12 Months of Live Music

When things started opening back up in 2021 after fifteen months of living in a cocoon, I was chomping at the bit. I purchased concert tickets left and right, many from bands that probably wouldn’t have made the cut in 2019, but in my newfound freedom seemed like necessary luxuries. Twelve months later, I look back on a year’s worth of live music. It was a great run. All but two of the acts I had never even seen before. You can read below for details, but Joseph and Sammy Rae & Friends win my two best shows of the year. The War on Drugs earns my worst. Nearly everyone else gets high marks.

September 18, 2021.  Black Pumas, preceded on different stages by Poi Dog Pondering, Moon City Masters and Sheila E.  Sheila E. proved to me that she kicks ass even in her 60s, putting the rest of us aging schlubs to shame.  I was unhappy that I had to leave the end of her show to ensure my attendance at the beginning of the Black Pumas concert, though they were terrific too, easily one of my three favorite bands of the past half a decade.  Sadly, they’ve cancelled shows for the latter half of 2022, leading to questions about the long-term health of the band.  Hopefully they’ll release more music soon.

November 13, 2021.  The Fixx, preceded by Fastball (the acoustic duo version of the group).  The Fixx was fantastic, one of two bands I had seen prior to 2021.  They are in my mind one of the most underrated bands of the 80s and 90s, achieving a level of musicianship and lyrical content that surpasses most of their contemporary and more-popular brethren.  Fabulous.

November 21, 2021. Sammy Rae & The Friends.  I’ve written about this band before, but they are ridiculous.  Sammy Rae’s voice is out of this world, and she really sings, eschewing the vocal shouting that appeals to the masses on shows like American Idol and The Voice.  As gifted and as ebullient a performer as you’ll ever see grace the stage.  One of my top two concerts of the past year.

January, 2022.  Pinegrove.  Postponed due to COVID.  Stay tuned.

January, 2022.  St. Paul & the Broken Bones.  Postponed due to COVID.  I eventually got my money back, but fortunately got to see the band in August at the Sacred Rose Festival.  Stay tuned.

January 15, 2022.  Nate Bargatze.  Not a musician, but a fabulous comedian who manages to be hilarious without resorting to the low hanging fruit of vulgarity and profanity.  Not that I’m a prude, but comedians like Jo Koy assault the audience with F-bomb after F-bomb, and it becomes tiresome.  Bargatze takes another path.

February 27, 2022.  Ralph Covert.  Formerly of acts like The Bad Examples and Ralph’s World, this local Chicago musician played for 2 hours and 45 minutes!  I shit you not.  Playing as a trio for most of the night, Ralph told stories and played selections from throughout his career.  Terrific.

March 27, 2022.  Bright Eyes, preceded by Christian Lee Hutson.  I took a chance on this one.  I only know that band’s final two albums and really dig them, but my dabbling into their earlier efforts has left me mostly unimpressed.  Fortunately, the band brought it with a crazy number of musicians on stage, including at times a mini choir and orchestra.  Led by Colin Oberst, the band clearly has its fanatics, as illustrated by the woman behind me who sang every lyric to every song…loudly.  Admittedly, I was kind of annoyed, but also impressed!  And I didn’t feel that I – a minor fan at best – could possibly bitch to someone who was clearly more passionate than I was.  Great show.

April, 2022.  Spoon.  Cancelled by me due to double-booking.  Damn.  This one hurts a little, as I rank their latest album among the best of 2022, and it looks to have been a great show.

May 4, 2022.  Aimee Mann.  Postponed due to COVID.  To date, this hasn’t been rescheduled.  I haven’t seen Mann perform since Til Tuesday opened up for Tom Petty in 1985!

May 5, 2022.  Steve Hackett.  Performing a short set of solo stuff followed by the entire Seconds Out Genesis album, this was a kick to see live, especially with my son.  Such a high level of musicianship, and I finally got to see Supper’s Ready live!

June 25, 2022.  Again with my son, this was the first time I saw Billy Joel since 1990, and he really surpassed my expectations.  Sure, he played it extremely safe with the setlist, but damn, I can’t argue with the quality of the tunes, and I was impressed with Joel’s vocal ability at such an advanced age.  He seems very at ease in the elder statesman role, probably happy to be alive and still performing for appreciative fans.

