Lone Wolf (Act I and II)

There was a time when I wasn’t so good at being alone. During the start of my PhD program (over a decade ago now), I had trouble developing the same kind of social circle I’d found as a teenager and later in my undergrad and master’s programs. In between my Tuesday/Thursday classes, I faced large swaths of time by myself—stretches that felt gaping and bare, absent the color of other people.

It wouldn’t last forever. I would eventually find new friends (a community of local musicians—the very scene that nudged me into music writing), but for two years, I spent the vast majority of my time solo. At first, I fell into a sharp grief at being so suddenly and consummately alone, but like a kind of Stockholm syndrome, I came to prefer it—and eventually to require it. As Hiss Golden Messenger sings on “Biloxi“: “All around my hometown I was known as a loner/ Oh, you know I wasn’t lonely/ I just liked being alone.”

Even as I developed new friendships and folded myself into the fabric of other people, something fundamental had shifted. Sure, I enjoyed company, but I came to prefer my time alone—a fact compounded by my life choices. Never one to properly settle for any length of time, I moved frequently, pursuing new ventures and experiences. Decamping one city to begin again in another inevitably meant spending some period of time on my own—at least for a spell. I’d make new friends over time, but my yen to be alone never diminished.

I started searching out traces of my kind, reading about women who’d never partnered, whose work became their central pursuit, and who lived wild, nomadic existences that caused my heart to pang with recognition. I could join their ranks, choosing writing and solitude and travel and moments—their fleeting, flitting nature more satisfying because it meant, in between, I could carve out pockets of the solitude I so craved.

Somewhere along the way, I came to think of myself as a lone wolf. It was a symbol that felt fitting: I was nomadic by nature, able to pick up and plunk down anywhere new, finding my footing because I didn’t mind being alone until I figured out my place.

I remember one particular night in New Orleans. I sat at Dat Dog on Magazine St., where I often went on Saturdays to watch college football, back when that’s something I did. There was a small cohort of dudes I’d bonded with, all of whom had girlfriends, so it felt like a safe troupe. Or so I thought. One evening, one of the guys—the sloppiest of the bunch—drank too much. He told me how pretty my eyes were and how lucky any guy would be to have me. (Yes, have me.) I scoffed and said, “I’m more of a lone wolf,” my fangs flickering behind my lips, waiting to bite down on his assumptions. It was a designation akin to armor and I brandished it well. Let everyone else partner off and settle down. I was fine going it alone. At least, that’s what I told myself.

Two songs in particular unearth that identity: TV on the Radio’s “Wolf Like Me” and Bon Iver’s “The Wolves (Act I and II).” They share little more than thematic titles, though taken together they could serve as fitting bookends to the lone wolf’s nature, its wrath and woundedness.

“Wolf Like Me,” from the band’s 2006 album Return to Cookie Mountain, is a spinning vortex of a song that, for me, exemplifies the howling need for seclusion that has shadowed my adult years. “Got a curse I cannot lift/ Shines when the sunset shifts/ When the moon is round and full/ Gotta bust that box, gotta gut that fish,” lead singer Tunde Adebimpe declares, like a proclamation. It starts with a growing cacophony: drums structure the opening metallic effect before a thick, distorted synth enters the fray. “My heart’s aflame/ My body’s strained, but, God, I like it,” he sings on the chorus.

I did. I did like it.

On the opposite end of that emotional dervish sits “The Wolves (Act I and II)” from Bon Iver’s 2007 debut For Emma, Forever Ago. The glacial strums of an acoustic guitar build into Justin Vernon’s doubled falsetto. He sings about a lover who has left him in the lurch, the pain reeling in fits and starts throughout the verses before he finds a forceful strum that wends toward a growing cacophony. “What might have been lost/ (Don’t bother me),” Vernon repeats like an intonation. The drums create fireworks around his voice.

The song doesn’t end in that discordant moment, but returns once again to the quiet. Vernon sings in an off-kilter round, “Someday my pain/ Someday my pain, my pain.” The accusation he leveled earlier, “Someday my plan will mark you,” disappears and he’s left with just the gash. Taken together, these songs form a portrait of that part of me—once a nugget and now a landmine—that prefers my own company, that seeks out companionship only as a periodic break from the larger enjoyment of being on my own.

I once needed to learn how to be alone, an exercise that has served me over the years. But at what point does the story become a self-perpetuating myth? Or, rather, that there can be two truths: The truth of enjoying solitude and the truth of wanting someone to share time and space and ideas with. They need not be mutually exclusive, and yet when I’ve ventured from my perch and tried to build a bridge to a relationship, that person has inevitably become threatened by my need to be alone at least some of the time. If I let someone close—let someone in—I don’t trust that they wouldn’t try to take it away from me.

