It’s time we turn this list around. Instead of tracking the favorite new releases of 2018, I’ll start with my favorite catalog discoveries. The vast majority of my listening these days is old music that’s new to me, so let’s pretend no longer I have a read on anything current.
Patti Smith, Horses: PJ Harvey sure owes a lot to Patti Smith. The first time I played Horses, there were moments I thought I was listening to Polly Jean. This album confounded me, thus forcing me to play it multiple times, each time engaging me more than the last. Smith has been described as the godmother of punk, and I half expected a proto-Sleater-Kinney. Nah, man. That’s not it at all.
The Jimi Hendrix Experience, Are You Experienced?: Maybe it’s because of Emmylou Harris and Kronos Quartet that made this album feel instantly familiar, or maybe its influence extends as far as the arm of Sauron.
Roxy Music, Avalon: Smooth
Bruce Springsteen, Nebraska: This shit is dark.
Joni Mitchell, Court and Spark: Without some schooling in Charles Mingus and John Coltrane, I wouldn’t have understood how ground-breaking this album is. Otherwise, the cheap imitations it spawned would have been my only reference.
Fugazi, The Argument: I didn’t think anything could top 13 Songs or Repeater, but this album comes damn close.
Dwight Yoakam, Guitars Cadillacs Etc. Etc.: Honky-tonk AF
Benjamin Gibbard / Andrew Kenny, Home, Vol. 5: Even after 15 years, this split EP holds together well.
Janelle Monáe, Dirty Computer: This is the album I wished The ArchAndroid was. I still think she hasn’t yet recorded her Shousou Strip.
Laurie Anderson and Kronos Quartet, Landfall: I found myself engaged in this album more than I expected.
Various Artists, Adam to Eve no Ringo: Shiina Ringo is one of the best songwriters, because the strength of her writing cuts through even the most ordinary interpretation of her songs.
Thomas Bartlett and Nico Muhly, Peter Pears: Balinese Ceremonial Music: It’s an improbable concept album based on transcriptions of Balinese gamelan music by English composer Colin McPhee. In execution, it’s a stronger concept than the Planetarium album Muhly did with Sufjan Stevens, Bryce Dessner and James McAlister.
Steve Grand, not the end of me: Grand has gone through some serious shit since his debut album, and this sprawling sophomore effort lays it all out.
Utada Hikaru, Hatsukoi: Check out the rhythmic modulation on “Chikai”. She does some amazing obfuscation with the downbeat.
Igor Stravinsky, Chant Funèbre / La Sacre Du Printemps: It seems Funeral Song didn’t really answer the question of how Stravinsky bridged his Scriabin-influenced early work with the Firebird and all that came after.
Tracey Thorn, Record: Tracey Thorn returns to the dancefloor, thank deities.
In fact, a whole generation of readers might find the premise a bit preposterous — a list of 10 albums with which you would want to be stranded on a desert island. You had to suspend belief that you had an infinite electrical supply and a working playback device.
Then music escaped its physical confines, and iPods allowed people to carry entire music collections with them, which today’s subscription services dwarf in terms of supply.
But the desert island disc list still makes for a good thought exercise — in this era of abundance, what would you do in a moment of scarcity? What 10 albums feel as comfortable and reliable as that old jacket or blanket?
I think it’s only in the last decade that my list has finalized.
Duran Duran, Rio
As a teenager, my desert island disc list would have probably included Duran Duran in most slots. While I would hate to leave behind The Wedding Album, Rio is pretty much the go-to album for any Duranie.
Kronos Quartet, Black Angels
The Quartet for Strings No. 8 by Dmitri Shostakovich would be my desert island classical piece — I never tire hearing it. This album introduced me to the piece, and the title work has also become essential repertoire for me.
John Zorn, Naked City
I imagine there will be many frustrating days living on a desert island, and this album would help greatly to cope with those days.
Emmylou Harris, Wrecking Ball
Growing up in Hawaii meant automatically dismissing country music. Emmylou Harris introduced me to the better stuff.
Neutral Milk Hotel, In the Aeroplane Over the Sea
I was introduced to this album in 2009, right around the time it was starting to get difficult to find something new to move me. So yeah, I was surprised myself.
