By SoDak
Here are my favorite records, concerts, and other musical interests of 2025.
Records:
Bruce Springsteen, Tracks II: Lost Albums (2025).
This boxset is a quite a gift, consisting of seven unreleased records—L.A. Garage Sessions ‘83, Streets of Philadelphia Sessions, Faithless, Somewhere North of Nashville, Inyo, Twilight Hours, and Perfect World—recorded between 1983 and 2018. While covering a wide range of musical styles, each record is consistent and cohesive. My favorite records in the boxset are Inyo, Perfect World, and Streets of Philadelphia. I love these records so much that I would have to reassess my favorite five Springsteen records (see https://tickleyourtaint.blogspot.com/2023/11/our-five-favorite-studio-records-bruce.html). Across the seven records, there are only a few songs that I did not care for. This boxset is a treasure.
Superchunk, Songs in the Key of Yikes (2025).
Superchunk continue to be one of the most consistent bands putting out high-quality punk rock music with great riffs and catchy choruses. Songs in the Key of Yikes kicks off with the infectious “Is It Making You Feel Something?” From song to song, you will be jumping around the room, aspiring to be as active as Mac McCaughan is on stage. My favorite song is “Everybody Dies.” I was fortunate enough to see Superchunk again this year. It was a special time, as so many friends were also there to share in the beautiful experience.
Bonnie Prince Billy, The Purple Bird (2025).
Will Oldham is an extremely prolific musician. While I am fan of his entire catalog, my favorite records under the name Bonnie Prince Billy are I See a Darkness (1999) and Master and Everyone (2003). The Purple Bird is a perfect companion to these records. Exceptional folk-country record. This is a must have.
Minus the Bear, Menos el Oso (2005).
While seeing Minus the Bear records for decades, I never listened to them. I really missed out on years of enjoying their music. I saw them on their reunion tour this year, where they played Menos el Oso in its entirety. The performance was brilliant. This experimental, indie band is quirky, yet very catchy. I have been obsessed with “Drilling.”
Ways Away, I’m Not You (2025).
This is the third full-length record from Ways Away. Sergie Loobkoff from Samiam plays guitar, and Jesse Barnett from Stick to Your Guns sings and plays guitar. Ways Away definitely sounds like a Sergie band, but the vocals are a little gruffer, while being melodic. I really love this band and hope I can see them play at some point. Check out “Despairia.”
Willie Nelson, Oh What a Beautiful World (2025).
At 92 years old, Willie Nelson remains more prolific than so many musicians. Yes, his voice reveals the passing of time, but Buddy Cannon, the producer, and Willie continue to bring forth the beauty and power in these performances. On this record, Willie covers songs by Rodney Crowell. There is only one bluesy number that I would remove, as it disrupts the consistency on the record.
The Ex, If Your Mirror Breaks (2025).
It has been eight years since the last record by The Ex, who formed in 1979. The world is a little better every time that they share new music. I love their hypnotic mix of punk, Ethiopian folk, jazz, and noise. The three guitars create a chilling tension, culminating in a powerful release of energy. They continue to incorporate calls to action against the fascist and bourgeoisie who destroy life. We need this music and passion.
Bob Mould, Here We Go Crazy (2025).
Some Bob Mould records are more immediate and special than others. For me, his most recent record is exceptional. The songs are very dynamic, with very catchy melodies. This may be one of my favorite records by him.
Waylon Jennings, Songbird (2025).
Shooter Jennings is going through his father’s tapes, discovering unreleased tunes. Songbird includes songs recorded between 1973 and 1984. The record has a classic sound. Waylon’s voice is strong. It is so wonderful to get a new Waylon record at this point in life.
Propagandhi, At Peace (2025).
Over the years, Propagandhi has forge a unique sound combining punk, hardcore, metal, and progressive elements. The guitar hooks are catchy, yet they are quirky and challenging at the same time. It takes time to digest their most recent records. The title track is remarkable and hard hitting. I also love that they incorporate the music and lyrics of Bruce Cockburn’s “Lovers in a Dangerous Time” at the end of the song.
James McMurtry, The Black Dog and the Wandering Boy (2025).
James McMurtry regularly delivers very strong records with well-crafted songs and thoughtful story lyrics. Like any of his records, it is best to settle into the music and just listen, enjoying the twists and turns in the world he presents.
