I’ve tuned into a number of live streams since SARS-CoV2 shut down live music worldwide, but I’m not listing them here in this concert overview.
I treated those live streams as background music while I surfed the web. I wouldn’t abide that behavior at a concert, so indulging in it during a live stream disqualifies me from saying, “I saw that performance.”
Looking back, it’s chilling to think I went to these shows when SARS-CoV2 had already begun its community spread.
… And You Will Know Us by the Trail of Dead, The Crocodile, Jan. 21
I left work early so I could rest up before going to this show, and I dodged a shooting that shut down Downtown Seattle. If I left an hour later, I may have been caught up in the mayhem.
This show was the first time I saw … Trail of Dead in a venue not located in Austin. They were as I remembered them, which is amazing after 20 some odd years of following the band. And yes, the stage got trashed at the end.
Dvořák’s ninth symphony left such an indelible impression on my young teenaged self, I never sought out any of his other orchestral works to avoid disappointment. So I’ve only recently become acquainted with his eighth symphony.
I have a number of Gidon Kremer albums with his Kremerata Baltica, so I was looking forward to hearing him perform, regardless of the work. I’m not familiar with Mieczysław Weinberg, but I came away with a favorable impression of his violin concerto.
Seattle Symphony, Mozart: Concerto for Two Pianos, Benaroya Hall, Feb. 21
I admit I go to Seattle Symphony premieres in the hope of finding a “hit” — a work that I would crave to hear on recording. A lot of times, though, I leave the concert hall without an impression of what I heard. Such is the case with Ryan Wigglesworth’s Piano Concerto.
Seattle Festival Orchestra, Tchaikovsky: Violin Concerto, Town Hall Seattle, March 1
The soloist for the Tchaikovsky Violin Concerto was my violin teacher, Luke Fitzpatrick. I would hear him rehearse parts of the concerto before my lesson, so I went to this performance to see the final result. He pretty much crushed it. The inclusion of the Amy Beach Celtic symphony did make the program feel longer than it ought to have been.
Denk had yet to release his latest album, c.1300-c.2000, when he performed at Meany Centre. So he chose to focus mainly on Beethoven. The program did include John Adams’ I Still Play, which he wrote for retired Nonesuch Records president Bob Hurwitz.
Carolyn Shaw, Piano Concerto, Seattle Symphony, Benaroya Hall, Feb. 2
I think Shaw lost me in the second movement of her piano concerto, when the opening melody in the piano repeated. And repeated. And repeated. The first movement established this piece wasn’t minimalist, so why become one in the second movement?
When I first started exploring classical music, I bought a cassette tape with Sergei Prokofiev’s Classical Symphony and Lieutenant Kije Suite. His Symphony No. 7 was tacked onto the album to fill out space, so I listened to it quite a lot. I haven’t explored other Prokofiev symphonies, but I have a fondness for the seventh.
I had planned to attend the Seattle Symphony’s performance of Heiner Goebbels’ Surrogate Cities, but it was scheduled on the day I was flying back from London. The concert was rescheduled a day earlier, and I traded my ticket for Amaedus Live. I was glad to learn it was the theatrical cut.
Emerson String Quartet, Meany Hall, March 6
The program on this concert included the Barber Adagio, a Razumovsky quartet by Beethoven and the Britten’s String Quartet No. 3. I particularly looked forward to the Britten quartet, having stumbled across recordings of his quartets at the thrift shop.
Morsel Trio, Good Shepherd Center, March 8
My violin teacher (Luke Fitzpatrick) and my music theory T.A. (Daniel Webbon) had pieces on this program.
Michael Tilson-Thomas, San Francisco Symphony, Benaroya Hall, March 19
I’ve known about Michael Tilson-Thomas for years, and I even have a number of his recordings as a pianist. So I wanted to hear him with the San Francisco Symphony before he ends his tenure in July 2020. The centerpiece of the concert was Beethoven’s Eroica Symphony. I love the first movement of the piece, but I’ve never really internalized the remained of it.
untitled 2, Seattle Symphony, Benaroya Hall, March 22
Pierre Boulez never struck me as a person you’d really want to meet in real life, and that impression has spilled over into his music. So I don’t think I really heard a piece by Boulez until this concert. It wasn’t as grating as I was expecting it to be.