NUMBER GIRL, SCHOOL GIRL DISTORTIONAL ADDICT
Shiina Ringo, Karuki Zaamen Kuri no Hana
I feel a bit self-conscious over the fact three Japanese titles show up on this list, but given the number of really good albums that clustered around 1999-2004, it’s was tough keeping SUPERCAR, AJICO and fra-foa off the list, let alone the two Shiina Ringo albums that preceded Karuki Zaamen Kuri no Hana.
Robin Holcomb, Robin Holcomb
This album reminds me that pop songwriting doesn’t always need to be sweet.
U2, The Joshua Tree
To be honest, this album usually fights for its spot on the list with In Tua Nua’s The Long Acre.
The fact I can actually post a preview entry this early in the year makes me hopeful we won’t see a repeat of last year’s lopsided schedule.
Igor Stravinsky, Chant Funébre / Le Sacre du Printemps, Jan. 12
This album featuring a newly discovered work by Igor Stravinsky comes out a week after I’ll have heard the Seattle Symphony perform it. I’ll own yet another version of The Rite of Spring, though.
Sasagawa Miwa, Atarashii Sekai, Jan. 31
Last time I checked in with Sasagawa Miwa, she was moving in a jazz direction.
Rhye, Blood, Feb. 2
The singles preceding this album release make me think I ought to place a pre-order.
Steve Reich, Pulse / Quartet, Feb. 2 (vinyl on March 30)
The cover of this album almost fooled me into thinking Reich had gone back to ECM. For proof, compare the Reich cover with John Surman’s forthcoming album Invisible Threads on ECM:
Kronos Quartet and Laurie Anderson, Landfall, Feb. 16
Anderson contributed to Kronos’ Fifty for the Future initiative, and they’ve included the piece in recent concerts. I’m curious to hear more of this collaboration.
My Bloody Valentine, Loveless, Jan. 18 (UK)
Kevin Shields sure went to a lot of trouble remastering this album for vinyl, when it wasn’t really recorded for analog in the first place.
SUPERCAR, HIGHVISION, March 30
SUPERCAR, ANSWER, March 30
I became a SUPERCAR fan just as the band changed its sound, so the recent vinyl reissues of Three Out Change!! and JUMP UP allowed me to discover its early work. I’m coming around to the idea that maybe that first era was better than what followed.
Shiina Ringo, Gyakuyunyuu ~Kuukoukyoku~, March 30
Have you seen how much the Shiina Ringo vinyl reissues from 2009 are going for on the secondhand market? I’ve got mine pre-ordered.
2017 was a rather active year in music, but when it came to new releases, I opted to leave a lot of stuff on the shelf. A decade ago, new albums by Arcade Fire and Grizzly Bear would have been breathlessly awaited. I don’t get the sense either had much staying power beyond their release dates.
As a result, I ended up purchasing a total of 34 new titles, approximately 7 percent of my total buying activity. The remaining purchases? Catalog and reissues. This list, in other words, comes from a small pool of albums.
Onitsuka Chihiro, Syndrome
Royal Wood, Ghost Light
RADWIMPS, Your name.
Sam Smith, The Thrill of It All
Sam Amidon, The Following Mountain
Kronos Quartet, Folk Songs
Gaytheist, Let’s Jam Again Soon
Living Colour, Shade
Jason Isbell and 400 Unit, The Nashville Sound
Renée Fleming, Distant Light
Sam Smith and Living Colour are the big changes from the mid-year list. The Thrill of It All isn’t as weird as I hoped it could be, but it’s a more appealing album than Smith’s debut.
Shade is the perfect soundtrack for the frustration of living under the current administration. Pre-release press mention the blues as a springboard for the album, but really, Living Colour transform the blues in ways that are nigh unrecognizable.
Other favorites from the year:
Eluvium, Shuffle Drone: I hate both the repeat and shuffle buttons on my playback mechanisms. That said, Matthew Cooper deserves mad props for creating an album that puts both buttons to excellent use.
Sampha, Process: I admit I didn’t listen to this album till a few weeks ago, once it started showing up on year-end favorite lists.
David Rawlings, Poor David’s Almanack: My long-simmering discovery of Gillian Welch will have to wait for another entry, but it’s the reason David Rawlings shows up here.
Shiina Ringo, Gyakuyunyuu ~Kuukoukyoku~: Part of me misses the rocking Ringo-chan of the early 2000s, but then hearing these songs side-by-side with the artists who recorded them first deepens my appreciation for her.
Sufjan Stevens / Nico Muhly / Bryce Dessner / James McAlister, Planetarium: It helps to have heard this album with a laser light show.
