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Archive for the ‘Sharon Van Etten’ Category

[ATTENDED: September 26, 2025] Noah Kahan–All Things Go [Day 1]

Noah Kahan was the headliner for Friday night.

I know that I exist in a musical world that is all of my own so I didn’t know Noah at all.  I was aware of his song Stick Season because my daughter played it for me, but it seemed like he was basically a folk singer.  So I guess I don’t understand kids these days.

Anyhow, I was surprised that he would be the headliner, but clearly no one else was.

But I was pretty happy that it wasn’t just him and a mandolin.  He had a full band and they rocked much harder than I thought they would.  Although it was pretty fascinating to hear the crowd react so powerfully to a dude with a mandolin.

But he had a full band and they harmonized really nicely.  He also seemed genuinely funny and nice.  (I’m Noah Kahan and I’m here to ruin your evening). (more…)

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[ATTENDED: September 26, 2025] The Last Dinner Party-All Things Go [Day 1]

I was most excited to see The Last Dinner Party. They had only played Philly once but I had tickets to another show that night.  Ugh.  So this was my first time seeing them.  And they were terrific.

The opening strains of Prelude to Ecstasy played over the speakers as they came out on stage.  The five women up front filled the whole stage–keys (Aurora Nishevci) , guitar (Emily Roberts), vocals (Abigail Morris), guitar (Lizzie Mayland), bass (Georgia Davies) with their drummer back on the riser.

They opened with Burn Alive and it was cool to hear these songs come to life.  The problem for me was that the woman next to me felt compelled to scream every single word.

The empowering anthem Caesar on a TV Screen came next and Aurora played keytar which was fun to see.  She rocked out next to Emily–who plays some phenomenal solos.

Count the Ways played live for the first time 2 nights ago in New York City. Abigail  went over to acknowledge the ASL interpreter and to thank them–she said they didn’t know they had one.

Abigail introduced the next song as being from the first record and you might know it.  And Lizzie said no you won’t this is from the new record.  Abigail laughed “I don’t know my own setlist.”

Second Best opens with gorgeous acapella harmonies from all of them.  It’s a great song, continuing their streak of great songs.  And of course since they were new, the woman next to me couldn’t sing them.

On Your Side has some really gorgeous quiet moments that showcases how great their voices are.

Aurora sang Gjuha next after giving a brief introduction about it (it’s about her relationship with her mother tongue).  Everyone sang backing vocals and Emily played the mandolin–absolutely lovely.  And it segued right into the rocking Sinner.   It was really fun to see Abigail dancing around the stage with abandon. Lizzie sings some lead vocals on this song too, which I didn’t realize.

Then came another new one Agnus Dei.  Which Abigail introduced as “This is a song about a boy–ew!”

After a moment with a QR code to donate to Palestine, Abigail said she was really sorry for what was happening on our country and it was not a time to be scared–letting us really know how the rest of the world sees us right now.

Aurora started playing the piano up on the riser and as Abigail walked up the risers and as they started the next song Aurora gasped and stopped playing–she was attacked by a huge moth. Everyone laughed–“you guys have some massive bugs here.”

They returned to Portrait of a Dead Girl which builds to some great sing alongs–over and over again as well as the really fun “give me the strength.”

I didn’t realize that the band doesn’t have a drummer.  They use session drummers for tour (wonder why).  For this show they had Victoria Smith who was great–she totally rocks. (more…)

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[ATTENDED: September 26, 2025] All Things Go [Day 1]

My daughter and I went to All Things Go in 2023 and had a great time.  We didn’t go last year, but this year we decided to go again–for all three days (last time it was two).

The first day was a Friday and my daughter had a half day of school.  So we left after classes and got to MD in pretty decent time.  The early shows on Friday were great and I would have loved to see Lucius (having just seen them) and Sharon Van Etten (having seen them a few weeks earlier), but it was fine that we arrived too late for them.  But my huge YES was for The Last Dinner Party, a band I could have seen when they played Johnny Brenda’s but my wife and I had gone to a meh show elsewhere that not instead.  So I really wanted to see them!

