti
So yes, this is my review of The Dresden Dolls show in Boston on November 4, 2017.
The story however begins back in February of 2005 because that was the first time I saw The Dresden Dolls live. It was at the tiny Space Gallery in Portland, Maine. The entire show, professionally shot, lives on YouTube. Sometime when you have an hour and a half, click hereand enjoy. I was right up front and it was glorious.
Here’s the thing; I could write thousands upon thousands of words and hit you with a zillion clips, etc. and it still wouldn’t be enough to sing the praises of Amanda Palmer and Brian Viglione of the punk cabaret duo The Dresden Dolls. It’s a long, long story. But if you’re unfamiliar with them and are curious, do some googling and clicking and when you come up for air, you just might find yourself as spellbound as I am over them.
I am however going to tell you why the show, which was the middle one of three sold-out nights at The Paradise Rock Club was so significant, so memorable, so satisfying and so completely overwhelming.
It begins with a fellow Dolls fan named Jessica who posted on the show’s Facebook event page something along the lines of “hey I’m going solo, anyone want to hang out by the stage with me?” I responded with “I’ll be there, let’s hang!” A bit later a Brit named Toby commented that he too would be alone and could he also join us? Of course he could. A few other people chimed in as well. It was hours before the show and I was already having a good time. That’s the thing with Dresden Dolls shows, we all kind of love each other, at least for one night. We’ve got each other’s backs. It’s special. I know that might sound silly but it’s true, it always has been.
And so I joined Toby -who had flown in from London just to go to this show – in the line outside the Paradise about an hour before the doors opened. He was chatting with a woman named Jacque, here from Manhattan for all three shows. Soon after Jessica joined us. The sidewalk bonding had begun, a nip of Dr. McGillicuddy’s Mentholmint schnapps was handed to me which I promptly downed (my first one and I dare say it was tasty) and when the doors opened at 7 p.m. the four of us managed to secure spots at the far left of the stage, pretty much in front of Amanda Palmer and with a perfect view of Brian Viglione and his studded Chuck Taylors that I’m very envious of.
Our posse immediately grew by several more people and the show began at twenty past eight when Amanda and Brian took the stage to much hysteria from the crowd and started us off with “Girl Anachronism.” Holy fuck. My new friends and I started to properly freak out and the freak out continued for just under three hours. The thousand other people who were packed into The Paradise also rode the Dresden wave of ecstasy. I imagine we all love them for different reasons. First, there’s Brian Viglione. He’s a drumming deity who can play a bunch of other instruments. Watching him play is like watching a kid running wild in a candy store and his skill is without end. Speaking of candy, here he is tossing Starburst into the crowd.
Dresden Dolls drummer and official madman Brian Viglione. Candy throwing action shot by Aimsel Ponti
And here’s Brian doing his thing. He plays with a level of animation and passion that is joyful to watch and listen to. He also has an exceptional sense of fashion. That jacket kills me. Be sure to check out his other band Scarlet Sails.
And then there’s Amanda Palmer. Palmer is probably the most out there musician I’ve ever had the pleasure of being a fan of. And I mean “out there” as a massive compliment. She shares more of herself than most and has a heart the size of a small planet. I’ve interviewed her a couple of times through the years for the Portland Press Herald (Maine) and she’s genuine, kind and will pretty much talk about anything and everything.
Here are six photos of Amanda Palmer because I had a really good spot. Taken with my iPhone so they’re not exactly amazeballs but she most certainly is.
Palmer engages with her fans on social media regularly, is willing to be bold in the face of adversity and there’s an unspoken level of trust between she and her fans. She keeps what needs to be kept private and has boundaries like the rest of us, but there’s very little she won’t talk about and if you haven’t read her book “The Art of Asking” yet consider yourself very much nudged. But the thing I love most about Amanda Palmer is her songwriting. No topic is off-limits; abortion, masturbation, sex, love, life, death and anything else you can think of. She’s also an accomplished pianist and when she sings nothing else that’s going on matters much.
The songs she and and Brian recorded for the Dolls’ handful of albums are sacred to me. They’re sacred to many people. This is why they sold out three shows at The Paradise. This is why every time they reunite to play shows we all freak the fuck out and scramble to get tickets.