The lone wolf exists still—at times howling and ready to bite, as on “Wolf Like Me,” and at others curled around the thorn in its paw, private and protective, as on “The Wolves (Act I and II).” But perhaps, as with any story we create about ourselves and live within the confines of, there can be a way out of the woods.

Big Red Machine’s ‘Reese’

Justin Vernon’s natural singing voice, by which I mean his capacious baritone, not his crooning falsetto, has the most immediate physical effect on me. I liken it to a thaw. The color of his voice—a hue akin to cinnamon hickory or a red oak (always a wood whose grain looks like errant waves sketched against the shore)—breaks through the winter of these surrounding times and reminds me of something not just warm but magnanimous.

Vernon typically doesn’t sing with his normal register. As Bon Iver, he’s crafted an emotionally wrought falsetto—a choice he made for his 2007 debut album For Emma, Forever Ago because he said it felt less vulnerable to sing such extremely personal songs that way, to be so bare about all that he was baring.

He’s flirted with using his full voice in Bon Iver, veiling it with the Messina for 2016’s 22, A Million and at times stepping out from behind that screen on 2019’s i,i. But with Big Red Machine, his collaborative project with Aaron Dessner, there are longer and more luxurious flashes of the real deal. On the pair’s most recent album, How Long Do You Think It’s Gonna Last?, the track ‘Reese” comes it at a lengthy five minutes. So much splendid time to roll around and revel in that ambrosian voice.

“Reese” begins before the beginning: A saxophone flutter, a drumroll, a beat box, and it’s off. A piano riff unfurls the central melody, harmonizing with itself briefly before Vernon begins singing. He doubles his voice and adds a slight effect, thickening his presence as though it were a roux. “Where’s the middle again?/ Can I get back there?” he asks, his voice rising with need, before settling into resignation.

How Long Do You Think It’s Gonna Last? is a meandering album that makes more space for collaborative explorations than Big Red Machine did on their 2018 self-titled debut. If Vernon and Dessner’s central partnership formed the cornerstone for that LP then they cast their respective nets wider on How Long. Vernon appears in brushstrokes but the larger canvas isn’t his to claim—except on “Reese.”

Appearing near the very start of the album, it’s such an obvious standout. On the Friday morning the album dropped, I remember listening to “Reese” and needing to replay it three times before I could advance to the rest. I kept wanting to get lost in its maze. It’s as visceral an experience as I’ve had with any song this year. Hearing it, the clenched fist straining at the center of my chest unfolded.

Vernon loves not just poetically dense but practically opaque lyrics. “Reese” (as with much of his Big Red Machine lyricism) paints a clearer picture. There’s tension with the past, and the memories surfacing throughout the song, but Vernon doesn’t let it swallow him. “Well, I’m more than that, well, I’m more than that / Well, I’m more than that, well, I’m more,” he intones. He also doesn’t let “Reese” escape without shifting into his falsetto near the end, when the song builds into a long and ongoing crescendo. As the emotion rises, he takes flight into his head voice.

Perhaps it seems strange to talk about a singer having two voices. After all, it’s more likely to talk about their range. But even though it emanates from the same person, I find Vernon’s duality so distinctive that it makes more sense to discuss them as identities he inhabits rather than talents he exhibits—though of course they are both.

I can’t explain why I respond so deeply to “Reese,” of all the songs in Vernon’s repertoire. (And there are many that I adore.) But thanks to its mostly unfettered glimpse of Vernon’s baritone, “Reese” does something to me. Every time. Maybe it reminds me of summers in Eau Claire, hearing Vernon play against the wide wonder of the Wisconsin sky, or what musical moments before this frozen, bewildering time once proffered. And perhaps in that memory lies a reminder to breathe, stop bracing, and be: “What you shoulda been / What you woulda been / But it ain’t no problem now.”

All That Jazz

I used to be embarrassed about my introduction to jazz and soul, for mine was a strange passageway: romantic comedies. Although I don’t remember it vividly, I apparently watched Runaway Bride and Pleasantville somewhere around grade 10, and there discovered first Miles Davis and then Etta James. Davis’ music appeared in the former, while James’ music appeared in the latter, and something about what I heard made me ask for their albums for Christmas. At 14 years old.

It also happened to be the same Christmas when I asked for—and received—an aquamarine manual typewriter. I’d sit in my room, listening to the compilation album Miles Davis: Love Songs or Etta James’ 1960 debut At Last! and typing away, yearning to channel something grander and more historical than I’d discovered from writing on the page or on a computer.