We arrived, got good ADA parking (phew) and used our fast pass entry (yay).  We could hear The Beaches playing and they sounded great.  My daughter went for food and I grabbed a seat as we watched a video of The Marías playing. I was a little bummed we didn’t see them (although I hadn’t heard of them at all before this) because their set sounded really good.

In a bizarre coincidence, we ran into my niece/her cousin while getting food.  It was great to see her (she lives in DC).  She was really looking forward to seeing Noah Kahan.  Then we parted–thought we might see her at Noah but we didn’t.

Then we headed down to the Chrysalis Stage (which was pretty packed) in time to see The Last Dinner Party.  My daughter and I have different wants at a show.  I like to be really close and she is cool hanging out and letting the music wash over her.

So I snuck down as far as I could and enjoyed TLDP very very much.  I even got a photo of the setlist. (more…)

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[ATTENDED: September 20, 2025] Sharon Van Etten and the Attachment Theory

Sharon Van Etten and her new band The Attachment Theory headlined Saturday night’s Festival.  I saw SVE in 2019 (I loved her debut album).  But I wasn’t really sure I needed to see her again.  Then she announced a Free at Noon and I went.  And I regretted not seeing her full show at Union Transfer.  So I was pretty psyched that she was headlining tonight.  After Kathleen Edwards, we headed over and managed to get a spot standing pretty close to the stage.

The sun was setting and the atmosphere was building  And soon Sharon and the band came out.

It’s a little weird to start out by singing Who wants to live forever over and over, but I guess it works to build an atmosphere as the song got bigger and louder.  But for me the show really kicked of into high gear when they played Afterlife.  It’s a slow song with a lot of keys (Teeny Lieberson) and then a great bass line (Devra Hoff–whose bass work is outstanding both fretted and fretless). And when the chorus barrels in–the backing vocals are just gorgeous (Sharon picks the best backing vocalists).

They followed it up with the great single from the album, Idiot Box.  Another great bass line from Devra and Sharon picked up the guitar to play the main guitar line.  It’s such a great catchy song and it’s really fantastic live. (more…)

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[DID NOT ATTEND: April 30, 2025] Sharon Van Etten and the Attachment Theory / Love Spells

It’s been a roller coaster of hits and misses with Sharon Van Etten and the Attachment Theory this year.  I didn’t love Sharon’s previous two albums, so I wasn’t that interested in this show when it was announced.   But when they said she’d be doing a Free at Noon, I went and LOVED the new band and sound.  I thought about getting tickets to this show, but it had sold out.

Later in the summer my wife and I saw her headline XPoNential Fest and she was great.  Then my daughter and I missed her at All Things Go.

I don’t know how different her Union Transfer show was from her XPoNential Fest show, but the Fest show was so good, I don’t mind missing this one.

Love Spells is the mystic lovechild of 20-year-old singer-songwriter Sir Taegen C’aion Harris. Born and raised in Houston, TX, Harris marries ethereal vocals, delicate percussion, and soothing guitar riffs into a dreamy & nostalgic fusion of indie rock, psychedelia, and dream pop.

I listened to a song and it was soft and dream with whispery vocals.  A nice moody accompaniment to Sharon’s songs.

 

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[DID NOT ATTEND: February 7, 2025] Sharon Van Etten & the Attachment Theory

I saw Sharon Van Etten live back in 2019.  I really enjoyed her set more than I thought I would.  And yet since then I haven’t really been that interested in her music as much.

She’s had a few songs (like this year’s Afterlife) that I’ve really liked, but when she announced a show at Union Transfer in April I was pretty meh about it.

Then it was announced that she and her new band were doing a Free at Noon, and I though that that was the best way to check her out.  And I’m so glad I went because her band (and the whole set) was fantastic.

I’m not sure how long these musicians have been playing with her, but word is that she solidified them as a band with this album and they record the album as a band rather than as a SVE project with backing musicians.  The Attachment Theory is Teeny Lieberson on keys, Shanna Polley on guitar, Jorge Balbi on drums, and bassist Devra Hoff.   When I saw her last time I didn’t know any of her band except for singer Heather Woods Broderick whose voice is amazing.  But Teeny Lieberson’s backing vocals suited Sharon’s perfectly, creating that hauntingly beautiful sound that Sharon does so well.