Jason Isbell, Foxes in the Snow (2025).
Jason Isbell is an exceptional musician. I have seen him perform a few dozen times with both the Drive-By Truckers and solo. Foxes in the Snow is just Isbell playing guitar and singing. My expectations were quite high, as this is what I have been wanting to hear. While the record is very good, it is one of his weaker ones, in part because much of his previous work is so strong. Additionally, the songs on this record are more impactful when he performs them with his band. Nevertheless, I keep returning to this record and enjoying more and more.
Hiromi, Out There (2025).
Hiromi Uehara is a virtuosic pianist. She is fucking mind-blowing—go watch videos of her playing solo. (It is also worth watching her interview with Rick Beato: https://www.youtube.com/watch?v=xcKd9OkMPcc.) On Out There, Hiromi plays jazz fusion with an impressive ensemble, consisting of bass, drums, trumpet, and, of course, piano. The compositions and performances grab my attention every time I spin this record.
Pelican, Flickering Resonance (2025).
It had been a long time since I last listened to and had seen Pelican. This year they opened for Russian Circles with a very powerful set that left me wanting to hear more of their music. Their new record delivers with a stunning collection of post-metal instrumental songs.
Dorothy Ashby, Afro-Harping (1968).
Dorothy Ashby is a harpist who demonstrated that this instrument could be the lead in jazz compositions. The range of what she performs is mind-blowing, from funky grooves to smooth meditations. Her version of “Soul Vibrations” is quite spacey and trippy. For the last couple of months, I get lost in this record, just sitting here enjoying these magical songs.
Social Unrest, Off the Shelf (2021).
I loved the 1980s California band Social Unrest, regardless of who was singing for them. Check out The Complete Studio Recordings Volume 1 and Volume 2 on New Red Archives. These CDs include the early seven-inch records and classic albums. I was surprised to see on discogs a record called Off the Shelf. It was very hard to find useful information about the record and even more difficult to find a copy to buy. Side A consists of songs recorded in 1999 for a record that never materialized. Side B includes songs from a live show in 1982. I loved hearing the additional studio tracks, as the band continued to expand their sound.
Idlewild, Idlewild (2025).
Once I finally gave Idlewild a serious listen, thanks to Null, I was completely hooked. Their progression from a punk rock to more of an indie rock band is fascinating, as demonstrated across an impressive series of records—minus Interview Music (2019), which is very disappointing. Their 2025 self-titled record is a return to form, as it feels like it fits within the progression more cohesively. Great percussive section, excellent guitar hooks, and evocative vocals. I really like “Like I Had Before” and “It’s Not the First Time.”
Miles Davis, Sorcerer (1967), Nefertiti (1968), Jack Johnson (1971), and On the Corner (1972).
While I had many of the records in the boxset, The Complete Columbia Album Collection, I picked up this seventy CD collection. I wanted to spend time listening to them in order. I found I was really drawn to these four records and kept listening to them many times over throughout the year.
End It, Wrong Side of Heaven (2025).
End It is always awesome live. This year it was exhilarating to hear Akil Godsey candidly reflect upon how fucked up things are in the United States, while demanding action and social change. He channeled his anger into the performance, while it was evident that his life is deeply rooted in love. His exceptional singing, outside of the hardcore norm, is evident on “Could You Love Me?” Truly beautiful and stunning. The rest of the record also fucking rocks. I regularly replay this record several times in a row whenever I am listening to it.
The Youngers, Dreaming (2025).
The Youngers are an alternative country band from Pennsylvania. I loved their debut record, Output (2005). The records that followed are solid. Fortunately, Dreaming reminds me of the magical moments of their first record, as far as the richness of the vocals, harmonies, and organization of the songs.
Styx, Circling from Above (2025).
Styx is on a late career roll. The last couple of records integrated more of the progressive elements that defined their earlier years. Circling from Above is a strong record, highlighting the layered vocal harmonies. Check out “Build and Destroy.”
Chameleons, Arctic Moon (2025).
It has been exciting to have the core members of the Chameleons playing together again. Their live performances are captivating and powerful. Their new record is solid. I am hoping that they stay together for additional records and tours.
Sunny Sweeney, Rhinestone Requiem (2025).
