Punch Brothers

I’m not sure that American Beauty is my favorite movie, but I’m pretty sure it has soaked deeper into my brain than any other. Certain images and episodes come to mind all the time — the fight over the beer that was about to spill on the couch, the “I want to look good naked” line, the phrase “Lawrence Welk shit” among them. The idea that comes up most, however, is the plastic bag thing — the scene in which we watch two characters watch a video of a plastic bag blowing in the wind. As he takes in his videographic handiwork, the creepy but ultimately awesome next door neighbor kid delivers the movie’s best line:

“Sometimes, there’s so much beauty in the world, I feel like I just can’t take it, and my heart is going to cave in.”

Later, Kevin Spacey tells us from beyond the grave that in situations like that, he’s learned (omniscience is quite handy) to let the beauty flow through him “like rain,” instead of trying to bottle it up. They’re talking about the sublime, which I wrote about just a few weeks ago, but they’re also talking about the part of human nature that makes us want to contain things. To corral them. To own them. Last Tuesday, I ran headfirst into this impulse thanks to the Punch Brothers show at the National.

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Drive-By Truckers

Drive-By Truckers

My iPhone’s been a real asshole lately. The battery life has tanked. It’s started shutting off unexpectedly in cold weather (“Oh, you’re trying to use Google Maps to navigate an unfamiliar city on foot in a snowstorm? Nap time, bitches!”). Speaking of naps, the sleep/wake button now requires an absurd amount of pressure, like a small and entirely un-fun version of that carnival game where you swing a sledgehammer to see how strong you are. Lately, its favorite trick has been refusing to send text messages or tweets for days at a time. Saturday — the day the Drive-By Truckers played at the National here in Richmond — happened to be one of those days. As a result, all my enthused mid-show exclamations went un-exclaimed.

In truth, it’s probably for the best. Looking back at the notes I took in my jerk phone’s Notes application, as well as the contents of my Twitter client’s drafts folder, I’m not sure my IPA-addled missives would have made much sense. All the same, I’d like to give a few of them a second chance and, since we’ve moved this party to the blogosphere, a little elaboration. We’ll call this Tweets That Never Were: Drive-By Truckers Edition.

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MIttenfields

Mrs. YHT and I are Amtrakin’ it up to New York City for the weekend, snow accumulation be damned. (If we see Jay Z, we’ll tell him you said hello.) I’d like to leave y’all with a musical away message that doubles as a show recommendation:

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The Low Branches

The Low Branches

I can remember the first time I got a recording of a show I’d just witnessed. It was while I was in college — Soulive at the Canal Club. I almost didn’t go — I wasn’t the biggest fan and agreed to go at the last minute, but I loved it. Looking back, as jammy as Soulive may be, that show represented a significant step in my quest to access jazz. I couldn’t believe the dexterity of keys player Neal Evans, who was pulling double-duty by playing synth bass with his left hand. I’ve since learned that this is typical for Soulive, but it seemed incredible to me. I stared at Evans for large chunks of each song, totally awestruck. Focusing on a single player like that has become one of my main techniques for appreciating genres I’m less familiar with, and it worked wonders at that show.

They had CD burners at the merch table, and you could buy a two-disc recording on your way out. $15 bucks, I think. Easy as that. I know (and knew then) that people have been taping shows and trading recordings for ages, but it felt like the future to me. You heard something, then you had it. I didn’t realize it at the time, but that night was the dividing line between two worlds — the world in which I watched and listened to live music without worrying whether I’d see or hear it again, and the world I live in now, wherein I consciously ask myself whether I’m seeing/hearing this concert for the first time or for the last time. I process performances differently if it’s the latter. I try to be more present.

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Daniel Bachman

Daniel Bachman

Hey RVA folks — you should go to Steady Sounds at 6 p.m. this evening. A guitarist named Daniel Bachman (pictured above, in the art for his new album, Jesus I’m A Sinner) is performing, and it’s absolutely, positively worth your time. How do I know? He did an in-store at Steady Sounds back in January that knocked my socks off and launched the 1,100-word essay below, on open tuning and focal points and why I might owe the Goo Goo Dolls an apology. I’ve been excitedly waiting until just the right moment to publish this, so I hope you enjoy it and then join me at 6 at Steady Sounds.

I want to thank Daniel Bachman for undoing something The Goo Goo Dolls did 18 years ago.

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Matuto

Matuto

A quick observation from last night’s show at Balliceaux:

Matuto does lots of things well. They’ve mastered their instruments. They get the crowd going. They know more about the history of the styles they invoke than most bands ever will. They write songs that are challenging and catchy at the same time. These were the factors I knew to look for after having seen them in June.

But something struck me last night that I didn’t pick up on the first time, and it’s not even necessarily something they do. It’s more of an effect they have that’s just as exceptional as the abilities listed above. Call it affective flexibility.

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Matuto

Matuto article 2

In June of this year, I was up in Harrisburg, PA — Mrs. YHT’s hometown — and I caught my first glimpse of Matuto at the music venue that occupies the second floor of the Appalachian Brewing Company. I was stunned. Taken aback. Gobsmacked.

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Happy Halloween!

Exactly one year ago, Vampire Weekend donned some pretty sinister face paint and performed “Unbelievers” on Jimmy Kimmel Live!‘s Halloween show. If memory serves, these were the first notes I heard of what would become Modern Vampires of the City. It’s crazy looking back on that now. For me, MVOTC is one of those special cases where you listen to an album so many times you damn-near internalize it, and then it becomes surreal to think about how, at one point not so long ago, it didn’t exist at all.

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Blake Mills

Blake Mills

The end of last week was… eventful. Fateful, even. On consecutive nights, I got to see Father John Misty at the National and Fiona Apple and Blake Mills’ “Anything We Want” tour at the Lincoln Theater on U St. in Washington, D.C. Both shows were incredible, and I’m still trying to sort through all the ways in which the two experiences were related. I’m not going to dive in right now, since I’d like to write something longer when I have a better map of those relationships (and when I manage to put a leash on my impulse to use superlative language like “best concert I’ve ever seen” and “so beautiful I was moved to tears”), but I did want to take a quick moment and share a song Blake Mills performed on Friday night in D.C.

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Dear Elliott…

Dear Elliott

I’m still sorting through the mess of pictures I took in Chicago this weekend, but I wanted to check in quickly and spread the word about a show that’s taking place tonight.

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