Music of 2020

Continuing the series of posts of the cultural artifacts that helped add meaning to our lives this year, it’s time to take stock of the music scene. This was an odd year of music consumption for me, for obvious reasons. Apart from a few campus events at the beginning of the year, I didn’t see any live music at all. Yet, music was a key therapeutic factor for me during the pandemic quarantine period. There was a vigorous discussion among critics this year regarding what constituted the perfect quarantine soundtrack. As you’ll see from the list below, I don’t think that there was any one particular mood that I needed from music; sometimes I wanted to dance in the kitchen while cooking, while other times, I wanted some soft and quiet while I was reading a book with a cup of tea by my side. So, here is the music that sustained me through this weird year: Margo Price - “That’s How Rumors Get Started:” Margo Price made the most satisfying full album experience for me this year. As she showed on her debut, “Midwest Farmer’s Daughter” and its follow-up, “All American Made,” Price has a knack for melding soul and country into an Americana sound enriched by her tart, witty lyrics. “Stone Me,” which its memorable kiss-off chorus, was one of my favorite songs of the year. Dua Lipa - “Future Nostalgia:” London-based singer Dua Lipa made the disco soundtrack for the pandemic shut-down. This album was wall-to-wall bangers that turned our kitchen into a club. At some point after this is all over, I hope to be able to hear “Levitating” in the venue for which it was intended. Redman, Mehldau, McBride, Blade - “RoundAgain:” “RoundAgain” was the jazz album of the year. I first saw this group live back in the early 90s at the International Jazz Educators Association convention in Boston, when they were just coming to prominence as players. Now, Josh Redman, Brad Mehldau, Christian McBride and Brian Blade are all legitimate band leaders in their own right. The last time they recorded was 1994’s “Mood Swing” album; let’s hope it doesn’t take another pandemic to get them back in the studio again. Mandy Moore - “Silver Landings:” I’m far too old to have had any consciousness of Mandy Moore as a 90s pop star, so my main association with her is from the NBC drama “This is Us,” where she plays a mom of three kids who sings as a hobby. I was disturbed to read that she had suffered through an abusive relationship with Ryan Adams. So, this album came as a complete surprise to me, a lovely set of sunny California pop helmed by her Dawes leader Taylor Goldsmith, Moore’s current significant other. If you’re skeptical, check out the lead single “I’d Rather Lose.” Diana Krall - “This Dream of You:” Krall came back with her best album in years in the midst of the pandemic. I’m still waiting for her to release collaboration with husband Elvis Costello, but, while that doesn’t seem to be coming, his influence is all over this album, from the song choices to the use of players in the Costello orbit such as guitarist Marc Ribot. Gone are the syrupy string arrangements and the focus is back on Krall’s Oscar Peterson-influenced piano work. Fleet Foxes - “Shore:” Fleet Foxes are apparently now essentially singer Robin Pecknold and whoever he chooses to record with, reserving the guys who used to be in the band as a touring outfit. While that may sound like a dire situation, Pecknold somehow produced a beautifully moving album of contemporary folk music. “Sunblind,” in particular, is a fitting tribute to some of the musicians, including John Prine, that we’ve lost this year. Phoebe Bridgers - “Punisher:” LA-based singer-songwriter Phoebe Bridgers has come to my attention in the past few years mainly through her collaborations with Lucy Dacas and Julien Baker in boygenius and Conor Oberst in Better Oblivion Community Center. However, with “Punisher,” her solo career really took off this year. Much of the album is quiet eom-folk; however, “Kyoto” was one of the zingiest indie rock numbers of 2020. Bill Frisell - “Valentine:” I’ve been listening to Bill Frisell for so long, he seems like an old friend at this point. His latest trio album with Thomas Morgan on bass and Rudy Royston on drums was a constant companion during my late semester grading sessions. The set shows off Bill’s spiky, post-modern song crafting style but ends with a lovely version of “We Shall Overcome,” an anthem we all need for 2021. HAIM - Women in Music III:” The Haim sisters have, at this point, crafted an impressive and unique body of indie rock music at a time in which indie rock is in steep decline. “Los Angeles” was the stand-out track for me on this solid third album. Justin Bieber - “Changes:” Yes, Justin Bieber. After a student of mine caught my post-class hip hop routine, she recommended the endless “Yummy” dance routines on YouTube, and I got hooked. Of course, “Yummy” was undeniable, but “Come Around Me” and “Available” were my favorite tracks. Notable Others: Sara Gazarek - “Thirsty Ghost:” Robert Glasper - “Dinner Party:” Laura Marling - “Song for Our Daughter” Sylvan Esso - “Free Love” Waxahatchee - “Saint Cloud” Songs of the Year: Justin Bieber - “Come Around Me” Black Pumas - “Colors” Boy Pablo - “Hey, Girl” Phoebe Bridgers - “Kyoto” Drive-By Truckers - “Thoughts & Prayers” Fantastic Negrito - “How Long?” Michael Franti & Spearhead - “I Got You” Benjamin Gibbard - “Life in Quarantine” HAIM - “Los Angeles” Dua Lipa - “Levitating” Laura Marling - “Strange Girl” Mandy Moore - “I’d Rather Lose” Jason Mraz - “Look for the Good” Margo Price - “Stone Me” Sufjan Stevens - “Video Game” Tennis - “Need Your Love” Waxahatchee - “Can’t Do Much” Lucinda Williams - “Man Without a Soul”