Perfume, Paramount Theatre, Apr. 10
I’m sure there were parts of this concert that were … prefabricated, but I didn’t mind. It was visually stunning, and Perfume were entirely gracious to Seattle fans. If I hadn’t gotten out of the hospital a few days before, I probably would have stood in the excessively long line at the merchandise table.
When the orchestra finished playing the premiere of George Walker’s Sinfonia No. 5, one audience member didn’t even wait for conductor Thomas Dausgaard to signal for the applause. It was a pretty monstrous piece.
Alexander String Quartet and Joyce Yang, Meany Hall, May 22
Samuel Carl Adams has followed his father’s footsteps into the world of composition. His father is John Adams. Alexander String Quartet and Joyce Yang performed a piece by the younger Adams, and he sounds nothing like his father. In fact, I would like to hear more from Sam Adams.
untitled 3, Seattle Symphony, Benaroya Hall, June 7
A reimagning of Schubert and Schumann. ¯\_(ツ)_/¯
In the Spotlight: Bolcom, Jolley, Poteat & Hausmann, Octave 9, June 11
Seattle Symphony transformed its education space into a high-tech venue to showcase more experimental programming. I’m looking forward to attending concerts in this new space.
Torche, Highline, Sept. 15
Sturgill Simpson made me realize I was getting too old for rock shows, so I almost decided against seeing Torche, despite loving the new album. Then I saw they were playing at a venue that is a 6-minute walk from my apartment. I’m glad I went.
Bugs Bunny on Broadway, Seattle Symphony, Benaroya Hall, Oct. 5
I wasn’t going to miss hearing What’s Opera, Doc? performed live. Even the 3-d animated new shorts weren’t too bad.
This first untitled concert of the 2019-2020 season showcased works for brass, and alternated between early and modern music. At the end of the concert, I was asked what I thought. I answered, “It was more conservative than I prefer.”
John Williams, Violin Concerto, St. Louis Symphony, Powell Hall, Nov. 3
I debated whether to take in a St. Louis Symphony concert while I was attending WordCamp US. A Sunday matinee seemed like a good option for someone navigating an unfamiliar city without a car. The light rail and bus system got me to the concert hall, which has a really nice sound. James Ehnes was the soloist for the Williams concerto, and yes, it’s unmistakably John Williams. For an encore, Ehnes did Ysaÿe’s Sonata No. 3.
Sleater-Kinney, Paramount Theatre, Nov. 23
I chose to sit in the mezzanine for this show because, yes, Sturgill Simpson.
Last year, new releases made up 7 percent of my music purchases. This year, that number ticks up to … 8 percent. For a while there, I didn’t know if I would find enough titles to make a Favorite 10, but I did.
Parquet Courts, Wide Awake!: When you visit multiple record stores and ask what is playing, you probably ought to buy that album if the answer is the same at each store.
Janelle Monáe, Dirty Computer: I also liked the Emotion Picture that accompanied the release of this album.
Christine and the Queens, Chris: Those dance moves!
Various Artists, Adam to Eve no Ringo: I didn’t realize the cover of “Sid to Hakuchuumu” was by MIKA, the singer “discovered” by Perez Hilton. MIKA’s circumspection about his sexuality drew a lot of attention and some controversy. I checked out his music as a result of the brouhaha and found little that was remarkable. That said, he nails the French interpretation of this very Ringo track.
Steve Grand, Not the End of Me: I don’t know if it’s intentional, but I hear a bit of Matt Alber’s swoon on some of the quieter moments on this album.
Kronos Quartet and Laurie Anderson, Landfall: Take all the swagger and posturing out of hip-hop, and it would probably sound a lot like Laurie Anderson.
Seattle Symphony with Roomful of Teeth, Berio: Sinfonia: This piece was awesome to hear live.
Nico Muhly & Thomas Bartlett, Peter Pears: Ceremonial Balinese Music: Oddly enough, I found a recording of Colin McPhee performing his gamelan transcriptions with Benjamin Britten, and I kind of wish Muhly and Bartlett had also done the unpublished scores.
