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Chasin’ the Bird: Exploring the Jazz Legacy of Charlie Parker through Brian Priestley’s Lens

The Bird is being chased in Brian Priestly’s biography of jazz icon Charlie Parker, but the real question is whether Priestly will ever catch up?

 

Parker with his saxophone. Ray Whitten/Michael Ochs Archives, via Getty Images

Chasin’ the Bird: The Life and Legacy of Charlie Parker by Brian Priestly focuses so purely on the genre-defining music of the jazz legend, that it falls short of its promise to satisfy the morbid curiosity surrounding Parker’s notoriously dark personal life. With Priestly’s background as an established pianist, his dissections of Parker’s music are insightful and musically technical, which would appeal to an audience including people who think like him. Unfortunately, I am not one of those people, and while I found these in-depth descriptions interesting, they seemed to overtake the book and take away from other facets of the Charlie Paker story. 

At the core of the book lies Priestley’s profound understanding of jazz, evident in his meticulous dissections of Parker’s music. Drawing on his own experiences as a pianist, Priestley dives deep into the intricacies of Parker’s compositions, providing insights that would undoubtedly resonate with a niche audience – those who share his musical sensibilities. For readers with a penchant for technical musical analysis, these passages offer a treasure trove of information, enriching their understanding of Parker’s innovations and contributions to jazz. 

However, for readers less inclined towards the technicalities of music theory, these detailed musical explorations may prove to be overwhelming, overshadowing other aspects of Parker’s life. The promise of a comprehensive exploration of Parker’s personal struggles and triumphs, hinted at by the book’s title, remains somewhat unfulfilled. Priestley’s laser focus on the musical aspects of Parker’s legacy detracts from the opportunity to paint a more nuanced and well-rounded portrait of the man behind the saxophone. 

In terms of structure, “Chasin’ the Bird” follows a chronological path through Parker’s life and career. There is much uncertainty regarding Parker’s early life, which Presitly acknowledges: “There are several areas of confusion about the most elementary information concerning Charlie’s background. Partly this is a consequence of the fact that, during his brief career, entertainers generally – and especially the African-American instrumentalists – were not extensively interviewed,” (9). While this approach allows readers to trace the evolution of his music alongside personal developments, there are moments where the narrative feels slightly disjointed. Transitions between musical analysis and biographical elements could have been smoother, enhancing the overall flow of the book.

One of the strengths of the book lies in its ability to contextualize Parker’s music within the broader landscape of jazz history. Priestley skillfully weaves together the cultural and social influences that shaped Parker’s sound, offering readers a glimpse into the vibrant jazz scene of the mid-20th century. The narrative provides valuable insights into the collaborative nature of jazz, highlighting the relationships and rivalries that fueled its evolution. In these moments, the book shines, offering a compelling narrative that goes beyond the notes on the page and delves into the cultural milieu that gave birth to Parker’s revolutionary sound. Priestly draws on a variety of primary sources, and I especially liked the moments where we got to hear Charlie Parker, himself, in clipped quotes: “‘I’d learned to play the first eight bars of Lazy River and I knew the complete tune of Honeysuckle Rose. I didn’t even stop to think about any different kind of keys or nothing like that. So I took my horn out to this joint where a bunch of fellows I had seen around were. And the first thing they started playing was Body and Soul – Long beat, you know? Shit! So I got to playing Honeysuckle Rose – I mean, and awful conglomeration. They laughed me off the bandstand, they laughed at me so hard,’” (16-17). These glimpses into Parker’s thought process through the voice of the man himself humanize him, and Preistly does a good job of utilizing the primary sources that were available to him. 

Despite these strengths, there is a sense of missed opportunities throughout the book. The chapters that touch upon Parker’s personal life feel somewhat cursory, leaving readers craving a more in-depth exploration of the man behind the music. Priestley provides glimpses into Parker’s struggles with addiction, his tumultuous relationships, and the impact of his lifestyle on his health, but these aspects often feel like fleeting shadows rather than fully fleshed-out narratives. The result is a somewhat one-dimensional portrayal of Parker, where the brilliance of his music takes center stage, but the complexities of his humanity remain in the shadows.