If you’ve read any of my other posts, you may have noticed a running theme, which is the fact that I have a very difficult time sometimes being truly present. It’s complicated. But there are times, like on Saturday night, that I’m able to let go of my worries and be the version of myself that I like the most, the version who is in the moment down to her bones. And OK, fine, I wasn’t driving that night so I may have had a few too many whiskeys thanks to both close proximity to the bar and the generosity of some of my new friends. And also because the show felt like a celebration. Jesus H. Jamesons. Jesus H. Jack Daniels. I had an absolute blast soaking in the show – and the booze – with my friends, singing along, screaming our heads off. And here’s a fun fact; if you were at that show let it be known that it was yours truly who handed Amanda a Jamesons. I mean why wouldn’t I? I was having a hell of a good time and she looked thirsty. Fan to artist moment of appreciation. All good.
The Dresden Dolls’ setlist was 21 songs (give or take) long and I’ll include it below. From album cuts to b-sides to exquisitely well-chosen covers, they chose well (despite not playing my beloved “Jeep Song.”).
As I mentioned, the Dolls hit the ground running with “Girl Anachronism” and kept it up song after song. My personal favorites of the night were “Missed Me,” “Mrs. O,” “Half Jack,” “Backstabber” and “Gravity.” But if I’m going to really nerd out, I’ll say that I loved every song and couldn’t believe how intense, wild, fun and crazy this show was.
They ended with a hardcore super deluxe favorite of mine and I’ll reveal that momentarily.
Now about those covers. Dresden Dolls OWNED Madonna’s “Material Girl” and played the hell out of the Ramones’ Blitzkrieg Pop. They invited fans to dance on stage while Brian played guitar, Amanda played drums and everyone in the room sang along with The Beastie Boys’ “Fight For Your Right.” They’re take on PJ Harvey’s “Rid of Me” was also spectacular. But the cover that really, really killed me at this show was Ani DiFranco’s “Napoleon,” one of many brilliant songs from Ani’s “Dilate” album from 1996. Hearing one of my favorite bands play one of my favorite songs by one of my favorite artists off of one of my favorite albums was EVERYTHING. And then some. Oh and then there’s Jacques Brel’s “Amsterdam,” a song I first discovered by way of David Bowie in the 80s. They’ve been playing this one for years and I hope they never stop. It’s a passionate tale of a song and Amanda walked off the stage, up across the balcony and back onto the stage while singing it. I mean why wouldn’t she?
The first encore song was “Amsterdam” followed by another audience singing every note one; Coin-Operated Boy. And then it was time. I crossed my fingers and held my breath and was rewarded with – we all were rewarded with- “Sing.” This song touches me on almost a molecular level.
These lyrics have never rung more true than they do RIGHT NOW:
“There is thing keeping everyone’s lungs and lips locked
It is called fear and it’s seeing a great renaissance
After the show you can not sing wherever you want
But for now lets all pretend that we’re gonna get bombed
So sing”
And you bet we sang. It was beautiful and human and powerful. It was the PERFECT song to end with. When the show was over my new friends and I said our goodbyes knowing we had just shared something profound. I hope that feeling never wears off.
Here’s my montage of clips shot from my amazing spot. Editing props to Shamus Alley.
Thank you, Brian and Amanda for giving us everything you had last night. Thank you to my fellow fans for being cool and mindful and kind and so into it like I was.
Amanda Palmer and Brian Viglione sharing an end of show hug at the Paradise. Emotionally drained but happily taken photo by Dresden Dolls fan and nerdy writer, Aimsel Ponti
Here’s the setlist that is based on my notes and one I found online. I’m not 100% sure that this is 100% accurate but it’s pretty close.
Dresden Dolls. Paradise Rock Club. 11.4.17 Girl Anachronism, Dirty Business, Missed Me, Ultima Esperanza, Pirate Jenny,Mandy Goes to Med School, Shores of California, Mrs. O, Gravity, Glass Slipper, Thirty Whacks, Victim, Material Girl (Madonna), Blitzkrieg Bop (Ramones), “Fight For Your Right” (Beastie Boys), Rid of Me (PJ Harvey), Napoleon (Ani DiFranco), Bank of Boston Beauty Queen, Backstabber, Half Jack, Amsterdam (Jacques Brel), Coin-Operated Boy, Sing.