Yore, EP1: Recent press seems to obscure the fact Yore released music under his own name, so we’ll stick with that preference and just mention this EP finds him moving in a direction more akin to Cocteau Twins or even Utada Hikaru.
Utada Hikaru, Hatsukoi:Her sound has gotten darker since her comeback.
Other favorites from the year:
John Coltrane, Both Directions at Once
Leo Imai, VLP
Mikami Chisako, I AM Ready!
Craig Armstrong, Sun on You
Tracey Thorn, Record
Renee Fleming, Broadway
Igor Stravisnky, Chant Funebre / Le Sacre du Printemps
Eponymous 4, Travis
OK, I’m being a bit cheeky including my own album, Travis, on this list. I finished recording it in 2016, so I’d been sitting on it for more than a year. In all that time, I’ve not gotten sick of hearing it day in and day out, and when I compare it with other albums I’ve recorded, it sounds like a proper, professional work.
After Sturgill Simpson’s November 2016 concert at the Paramount, I knew my days of rock music concert-going were waning. That was two hours on my feet, and I recognized I had little of the stamina that got me through those kinds of shows in my 30s.
So in 2018, I limited my concerts to classical events. Mostly.
The most interesting piece on the program wasn’t the west coast premiere of Igor Stravinsky’s Funeral Song — it was Gyorgi Ligeti’s Violin Concerto.
Seattle Chamber Music Festival, Shostakovich: Quartet for Strings No. 8, Benaroya Hall, Jan. 27
This performance was the second time I heard the Shostakovich Eighth Quartet at the Seattle Chamber Music Festival. The second movement gets me every time.
Seattle Symphony, John Luther Adams: Become Desert, Benaroya Hall, March 31
Pretty much a single chord for an hour, but it was surprising to hear the choirs enter from behind me.
Seattle Symphony, [untitled 2], Benaroya Hall, April 27
I’ve been attending untitled concerts since their inception in 2012. Not all of the programs sink in, and I can’t honestly remember what the Nikoleav and Rastakov pieces on the program sound like.
Seattle Symphony, Sibelius: Kullervo, Benaroya Hall, June 2
The premiere of Andrew Norman’s Cello Concerto was postponed, and the replacement pieces on the program didn’t interest me. So I traded my ticket for Kullervo.
UW School of Music, Composition Studio, Music Building 213, June 5
I performed at this concert! And I premiered one of my own pieces! It’s called Feldman and Messiaen at the Airport with Eno, and it’s scored for violin, ukulele, melodica and piano. I gave myself the violin part, which consisted of playing a single note for 8 counts every few seconds.
Seattle Symphony, [untitled 3], June 15
I must have been exhausted after the spring I’ve had because I don’t remember a single note played that evening.
Sam Smith, Key Arena, Sept. 8
Based on his studio albums thus far, you would think Smith would be something of a sad sack, but he made those songs of heartbreak sound positively rousing at Key Arena. I just wished the teenagers sitting next to me didn’t shine their phone screens in my face.
Even if I don’t rush out and learn about every piece that gets programmed in the [untitled] series, I still like the sense of discovery that comes with seeing unfamiliar music performed live. That said, Hans Abraham’s Schnee was quite the memorable performance.
St. Lawrence String Quartet, Meany Hall, Oct. 25
I didn’t know St. Lawrence String Quartet did a TED Talk on Haydn’s “Sun” quartets, so I wasn’t prepared for the night’s performance to include a lecture. I also didn’t anticipate that I would immediately get into Haydn.
Brooklyn Rider, Meany Hall, Nov. 13
The first half of Brooklyn Rider’s concert featured new works by women, all dealing with the theme of healing. The second half was Beethoven’s op. 132. I bought a CD to help the quartet fund a recording of the pieces featured on the evening’s program.
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.
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?
Concert reviews were always something I wanted to write for this site, but I never drummed up the gumption to jot down my thoughts about shows after I attend them. In reality, I didn’t want shows to become means to an end, in the same way album purchases had become source for reviews.
Still, I go to a lot of concerts, and it feels awkward not mentioning them at least once.
So I’m going to do a year-end overview of all the shows I’ve attended in the past year.