With James, I’d fallen for the titular song on At Last!, but I quickly came to adore the stories that unfolded across her album, including the tender-hearted “My Dearest Darling,” the daydreaming “Sunday Kind of Love,” and the badass “Tough Mary.” Her music was transportive, her voice a conduit of desire and strength. I typed faster.

With Davis, his instrument unfastened an entirely new perspective on love before I’d even gotten an inkling of what that verb truly meant. Just listen to his opening croon on “I Fall in Love Too Easily,” which sits somewhere between a resignation and plea. I’d grown up on songs overflowing with lyrics, singers verbosely attempting to capture and convey the emotion, but Davis’ trumpet embodied something more honest, something that needed to be expressed rather than explained.

Since that early foray into jazz a la Davis, I’ve come to adore the genre and its heavyweights: Louis Armstrong, Sidney Bechet, Duke Ellington, Donald Byrd, Thelonious Monk, Wes Montgomery. The list could go on. I tend to gravitate toward traditional jazz or bebop and hard bop jazz, their fast tempo and elaborate tangle of instruments. People adore Davis’ Kind of Blue, and it’s undoubtedly glorious, but I’ve always been fond of his mad dash Prestige recordings with his First Great Quintet: John Coltrane, Red Garland, Paul Chambers, and, my personal favorite, drummer Philly Joe Jones. When a jazz mood strikes me, which tends to be early in the morning despite the genre’s archetypal setting in nightclubs, I go for something in that vein.

What I’d like to know, what I find so strange considering my hokey-pop listening tastes up until that moment of discovery was what in the ever-loving bleep did I hear? What was it about Davis and James that set off sparklers in my chest, their soft, starry glow illuminating something so accurate as to constitute a kind of otherworldly recognition? Explain to me how a 14-year-old who had largely preferred the innocuous sounds of Boyz II Men, John Mayer, and Barenaked Ladies came to find and abide within the meditative and magical phrasing of “I Thought About You” and the swaying supplication of “Trust in Me.”

Perhaps it had more to do with the movies than anything else. I’ve always been drawn to music’s visual quality and how crucial a song can be to a moment—the way it can save a trite scene by infusing it with thrust and implication and beauty. (Oh, to be a music supervisor!) Throughout my teens, I was more of a movie buff than a music nerd, consuming every classic and canonical film I could and then some. And in those films I heard songs, all kinds of them.

I’d go on to have questionable taste (cough cough, Dave Matthews Band) for the next few years, but in between my preferences I came across so much variety. Jazz folded into that experience. Maybe it even signaled an ability to listen beyond sheer pleasure, to engage deeply with complex songs beyond the pop fare I heard bleating over the radio.

Every music writer comes to know the wide berth of musical genres in their own unique way. My origin story with jazz and soul just so happens to be tangled in cheesy romantic comedies from the late ’90s. As I was imbibing the questionable messaging about love, relationships, and self-worth those movies put forth, I was also learning about an array of storied musicians. And that education compiled a soundtrack that would come to be uniquely mine—eclectic, varied, always chasing some meaning or gut-punch of truth. A sparkler lighting up the dark.

The Summery Sweetness of Eaux Claires

Rare are the times when a moment is so perfect you recognize it while it’s happening. Usually that kind of appreciation happens after the fact, when reflection takes over and lends the past a rosy hue.

Let me take you back to one such night in the summer of 2015.

Bon Iver had been silent—in the sense of playing live music—for sometime. After releasing his second, self-titled album in 2011, and touring extensively behind its more expansive sound, Justin Vernon had retreated. By 2015, it had been three years since he’d performed.

The inaugural Eaux Claires, held July 17-18, 2015.

It took a music festival, and the creative control that kind of event offered, to entice Vernon back onstage. Beginning in early 2015, he teamed with The National’s Aaron Dessner to begin launching Eaux Claires—a two-day collaborative extravaganza set along the Chippewa River, in Vernon’s hometown of Eau Claire, Wisconsin. Among a smorgasbord of music from every genre imaginable, the inaugural July weekend would also feature a Bon Iver headlining set.

My ears pricked up.

Back then, I lived in Champaign, Illinois, a six-hour drive from Eau Claire. After years in Louisiana, I’d been learning the language of midwestern music, and Eaux Claires offered a chance to deepen that knowledge, to see some of the midwestern bands I’d recently heard live while enjoying some of my favorites, like Charles Bradley, Hiss Golden Messenger, Sturgill Simpson, and The Lone Bellow.

All of that PLUS a Bon Iver headlining set? Twist my arm.

I texted my friend Melissa, who adored The Lone Bellow, and suddenly our “Wouldn’t it be fun if…?” morphed into actual plans. Mel purchased a festival ticket, while I began pitching outlets. At the time, I’d been freelancing more and more in the hopes of transitioning my local-heavy writing into national bylines. When I pitched Consequence of Sound about reviewing the weekend, I was thrilled they said “yes.”