The prose, while generally engaging, occasionally succumbs to a level of technicality that might alienate readers unfamiliar with musical terminology. Priestley assumes a certain level of musical literacy from his audience, which may limit the accessibility of the book to a broader readership. There are even pages in the book that include the sheet music with an in-depth analysis: “His use of harmony was extremely sophisticated, but what distinguished his mature style was the ability to take any principle of chord complication… and make it work in a totally non-programmed and no-schematic way. Put more succinctly, the polyrhythmic approach was fundamental but the polyharmonies were less so,” (116). As a non-music maker, these sentences were almost completely lost on me. While the depth of musical analysis is undoubtedly a strength, finding a more balanced approach that caters to both the seasoned musician and the casual reader would have enhanced the book’s overall appeal.

In conclusion, Chasin’ the Bird by Brian Priestley serves as a comprehensive exploration of Charlie Parker’s musical legacy, offering valuable insights into the technical brilliance that defined his career. However, the book falls short of delivering on its promise to delve into the intricate details of Parker’s personal life. Priestley’s background as a pianist infuses the narrative with a level of musical expertise that may resonate strongly with certain readers but may prove less engaging for those seeking a more holistic understanding of the jazz icon. While Chasin’ the Bird succeeds in unraveling the musical tapestry of Charlie Parker’s legacy, it leaves behind the shadows of his personal struggles, leaving readers yearning for a more complete portrait of the man behind the saxophone.

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Album Review: Volcano by Jungle

Jungle has erupted onto the music scene with their trending song “Back on 74” off their 2023 album Volcano.

Album cover: Volcano by Jungle. Via Spotify

British electronic music project, Jungle, first appeared on my radar last summer, when I stumbled upon their song “I’ve Been In Love” in my Spotify recommended songs. I was instantly hooked, as it matched the mood of summer perfectly with its easy-to-move-to-beat paired with the smooth and nonchalant vocals from Channell Tres. It became my summer anthem, and it is a song I will never get sick of. I would spend the days lounging near the river with my sister listening to this song on repeat, shocked that I had never heard of this group before. Their sound was right up my alley, with the transformation of older disco/funk beats into modernized electronic dance music; the perfect blend of relaxed yet exciting, old yet new. It wasn’t until a little while after I started diving into their music, personally, that “Back On 74” went viral. 

The group was first conceptualized in 2013 by producers Josh Lloyd-Watson and Tom McFarland, who are both based in London as well as childhood friends. The goal of the pair was to create more of a musical project in which lots of collaboration was necessary to produce artful music, videos, and performances. They have released four studio albums, Jungle (2014), For Ever (2018), Loving in Stereo (2021), and their most recent album Volcano (2023), which has recently gained internet fame due to the virtually iconic choreography within the music video released for it. The videos are a large part of what has launched the group to the current center stage. The songs off of Volcano each have their own visual pairing with a music video that follows the same formula and style, often featuring the same dancers, choreographer, cinematographer, and is directed by Josh Lloyd-Watson. The “Back on 74” video captured the internet’s attention, as it became a trend to replicate the unique and fluid choreography of Shay Latukolan that is included within it. With this fascination with the video came extra attention to Volcano, as people came to realize that they enjoyed the music paired with the dancing. 

 As an album, Volcano plays it safe, and it is apparent that much of what Jungle are doing is not pushing any sort of boundaries musically. They know what they are good at and stick to it, and the songs that are on the album can be put into sort of categories based on what sort of sound they are trying to emulate. 