The Drums, Abysmal Thoughts: Jonny Pierce takes over the show.
Cocco, Cocco 20 Shuunen Kinen Special Live at Nippon Budokan ~Ichi no Kan x Ni no Kan~: The live performances don’t stray too far from what’s heard in the studio, but Cocco’s voice doesn’t seem to have aged a bit.
Duran Duran, Thanksgiving Live at Pleasure Island: If you’re a fan of the seriously-underrated Medazzaland, this live album is a must-have.
I’m not the kind of person who has to post selfies or photograph everything I’m eating or doing.
That would be Janet Jackson pictured with this entry.
JACK Quartet, Meany Hall, Jan. 10
I ran into my music theory TA at this concert, and we both we a bit meh about the program. JACK is a great quartet, but I honestly can’t remember much beyond the Morton Feldman piece which opened the concert.
The [untitled] series introduces me to a lot of new music of which I never follow up after hearing it. I still love going to these concerts, though.
University of Washington Modern Music Ensemble, John Zorn: Cobra, Meany Hall, March 1
I’ve known about Cobra for years, but this performance was the first I’ve attended. Recordings can’t do this piece justice. It must be experienced live to understand it.
Seattle Symphony, Aaron Jay Kernis: Violin Concerto, Benaroya Hall, March 18
Violinist James Ihnes has a lot of creative capital in Seattle as director of the seasonal chamber music festival, so I think the audience was willing to give Kernis’ concerto a chance. The piece and the performance went over well.
Japan Nite Tour, Chop Suey, March 22
Damn, had it been five years since I’ve attended a Japan Nite concert?
Emerson String Quartet, Meany Hall, April 21
There’s no way I would miss an Emerson concert with Shostakovich or Bartok on the program.
Seattle Symphony, [untitled 3], Benaroya Hall, April 28
A program centered around Andy Warhol concluded with a “popera”, which actually was far more engaging that I expected.
University of Washington Harry Partch Ensemble, Oedipus: A Music Theater Drama, Meany Hall, May 6
UW has a number of Harry Partch’s custom instruments, which were put to use in a production of Oedipus. Without the visual element, they pretty much sound like gamelan.
Midnight Oil, Moore Theatre, May 31
Yeah, definitely my favorite show of the year. The set list covered the entire span of their career, and just about everything I wanted to hear live I did.
Low + MONO, Neptune Theatre, June 16
I’ve known about Low for a long time — mostly through the band’s cover of “Africa” by Toto — but I was never curious enough to seek them out. I was duly impressed, even if I don’t think I’ll own anything other than Things We Lost in the Fire. MONO, of course, brought it.
The Revolution, Showbox, July 15
The band crafted the set list incredibly well. It started off with some obscure but recognizable stuff, but the second half kicked off the favorites. And everyone left pleased.
Jason Isbell and 400 Unit, Paramount Theatre, Sept. 12
Jason Isbell delivered a flawless performance as usual. The audience, though, was weird. It was a Tuesday night, and the Seattle Freeze was in full force, with half the audience sitting and the other half standing.
Sam Amidon, Fremont Abbey, Sept. 22
If nothing else, you really must go to a Sam Amidon show just to hear him talk between songs.
Janet Jackson, Key Arena, Sept. 27
I held onto my ticket after two cancellations, and I was glad I did. No opening act. Just Janet dishing out hit after hit in an epic DJ mix, only live.
Back in 2008, I wrote a series of entries detailing my favorite albums from various decades. For the longest time, I held an incredibly dim view of 1992. Compared the years preceding and following, 1992 felt like a creative malaise had spread throughout the music industry.
Bands that used to be underground found themselves to be popular, and under this newfound, wide-scale scrutiny, some of them cracked.
Or so I thought.
I had only turned 20 years old, an age when the dopamine hit from discovering new music left a neophyte intoxicated. I wanted every album to matter, and the ones that didn’t received a harsh judgment.
Twenty-five years later, I’ve got more of an education on where 1992 fit in the larger scheme of things, and of course, I got it wrong. This old entry details all the ways I got it wrong. So let’s make it right.
Here’s a revised list of the Favorite Edition 1992.
