2023 in concerts

  1. Alabama Symphony Orchestra: Avner Dorman’s “Astrolatry,” Claude Debussy’s “Nocturnes” and Gustav Holst’s “The Planets,” Alys Stephens Center, March 4, 2023
  2. John Paul White and the Alabama Symphony Orchestra, Alys Stephens Center, April 6, 2023
  3. Taylor Swift, (outside of) Nissan Stadium, Nashville, May 6, 2023
  4. Alabama Symphony Orchestra: Brian Raphael Nabors’ “Pulse,” Jennifer Higdon’s “Violin Concerto” and Pyotr Ilyich Tchaikovsky’s Symphony No. 4, Alys Stephens Center, May 13, 2023
  5. Alabama Symphony Orchestra: VIvaldi’s Four Seasons, Avon Theater, May 18, 2023
  6. Nickel Creek, Avondale Brewing, May 29, 2023
  7. Fleet Foxes, Avondale Brewing, June 27, 2023

2022 in concerts

Two friends grin outside of a concert venue
  1. Alabama Symphony Orchestra: Louise Farrenc’s Overture No. 2, Alberto Ginastera’s Variaciones concertantes and Max Richter’s Vivaldi’s Four Seasons Recomposed, Alys Stephens Center, Feb. 19, 2022
  2. Alabama Symphony Orchestra: John Adams’ “Christian Zeal and Activity,” Elliott Carter’s Symphony No. 1 and Ludwig van Beethoven’s Piano Concerto No. 5, “Emperor,” Alys Stephens Center, Feb. 26, 2022
  3. Alabama Symphony Orchestra: Sergei Prokofiev’s Classical Symphony, Wolfgang Amadeus Mozart’s Symphony No. 36, “Linz” and Felix Mendelssohn’s Symphony No. 3, “Scottish,” Alys Stephens Center, March 11, 2022
  4. Alabama Symphony Orchestra: Aaron Copland’s Orchestral Variations, Wolfgang Amadeus Mozart’s Symphony No. 40 and Johannes Brahms’ Piano Concerto No. 1, Alys Stephens Center, May 6, 2022
  5. Alabama Symphony Orchestra: Tania León’s “Batá,” Johannes Brahms’ “Song of the Fates” and Ludwig van Beethoven: Symphony No. 9, “Choral” (“Ode to Joy”), Alys Stephens Center, May 20, 2022
  6. Smashing Pumpkins, Avondale Brewing, May 21, 2022
  7. Big Boi, City Walk BHAM, July 13, 2022
  8. The Chicks with Patty Griffin, Ameris Bank Amphitheatre, Alpharetta, Georgia, July 16, 2022
  9. Alabama Symphony Orchestra: Valerie Coleman’s “Seven O’clock Shout,” Maurice Ravel’s “La Valse” and “Piano Concerto for the Left Hand,” Modest Mussorgsky/Maurice Ravel’s “Pictures at an Exhibition,” Alys Stephens Center, Oct. 1, 2022
  10. Alabama Symphony Orchestra, Aaron Copland’s Symphony No. 2, “Short Symphony,” Leonard Bernstein’s “West Side Story Symphonic Dances” and Brian Raphael Nabors’ “Hammond Organ Concerto,” Alys Stephens Center, Nov. 19, 2022

2021 in concerts

  1. Nickel Creek via Mandolin.com, Feb. 28, 2021
  2. Chris Thile at the Jorgensen Center for Performing Arts (Streaming), Storrs, Connecticut, April 17, 2021
  3. Cedric Burnside at Mom’s Basement, June 27, 2021
  4. Trampled by Turtles and Mt Joy at Avondale Brewing, Oct. 11, 2021
  5. Chris Thile at the Alys Stephens Center, Nov. 16, 2021
  6. Wood Brothers with The Dead Tongues, Lyric Theater, Dec. 9, 2021
  7. Behold the Lamb of God (Andrew Peterson Christmas show), Church at Brook Hills, Dec. 17, 2021
  8. Lee Bains III and the Glory Fires, The Nick, Dec. 18, 2021

2020 in concerts

Three members of the acoustic string band Punch Brothers perform live, as shown on a laptop set among a candle, watercolor paints and a mug of hot chocolate