An artsy window shot of Melissa and I gorging on cheese curds in downtown Eau Claire.

It marked my first major event coverage. But not just words—I’d be taking photos, too. I spent the entirety of the festival scrambling from stage-to-stage, capturing images from each set’s first three songs, before checking in with Melissa, who regularly inserted herself into the audience, and then dashing off to the next show. After nearly a year spent pushing paper in an office that took “soul crushing” to a new extreme, I thrilled at what music journalism—actual on-the-ground musical journalism—felt like. Part of me knew I’d never go back to a world where I couldn’t participate in it to some degree.

But enough wind-up to this pitch. I can’t remember exactly when Bon Iver became one of my favorite bands, though my listening had skewed heavily in their favor for a few years by then, but it all solidified that Saturday evening in Eau Claire.

The Chippewa River.

By the time their set rolled around, I was exhausted. There’s a different kind of physicality required to covering a festival rather than simply attending, and I wasn’t prepared for that amount of go-go-go. Plus, it had been hot with a capital H. But my onsite work was done. My co-writer would be taking photographs and handling the Bon Iver blurb, so I could take it all in and simply listen.

Melissa and I grabbed beers and found spots about midway back from the stage—room enough to enjoy Bon Iver without the dense press of a crowd. The sun dipped behind the trees lining the festival field; the stars slowly sparkled to life. I remember tilting my head back and drinking in the dusky beauty of the moment.

Fans, including those that had parked themselves in front of the stage barrier since the gates opened that day, began chanting and tossing beach balls around. Anticipation ran high. We’d finally, collectively, reached the reason so many of us had traveled far and wide, had taken a chance on a brand new festival.

The lights dimmed as Bon Iver took the stage, breaking into “Heavenly Father,” the song Vernon contributed to Zach Braff’s 2014 film Wish I Was Here. The opening monk-like chants, done with a kind of android-esque effect on loop, suddenly felt as spacious as the Wisconsin night sky. The stage stayed mostly dark for the remainder of that opening incantation, before Vernon began singing in his chest voice, which, as a side note, might be one of my favorite sounds on this planet. It’s a resonant baritone that nestles in my solar plexus every time I hear it.  

Gazing at the stage where Bon Iver headlined on Saturday, July 18.

In the midst of the song, I again gazed up at the sky, tracking the growing number of stars that were visible now that the last light of day had faded. Something about taking in that bejeweled sky, feeling affixed to the earth and partner to a small piece of magic, left me awed. I felt the perfection of the moment acutely.

I ended up returning for the next three versions of Eaux Claires—in 2016, 2017, and 2018—until the festival went on hiatus, giving organizers time to rethink its form and function. Rumor had it they would be moving the festival from one onsite location, by the river, and scattering shows throughout downtown Eau Claire. But that never came to fruition because the year it should’ve returned, 2020, was well…you know.

I’m not exactly an avid festival goer, but that inaugural weekend fostered some deep and abiding love for Eaux Claires that remains to this day. As soon as they announce Eaux Claires V, I’ll be back. But I’ll never forget that Saturday night in July, when I felt some connection with the great wide open of this strange and lovely existence, soundtracked by Bon Iver’s return. It was magic and all the more special because I recognized it then and there. No need to wait until memory casts its emotional glow. I felt the power of meaning in the moment.

Burnout By Any Other Name…

It’s never a good sign when the art that most enlivens you begins to feel draining, when staring at the wall feels more restful than engaging with an introspective song or a lyrical passage in a book.

The term burnout has been bandied about in recent years, most regularly ascribed to someone whose work-related stress has placed them on the spectrum of mildly-drained-to-emotionally-destitute. It reached peak buzzword when journalist Anne Helen Petersen claimed it as the ultimate millennial problem. In actuality, it’s closer to workplace-induced depression. But burnout has cache, while depression does not.

On some level depression makes sense. When music and books and film—the creative pursuits that provoke a hearty thrum in your spirit—stop feeling meaningful, it’s a symptom of a larger problem. And people with depression tend to withdraw from activities they formerly enjoyed.

But while burnout has become a catchall diagnosis for work’s never-ending demands and the physical, psychological, and emotional effects of those pressures, I find that its meaning (even as a form of depression) has fallen increasingly short. Because it’s used to describe such a sweeping experience, and because the means to overcome it remain hazy at best, it feels more nebulous than ever.

One phrase I recently stumbled upon has offered a new perspective. In Anthony Bourdain’s Kitchen Confidential, he describes a time in his life that many would now equate with burnout. But he called it “spiritually empty.” Perhaps it’s just a matter of semantics, but, for me, “spiritual exhaustion” gets closer to the problem.