July 15, 2022.  Adrian Belew.  I kind of went to this one on a lark, unsure if it was worth the hassle.  It was.  The show cost all of $35, and it was sparsely attended, so my friend and I could stretch out in relative isolation during a high-COVID time.  Belew was fantastic, playing the guitar as no other with an unbelievable bassist and drummer to fill out the trio.  The music is weird and not always in my wheelhouse, but he was fun to see live, and I’m thankful he performed “Three of a Perfect Pair,” a favorite of mine.

July 26, 2022.  Pinegrove.  My daughter turned me onto this band, and while I enjoy their output, I can’t exactly name a song by them.  But this was one of those tickets I purchased way back in the fall of 2021, figuring, “What the hell. Take a chance.”  Playing twenty-two songs almost uninterrupted, the band was tight, offering a multitude of changes of tempo and feel, with odd-metered output and crunchy guitar making this a feast for the ears.  I was glad to have the plugs handy!     

August 26, 2022.  St. Paul & the Broken Bones, preceded on different stages by Sierra Hull, White Demim, City and Colour, Punch Brothers, and afterward a half an hour of The War on Drugs.  A stellar opening day of the Sacred Rose Festival in Chicago, I was greeted with a variety of acts, all really good except The War on Drugs, who I found to be ponderous and overly sincere with songs lacking hooks.  Oh well.  St. Paul & the Broken Bones, on the other hand, were stellar, with lead singer Paul Janeway leading the way.  He especially gained my respect after thanking security for getting his “fat ass” back on stage after a romp through the crowd.  Anyone who can laugh at himself is cool by me.  Oh, he can sing too!

August 28, 2022.  Khruangbin (but it was not to be), preceded by The Infamous Stringdusters with Molly Tuttle.  Bad weather made this entire day at the Sacred Rose Festival precarious.  I got to see an abbreviated setlist with the Stringdusters and Molly Tuttle, who were terrific.  Alas, nearby lightening shut things down thereafter.  My friend was particularly distraught after waiting for two hours in the front row to see Khruangbin, only to be turned away.

September 9, 2022.  The Shins preceded by Joseph.  Such a score on this one!  I was a little unmotivated to see The Shins on a weeknight, concluding that I may have been a bit too zealous with my concert ticket purchases earlier in the year.  But then a few days before the show I discovered that Joseph were opening, another band introduced to me by one of my daughters.  I liked their output and wondered how they might perform live.  Wow.  I mean, wow!  Three sisters singing tight harmonies to nothing more than an electric guitar and an occasional MIDI kick drum trigger.  And they killed it!  One of my top two concerts of the past year. I came home and immediately ordered their acoustic album on vinyl.  The Shins came out and killed it as well, offering a lot more urgency and energy than on their studio albums, and singer James Mercer was in great form, nailing the high vocal parts that Mercer could have been forgiven for reworking to accommodate his aging voice.  But no, even on the powerhouse “Simple Song,” he hit those suckers perfectly.  Great show.

And so ended twelve months of live music.  Not too shabby.  At present I don’t have tickets to see anyone, perhaps needing to take a reprieve after such a breakneck pace.  But it was a helluva good run.

Baseball Digs its Own Grave

Major League Baseball was already in trouble. With dwindling attendance after peaking in 2007, game times ballooning to 3 hours and eleven minutes (even after instituting some foolhardy rule changes), and lagging World Series TV ratings, it could be argued that baseball is on its way out, crying uncle to the multitude of other forms of entertainment. Hell, I raised three kids to love baseball, and they tell me that baseball isn’t really a thing their friends are interested in. Sure, maybe they go to the ballpark once a year for the hell of it, but as far as checking box scores and standings and tuning into games on TV, baseball has largely lost the next generation of fans. Of course, having World Series games that start at 8:09PM EST hasn’t exactly helped, has it? Why the MLB insists that they can gain the most market share by having as few young people watch the game as possible is perplexing. Football seems to have factored young fans into its calculous, but baseball has its collective head up its collective ass.

Ah, but not as far as we thought, apparently, because they’ve managed to push it in a little further still. 