“Us Against The World” opens the album up, and is one of my least favorite on the album, which is disappointing. It is one of the songs on the album that is more overtly designed to be more of an electronic dance song. For me, it is repetitive and boring with the same sort of vocals blasting atop a thumping and overly rhythmic backtrack, repeating the same lyrics over and over. “Holding On” and “You Ain’t No Celebrity” follow a similar formula, which produces a similar reaction from me: I am not as impressed with these songs. They sound too poppy, as if they should be in the background of an Old Navy commercial. “You Ain’t Celebrity” is too stripped down for my taste, with the falsetto vocals peaking out against a blipping beat full of beeps and boops that sound more like a confused robot than an actual beat. This is a rare occurrence where the contrast of soul/funk does not mesh well with the electronic beats designed to get people moving. These songs miss the mark by a country mile, focused as they are on formula rather than musical experimentation. 

Another genre that is heavily interwoven within Jungle’s music is disco. Songs on Volcano that present these influences are “Don’t Play,” “Problemz,” and “Palm Trees.” My favorite among the three that I just mentioned would be, “Don’t Play” as it has a nostalgic house feel. The repetition of the lilting vocals along the top of the groovy backtrack creates a visual that the song is almost sparkling with a playful innocence as the lead vocalist croons “Baby/I don’t know what I would do without you.” While it is repetitive in its own right, this type of music tends to be that way. The beauty in that, though, is it is so easy to get lost in the groove that you forget nothing else but the need to move along to the music you are hearing. 

The songs that are the most musical and make the album worth listening to are “Candle Flame,” “Dominoes,” “I’ve Been In Love,” and “Back On 74.” These are songs that I would characterize as having a more modern funk/house feel with influences of soul and R&B. They are the most musically diverse and genre-bending, combining a number of different styles that result in some masterpieces, “Candle Flame” has an ethereal opening of harmonizing soulful voices paired with a soaring string section, until it launches into a 1-2-3-4 count beat drop that drops you in the middle of an absolute jam, giving the audience no choice but to bounce along. It then features the rapping of Erick the Architect, adding some modern swagger and providing the listener with words to sing along to. The stark contrast from the beginning to the rest of the song is what grabbed my attention and kept it. 

“Back On 74” has more of an acoustic feel, which departs from the rest of the album, and includes the rhythmic and repeating strumming of a guitar. The main focus of this song is the vocals of Lydia Kitto, which are utterly whimsical and breathtaking, flitting effortlessly above the groovy baseline. She is supported by strong backup vocals that emphasize her well, providing a vocal masterclass in harmony and cohesiveness. 

Volcano as an album has its strong points and its weak points, but the strong aspects are heavyweight champions. With songs such as “I’ve Been In Love,” “Back On 74,” and “Candle Flame” carrying, it is hard to label this as anything short of great but I am afraid I may have to. It is clear that Jungle has gone a more commercial route, but I still appreciate some of the jewels that they have put out into the industry and I am looking forward to what they release next, as well as seeing them live this summer (hopefully!) at the music festival Osheaga, in Montreal! 



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Remembering the Fearless Life of Nina Simone

A force to be reckoned with: a look back on the legacy of Nina Simone. 

Portrait of Nina Simone by Jack Robinson. Getty Images.

“I’ll tell you what freedom is to me. No fear,” Nina Simone said in an interview conducted by Peter Rodis in 1968. She certainly embodied those words in the way that carried herself but also in the messages she spread in her extensive and impactful musical career. Unabashedly herself, Simone fascinated and inspired her wide audience until the day she died on April 21, 2003. Known as “The High Priestess of Soul,” her historic legacy lives on through the music she left behind, cementing her as one of the all-time greats in American singing and songwriting.

I was first drawn to Nina Simone through my father, who played for me her track “Sinnerman” when I was in eighth grade. The dark-toned piano opening of the song immediately caught my interest which was only solidified once Simone started to sing, with her piercingingly powerful phrasing. I had never heard anything like it, and to this day still gives me chills. The love for that song inspired me to do a middle school project on her career, where I learned about the impact she had on music history, as well as turned me into an avid fan of her music in general. 