And why wouldn’t it? Late stage capitalism has turned us into products as much as we’re expected to produce. We are noun and verb, operating in an endless sentence. As Frederic Jameson explained, under capitalism “everything, everywhere, became commodified and consumable.” In such a society, our spirituality exists only in and for the marketplace.

It’s an exhausting churn that would leave anyone emotionally bereft, looking for meaning but unable to pursue it because we’re too exhausted from the never-ending demands of our day and the roles we’re meant to play therein. We produce, we acquire, we consume, the result of which leaves us vacant and untethered.

I mention all of this, on a music blog no less, because it’s been a strange summer for me. I have the freedom, time, and space to listen to music as late and as long as I’d like, but the amount I’ve read and written about it—two sides of a coin that I’ve long enjoyed tossing—has significantly decreased. I cannot bring myself to sit still long enough to get lost in a book, and, perhaps more frightening, I do not want to sit down to write.

Under contemporary lexicon, it’s burnout, but the more powerful claim seems to be spiritual emptiness. It’s a deep and abiding malaise, which makes sense given the ongoing pandemic, the cult-like adherence to misinformation, climate emergencies, increasingly restrictive legislature, and any number of new and pressing crises that arise on a now-daily basis. It’s been a season ripe for anxiety and the result, it would seem, has been a lingering spiritual emptiness. 

I don’t know the answer—or the antidote, for that matter. I don’t know the way back to creative pursuits that require energy when I feel so depleted. “Unplugging” from what my friend calls the “distraction industrial complex” and choosing instead to play records from my finite collection has helped to a small degree. Lately, I’ve been burrowing into the sounds of Allen Toussaint’s 2012 album The Bright Mississippi. The way he practically tap dances over the piano feels akin to a balm, a kind of deep breath that I didn’t know I needed to take.

Playing Toussaint and other records isn’t going to solve the larger issue of burnout, spiritual emptiness, or whatever you want to call it. But it does offer a brief rest, one that can hopefully feed the spirit until you’re nourished enough to keep going—and maybe one day eventually sated enough to thrive. 

Movement & Location

People move for all kinds of reasons—a job, a relationship, to be closer to family. Sometimes it’s just a matter of changing scenery or finally taking up residence in a city you’ve long loved.

I recently moved for my records.

You read that right. I mean, we can say it was for other reasons, like a growing desire to get away from apartment living, or crummy neighbors who don’t understand how sonorously subwoofers carry across thin walls, or to be closer to the “action” of downtown Durham. All of those hold a degree of truth.

But the reality is that I moved for my records.

I moved because I’m a considerate and selfish listener. Considerate because, when I know there are people living around and beneath me, I’m not going to play my music very loud. And selfish because, really, what’s the point of listening if you can’t do that at least a few times? Headphones only go so far. Sometimes, like say when you’re cooking, you want to crank Stevie Wonder all the way up so the bass line vibrations of “Sir Duke” lend themselves to the very best sauce possible.

In all the years I’ve rented, I’ve never rented a house. It was mostly apartments and duplexes—and they were nice apartments and duplexes, but shared walls meant being aware of your neighbors, so inevitably there were limitations to what, when, and how I could play my stereo. Like a kind of musical Goldilocks, it was always a little too much: Don’t play records too early or too late, certainly not too loud, and never too long.

I hadn’t planned on renting a house because, as a disturbing new study has found, rental markets are horrendous. Even in cities where it’s mildly more affordable than the coastal metropolises, it’s still not very. But when luck threw a good find my way, the slight uptick in rent seemed like a reasonable tradeoff if it meant enjoying my space—and my stereo—more.

Forget a room of one’s own, here’s to a house.

So I moved for my records.

I’ve documented before what they mean to me. In fact, in that prior blog post, I shared the thrill of getting to play one of my favorites, Punch Brothers‘ 2012 album Who’s Feeling Young Now?, loudly on one of my last nights in New Orleans, when I knew my neighbor was at work and the volume wouldn’t bother her.

Since moving into my new place, I haven’t played the album. In fact, it’d been some time since I’d put it on. The opening track “Movement and Location” is too true to hear sometimes. The lyrics, partially, but I mean more the music itself. When I hear that opening agitated fiddle-banjo phrasing and the bass pacing around in a kind of antsy delirium, something in my stomach but more likely my soul goes, “This!”

Punch Brothers approach bluegrass with a classical twist, building breathtaking arrangements and time signature changes that elevate the genre. I adore their entire catalogue, but “Movement and Location” has long been my favorite song of theirs. Maybe it’s the subject matter—the energy of migration, a choice I’m fond of and have discussed elsewhere on this site—or maybe it’s such a beautifully realized and rendered song between its emotional build and pace and vitality.