I was right in front of Devra, whose bass work was great (there was a some cool stuff on a fretless as well as a fretted bass).  The bass was a little loud in the mix for me since I was right in front of the speaker, but the opening bassline of Trouble was fantastic and I loved watching Devra play it. (more…)

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SOUNDTRACK: DEEP SEA DIVER-Tiny Desk (Home) Concert #214 (May 25, 2021).

I had not heard of Deep Sea Diver before this year.  But her song “Impossible Weight” is definitely one of my favorite songs of the last year.  Apparently, last year NPR voted “Stop Pretending” as one of their favorite song of 2020, so she clearly writes great songs.

She’s also got a keen sense for presentation, as soon as you see her set.

She also chose a very particular location for the shoot: “There were countless times this past year that I wanted to be transported out of my house and into a different world,” the singer and guitarist explains to NPR via email. “One of my favorite and most inspiring worlds is that of David Lynch’s Twin Peaks. I wanted to pay homage to the show by recreating the red room for our Tiny Desk.”

I’m not saying that that would be terribly hard to do, but it certainly took a bit of effort.  And it looks awesome.

Inside the red room, the set includes three tracks from Deep Sea Diver’s marvelous 2020 album, Impossible Weight… joining the band are some special guests: Natalie Schepman and Meegan Closner of the band Joseph sing background vocals, and Dobson’s Beagle, Henry, makes an appearance. (Dobson claims he’s the only one who didn’t care that Deep Sea Diver couldn’t tour last year.)

“Impossible Weight” sounds fantastic.  I really love everything about it.  From the mutes guitar intro to the super catchy chorus to the wordless hook.  Every time I heard it on the radio, I was singing along to that chorus.

But that
was then
and this is now
I tried
so hard
not to let you all down
It’s an impossible weight
So I’ll just let you down now

On the record, Sharon Van Etten sings some part of it. I’m not sure what–I assumed Sharon sang the chorus, but it sounds the same when Dobson sings it here.  But in this Tiny Desk two thirds of the band Joseph joins her on backing vocals (I wonder why Allison wasn’t part of it) and they sound perfect.

After the song her drummer (and husband) brings out Henry, who gets a credit.

  • Henry Lee: beagle

“Lights Out” is up next and wow does it rock.  It’s got a great fuzzy bass intro from Elijah Thomson.  I feel like her voice sounds a bit like Torres here (no bad thing).  The sprinkling of keys from Elliot Jackson are a subtle touch, as is his later guitar playing.  But man, the guitar solo that Jessica plays absolutely rips–she gets a fantastic sound.  After the solo the song gets quiet for a minute but it slowly builds in power.  Mansen’s drumming by the end of the song is exhausting to watch.  The song comes to a fantastic abrupt end and it really feels like it needs a crowd cheering after it (so it’s nice that Joseph is off stage to provide the cheers).

She moves to the piano for “Wishing” where she shows off

an impressive homemade bolo tie that she crafted from an NPR enamel pin and “a little bit of duct tape.”

Pianos tend to mean ballad, and this song is more ballady for sure.  The synths give it a retro feel, although Mansen provides some good rumbling drums for the catchy chorus.  I also got a huge kick out of the end when she plays a chord and sings “Awesome.”

“Stop Pretending,” was chosen as one of NPR Music’s favorite songs of 2020.

It has a cool opening guitar riff and later in the song the guitar sound she gets is an amazing roar.  In fact the end of the song builds to a great wall of noise with intense drumming and some great bass lines while Jessica plays an amazing solo.

[READ: October 10, 2016] The Terrible Two Get Worse

I really enjoyed the first two books in this series (Mac Barnett is such a hilarious writer–or maybe Jory John is the funny one?  Well, I know from past books that mac is hilarious).  But I forgot about the series and didn’t realize that this one (or the next one) had come out.