Wayne Horvitz/The President, Miracle Mile
Máire Brennan, Máire
Henryk Górecki, Symphony No. 3 (Dawn Upshaw, David Zinman, London Sinfonietta)
k.d. lang, Ingenue
Sade, Love Deluxe
En Vogue, Funky Divas
Prince and the New Power Generation, 0(+> (Love Symbol Album)
Emmylou Harris and the Nash Ramblers, At the Ryman
Kronos Quartet, Pieces of Africa
Robin Holcomb, Rockabye
The Sugarcubes, Stick Around for Joy
Faith No More, Angel Dust
Sonic Youth, Dirty
The original list stopped at five items, with a longer list of albums accompanied by explanations for why they weren’t favorites. In some cases, I’ve completely changed my mind.
At the time, Love Deluxe was such a drastic turn for Sade that I thought something went wrong. It would take another 18 years for Love Deluxe to reveal itself as the start of a new creative era, one marked by extreme pauses between albums. This early ’90s album shares more with its successors in 2000 and 2010 than it did with 1988’s Stronger than Pride.
I also got a chance to revisit Ingenue after the entry was written, and it’s place on the favorite list is well anchored.
Other albums would not have appeared on the list at the time it was written. Prince was unexplored territory for me in 2008, so I wouldn’t have even thought to include the Love Symbol album. En Vogue wouldn’t have gotten past my raging rock snobbery.
The rest of the albums on the list could have only been included after much research. Dirty makes a lot more sense if a Sonic Youth novice also considers Sister and EVOL. At the Ryman would not make sense to someone who’s only exposure to Emmylou Harris was Wrecking Ball.
It seems all the bands in which I’m interested all decided to release their albums in May and June. To date, I have a total of four 2017 releases since the start of the year. Putting together the Favorite Edition Half Year is going to be tricky.
At the Drive-In, in*ter al*li*a, May 5
I can’t figure out why I’m looking forward this late-coming follow-up to Relationship of Command, an album I like but can’t listen to very often. And I wasn’t enough of a fan to follow either Mars Volta or Sparta.
Café Tacvba, Jei Beibi, May 5
I find it interesting that Café Tacvba is releasing this album through CD Baby. That means they’ve gone completely independent.
Midnight Oil, Full Tank, May 7
Midnight Oil, Overflow Tank, May 7
Tempting as these complete boxed sets may be, my current Midnight Oil collection occupies quite a bit of shelf space. Also, the import markup makes these sets fiscally untenable. Hey Sony, fans outside of Australia might be interested in some of these releases.
Juanes, Mis Planes Son Amarte, May 12
It’s a visual album about a man going into outer space to find the woman of his dreams. I would be interested to see how Café Tacvba would tackle the same plot.
PWR BTTM, Pageant, May 12
Anyone who has Grindr or Scruff installed on his phone would probably check out a band called PWR BTTM.
Art of Noise, In Visible Silence (Deluxe Edition), May 19
The weirdest album I acquired in 1986. The b-sides are terrific.
Kishida Shigeru, Symphony No. 1, May 24
If the orchestral work Kishida released last year as a digital single is any indication, don’t expect a musical metamorphosis on the level of C. Kip Winger.
Sam Amidon, The Following Mountain, May 26
His first album of original music.
Cody Chesnutt, My Love Divine Degree, June 2
It’s been a while. I had wondered if another 10 years would pass before another Cody Chesnutt album would arrive.
U2, The Joshua Tree (30th Anniversary Deluxe Edition), June 2
I already have the 20th Anniversary edition, so really, I just want the white cover with the color photo.
Kronos Quartet, Folk Songs, June 9
For a while there, I thought Kronos had moved on from Nonesuch, given the number of albums the ensemble has released on other labels. This collaborative album with Sam Amidon, Natalie Merchant, Rhiannon Giddens and Olivia Chaney is the first Kronos has released on Nonesuch since 2012, not counting various anthologies.
Dan Messe, Amelie: A New Musical, June 9
I’m not sure what draws me to this cast recording — the fact it’s based on Amelie or the fact it was written by a member of Hem.
Sufjan Stevens, Bryce Dessner, Nico Muhly, James McAlister, Planetarium, June 9
Well, somebody had to update Gustav Mahler’s The Planets …
The Drums, Abysmal Thoughts, June 16
Jonny Pierce goes full Roland Orzabal ca. 1993, becoming the sole member of his band The Drums.
Jason Isbell and 400 Unit, The Nashville Sound, June 16
I would be OK with Jason Isbell and Sturgill Simpson releasing albums on alternating years.