Yes, Russia is invading Ukraine, America has just suffered through the worst two crises since World War II, people have lost full-time jobs and found only part-time jobs in return, the planet is heating up and water levels are rising, but baseball players and owners – these entitled pricks who get to play a game or get to be billionaires – are fighting over money. Never mind the multitudes who will be adversely affected as a result: the restaurant and bar owners, hotel chains, vendors, and local tourist attractions. Baseball has flipped them the proverbial bird. Screw you. We want our money!

It’s akin to something I read in Politico last week about the shenanigans that the far left in San Francisco employed recently during the pandemic. Autumn Looijen, co-founder of the Recall SF School Board campaign is quoted:

Imagine you’re in San Francisco. There’s been an earthquake. You’re out on the sidewalk in a tent because you’re not sure if your home is safe to go back to. And you’re cooking your meals on the sidewalk, you’re trying to do normal things. You’ve been there for months. Finally, your elected leaders show up and you’re like, ‘Thank God, here’s some help.’ And they say, ‘We are here to help. We’re going to change the street signs for you.’

Yep.

She’s spot-on, of course. And the same quote could be applied to Major League Baseball. The American people have endured several punches to the gut these past two years and could use some fun, lighthearted entertainment. So what does baseball do?  Shut down and argue about money.

I have cancelled my MLBTV subscription. This will put a strain on my marriage this summer. It will make my life less pleasant. I will have to find new things to do on weekday evenings when all I want to do is crack open a beer and enjoy the quintessential summer game. 

Screw ‘em. I’m done.

Organizing, Records and Discogs

When the pandemic started last March, much of the nation went into house-organizing mode, as people gathered never-worn clothes from bedroom closets and outgrown toys from playrooms, making room for other purchases that will one day need to be discarded.  The pandemic may have facilitated this organizing trend by forcing people to spend countless hours inside their homes, but I think a lot of it came down to control: giving us some semblance of power in a world that increasingly seemed to be careening towards a path of its own demise.  I think that’s what most organizing constitutes: a chance to regain control in an otherwise uncontrollable world.

While others were discarding, I was adding.  Just as the state of Illinois was shutting down last spring, I made regular trips to Home Depot to build three record racks for my growing collection of vinyl, and while the racks achieved their purpose of properly displaying my albums in all their glory, I soon wanted even more control.  I wanted them cataloged.

Enter Discogs.

Websites aimed to catalog aspects of our lives are nothing new.  Letterboxd tracks the movies we’ve seen (or haven’t seen yet), Goodreads does the same for books, Untappd for the beers you’ve sampled.  As someone who has made lists all his life, who when asked what my favorite movies are can immediately rattle off ten titles, I find these websites to be a Godsend, a way to transform scraps of paper or poorly organized spreadsheet files into fun, interactive activities that facilitate sharing content with others who relate to my obsessions.

There are plenty of options for music collector, but Discogs appears to be the site of choice for the folks I know.  It has its quirks and limitations, but after spending a week or so entering data, I’ve managed to inventory all of my records, CDs and concert DVDs nicely in the cloud and I’ve organized them even better on a spreadsheet that I can manipulate however I choose.

A few details.  If you’re a vinyl collector for whom its important to properly identify the specific pressing of each record you own – and there are reasons why this might be important – the endeavor of cataloging your collection is going to cost you loads of time.  For me, I was happy just to note that I owned a particular album and not that it was a particular reissue of a particular year.  This posed a problem, however, because Discogs attempts to estimate the monetary value of your collection – a nice feature – and to have this estimate somewhat accurate, it’s important for me to at least note that my 1974 Genesis release isn’t a first pressing, but a reissue.  And, truth be told, this is a pain to do on Discogs for several reasons:

1)     When searching for a basic record – say, Fleetwood Mac’s Rumours – 538 versions of the album pop up, and even after filtering for country (U.S.) and format (vinyl) you’re left with over 90 options to choose from.  Which one do you choose without wanting to spend a great deal of time?  If you’re like me, knowing that I didn’t have a highly-valued first pressing – I chose the first reissue I could find.  But this leads to another problem…

2)     I want to be able to track my records based on the year they were released.  My mental timeline is part of what helps me navigate my world, and knowing that The Lamb Lies Down on Broadway came out in 1974 is one of those facts that anchors my historical timeline.  Unfortunately, if I want to properly recognize that I don’t own a valuable first pressing but rather an inexpensive reissue, it’s the year of the pressing that pops up when I chronologically order my collection, NOT the year the album was released.  I hate this.  Others hate it too, as a quick Google search confirmed, but while there are many likeminded people out there, there’s apparently only one solution to the problem:  download your collection, load it onto a spreadsheet, and physically change the dates to their original year of release.  That’s what I did.  Not ideal.