The last few Sunny Sweeney records are excellent. Rhinestone Requiem continues this streak. She is crafting top-notch classic country songs, and she has a wonderful voice. Listen to “Traveling On.”
Dissent, Epitome of Democracy (1989, 2025).
This year Rabbit Rabbit Records/Press reissued a remixed and remastered version of Dissent’s Epitome of Democracy as a double album. It sounds wonderful. The extra record includes their last seven-inch record, plus some compilation songs and extra tracks. I have always wanted this material to be brought together. I plan to write a review of this punk rock record.
Scowl, Are We All Angels (2025).
Many folks have been disappointed by Scowl’s more melodic sound on the new record. I think the record is still excellent. Kat Moss has a great voice, regardless of how she is singing. The songs still rock. Their live performance remains awesome.
Lathe of Heaven, Aurora (2025).
Five-Inch Taint introduced me to Lathe of Heaven. Glad that he did. This post-punk, gothic band really resonates with me. They have a great introspective sound that complements personal and political lyrics. The songs are very cinematic and dreamy.
Fish, Weltschmerz (2020).
Weltschmerz (world pain) marked the end of Fish’s musical career. Musically and vocally, Fish creates a complete experience, immersing listeners in his progressive rock creation. He demands attention. His records are often dark, filled with melancholy and world weariness, as well as political critique. These themes are interwoven with personal reflections on illness and bereavement. Listen to “Weltschmerz” and “Garden of Remembrance.”
Bjorn Riis, Fimbulvinter (2025).
Airbag guitarist Bjorn Riis also has a prolific solo career. Within progressive rock, he tends to play more melodic and mediative music. On this record, he integrates some dark, indie rock influences. He is heavily influenced by David Gilmour, as heard in his wonderful guitar solos. Check out “Gone.”
Flatland Cavalry, Wandering Star (2023).
Wandering Star is Flatland Cavalry’s fourth record. The first song is fine, but I think the feeling and coherence starts with the second song. This is an excellent mellow country record.
Babe the Blue Ox, (Box) (1993), People (1996) and The Way We Were (1998).
A welcome discovery this year was Babe the Blue Ox, a band that formed in 1991. They were an opening band at one of the Alice Donut shows in Brooklyn this year. They are quite eclectic, reminding me of college rock bands from the 1980s and early 1990s. From time to time, I think of Firehose, a little bit in terms of the sound, but mostly in regard to the creativity and spirit. Excellent band.
Mares of Thrace, The Loss (2025).
PaulySure highly recommended Mares of Thrace to me, shortly before we saw them play. This two-piece was incredible, laying down heavy, blackened sludge/doom. I had goosebumps almost the entire time they were playing. I picked up the most recent record and have been reliving the performance.
Budos Band, Budos VII (2025).
Budos Band always delivers. Their instrumental mix of doom, Afro-funk, jazz, and psychedelia is hypnotic. They warm my heart. I just want to dance and headbang while listening to them.
Worriers, Trust Your Gut (2023).
Unfortunately, Lauren Denitzio decided to end the Worriers this year. I regret missing the Worriers show a couple years. They released a strong series of records, with catchy songs. On Trust Your Gut, I really love “Hold My Breath.”
Soviet Soviet, Endless (2016).
Earlier this year, Null told me how much he was enjoyed this Soviet Soviet record. Strangely, I discovered that they were already on a list of records I wanted to pick up, but I had forgotten about them. They have a 1980s post-punk sound, think of Joy Division. Andrea Giometti’s bass playing and vocals capture my heart.
Wytch Hazel, V: Lamentations (2025).
I really like this fucking Christian band. This is not because of their lyrics and message. But I love their 1970s hard rock/classic metal sound. There are obvious Wishbone Ash influences, which I love, but they have created their own approach. They consistently put out good records.
Richard Dawson, End of the Middle (2025).
This progressive folk record captured my attention this year. I just picked it up at the store, thinking it would be interesting. As I played the record, I stopped what I was doing to just listen, in part given the vulnerability in the delicate and quirky vocals and the intriguing guitar playing.
Kathleen Edwards, Billionaire (2025).
I am always pleased to have a new Kathleen Edwards record. Her folk-rock songs are soothing, especially given her slightly raspy, vulnerable, and powerful voice. Her songwriting is excellent. In addition to helping produce the record, Jason Isbell plays guitar, offering some tasty solos on many of the songs. Excellent record for a road trip.