So book three is different from the first two because it is set in the woods. In the summer!

Niles and Miles are spying on Papa Company.  Papa Company is a patrol at a summer camp–the wonderfully named Yawnee Valley Yelling and Push up Camp.  Papa Company is run by Josh Barkin.  Josh is the son of the boys’ Principal and their archenemy.  He has two cadets in his patrol.  He has nicknamed them Dugout and Mudflap.  It’s not entirely clear if Josh is supposed to be taking these boys on as his own patrol, but the only rules at camp seem to be yelling and push ups, so….

Josh was sent to the camp last summer as punishment.  But he loved the yelling and meanness so much that he asked if he could stay there all summer…and return again this year.  The camp is big on acronyms, and the authors have a lot of fun with them (right up until the end!) (more…)

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SOUNDTRACK: KATE DAVIS-Tiny Desk (Home) Concert #59 (August 4, 2020).

I hadn’t heard of Kate Davis before this Home Concert.

Her songs are simple and straightforward with a real timeless quality.  She reminds me a lot of Kathleen Edwards.  Turns out that she also co-wrote Sharon van Etten’s “Seventeen.”

Like so many artists, Kate Davis was to be on tour during the spring and summer of 2020. She was scheduled to play a concert at my desk in May. Sitting by her desk at home, Kate Davis is marking time by writing new music….  She’s an extraordinary lyricist. Her 2019 album, Trophy, was a sharply worded collection of songs, many about growing up and a powerful tune about her father’s death.

“Cloud” has a great melody throughout, and the chorus is great–with her falsetto moment an unexpected bonus.  The slow middle section is also a really nice surprise.

“Open Heart,” the second song performed for her Tiny Desk (home) concert, is about a broken heart. It’s a subject tackled by many, but her lyrical prowess sets the scene in the hospital, where the doctor cuts her open, sees her critical condition, and takes out her broken heart. She sings, “Put the pieces back together, looks like it’s been shattered by a bad love,” later adding, “You’d rather feel this pain than have a broken heart.”

This song features another great delivery as she sings the lyric high but then adds a lower almost spoken word during the bridge “deep…breath.”  The song builds and builds to the end and I love that the chugging guitar chords ends with a slightly-off-ringing note that adds a cool amount of dissonance to a song about a broken heart.

I guess these songs sound different on the record since the blurb says:

Hearing these songs stripped to their essence–just Kate Davis and her guitar–exposes her charm and wit.

“I Like Myself” is a finger-picked style of playing–sounding quite different from the other songs.  The lyrics are very thoughtful:

I kind of like myself
Cause she likes me
And since I think the world of her
And she of me
Then I’m exactly who and where I want to be
Who and where I want to be

“Ride or Die,” was written before quarantine and its perspective has changed since.  The chord structure and vocal melody is unusual and very cool.    I especially like the way she adds a really slow section in the middle–a picked melody (of more unusual chords). This is my favorite of her songs and I’m looking forward top hearing more.

Davis looks at the camera a lot during this performance–making her seem very confident, which I gather she is.

[READ: August 1, 2020] “Dalton’s Box”

I loved this story.  It was fast and colloquial.  It was funny and dark and I want to read more stories like it.

The story is basically a conversation between two brothers.  The one brother asks if the other remembers Mick Dalton.  He does.

A few months back, Dalton won the Lottery.  Not a huge amount though, about 3,000 quid.  And Dalton, who is usually in trouble for some petty crime or another, says he’s going to invest it.

That means a get rich quick(ish) scheme selling contraband.  But this time Dalton is smart, you see.  He’;s going to sell contraband Marlboro cigarettes (I have no idea how that’s going to work). (more…)

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[CANCELLED: July 31-August 2, 2020] Newport Folk Festival

Last year we took the whole family to two days of the Newport Folk Festival.  It was a fun experience for the most part.  Both kids were exhausted and my son decided he’d rather stay in the hotel than go on the second day.  However, this year he said he;d like to go again, so since the 2020 Festival was cancelled, maybe next year all four of us will go again.