It’s not that “Movement and Location”—or any song or album, for that matter—sounds better loud, but there’s a certain release when you don’t have to worry about whether your music is imposing on anyone else. I know I tend to overthink these things, but I also know what it’s like to be on the other side, to hear an inconsiderate neighbor start blaring their music at the worst possible time. I never want—or wanted—to be that person, so as much as I could slip into an album when I played one, I could never really let myself go.

The other night, a solid month into my new living situation, I played Who’s Feeling Young Now?, which inevitably brought me back to that night in New Orleans when I cranked the volume. This time, it wasn’t a brief escape while my neighbor was out. I didn’t have to be considerate or concerned that my stereo was disturbing anyone. I didn’t have to worry about the time of night and who I might be bothering. It was divine. I’ve long known the thrill of movement, but the thrill of location was mine at last.

Jesca Hoop’s ‘Pegasi’

I’ve seen singer-songwriter Jesca Hoop twice in concert, and both times she’s brought me to tears. Some sorcerous combination of her lyricism and voice—a dusky alto—knocks a chink into the walls I’ve scaffolded around my heart, letting the light of a larger truth shine through.

The first time it happened, Hoop and Sam Beam were touring their collaborative 2016 album Love Letter for Fire. I caught them at New Orleans’ Civic Theater, where they traded between performing together and playing songs from their respective solo albums.

During one such moment, Hoop debuted a new song—something she hadn’t recorded yet. She plucked it, title then-unknown, on her electric guitar, setting a soft, slow rhythm against which she spun the myth of a relationship and the reality of its end.

The song worked heavily in metaphor, detailing a Pegasus and the rider who tames her—at first. “When we’re in love, we’re alive/ You’re the envy of the sky/ Every ember wants to ride the supernova,” Hoop sang that night, drawing out round, warm vowel sound leading off the syllable “ova.”

The beauty of that initial imagery, its sparkling ascendency, turned in the latter half of the chorus: “But I fear you’ll see the day/ When I’ve endured all I can take/ I won’t bend but I will break/ Under the weight.”

Try and control anything “built to soar” and watch what happens. Hoop’s song portrays love’s ecstatic start and the inevitable downfall that occurs when you ask anyone to change their very essence. I knew it well.

Writing is my version of soaring, and it requires a certain kind of time and commitment and effort and energy. I’ve yet to find a romantic partner who isn’t threatened in some way by those elements—and the fact of my giving each one to something other than them.

But so far the tradeoff hasn’t been worth it. As fulfilling as companionship can be, writing and the freedom to do it well has been the better choice. If I sound overly precious about the craft, it’s only because I’m so deeply in love with it. Peter Schjeldahl put it best when he wrote:

No wonder guys get jealous.

When Hoop released her fourth album Memories Are Now one year after that show in New Orleans, I found the track. On the studio version of “Pegasi,” she quickens the tempo and adds in gorgeous pedal steel that domes the night sky as though it were a shooting star tracing the arc of the heavens.

Able to hear the nuance of the verses, the relationship portrayed in the song grew clearer. It begins as one of care. “You’ve found a map to my heart/ It lead you to the well/ You combed at my mane/ I’ll wear your saddle and reigns,” Hoop sings. Those initial days are heady ones, and Pegasi feels the rush to “take to the sky like poetry” because her rider makes her better.

But ultimately their differences become their downfall. The rider wants control—a fact that might have seemed fair given the care that first attended it—but Pegasi wants to fly. It’s not a problem of compromise but restriction.

To this day, I feel the unbridled beauty of Pegasi’s choice. Of course you cast your rider aside when they threaten to cage you. Rare is the rider who can accept a wild nature without breaking it, warping it into something other than what attracted them in the first place.

The Ephemerality of Streaming

This is going to sound like a daft thing to complain about considering the endless amount of music that now exists at our fingertips, but I’ll never acclimate to how quickly songs slip in and out of my life under the streaming model. There are, of course, many times throughout the day when I purposely play something and consciously listen to it, but the ubiquity of streaming music—and the way it soundtracks much of daily existence—means that certain songs escape my full attention and fail to lodge in my memory.

You could chalk it up to a lack of attention on my part, or the sheer quantity of songs and the fact that many now exist independently of the albums that once structured them, but I wonder how much of it has to do with the ephemerality of streaming versus more enduring physical media, like vinyl records, CDs, or cassettes. Those forms have greater permanence, thereby shifting our engagement with the music they house as well as the memories we form about and around said music.