Violencia, Viviendo Tiempos Aún Más Oscuros (2023).
Brilliant intense hardcore. They throw in some powerviolence and chugging parts for good measure. Still hoping to see them play a show.
Brutus, Unison Life (2022).
I finally picked up the 2022 record by Brutus. Stefanie Mannaerts has an amazing voice that is haunting and powerful, which fits this post-hardcore band perfectly. Captivating songs. I am still kicking myself that I was not able to see them when they played in town the last time they passed through.
Sam Barber, Restless Mind (2024).
Sam Barber and Zach Bryan share quite a few similarities, given the emotional raw vocals and sparse instrumentation. I am fine with this, as this double CD is excellent. My wife even likes it, which is rare as far as country music is concerned. This record is perfect for road trips and will keep you awake through the dark.
Canal Irreal, Someone Else’s Dance (2024).
So pleased that there is a second record by Canal Irreal, which features Martin Sorrondeguy from Los Crudos. Canal Irreal blend punk, hardcore, and post-punk, which brings out different vocal stylings from Martin. The Wipers influence is still present. From time to time, I also hear a touch of Articles of Faith, not necessary as far as the music, but in the desperation of the vocals. The lyrics offer rich social commentary on queer identity and immigration issues.
Testament, Para Bellum (2025).
Testament has become one of the most consistent of the 1980s thrash bands at still delivering fast, crushing, intense records that are actually good—in contrast to three of the so-called Big Four thrash bands. At the same time, they continue to expand their songwriting, exploring new territories. On this record, they integrate some black metal elements, without them being annoying and generic. Chuck Billy has always had a stunning voice, especially given his ability to shift vocal tones and style within songs. The songs rip and are memorable.
Coldbringer, Lust and Ambition (2006).
I bought this record primarily because Grant Kasten plays guitar. Grant is an old friend, who has played in numerous bands such as Demise, Animal Farm, Ojorojo, Pressing On, Talk Is Poison, and many others. Coldbringer is quite a change for Grant, as the songs are more reminiscent of bands such as the Wipers, Naked Raygun, and Leatherface. I generally love most things that make me think of Leatherface, as far as the gruff melodic vocals with catchy guitar riffs. This is a great punk rock record.
Matt Berninger, Get Sunk (2025).
The singer of the National put out his second solo record. In many ways, it sounds like a mellower National record, and I love this. Moody, emotional, catchy, perfect.
Mary Chapin Carpenter, Julie Fowlis, Karine Polwart, Looking for the Thread (2025).
This collaborative folk record is perhaps the best album Mary Chapin Carpenter has released. All their voices are beautiful and moving. Great songs. I also appreciate being introduced to two Scottish musicians, who have put out wonderful records.
Militarie Gun, God Save the Gun (2025).
This record is catchy and makes me want to move. I like developments in Militarie Gun’s sound. While they are described as a melodic hardcore band, the hardcore aspects are minor on this record.
Silence, The Countdown’s Begun (2019).
This record has been sitting in my basement for years, as I was far behind on listening to my stack of vinyl. In many ways, it is perfect for the resurgence of post-punk bands today. Great political band. Now, I need to pick up their other record.
Gene Loves Jezebel, Love Death Sorrow (2023).
In the 1980s, I really liked Gene Loves Jezebel. They had a unique sound, in part due to the vocals of Jay and Michael Aston, as well as the mix of post-punk, gothic, and glam. I continued to follow the band. Eventually, the two brothers split, each forming a version of Gene Loves Jezebel, one based in the United Kingdom and the other in the United States. I have seen both bands and enjoyed talking with both brothers. Interestingly, each brother liked whatever rock shirt I was wearing on the nights that I saw them play. Not sure why, but I missed the release of this record, by Jay Aston’s Gene Loves Jezebel. It is a mix of original and cover songs (Magazine, The Cure, and the Only Ones). Jay’s voice still sends chills through me, given the haunting, emotional quality. This is a great record for dark winter nights.
Alan Reed, First in a Field of One (2012).
I am still not sure why I picked up this record, but I am glad that I did. Alan Reed used to sing for the neo-prog band Pallas. His emotive voice is quite powerful. The songs consist of a mix between Celtic folk, world, progressive, and pop music. It is a pleasure to listen to this record.