Simone’s natural musical talent was obvious from a very young age, as she started playing piano by ear at the age of three in her parents’ church in Tyron, North Carolina. Born Eunice Kathleen Waymon to Mary Kate Irvine, a Methodist minister, and John Divine Waymon, a preacher, on February 21, 1933, she grew up in a heavily musical home where the gospel was preached, and the practicing of nonreligious music such as blues and jazz was frowned upon. By the time she was six years old, she was accompanying church services. 

It was clear that the young girl was brimming with prestigious talent, as she was also able to play almost anything by ear, so she took lessons studying classical music with a local Englishwoman by the name of Muriel Mazzanovich. It was within these lessons that Simone developed a love for many of the classical greats such as Johann Sebastian Bach, Beethoven, and Chopin, which inspired her goal to become the first African-American concert pianist. After graduating valedictorian of her high school class, her community came together to raise money to fund her further musical education at the renowned Julliard School in New York City. She was able to study there for about a year before she ran out of money and decided to apply to the Curtis Institute of Music in Philidelphia, to which she was denied (and later claimed that this was due to her race). 

Left with no other options, Simone turned to performing at a local bar in Atlantic City, New Jersey called the Midtown Bar & Grill to make a living. It was in this environment that she was forced to use her singing voice, as the owner refused to hire her unless she accompanied her playing with singing. She adopted the stage name “Nina” meaning “little one” in Spanish and “Simone” after the actress Simone Signoret to avoid detection from her family. She soon gained popularity and caught the attention of Bethlehem Records, where she signed a contract and released her debut album Little Girl Blue in 1959 at the age of twenty-four. She released well-known recordings of “I Loves You Porgy,” which became a Top 20 pop hit, and “My Baby Just Cares For Me,” a plucky and sweet song that showcases Simone’s vocal and musical range (and a personal favorite of mine), during this year as well. 

After Bethlehem, she signed a contract at Colpix Records in 1959, where she released a plethora of studio and live albums including The Amazing Nina Simone (1959), Nina at the Village Gate (1962), and Forbidden Fruit (1961). A song that stands out through this era of her career is “Work Song,” a spunky jazz number that punches through the audience’s eardrums delightfully with it’s featuring of a lively horn section.

A shift occurred in 1964 when she switched from Colpix Records to Phillips, a division of Dutch-owned Mercury Records. It was at this point that she became more involved with Civil Rights activism, proving herself to be a musical genius of that generation by showcasing her fearlessness and sacrifice throughout her work. While her involvement was a culmination of many aspects of her life, Simone says there were two events specifically that triggered her to insert herself within the movement: the assassination of civil rights activist Medgar Evers and the Birmingham church bombing that killed four young African-American girls. In response to this, she wrote “Mississippi Goddamn,” an angry and overtly political tune where she calls out aspects of her reality that she, as well as many other African Americans, were struggling with at that time: “Alabama’s gotten me so upset/Tenessee made me lose my rest/And everybody knows about Mississippi, goddamn.” Even when listening to the track you can hear the passion and anger in her music, by her lyrics and the way in which she sings them; with a verbal punchiness that lets the audience know how she really feels. This effect is increased ten-fold when watching her live and is beautiful to witness in all forms. This, to me, is the essence of what makes Nina Simone, how unapologetically herself she was, and how much she put into her music. 

“Mississippi Goddamn” was boycotted in some Southern states, and Simone’s career suffered because of her continued involvement with the movement. This did not deter her, though, and she released multiple other songs that impacted the movement as a whole. Other songs during that time that served as a rallying cry for the oppressed throughout the whole of the United States were “Four Women,” a provocative song detailing the point of views of four women of different racial backgrounds, and “Young, Gifted, and Black,” a hopeful civil rights anthem that celebrates black youth: “Young, gifted and black/Oh what a lovely precious dream/To be young, gifted and black/Open your heart to what I mean.”