Shawn Colvin first knocked my socks off in 1992 upon releasing “Fat City.” It’s an album I still consider to be perfect in every sense of the word. It also made me an instant; committed Colvin fan. From there I went backwards into her debut album from 1989 , the dare I say iconic “Steady On.”
In 1994 Colvin released Cover Girl” and the “Live in ’88” album the following year. Sometime around then was when I first saw her perform live and this further made me realize what an extraordinary talent she is because along with being so damn good with her guitar and vocals, she’s a hilarious and witty storyteller with stage presence to spare.
Since then I’ve seen Colvin three or four more times and most recently was Friday night at The Cabot in Beverly, MA. The show was originally scheduled to happen at City Winery in Boston however construction delays (they hope to be open very soon) made a venue change necessary. My disappointment was short-lived because the Cabot is a classic old theater and it won me over the second I saw the retro marquis.
Photo by Aimsel Ponti
Between the downstairs and balcony, the Cabot has a capacity of about 800 and it was probably 2/3 of the way full. I call this a win for both The Cabot and City Winery because it was a bit of a schlep for people to get there who had originally planned on Boston but based on the audience responses I witnessed during the show, no one seemed to mind. And the theater itself is gorgeous and classic in that old theater way that can never quite be replicated with new buildings.
Colvin’s longtime friends and sometimes bandmates Teresa Williams and Larry Campbell opened the show with a terrific 40 minute set and retook the stage with Colvin and the rest of her band for a sensational two hour show. Michael Ramos played keys, fluegelhorn and melodica, Glenn Fukunaga was on bass and the drummer was Mike Meadows. Campbell played guitar (and violin on one song) and Williams was on backing vocals. All five of them are longtime pros who have played , recorded and toured with an encyclopedic list of big-time musicians. It was only fitting that these five were the musicians in Colvin’s band on this tour.
The reason for the tour was to celebrate the 20th anniversary of “A Few Small Repairs.” The album technically came out in ’96 but “Sunny Came Home” wasn’t released as a single until the summer of ’97 and became a very big damn deal winning a Grammy for Record of the Year and Song of the Year along with a nomination for Best Female Pop Vocal Performance.
I love it when acts do these kind of album anniversary tours and play entire albums. I saw Peter Gabriel do this a few years ago with “So” and Paula Cole last year with “This Fire.” Earlier this year I saw Brandi Carlile perform the entire “The Story” album at The Ryman as part of a handful of shows marking that record’s decade mark. It’s “a thing” to do these tours and I for one think the concept is great. Plus the artists always play more than just the album and it makes for a very engaging show. “A Few Small Repairs” is a tremendous album and I think it was a damn fine idea for Colvin to take it on the road two decades later.
At 9 p.m. the show began not with something from “A Few Small Repairs” but rather a sublime tribute to Tom Petty (I still can’t believe he’s gone, can you?) in the form of “Wildflowers.” Well done, Colvin and company, very well done.
Shawn Colvin at The Cabot in Beverly, MA on 11/3/17. Photo by Aimsel Ponti
And then it was off to the “A Few Small Repairs” races, in sequential order, beginning with the aforementioned hit “Sunny Came Home.” Colvin’s voice sounded clear, strong and captivating and the sound in The Cabot was spot on. The blistering “Get Out Of This House” came next and although she told us the story about writing the song later in the show, I’ll share it now. Colvin said it was born out of frustration of not being able to actually write in the writing room she had created in the first house she had ever bought. “I couldn’t think of a damn thing in that room and I looked out the window and I said ‘go jump in the lake, go ride up the hill, get out of this house.” A song was born. She also told us that an earlier draft had included “Go piss up a rope” and something about the Pope.
“The Facts About Jimmy,” Colvin explained, was based on a true story with names changed. “He would not have me. I was not happy about that at all,” she said to much laughter adding that “it goes to show you how little you have to do to get into one of my songs.”
“I Want It Back,” was another product of the “dreaded writing room,” adding that she was wrote it at a time that she was frustrated with certain 90s celebrities including the likes of OJ Simpson and Tori Spelling.