Soulside, A Brief Moment in the Sun (2022).
I am thrilled that Soulside regrouped, recorded new music, and has been playing shows. I loved their first two records. Their post-hardcore and complex groove elements are enthralling. I think A Brief Moment in the Sun is as good as anything Soulside has released.
Squint, Big Hand (2024).
I have been wanting to pick up Squint records for years. I finally got around to it. I wish I would have bought this earlier. Great hardcore punk with some discordant elements. Some of the songs sound like Drug Church, which I love.
Zach Top, Cold Beer and Country Music (2024).
Zach Top’s star seems to be ascending this year. His new record Ain’t in It for My Health is fine, but I by far prefer his previous release Cold Beer and Country Music, as it is a very cohesive work. This record is reminiscent of late 1980s and early 1990s records by George Strait and Alan Jackson. Listen to “Never Lie.”
Dylan Earl, I Saw the Arkansas (2023) and Level-Headed Even Smile (2025).
Dylan Earl has both mainstream and alternative country elements in his music. His vocals are pleasant, making for a nice experience while rambling down dusty gravel roads. I am pleased that on “Outlaw Country” on Level-Headed Even Smile, he opens the song with “I’d rather be a bootlegger than a bootlicker/A side stepper than a homewrecker/And I don’t get a pick me up/From putting other people down/And it’s clear to see by the air I breathe/Working-class solidarity/Is the only way/We’re gonna stamp that Fascist out.”
Daniel Hope, Alexey Botvinov, the new Century Chamber Orchestra, Music for a New Century (2023).
Beautiful ensemble, playing very moving music. My heart needs this on a regular basis.
Spiritual Cramp, Rude (2025).
Punk rock that makes you want to bounce around. The record is catchy as fuck. They integrate a lot of punk influences, while offering a fresh take. For instance, “Go Back Home” is very similar to several Ramones songs. They put on a good show, even though the singer has an annoying schtick, as he acts rather dickish.
Arm’s Length, There’s a Whole World Out There (2025).
This is a great emo-punk record. I kept coming back to it this year, relishing each listen.
Public Opinion, Painted on Smile (2024).
Great punk rock record, with strong guitar riffs and melodic choruses. I hope to catch them live at some point.
Future Virgins, Western Problems (2011).
I think this record caught my interest due to similarities to Superchunk. The songs are rawer and a little sloppy, but they are very catchy. Good shit.
First Attack, No Escape (2025).
First Attack includes members of Alternate Action and Bishop Green. As First Attack, they deliver straight-ahead, mid-tempo catchy punk oi!
Kassi Valazza, From Newman Street (2025).
Kassi Valazza always reminds to me of Mary McCaslin’s folky, country-tinged, music. It is comforting and perfect for watching the leaves fall off the trees, as the colder temperature arrive.
Anxious, Bambi (2025).
Anxious return with another impressive emo, post-hardcore record. The songs are cathartic, even for this aging man.
Morgan Wade, The Party Is Over (Recovered) (2025).
On this record, Morgan Wade revisits her earlier songs, offering a fresh interpretation. Her country-rock approach is dynamic, complementing the exploration that takes place through her lyrics.
Visions, Decay (2025).
I think I like the first Visions record more than this one, but I keep returning to Decay as I want to internalize it. As a gothic/post-punk band, there is quite a theatrical aspect to these songs. I really like Sara Heise’s vocals, which remind me of Jae Monroe from A.P.P.L.E., with a slight Patti Smith vibe. Insightful songs about the oppressive systems that dominant our lives.
Close Lobsters, Post Neo Anti (2020).
I had no idea that the Close Lobsters regrouped in 2012. I was quite smitten with their Foxheads Stalk This Land (1987) when it was released. They fit perfectly on college radio stations with their jangly music. Listening to their record, Post Neo Anti, brought back the feelings that I had in the late 1980s when hearing them. Great songs.
Fleshwater, 2000: In Search of the Endless Sky (2025).
I did not realize how popular Fleshwater were until I tried to attend their show this summer. The show was sold out, so I was not able to get a ticket. I really like their amalgamation of post-hardcore and shoegaze. Marisa Shirar has a stunning voice, creating an emotional connection within the music.