In 1967, she moved recording companies yet again when she switched from Philips to RCA Victor. Here she recorded another plethora of albums such as Nina Simone Sings the Blues (1967), Silk and Soul (1967), and Black Gold ((1970) which features “Young, Gifted, and Black”). A standout song on Silk and Soul is “I Wish I Knew How It Would Feel To Be Free,” a wonderfully soulful piece that Simone crescendos beautifully, starting with just Simone and her piano and then building towards the end of the song where the horn section joins and she lets loose vocally.

Towards the end of the 1960s, Simone left the United States to live in various foreign countries such as Liberia, Switzerland, England, and Barbados, before settling down in the South of France. She left the United States due to her exhaustion with the American music scene and the deep-rooted racism within the society as a whole. She struggled with severe mental health issues, which impacted her relationship with her daughter, Lisa Simone Kelly, and was later diagnosed with bipolar disorder. She found internaitonal success in the 1980s when her song “My Baby Just Cares For Me” was used in a Chanel No. 5 perfume advertisement in the United Kingdom, causing its popularity to spike yet again charting as a Top 10 hit in Britain in 1985. During this time she also wrote her autobiography, I Put a Spell on You, which was published in 1991. She continued to tour periodically until 1999 and then passed away in her sleep at 70 years of age on April 21, 2003, in her home in Carry-le-Rouet, France. Reports indicate that she had been battling breast cancer. She is survived by her daughter Lisa Simone Kelly, who has carried on her mother’s musical talent, and is known for her work on and off-Broadway in productions such as The Lion King, Rent, and Les Miserables.   

Nina Simone was someone who defied definitions and labels, not only in the genres of music that she shared with the world but also in the way that she lived her life. Irrefutably musically talented, she was a tortured genius who transcended her generation and transformed the social landscape of the United States in one of its darkest times, through the power of her music. It is lucky for us all that she is immortalized in the art she created, as it will live on for times to come. 

 

 

 

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Putting a Shift in: Sam Smith Joins Long List of Iconic Tiny Desk Performances

NPR’s Tiny Desk Welcomes Sam Smith and their crew. 

Smith performs a Tiny Desk concert Friday, Aug. 4, 2023, at NPR’s headquarters in Washington, D.C.

The Tiny Desk Concert Series is a concept developed by NPR where the employees get to pick an artist to perform live within their office space. They have hosted a wide array of musical artists: from current pop-icon Post Malone to the insanely talented cast of The Lion King on Broadway. These performances are recorded and then put on YouTube, opening these wildly intimate and bare-boned performances for a virtual audience. When this video came up on my YouTube Recommended, I clicked on it almost immediately, as I was an avid fan of Smith when I was younger. I had the joy of watching them live in Montreal when they released their pop/soul album, The Thrill of It All, and was so excited to see what they would do in this type of setting, as there is no place to hide within these Tiny Desk performances. Smith’s music is almost made for this type of setting  

The video launches right into the performance with the unmistakable opening piano chords to Smith’s 2014 hit “Stay With Me.” Smith is front and center with a black choir at his back, all dressed in matching black sweatsuits. The sound they produce is purely angelic, as Smith’s very controlled, but almost nasally voice contrasts well with the smooth and full sound of their backup singers. As the camera angles zoom in to focus more on Smith, you can see their backup singers mouthing along to the solo parts of the song, making it clear that everyone in that room genuinely enjoys the music they are producing. This makes the overall performance that much more emotional and heartfelt. 