About halfway though the album the band left the stage and Colvin took a seat at a piano for what I consider to be the saddest, most poignant song from “A Few Small Repairs.” Said another way; it’s my favorite. The song is “If I Were Brave” and this was the first time I had heard her play it live.
“How could it be that I was born without a clue to carry on
And still it is the same now I am older
Armed with just a will and then this love for singing songs
And minding less and less if I am colder”
The song’s been killing me for 20 years. I love it.
Now here’s the part of the review where I pause for the briefest moment to do something I don’t normally do; call out a member of the audience member for something.
Colvin was in the middle of playing the songs from “A Few Small Repairs,” which is the reason she was on tour in the first place and some guy yelled out “Fat City” in between songs. Let me be clear, “Fat City” is sacred to me, so sacred that my next tattoo is likely going to be a lyric from one of its songs. But I thought it was profoundly disrespectful to yell that out, especially since Colvin had already told us she’d be playing some other stuff later in the show. Rant over. Now where was I?
Ah yes, the poetic perfection of “Wichita Skyline.” Colvin told us she had hoped to use a place in her home state of South Dakota but “no town sang as well as Wichita.” She makes a good point, the town does indeed “sing well,” especially when sung by her.
After “Wichita,” Colvin took a moment to tell us that “A Few Small Repairs” is now available on vinyl. “It’s fucking amazing if you play it on double speed backwards with the DVD of The Wizard of Oz.” She’s a riot without even trying. I love that about her.
“A Few Small Repairs” ends with another sad one, “New Thing Now” and then the hopeful and bright “Nothin on Me” after which Colvin and the band took their bows and left the stage to a standing ovation.
They came back out for a four song encore starting with “I’ll Be Back,” the Beatles tune on the “Cover Girl” album. Colvin’s version is slow and moody AF.
From there it was onto one of Colvin’s most beloved tunes, the title track to “Steady On.” This is the kind of song that is always fresh, always meaningful and always so damn good. “I’m gonna keep my head on straight” is a line I’ll be singing for the rest of my life.
Next was the Jackson Browne/Warren Zevon penned “Tenderness on the Block” which Colvin recorded for “Fat City.” The “find true love” backing vocals from Campell, Williams a couple of the other guys in the band were perfect.
Shawn Colvin ended the show two hours after it started with another “Steady On” track. “Diamond in the Rough” is another Colvin classic and it was the ideal bookend to an excellent night.
Tori Amos has been making me feel all the things since before feeling all the things was even a thing.
My first time seeing her was at the Iron Horse in Northampton, MA on April 27, 1992. This was of course the “Little Earthquakes” tour. The Iron Horse is a tiny, historic venue and my friends and I were the last ones in and because the place was already packed the three of us were seated on a bench just off the the side of the stage. In other words; insane seating that I’ll never forget. The 1992 version of myself sat there in awe of what transpired for the next hour and a half. From “Crucify,” “Precious Things,” “Silent All These Years” and the other-worldly title track it was a transfixing show from a woman who straddled her piano bench in a acrobatic way and who held my heart in her hand with every note sung and played. I’ll especially never forget when she hit us with Led Zeppelin’s “Whole Lotta Love.” The wind was knocked out of me and I’ve been gasping for breath ever since. After the show my two friends and I tapped on the dressing room door and she opened it and welcomed us in where we sat and chatted for about 15 minutes. She was lovely. I’ve been a hardcore fan ever since and used to be a rabid collector or every Tori related thing I could get my hands on; mostly import CD singles with b-sides, live tracks, etc. Because that’s how it was being a Tori fan. I was all in. I still am.
Since that first show in 1992 I would estimate I’ve seen Amos live about a dozen times. Sometimes solo, sometimes with a band and always magnificent. I don’t mean to hit you with such a profound cliche but I’m goddamn going to. There is truly no one quite like her. Like many of her fans, I literally can’t imagine my life without the “Little Earthquakes,” album. Not to mention “Under the Pink,” “Boys for Pele,” etc etc etc. She writes from a place that not everyone can access. It’s like her brain and heart and soul all converge and the songs arrive from the sky on umbrella clasping pixies. Or something like that. We may never know. What I do know is that Tori Amos is one part goddess, one part genius, one part sorceress and one part tender-hearted human. Listening to her music is is like visiting an astral plane. And it’s like therapy because she goes places with her songs that will rip your guts out and make you weeplike you’ve just discovered what crying is and you’re not sure if you’ll be able to stop.