For me, one of the more telling moments of ephemerality—or early senility—came last summer when, seemingly out of nowhere, the opening piano phrase of Tears for Fears’ “Head Over Heels” popped into my head. At the time, I couldn’t remember who sang it or the song’s title, but I knew it was an 80s new wave classic, so I started poring over playlists. After two hours of what felt like an increasingly harried rabbit hole, I found it. Oh glory!

But then a month went by and one evening I remembered that funny time when an 80s new wave song got stuck in my head and how hard it was to find. Gee, what was that song again? It’s not as though much time had passed, but there’d been so much else to think about and remember—and then there was all the music I’d heard in the interim. Neither the band nor the song title came to mind. Again. It was gone into the ether.

You could argue, rightly so, that if I was more familiar with Tears for Fears or 80s new wave, it wouldn’t have been such a big to-do. After all, background and context help prop up memory, and are instrumental to any search. But it signaled a larger quandary, even after I found “Head Over Heels” again and used Spotify’s handy “Liked Songs” option this time. (Now, every time I hear a song I remotely enjoy, I make sure to save it because it’s the best way to find it should I forget, which I regularly do.)

My point, if I can be said to have one, is that vinyl—or really any physical music media—seems to offer such a different experience. Sure, none of us purchase as much vinyl as songs we stream (unless you’re Questlove—God bless that man’s collection), so a collection, being narrower by default, is easier to remember. We’re also likely to return to it frequently enough that it bolsters our memory of what we’re playing.

But maybe the problem with streaming and ephemerality comes down to ownership, a topic I’ve been thinking of lately especially in light of vinyl and especially in light of a vinyl collection. Russell Belk wrote in his 1988 article on possessions and identity formation, “Because of the purposefulness and the commitment of time and energy spent in developing a collection, it is natural that a collection may be seen as more a part of one’s self than are isolated consumption items.”

There’s something to be said about the way possessions help us form and define ourselves; the objects we acquire and keep around us not only say something about who we are but actively feed into this larger idea of our self and our memory. Physical objects can—not always—prop up memory. I always use books versus digital articles or e-readers when explaining the phenomenon. When we read a book, we map it out as a space and can therefore find previous passages easier than on an e-reader. You may remember around what part of the book a bit of action occurred, but on an e-reader it’ll be harder to find than if you’d been reading a physical book.

Streaming and even purchased MP3s are only ever borrowed forms of music. And with streaming there’s the sheer number of songs that churn through your consciousness on a daily basis. On the one hand, I’m grateful to have such rich access to the catalogues of my favorite musicians as well as artists I’ve only likely discovered thanks to the streaming model. I realize what it offers, though don’t get me started on their inequitable pay structure.

But on the other hand, what do we sacrifice by engaging with such an ephemeral form of music? And, yes, I know that music itself is only ever ephemeral, but I’m talking about the forms—the media—used to transmit that moment, that experience. Will all of this streaming leave us fragmented and forgetting the amazing song we couldn’t stop playing last year but now can’t place, overwhelmed by the options and remembering not a one?

On Cringeworthy Listening Histories

I often succumb to the obstructive instinct of curation. It’s one of my fatal flaws, and it’s only gotten worse with social media and the rise of platforms like Instagram, where perfection has been commodified in ways narrowing and detrimental, but I can’t blame the apps entirely. Some part of me has always resisted being fully seen. In many ways, getting to know me means getting to know only the bits I choose to share.

A part of that instinct—to hide what isn’t pretty and focus on what is—includes music, namely my listening history. Given the place music holds in my life, as well as the writing I do about it and the breadth of my listening and the way it’s all blossomed into a kind of identity, it’s been hard at times to cop to past tastes. I rarely talk about what I listened to in high school because I find it embarrassing. But why?

To my way of thinking, music functions as a language. The wider you listen, the more you come to grasp the “grammar,” priming your ears for elements like dissonance or syncopation or contrapuntal music. Listening more narrowly, that is shifting your focus only to what’s fun or easy, makes it harder to engage with something complex. You lack the structure. But that doesn’t mean you can’t start off with easier sounds and develop from there—building blocks being the fundamental part to any learning process.

So maybe this is all to say that we follow different paths to our current listening tastes; mine started out rather rudimentary but has since grown into an eclecticism I’m quite proud of. Still, perhaps it’s because of that pride that I feel embarrassed about my teenage years when I fell hard for the seemingly layered and complicated sounds of one Mr. Dave Matthews and his Band.

It started with 1996’s Crash and grew from there, moving backwards through their earlier music, 1993’s Remember Two Things and 1994’s Under the Table and Dreaming, and forward with 1998’s Before These Crowded Streets and 2001’s Everyday.