“This is quite mad… I’ve been singing on stage for too long, so this is crazy,” they chuckle as they sip from their water bottle. It is apparent that the intimate setting of the Tiny Desk is something that they appreciate but are a little intimidated by, compared to the huge venues that they have been so used to playing. “This next song… We rehearsed it the other day and this is 100% my favorite version of this song we’ve ever done so I hope you like this. Enjoy, move, get into it,” they conclude with a shimmy as the audience chuckles. Smith has a way of putting those around them at ease, and it is so evident by the way that their choir looks at them, with such adoration and admiration, and the way that the live audience responds to them. The group launches into an acapella opening, accompanied by snaps, of Smith’s popular pop single “How Do You Sleep?” Pianist and effects coordinator Ruth O’Mahoney jumps in with superb tone and timing, along with the subtle strums of guitarist Ben Totten. When this song first came out in 2019, I was not a fan. In fact, I am still not a fan of the recorded track, as it is very much a generic, over-auto-tuned pop song, but this live and acoustic version of the song stunned me. The chorus featured the choir in full effect, backing Smith up with interweaving harmonies that fill the room with a rich sound and energy. It had the opposite feel from the recorded track, given that it was a live, acoustic performance. It let the song speak for itself, and it shocked me to realize that I did actually enjoy the song, especially when it was performed in such a way. All I can say is that this version of “How Do You Sleep?” needs to be released as soon as possible on every streaming platform because I want to listen to it on repeat. 

The next song that they performed was “Lay Me Down,” another early career Sam Smith classic. Pianist O’Mahoney and Smith are a well-oiled machine when it comes to the reading of each other in the pacing of this slow opening, as it is just the two of them to start. After the first chorus, LaDonna Harley-Peters joins Smith on the main mic for the next verse, where they put their arm around her. It is a truly touching scene, and it is clear that they have a very special bond. Her voice is such a contrast to Smith’s, with a very full, steadfast, smooth, and versatile range. In the second chorus, they turn to look into each other’s eyes as if they are signing to one another, as Harley-Peters takes the higher harmony to Smith’s melody. Their voices combine to soar over the piano chords, crescendoing beautifully as they get to the bridge of the song. This is where the rest of the choir joins in to create a powerful and almost chilling effect as O’Mahoney hammers away at the keys. This all culminates at the end of the song where it is just Smith and Harley-Peters once again, cooing the heartfelt lyrics: “Can I lay by your side?/ Next to you,/ You.” They hug, and you can feel the love radiating from the screen. This number extracted such an emotional catharsis from me, so much so that a couple of tears were shed. “Lay Me Down” is such a painfully vulnerable song, one that has been one of my favorites of Smith’s ever since I was a young girl, and to not only hear but to see this performance in such a stripped-down setting only emphasized the talent that Smith possesses. It was truly captivating. 

“Ok, let’s get saucy,” Smith says mischievously, as the overall vibe of the show takes a turn. They conclude their concert with a performance of their new controversial hit single, “Unholy.” It begins with acapella clapping from the choir paired with fun vocalizations that loosen up the crowd. The piano enters with heavily low and staccato chords, thumping along to the rhythm. While the performance of this song did not lack in fun energy, this was my least favorite part of the concert. This may be due to the fact that I do not like this song and was hoping that they would play more from The Thrill of It All, but I also feel that it was an interesting song choice to close out the concert as a whole. I think that “Unholy’ would be a great opening song to set the tone and get the audience at ease, and that it would have been more impactful to end with a song that is more emotionally hard-hitting and showcases Smith’s singing and songwriting talent.

This video was one of my favorites released from NPR in their Tiny Desk Concert Series, and it only left me wanting to hear more from Sam Smith and their incredibly talented group. Twenty minutes was too short, but they did amazing with the time that they had and I sing enough praises for them.  

 

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Dream Duo: The Head and the Heart and The Revivalists Team Up!

The Head and the Heart dazzle alongside The Revivalists on their joint tour full of genuine talent and energy.  

The Head And The Heart Concert Tickets: 2023 Live Tour Dates | Bandsintown

The Head and the Heart onstage at the Bank of NH Pavillion. 

When I heard that Seattle-based indie-pop group The Head and the Heart was coming to New Hampshire, along with the New Orleans-based rock band The Revivalists, I knew that I would be stupid to pass up the opportunity to see them live. The timing was also too good, as it was my nineteenth birthday and my mother and sister would join me. 