Which brings me to last night’s show at one my favorite spots on earth, the Orpheum Theatre in the heart of Boston. It has been six years since my last Tori show and my fellow hardcore Tori fan and friend Laura and I practically genuflected before walking in. This was, somehow perfectly, soon after walking right by another goddess outside the venue by the name of Amanda Palmer. But that’s a WHOLE other story. My immediate reaction was to stop and talk to her but we kept on walking because, I don’t know, it seemed like the right thing to do at that moment. I’ll be seeing Amanda’s band Dresden Dolls on Saturday night at The Paradise, also in Boston, so look for that review soon. But know this: I am almost surprised that the earth didn’t stop spinning for a few moments when both of these women were in the same room at the same time. Jesus. H. Christ.
Laura and I repaired to entirely wonderful seats about seven rows back in the center section of the balcony and enjoyed a nifty set from openers Scars on 45.
And then it happened. At about twenty past eight. The house lights dimmed and out walked Tori Amos dressed in a turquoise blue(ish) silk blouse, black leggings and her beloved high-heels. She gave us a wave and took her spot on the 18 inch high rectangular platform where she sat between two pianos, including her signature Bosendorfer grand. It was time for the Boston stop on her “Native Invader” tour to begin.
Despite still recovering from one of the world’s worst colds of my life, I for real stood up and screamed for joy. It could not be helped. Many of us did. Tori joy cannot and should not be contained.
Tori started the show off with “Ileee” from her 1998 album “From the Choir Girl Hotel” and a feeling of pure bliss overcame me. Nothing else in the world mattered other than this exact moment. This is rare for me, more rare than you can possibly know.
Entirely unimpressive but none-the-less enthusiastically shot iPhone photos by yours truly, Aimsel Ponti.
And then Tori Amos played the second song of her show and Laura and I both had tears in our eyes. For me, it was like 25 years of my life flashed before me. Emotions stabbed at me, old demons visited, my heart felt like a pinata being shown no mercy. And I loved EVERY second of it. The song? “Little Earthquakes” with these lines:
Oh these little earthquakes
Here we go again
These little earthquakes
Doesn’t take much to rip us into pieces
And these lines: Give me life, give me pain, give me myself again.
The song ended and I turned to Laura and said “the show could end now and that would be OK.”
Tori, however, was just getting started. She played another 15 songs spanning several albums including “Reindeer King” from the mesmerizing “Native Invader.”
Tori pivoted on her stool back and forth from one piano to the other, never missing a beat. On more than one occasion she played both pianos simultaneously.
I had several heart attacks during the show, especially during “Cooling,” “Northern Lad,” Leonard Cohen’s “Famous Blue Raincoat,” Lloyd Cole’s “Rattlesnakes” and “Honey.”
She ended with “Beauty of Speed” but we knew she’s be back for an encore. A minute or so later, Tori walked back out on stage and stood before us. I did the only thing I knew how to do at that moment. I screamed “Precious Things” in the loudest voice I’ve probably ever used in my entire life. And while I am not taking credit for it, I all but collapsed in a Tori Amos induced fever when she launched into the song.
Tori closed out the night with “A Sorta Fairytale.” I love the song and although I may have chosen a different one to end with it did not detract from what was was a truly enthralling night of songs from one of my favorite artists. BTW, vocally, she’s sounding as strong, vibrant and well, Tori-esque as she ever has.
Tori Amos has 15 studio albums and about a zillion b-sides and such out in the world. It’s never too late to start your own voyage of discovery. Start with the new one “Native Invader” and work your way back. Or start somewhere in the middle. Or start with “Y Kant Tori Read” or the sacred “Little Earthquakes.” But prepare yourself for an emotional journey like none other.
And if you ever get the chance to see her live, either on this tour or the next one, GO SEE HER.
Aimsel on the Record 