The year the music went online

  1. Alabama Symphony Orchestra: Tchaikovsky’s Romeo and Juliet Overture, Carols Izcaray’s Stringmaster Cello Concerto (world premiere) and Berlioz’s Symphonie fantastique, Alys Stephens Center, Jan. 18, 2020
  2. Alabama Symphony Orchestra: Nielsen’s Helios Overture, Danielpour’s Clarinet Concerto from From the Mountaintop and Elgar’s Enigma Variations, Alys Stephens Center, Feb. 1, 2020
  3. Amanda Shires, Saturn, Feb. 8, 2020
  4. Alabama Symphony Orchestra, Lopez’s Fiesta, Lieberson’s Neruda Songs, Piazzolla’s Tangazo and de Falla’s El Amor Brujo, Alys Stephens Center, Feb. 15, 2020
  5. UAB Wind Symphony and Symphony Band, Alys Stephens Center, Feb. 27, 2020
  6. “Y’all Come: The Ballad of Big Jim Folsom” with music, Thank You Books, Feb. 29, 2020
  7. Marc Broussard, Lyric Theatre, March 11, 2020
  8. Josh Ritter, The Silo Sessions on Facebook Live, March 24, 2020
  9. Josh Ritter, The Silo Sessions on YouTube, March 31, 2020
  10. Lee Bains Gospel Hour, Facebook Live, April 1, 2020
  11. Josh Ritter, The Silo Sessions on YouTube, April 7, 2020
  12. Lee Bains Gospel Hour, Facebook Live, April 8, 2020
  13. Lee Bains Facebook Live, April 11, 2020
  14. Lee Bains Gospel Hour, Facebook Live, April 15, 2020
  15. Lee Bains, Facebook Live via Druid City Brewing Company, April 25, 2020
  16. Van Hollingsworth, YouTube via AARP Alabama, Sept. 10, 2020
  17. Punch Brothers, Live at Bluebird via Mandolin.com, Nov. 15, 2020
  18. Patty Griffin, Live at The Continental Club via Mandolin.com, Dec. 5, 2020
  19. Alabama Symphony Orchestra Maestro’s Ball online, Dec. 31, 2020

2019 in concerts

  1. Fort Atlantic and War Jacket, WorkPlay, Jan. 17
  2. Alabama Symphony Orchestra: Rite of Spring and Carmina Burana, Alys Stephens Center, Jan. 18
  3. The Magic Math, Dirty Lungs and Soul Desert, The Nick, Jan. 25
  4. Alabama Symphony Orchestra: Der Freischutz Overture, Beethoven’s Symphony No. 2 and Rachmaninoff’s Piano Concerto No. 3 (with Joyce Yang), Alys Stephens Center, Feb. 2
  5. Me and My Knife and The Burning Peppermints, The Nick, Feb. 9
  6. Alabama Symphony Orchestra: Wagner’s Tristan and Isolde prelude and liebestod, Martin Kennedy Piano Concerto and Prokofiev’s Romeo and Juliet Suite, Alys Stephens Center, Feb. 15
  7. Terry Ohms, Taylor Hollingsworth and Results of Adults, Mom’s Basement, Feb. 16
  8. Great Lake Swimmers and Native Harrow, Avondale Brewing, Feb. 19
  9. Alabama Symphony Orchestra: William Grant Still’s Darker America, Aaron Copland’s Appalachian Spring and Anton Dvorak’s Symphony No. 6, Alys Stephens Center, March 23
  10. Patty Griffin with Scott Miller, Iron City, March 27
  11. The Magic Math and Matthew Carroll, The Nick, April 1
  12. Alabama Symphony Orchestra: William Grant Still’s Serenade, Beethoven’s Symphony No. 4 and No. 5, Alys Stephens Center, April 5
  13. Derek Webb, Seeds Coffee, April 12
  14. Alabama Symphony Orchestra: Wolfgang Amadeus Mozart’s Overture from Le nozze de Figaro (The Marriage of Figaro), Antonin Dvorak’s Serenade for Strings in E Major, Op. 22 and Ludwig van Beethoven’s Symphony No. 6, Pastoral, Alys Stephens Center, April 19
  15. Alabama Symphony Orchestra: Felix Mendelssohn’s A Midsummer Night’s Dream Overture, Max Bruch’s Scottish Fantasy for violin and orchestra and Ludwig van Beethoven’s Symphony No. 7, Alys Stephens Center, May 10
  16. Alabama Symphony Orchestra: Johannes Brahms’ Tragic Overture, Ludwig van Beethoven’s Symphony No. 8 and Robert Schumann’s Symphony No. 3, Rhenish, Alys Stephens Center, May 17
  17. Alabama Symphony Orchestra: Ludwig van Beethoven’s Great Fugue, Johannes Brahms’ Haydn Variations and Ludwig van Beethoven’s Symphony No. 9, Alys Stephens Center, June 1
  18. Lee Bains III & The Glory Fires, Seasick Records, June 15
  19. Black Joe Lewis and the Honeybears, Birmingham Museum of Art, Aug. 9
  20. Beck and Cage the Elephant, Oak Mountain Amphitheater, Aug. 27
  21. The Brummies and Funk You, Avondale Brewing, Sept. 13
  22. Riley Moore and Bea Troxel, Laura and Graham’s backyard, Sept. 19
  23. Alabama Symphony Orchestra: Igor Stravinsky’s Petrushka and Sergei Rachmaninoff’s Piano Concerto No. 2, Alys Stephens Center, Oct. 5
  24. The Wandering Hearts and Justin Townes Earle, WorkPlay, Oct. 9
  25. Lee Bains III and the Glory Fires, Loam Lands and Dree Leer, The Nick, Oct. 19
  26. Com Truise and altopalo, Saturn, Nov. 9