The Revivalists took to the stage before The Head and the Heart and they did not disappoint. Frontman and lead vocalist David Shaw, dressed in a simple white tank top and trousers, brought an energy that was infectious and exhilarating. Paired with his powerful and gritty voice, he had a commanding stage presence and was very lively in his utilization of different spaces across the stage. 

The only time The Revivalists’ performance slackened was when they performed “Wish I Knew You,” which is one of their more popular songs as it reached No. 1 on the Billboard Alternative Songs in May 2017 and went platinum in September of that same year. It is one of those songs that I will never get sick of, as I was obsessed with it as a younger child when it first came out. While it was surreal to see it live, and I enjoyed every second of it, I’m not sure the band shared my zeal. It seemed as if they were just running through the motions with the performance of this song, and while they still sounded great, it was less fun to watch because you could almost see the energy drain from David Shaw. 

After the show, I looked up their music on Spotify and found that I enjoyed the live and acoustic versions of their songs far more than the recorded ones, which sound too clean and almost pop-esque. The raw vocals and instrumentation accentuate their talent much more and bring a sort of old-fashioned rock and roll sound that is missing on the pre-recorded tracks. Part of what made The Rivialists’ performance so riveting was how natural they sounded, something that I find is very lacking in some of today’s popular music. 

The Head and the Heart’s performance included a mixture of old and new songs, although selfishly I wished that they played more of their earlier music as that is what I love the most. This band is very nostalgic for me, as my family used to listen to their CDs when we went on our cross-country camping road trips to visit various national parks out west, and I grew up listening to their music. There certainly was a bit of a divide within the audience, as it was apparent which people were the new fans, as they only sang the songs off of the albums Living Mirage and Every Shade of Blue, and who were the fans that had been there from the beginning. Their sound evolution has changed heavily through the years as their earlier albums (The Head and the Heart, Let’s Be Still, and Signs of Light) were more folk-indie based and their newest albums are very much indie-pop. All in all, I thoroughly enjoyed their performance. Each band member brought their own energy and played their own role on stage, and it all worked together very well. Lead singer Jonathon Russell was captivating as he has one of my favorite voices that I have ever heard. The vocal range that he possesses and calls upon so effortlessly is truly incredible to witness, and I could listen to him for hours. His voice is steadily rich, from when he hits the low baritone notes to when it soars to hit higher notes. 

I left the show feeling thoroughly satisfied and happy with my experiences. Both of the bands left their mark on me and their music sounded great together. It is rare for an opening band to delightfully surprise me as much as The Revivalists did and The Head and the Heart brought it all home with their authentic and emotional performance of “Rivers and Roads,” providing a cathartic moment for the audience. 

 

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Almond-Shaped “Green Eyes”

“This song reminds me of you.” This sentence is one of the most thoughtful and genuine statements one can ever receive. I was looking through my Liked songs on Spotify and found one that never fails to make me emotional because it reminds me of my younger sister, Quinn. She is two years younger than me and music is woven deeply into our relationship. She showed me Coldplay’s song “Green Eyes” this past summer. At first, I was not as impressed because it sounded like every other viral Coldplay song that is featured in corny TikToks that cover my feed. But as the summer went on, it grew on me. That is not only because of the hauntingly raw voice of Chris Martin paired with a simple but beautiful acoustic backing track, but because of the lyrics and how accurately they apply to my relationship with her. The lyrics are incredibly simple, but convey such an innocent and genuine love: “I came here with a load/And it feels so much lighter now I met you/And honey, you should know/That I could never go on without you/Green eyes.” The power of these lyrics is that they can apply to anyone in the listener’s life. For me, Quinn is that person. Not only because she showed this song to me but because I cannot imagine my life without her. As much as we fight and clash, we love each other unconditionally and I know that it will always be that way. She once told me that she hoped that someday this song would remind someone of her, and I am here to say that that truth already exists. I guess, it is also worth mentioning, that Quinn has striking almond-shaped green eyes.