3)     Unless I’m missing something, I can’t set filtering defaults like searching only for vinyl releases in the U.S.  I have to tell Discogs to search only for “vinyl” and for “U.S. releases” every time search for a new record.  EVERY fricking time!  If I’m missing something, shame on me.  But this made entering data much more laborious.  And using the website is no better than the android app, as it takes a long time to even load the filtering page.  To date, there isn’t a Discogs app for PCs.  You have to go to the website if you want to make changes via your computer.  (I tried using “Disko for Discogs” which is supposed to be a way to use Discogs via an app, but this failed to even link up to my account).

These issues aside, Discogs is still a useful way to inventory of your collection, and if you own more recent CDs and albums, it’s easier still, as you can simply scan the barcode rather than typing in information (I entered my entire CD collection in less than a day).  Now that I’ve got everything entered and up to date, going forward when I purchase a new record, I’ll enter it separately onto Discogs and then onto the spreadsheet I’ve made to my preferred specifications.  Luckily for me, I only purchase 30 or 40 records a year, so this isn’t such a big deal.  If you’re a big collector with a lot of changes in inventory, this could be a major headache.   In addition to editing “year released” on my spreadsheet, I also manually edited the format of my items into basic categories (LPs, CDs and DVDs) and added a genre column (rock/pop, jazz, classical, spoken, humor).  This way I can sort my collection in any way I choose. (A question might be raised as to why I would feel compelled to sort my collection in multiple ways.  Again, it’s all about the illusion of control.)  The spreadsheet also serves as a way to enter albums that Disccogs can’t find – limited releases or self-released CDs that friends of mine have given to me over the years, for example. 

With everything entered, I’ve got upwards of 900 vinyl records and 500 CDs.  That’s a lot for sure, but each item is neatly arranged in the racks I built last spring, and as a result my mild obsession doesn’t seem like such a crazy endeavor.  When my records were stacked in boxes sprawled out on the basement floor, then I wondered if my collecting was getting out of hand.  Now if I ever feel this way, I need only look to a collecting friend of mine who’s amassed more than 5000 records.  Compared to him, my hobby seems downright sane.

Enter Empty-Nesterdom

I’ve recently joked with some friends of mine: “I’ll be an empty-nester in September.  When you see a flare, come with a few beers and rescue me.”

This Friday my wife and I enter Empty-Nesterdom.  For the first time since December of 1996, when a bout of nausea prompted us to stop by CVS for a quick pregnancy test, we will no longer devote a large percentage of thought and energy to our children.  At least not all the time.  Granted, our son’s increasingly independent lifestyle over the last number of years has gradually given my wife and me more time on our own, and we’ve slowly grown accustomed to what life might look like on the other side, but I’d be lying if I said that I don’t have a degree of trepidation about the future.  None of our kids will be an easy drive away, and one isn’t even an easy flight away.  We won’t be able to plan a spontaneous lunch or walk with our kids.  Every visit will have to be crosschecked against multiple calendars and planned in advance.  When our twin girls left for school five years ago, we ended up seeing one of them once a semester (Kentucky) and the other once a year (California).  Cincinnati will similarly limit our visits, and we may go for long periods of time without seeing any of them.

Although my three kids are doing pretty well, I’ve found that having adult children leads to a different sort of parental anxiety, because adult children have adult problems.  Gone are the days when their spirits could be lifted merely by me picking them up and jumping up and down.  God, I loved those days.  I love these days too for sure.  It’s just more uncertain, and I of course have little to no control of the situation.  Last week I looked over a 401k rollover procedure for my daughter, and I was happy to actually contribute something of value.   I love it when there’s a right answer to a problem. 