Midnight Oil, The Vinyl Collection, May 7
I would like to get Redneck Wonderland, Breathe and Head Injuries on vinyl. I could do without Capricornia, Earth and Sun and Moon and Place Without a Postcard. Maybe separate releases down the line? Outside Australia, even??
Emmylou Harris and the Nash Ramblers, At the Ryman, May 12
Harris’ shows at the Ryman gave the venue new life, and she returns for the venue’s 125th anniversary. So of course a reissue (on vinyl!) is in order.
En Vogue, Funky Divas, June 9
I’m disappointed rock bands haven’t turned “Free Your Mind” into a crossover classic.
Enya, A Day Without Rain, June 16
Enya, Amaratine, July 14
A Day Without Rain is Enya’s weakest album, and Amaratine went a long way to rectify it. That won’t stop me from getting both of them.
In 1987, I turned 15 years old, an age when music discovery exerted its strongest pull. The same Spotify analysis that charted music tastes over time claims most teen-agers highly identify with popular titles. Had the same study been done when I was a teen, I probably would have been an outlier point.
Kronos Quartet, Black Angels
The first Kronos Quartet album I purchased was Winter Was Hard, and it was something of a Reader’s Digest for modern classical music. Then Black Angels followed, and it exploded my perception of what music could be.
John Zorn, Naked City
I was a pissed-off teen for a lot of reasons, most of them mundane. But it gave me drive to find music that would alienate everyone around me, and the howls of Yamantaka Eye and John Zorn fit the bill nicely.
In Tua Nua, The Long Acre
This album introduced me to the idea that popularity is not the same thing as merit. I couldn’t find a filler track anywhere on this album, and the confrontational “The Innocent and the Honest Ones” mirrored my own dissatisfaction with being raised in a monotheistic culture. It should have been a hit, but mostly, you’ll find it in the 99 cent bins.
U2, The Joshua Tree
U2 had to score a number one album in order for radio stations in Hawaii to pay attention. I knew about the band beforehand but hadn’t taken the plunge till I saw the video for “With or Without You.”
Andrew Lloyd Webber, The Phantom of the Opera
Andrew Lloyd Webber gets a lot of flack for his signature hit tunes, but for a young burgeoning composer, his scores are incredibly instructional. I’ve yet to encounter another pop writer who can make a hook out of an atonal melody.
The Art of Noise, In Visible Silence
Before I learned about Kronos Quartet, John Zorn or Andrew Lloyd Webber, I encountered the Art of Noise. I would later learn (Who’s Afraid Of …?) The Art of Noise! had some bonafide songcraft, but its follow-up, In Visible Silence, essentially jettisoned all that.
Arcadia, So Red the Rose
Of the two Duran Duran splinter projects from 1985, Arcadia hews closest to the parent band and engenders the most sentiment from long-time fans.
Stephen Sondheim, Sunday in the Park with George
Sunday in the Park with George arrived at time in my life when I was just starting to learn about modern classical music. I looked to Lloyd Webber to bridge my interests in classical and pop musics, and I turned to Sondheim to go further into modernism.
Eurythmics, Sweet Dreams (Are Made of This)
I loved Eurythmics singles, but their albums tended to have quite a bit of filler. Sweet Dreams is the deserved obvious choice, but Savage and In the Garden deserve some props.
Duran Duran, Rio
This tops my Desert Island Disc list, so of course, it’s going to be here.
Wendy Carlos, TRON Original Soundtrack
I listened to this soundtrack to death because I loved the computer graphics of the movie. It wasn’t till much later that I discovered how rich Carlos’ harmonic language was. This soundtrack pretty much planted the seed that would be nourished by the Art of Nosie, Kronos Quartet, John Zorn and classical music after 1900.
Sturgill Simpson posted a photo of the crowd at his Seattle show on Nov. 11, 2016. I was standing pretty close to the stage, and sure enough, I spotted myself in the pic. His show capped yet another active year of concerts, which included a trip to Portland and two weeks of modern American symphonic music.
Sō Percussion, Jan. 31, 2016
Like Kronos Quartet before it, Sō Percussion commissions original works that often push technological boundaries as much as musical ones. The first time I saw Sō in Austin, the quartet performed Dan Trueman’s neither Anvil nor Pulley, which required performers to use old game console controllers to manipulate a Bach keyboard piece.