My love for DMB far exceeded the music itself. DMB posters lined my bedroom; I was a (card carrying!) member of the DMB fan club; I bought their limited edition Ben & Jerry’s flavor ‘One Sweet Whirled’; and I dragged my high school boyfriend Terry to what was then known as Sunrise Amphitheater every summer when they inevitably toured. Or, I should say, Terry allowed me to drag him since his family owned box seats.

Recently, the podcast Bandsplain attempted to contextualize and clarify what it was about DMB that attracted such a following. As critic Grayson Haver Currin put it, they offer “virtuosity and easy accessibility.” They brought together elements from other genres—jazz, bluegrass—and built a kind of jam band-ish alt-rock. Though they lacked the skill to be a true jam band, they knew enough to “crack open” their studio cuts and create a memorable live version.

I remember thinking how sophisticated it all sounded as a 16-year-old. Their live shows were a marvel, and I imagine still are, which is why they continue selling out their summer dates and why their major output since their early catalogue has largely been live recordings.

But in re-listening to their music recently, I couldn’t hear the textual marvel I thought the songs displayed when I was younger. I did, however, hear fiddle lines that would lead me to bluegrass, and drumming that would lead me to jazz and math rock, and West African-influenced phrasing that would lead me to a deep-seeded love of Malian guitar, and other threads that would develop into the sounds that comprise my tastes today.

I’m not saying DMB laid the exact foundation, but perhaps it trained my ear to engage with a variety of sounds that weren’t readily available for easy consumption at the time. Unless you were a kid in the know about music, which I very much was not at that age, DMB was a door into a world of complexity and wonder.

In fact, Currin pointed out on Bandsplain that while DMB were working on the follow-up to Everyday (what would become the darker album later released as The Lillywhite Sessions), they backed away from what was becoming a melancholy sound for them, scrapped their songs, and instead released the far happier Busted Stuff in 2002. It was around that point, which coincided with my graduating high school and venturing off into new tastes, where I fell away from the band.

Busted Stuff displayed a glossy sheen that didn’t interest me. Funnily enough, the anodyne quality I heard back then has largely defined what I hear now. Re-listening to DMB brings back memories rather than moments of musical connection that have stood the test of time. I can throw on any number of older songs or albums I haven’t heard in years and enjoy the music. But not so with DMB.

As for being embarrassed about my former devotion to the band, that’s something I’ll have to come to terms with as I work on shedding the obfuscating instinct to hide my real self in favor of a glossier version. I suppose the true shame would be if my listening ever stopped, if my curiosity faded. I’ll own my DMB past any day if it means I can point to it and show you how much I’ve grown, how it’s just one sound among many with still more to come.

Tiny Ruins’ “She’ll Be Coming ‘Round”

New Zealand singer-songwriter Hollie Fullbrook, who performs under the name Tiny Ruins, writes deliciously hushed songs. If you pushed me to sketch a more synoptic descriptor, I might go so far as to say it’s shy music for shy listeners. It’s still and spare and soft, standing in the corner waiting for you to pay attention to its textured arrangements and sensitive lyricism.

I’ve previously written about Tiny Ruins’ song “Carriages,” spotlighting it for a P4K staffers list in 2018, but my absolute favorite remains “She’ll Be Coming ‘Round.” Both appear on her standout album, 2014’s Brightly Painted One.

“She’ll Be Coming ‘Round” begins as though it were climbing the mountain nestled at the song’s center; Fullbrook steadily plucks her guitar strings, unhurried. Her first verse hints at a sense of sudden freedom, gained unexpectedly. “Like a brightly painted one/ Freed from the turning of the wheel,” she sings, prolonging her vocal sustain so that it works alongside and around the guitar’s ponderous rhythm.

But a hint of what’s to come flashes shortly before the two-minute mark, when an electric guitar ripples frenetically in the background, leading into a climatic release. It’s as though the song exhales, and a larger determination emerges. Freedom acquired is not freedom kept without some kind of backbone.

It takes some time for the song to reach that wild and hardy spirit. The pace shifts around the 3:30 mark, picking up the tempo when a bass drum takes over and beats a kind of strength into the honest declarations Fullbrook has been sharing. “No more relying on,” she repeats, backed by a swell of voices.

In the song’s final moments, atmospheric organ surrounds her voice, as she comes ’round the mountain, so to speak, and delivers a lyrical line of purpose: “That old freewill might be a myth, but I’m gonna try and get me some.”

Shy doesn’t have to mean slight. Although Fullbrook’s vocal delivery never moves beyond quiet to capture the brash confidence the song’s final assertion might warrant, the mere fact of its echo lends it shape and substance. Charge forth, she seems to say, and carve your path on the mountain.