Straw Man Army, SOS (2022).
The existential crisis of humanity continues. Straw Man Army, an anarcho-punk band, take up these issues. Their music is very accessible and mid-paced. On this record, there is a strong post-punk approach, with almost spoken lyrics. The songs are hooky and intensive, without much distortion. I still need to pick up their most recent record.
Book of Revelations, Chapter One: The Plumes of Enceladus (2023).
This record is not the most original, as it sounds very much like early Genesis and early Marillion, which is perfectly fine by me. This is very solid progressive rock music.
Homefront, Watch It Die (2025).
The second full-length record by Homefront is much more fully realized, as far as its songwriting and production. The record is packed with indelible guitar, keyboard, and drum hooks. There is an urgency and energy that makes the songs exciting. Within this post-punk/new wave record, there is quite a bit of variety as far as the songs are concerned, so each song stands out as distinct. I am drawn to the more upbeat songs with elements of street punk and oi!, but the slower moody songs are part of what makes this record very dynamic. On “Young Offender” they integrate a Ramones riff in a couple spots. My favorite tracks are “New Madness,” “Light Sleeper,” “For the Children (Fuck All),” and “Young Offender.”
Helloween, Giants & Monsters (2025).
In 1985, I picked up Helloween’s Walls of Jericho to much delight. The cassette tape was in the import bin at the local record store. I was excited to have a new speed metal band. At the time, the singer had a unique voice, which made the band stand out. I followed the band for a few years, with the change in singers, and then just picked up records occasionally. Nevertheless, I have always been fascinated by how the band’s sound changed, as they became a so-called power metal band. I think they are quite distinct within this genre. I also appreciate the strong Iron Maiden influence. In 2016, Helloween regrouped with all three of the individuals who were lead singers, as the band decided to integrate all of them into the music moving forward. Giants & Monsters is the second studio record with these three lead singers. It is quite remarkable. I like the dynamism of them having three singers. The songs are powerful and filled with hooks. The sound on the record is very big. Part of what made this record so special this year was listening to it for the first time with Kloghole, as this fall we were able to share several days together after not seeing each other for a few years. Listening to music, while talking with a friend, reminds me of being young and discovering new records.
Pøltergeist, Nachtmusik (2024).
At the start of this year, when it was still cold, I enjoyed listening to this Pøltergeist record as I walked around the neighbor at night. I like the mix of post-punk, shoegaze, and metal. The songs have driving rhythms and great hooks. The somber voice and mood of this record is excellent for the winter months. Check out “Cold in September,” which reveals some Cure influences.
The Quivers, Oyster Cuts (2024).
Last year, my sister-in-law raved about the Quivers after seeing them open for Superchunk. This is a great record. At times, their sound is reminiscent of Mates of State, in part due to the brightness of the songs, the layered harmonies, and the cadence of the vocals. The plus with this record, however, is that I do not get annoyed and feel exhausted by the sound like I do whenever I hear Mates of State. Plus, the Quivers have shimmering guitars and melodic bass lines, all positive additions.
Appalachian Terror Unit, We Don’t Need Them (2015).
Appalachian Terror Unit are a great anarcho-punk band. I get chills every time I spin this record. It is straight ahead crust punk with shouted vocals, loaded with critique of the existing political order generating global destruction.
Peter Perrett, How the West Was Won (2017), Humanworld (2019), and The Cleansing (2024).
I regularly spin the self-titled record by The Only Ones, as I love the song “Another Girl, Another Planet.” (I think Superchunk should do a cover of this song, as it is perfect for them.) It is only this year that I finally bought the vocalist Peter Perrett’s solo records. It has been an immense joy to hear his voice and newer songs. The hooks are here. His dry wit and sharp observation remain. Joyous.
Song:
Danbert Nobacon, “To Be or Not to Be” (2025).
Danbert Nobacon, of Chumbawamba fame, continues to put out excellent music. His critique remains sharp, skewering the absurdities, cruelties, and death drive of capitalism. I often listen to this song in the morning, as part of getting ready for what the day will present.