For this concert, Bryce Dessner’s Music for Wood and Strings features the Chordstick, a custom instrument that combines a hammered dulcimer with an electric guitar.
Seattle Symphony, [untitled 2], Feb. 5
The big piece performed at this concert of mid-20th Century New York City composers was Rothko Chapel by Morton Feldman. 2016 would eventually find Seattle Symphony programming four Feldman pieces in various concerts. Crowd reaction, of course, ranged from the usual restlessness to outright departure.
Seattle Symphony, Berio: Sinfonia, Feb. 6
I hadn’t planned on attending this concert till my music theory professor devoted an entire class on the piece. The fact Roomful of Teeth performed with the symphony was another incentive.
Kronos Quartet, Feb. 20
Sorry, the live performance of Beyond Zero: 1914-1918 did not convince me to pick up the DVD, but it’s always nice to hear Franghiz Ali-Zade’s Mugam Sayagi.
Ty Herndon, Feb. 25
It was a sparse crowd at El Corazon, and Herndon played a stripped down set of his hits. He also previewed “If You” and mentioned his new album would be out in May. House of Fire arrived in September, albeit with a larger promotional splash.
Jeremy Denk, March 18
The Goldberg Variations and Ligeti Etudes in a single night. Yeah, it was a good concert.
John Adams, Scheherezade.2, March 19
Oh wow, did Leila Josefowicz bring her A-game. I picked up the Nonesuch recording of this work when it was released because it’s an amazing display of athleticism. I think I like this work more than Adams’ first Violin Concerto.
Stephen Sondheim, Assassins, Feb. 26
As much of a Stephen Sondheim fan that I am, I’ve so far only seen two of his works on stage. Honolulu Community Theatre did Sunday in the Park with George back in the early ’90s. ACT Theatre did Assassins. That’s a show that will test your startle response.
Rhye, Apr. 21
Seattle Theatre Group scheduled Rhye and Courtney Barnett for the same night, and I wanted to see both of them equally. I ended up going to Rhye because Barnett’s show sold out. Despite illness, Milosh sounded awesome.
Santigold, May 14
I couldn’t decide who I wanted to see more — Santigold or the SG1 Dancers. It turned out I loved them both.
Seattle Symphony, Beethoven and Gershwin, June 11
A scheduling conflict prevented me from attending the first [untitled] concert of the season, so I traded the ticket for a program of Beethoven and Gershwin works. The evening started with the Seattle premiere of Anna Clyne’s This Midnight Hour, which the crowd seemed surprised to enjoy.
Seattle Symphony, Tuning Up!, June 17-July 2
After years of attending SXSW, I decided I was going to stay away from Bumbershoot. Then Seattle Symphony announced a two-week summer festival of American modern works, and I couldn’t part with my money fast enough. The clerks at David and Co. thought I was a performer because I was there for every concert. George Perle, Morton Feldman, Philip Glass, Julia Wolfe — I was definitely the target market for this festival.
Matt Alber, June 26
A bout of pneumonia prevented me from seeing Matt Alber in 2014, so his show in June was a nice way to participate in at least one gay pride event this year.
Explosions in the Sky, Sept. 2
I thought it was odd Explosions in the Sky announced a whole bunch of Pacific Northwest dates without including Seattle, so I opted to travel down to Portland and catch them at the wonderful Crystal Ballroom. The day after I bought my ticket, the band announced its Bumbershoot date. Bullet dodged.
Sigur Rós, Sept. 20
The last time Sigur Rós performed in Seattle was in 2012, and the show sold out by the time I could access the Seattle Theatre Group site. This time, I got into the pre-sale. The amazing light show was equal parts Einstein on the Beach and TRON.
Seattle Symphony, Prokofiev and Beethoven, Sept. 24
For this concert, the symphony premiered a piece by Gabriel Prokofiev and included The Love of Three Oranges by his grandfather, Sergei. It had been so long since I listened to Three Oranges that I anticipated Peter and the Wolf instead.
Seattle Symphony, [untitled 1], Oct. 28
I’m not as versed in the works of Witold Lutoslawski, but then who is?
Sturgill Simpson, Nov. 11
Sturgill Simpson doesn’t do encores, and why should he when he plays two hours straight? That show pretty much made me wonder why I’m still going to rock concerts in my mid-40s. How could Simpson have the endurance to do those shows for six months, when just watching him exhausted me?