Mostly, though, it’s not so simple.  A while back, the psychotherapist and author Lori Gottlieb wrote a great article in The Atlantic called “How to Land Your Kid in Therapy.”  It’s nearly a decade old now, but the revelations still ring true: that as parents we’ve overprotected our children to the extent that they experience difficulty in their twenties and thirties, so unable are they to handle challenges, to be resilient in the face of difficulties.  The article is well-summarized by the following sentence: “…many parents will do anything to avoid having their kids experience even mild discomfort, anxiety, or disappointment, with the result that when, as adults, they experience the normal frustrations of life, they think something must be terribly wrong.”

This was written in 2011 when the worries of much of the world paled in comparison to what young people face today.  We’re asking an awful lot of young adults to handle the adversities of COVID-19, a sinking economy, isolation, cancelled school, melting icecaps, political divisiveness, mean-spirited leaders, hateful mob mentality gone rampant online, and a whole host of other concerns, when we as adults set them up for failure to overcome life’s great challenges.

I’d like to think that my wife and I didn’t fall into the overprotective parenting trap, but I’m sure I’m fooling myself.  I’m sure I sent one to many emails to their teachers over the years and had my kids check in too often when they were out.  Ultimately, we probably did okay, but I believe that my children are up to the task of weathering life’s great challenges likely in spite of their upbringing rather than because of it.  It’s not going to be easy, but I believe that they’ll be among those who navigate these treacherous times, not with perfection, but with perseverance.

But a larger question looms: will my wife and I be up to the task?  Will we find balance, meaning and determination absent the diversion of active parenting? 

Stay tuned.

Baseball Begins

Just prior to the beginning of the pandemic-shortened MLB season, I happened to start watching the baseball-themed comedy series Brockmire, and was taken with this quote from the third episode:

“So let’s not make baseball out to be any more important than it really is.  It’s just a diversion that keeps us from pondering our own personal hells.”

I love this, and while I’d never admit that I when I watch a ballgame I’m avoiding my own personal demons, I must confess that I’ve missed the diversion of baseball.  I’ve missed having that little no-think something to look forward to at the end of the day, or – lately - in the middle of a frightfully unscheduled weekend.  A little light that says, “Hey, even if you’ve got nothing else going on, baseball starts at 1:20,” as it did yesterday. 

I grabbed a Pabst from the refrigerator (because it’s $7.99 for a 12-pack and it’s good on a hot summer’s day, that’s why), lay down on the couch, petted my pooch, and listened to Bob Uecker call the game for his fiftieth-straight season.  Perfect. The diversion and it’s accompanying mid-day nap were lovely pastimes indeed right until Peralta gave up four runs in fourth and basically ensured that the Cubs would take two of three from the Brewers to start the season.  At that moment it was baseball frustration as usual.  I turned the TV off and went back to work.

Ah, but there’s another game tonight, another diversion, another glimmer of hope.  And that’s one of the beauties of baseball.

And while I don’t exactly hold out a lot of hope for the Brewers during this season like no other, or for the baseball season in general in light of the horrific number of COVID-19 cases reported each day, I can imagine the following scenario:  after a lifetime of making a silent prayer (okay, sometimes not so silent) to let my Brewers win a World Series title (just one – I’m not being greedy), I can imagine the All-Powerful Creator up in the sky saying, “You want a World Series Title; I’ll give you one,” and THIS will be the year I’m granted my request.  This asterisk-marred joke of a season.  THIS will be the year the Milwaukee Brewers win a championship.  Craig Counsell and his crew will come home to Milwaukee for a parade down Wisconsin Avenue on a chilly November afternoon, and fans will come out in droves to celebrate the stunning achievement of the city’s first title since the erstwhile Braves in 1957, and I will be one of those delusional fans. But I and all of my cheesehead brethren will know…we’ll know that none of it counts.  Nothing counts in what is basically a 60-game exhibition.  And God will say, “Hey, what do you want?  I gave you a World Series.”

Because never once in all my years of praying did I specify, “Please God, let the Brewers win a World Series in my lifetime, but only if it’s a legitimate 162-game regular season.”

Dummy me: I forgot to include the proviso.