Concerts/Shows:
I went to over a hundred concerts/shows, plus one festival, in 2025. Overall, I saw lots of excellent performances. While I went to numerous shows by myself, I loved being able to share many of these evenings with loved ones, including my wife, sister-in-law, Null, PaulySure, AntiChrist-iansen, Five-Inch Taint, Roger, and Spooner D. Quite a few of these shows were the final tours for the bands/artists. Null and I, along with our partners, finally saw Engelbert Humperdinck. It was great to see Null so happy. Five-Inch Taint and I were able to see Alice Donut twice in Brooklyn and then Gang of Four in Denver—thanks Five-Inch Taint for making this happen. My wife and I saw the Interpreti Veneziani String Ensemble play Vivaldi in an old church in Venice.
My favorite performances included: Alice Donut (twice), Gang of Four (twice), La Armada, End It, Superchunk, Snow Patrol, Bloc Party, Herb Alpert, Gillian Welch and David Rawlings,
James McMurtry, Betty Soo, Bruce Dickinson, Samantha Crain, Kruelty, Drayton Farley, Whitey Morgan, Russian Circles, Pelican, Jake Xerxes Fussell, Refused, Quicksand, Vieux Farka Toure, Victims Family, Nasalrod, Babe the Blue Ox, Trauma Ray, Jason Isbell, Napalm Death, Melvins, Agriculture, Rhododendron, Neko Case, Minus the Bear, Mary Mother of Bear (four times), Robyn Hitchcock, Obituary, Tribulations, Unto Others, Cock Sparrer, Peter Hook and the Light, Social Distortion, Power Trip, Flag, The Adicts, The Damned, Spiritual Cramp, Angel Dust, Youth Brigade, Codefendents, Western Addiction, New Bomb Turks, Ryan Adams, Gong, Dave Alvin and Jimmie Dale Gilmore, Nadezhda (twice), X, Los Lobos, Built to Spill, Scowl, Band of Horses, Bad Religion, Dropkick Murphys, Dale Watson, Steve Earle, The Sword, Big Country, Billy Idol, Baroness, Castle Rat, Sunny Day Real Estate, Cursive, White Buffalo, Mares of Thrace, Paper Kites, James, Slow Crush, Charger, High Vis, Elliott, Jawbreaker, Texas Is the Reason, Murder By Death, GBH, Joshua Ray Walker, Nolan Taylor, Golpe, Dean Johnson, Hot Mulligan, Drug Church, Arm’s Length, Black Dots, Beton Arme, and Dark Thoughts.
Films/Documentaries:
My favorite two music documentaries were Devo (2024) and Freak Scene: The Story of Dinosaur Jr. (2020). Other enjoyable documentaries included: Phil Collins: Drummer First (2024), The Ventures: Stars on Guitars (2020), Becoming Led Zeppelin (2025), Sly Lives (aka The Burden of Black Genius) (2025), I Get Knocked Down (2021), Billy Joel: And So It Goes (2025), ABBA: Against All Odds (2024) and Hollies: Look Through Any Window 1963-1975 (2011).
Favorite Music-Related Books:
Dave Alvin, New Highway: Selected Lyrics, Poems, Prose, Essays, Eulogies, and Blues (2022).
Dave Alvin is an exceptional musician, playing a wicked guitar. He is also a masterful songwriter. His most recent book collects various writing by him. It is a pleasure to read his poems and lyrics. The treat here is to read his essays and reflections about other musicians. His story about the Blasters playing shows with Black Flag is fascinating.
John Doe with Tom DeSavia and Friends, Under the Big Black Sun: A Personal History of L.A. Punk (2017).
This book compiled stories from John Doe and numerous friends about the burgeoning Los Angeles punk rock scene. In some ways, I enjoyed these accounts more than some of the documentaries that have been done, as the sustained narrative brings more relationships and connections to light.
Rob Halford, Confess (2021).
I grew up listening to Judas Priest. Rob has a stunning voice. He can also tell a good story. I really like grandpa Halford, as an elder statesman.
Steve Diggle, Autonomy: Portrait of a Buzzcock (2024).
Steve Diggle offers a rich account of Buzzcock history, his relationship with Pete Shelley, shows through the years, recording sessions, and his hedonism.
Other Music Treats:
Null, my sister-in-law, my wife, and I enjoyed touring the Punk Rock Museum with Keith Morris as a guide. While the tour was supposed to be 90 to 120 minutes, Keith shared stories for over three hours. He was quite engaging, funny, and kind. Thanks.
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