I was not surprised that the Festival was cancelled. But it was still a shock when it happened on April 29th.

Here’s the formal message

Dear Folk-

This is the letter I was praying I wouldn’t have to write, feeling we need the healing powers of live music more now than ever. It is with the heaviest of hearts we announce the cancellation of the 2020 Newport Folk Festival. As devastating as it is to write those words, it’s balanced with a renewed sense of, well, HOPE. It’s Rhode Island’s motto for good reason and it’s also the feeling you, our festival family, constantly exudes when we come together in good times and perhaps more importantly, in difficult times as well. This community is truly unlike any other in music, and I believe we can emerge from this hardship stronger and more connected than ever before.

However, while your safety was at the core of the present decision, your support will be at the core of our future viability. Our ability to produce this festival in 2021 – and continue making a lasting difference in the lives of artists, students and music lovers like yourselves – is in your hands. Quite simply, we need your help.

Due to the financial and institutional uncertainties we find ourselves in, we believe the most trusting and direct course of action is to let the ticket holders decide where their ticket dollars should go. We have sent all ticket holders an email mapping out three options: 1) donate all or a portion of your ticket that will go directly towards ensuring our festival for 2021 while continuing our support for artists and educators; 2) apply your refund towards a 2021 Revival Membership – a new and one-time offer we’ve created specifically to ensure our future and provide these members with 3-day tickets to the 2021 festival (remaining memberships will be offered to the general public directly after the request period); and 3) receive a 100% full refund if desired.

For those of you who didn’t have tickets for this year, PLEASE consider making a tax-deductible donation. Help us continue these festivals, support year-round music education initiatives, and provide grants to artists in need.

I want to personally thank our founder George Wein, our staff, our Board of Directors, the City of Newport, and the DEM for their continued efforts. And, offer a personal note of gratitude to Rhode Island Governor, Gina Raimondo, for her leadership and counsel in prioritizing our well being in making the decision to cancel the festival.

Although we won’t be able to gather at the Fort this summer, rest assured we have invited ALL the announced artists to join us next year. In the meantime, we promise we will all commune one way or another on our festival weekend. As always, we have some secret surprises in store as well, so stay tuned for more details in the coming weeks. Until then, stay strong and folk on.

(more…)

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SOUNDTRACK: SHARON VAN ETTEN-“Radio Cure” (from WILCOvered, UNCUT Magazine November 2019).

The November 2019 issue of UNCUT magazine had a cover story about Wilco.  It included a 17 track CD of bands covering Wilco (called WILcovered or WILCOvered).  I really enjoyed this collection and knew most of the artists on it already, so I’m going through the songs one at a time.

Sharon Van Etten continues down her more ambient and mellow style with this cover of “Radio Cure.”

She plays everything–keys and piano–hushed and echoed while her voice soars around the song.  About a third of the way in, the drums kick in, giving it a but of oomph.

I really like the original of this song and I don’t quite like the direction she went with this cover.

[READ: February 17, 2020] “With the Beatles”

I have realized that I really enjoy reading Murakami’s words.  I don’t always understand what’s happening.  I don’t often understand why one part of a story is put with another part. And often when I’m done I’m not entirely sure what happened.  But I really enjoy the journey.

This was one where some parts seemed mysteriously tucked into the story.  It kind of all works thematically, but it’s still a bit disjointed.  Nevertheless, I enjoyed reading the whole thing.

The narrator starts by saying that he doesn’t mind getting older, it’s seeing other people who have gotten older that is so weird.  Really it forces him to admit that his youthful dreams are gone.

He will never forget a girl (a woman who used to be a girl) whom he didn’t actually know.  It was 1964 and this girl was hurrying down the hallway of their school, skirt aflutter, clutching the LP of With the Beatles–the original British version.  Their black and white faces were facing out as she ran.  He has turned this memory into a beautiful moment–he thinks he remembers the way she smelled even (if that is possible).  The moment was thrilling.

But he never saw her again in two more years at school.

He has met many women over the yeas and always tried to recreate that moment to no avail. (more…)

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