2017 in concerts

 

  1. Nina Gabianelli in Thunder River Theatre Company’s inaugural Diva Cabaret, March 20, 2017
  2. Cory Henry, Downstairs at Little Nell, March 31, 2017
  3. Universal Sigh, Steve’s Guitars, May 28, 2017
  4. Ryan Adams with Infinite Stringdusters, Red Rocks Amphitheater, Morrison, Colorado, June 20, 2017
  5. Brothers Keeper with John Popper, Fanny Hill at Snowmass, June 22, 2017
  6. Widespread Panic, Red Rocks Amphitheater, Morrison, Colorado, June 24, 2017
  7. Reckless Kelly, Ute Theater, June 27, 2017
  8. Drive-By Truckers, Fanny Hill at Snowmass, June 30, 2017
  9. Ryan Speedo Green, Paepcke Auditorium, Aspen, July 9, 2017

Who’s never left home? Who’s never struck out? An ode to the Dixie Chicks

“Who doesn’t know what I’m talking about?
Who’s never left home, who’s never struck out
To find a dream and a life of their own,
A place in the clouds, a foundation of stone?”
–Dixie Chicks, “Wide Open Spaces”

Sometimes a song can serve as an anthem or a guiding light. The Dixie Chicks were (are) that way for me.

In reality, the band’s four albums were released over the course of eight years. But I think of them now as a soundtrack to my college experience, as though they stacked upon each other to represent each class of the traditional four-year education.

The Dixie Chicks always take me back to the decisions and risks of early adulthood. Moving from my parents’ house in Jacksonville, Florida, to Dorman Hall, 177 miles away in Tallahassee, wasn’t a risk by most measures. I had a full scholarship, so I knew how my bills would be paid. Mom and Dad pledged another $300 a month for food and gas. I was on their cell phone plan.

But I didn’t know who I would meet when I arrived, besides the girl I’d soon call my roommate, a girl with whom I’d discussed matching comforters, a microwave and a shared disinterest in a television. I didn’t know who I would become.

I’m not certain now whether it’s reality or my memory rewriting history to fit a narrative, but I believe the Dixie Chicks must have been my companions on that two-and-a-half hour drive. I assume “Wide Open Spaces” was a declaration for many 18-year-old women who set their sights on new faces in the late ’90s. It was our anthem of independence.

The Dixie Chicks remained with us throughout college. My best friend and I belted out “There’s Your Trouble” with men in mind. The band’s second album, “Fly,” was released weeks into freshman year, and “Cowboy Take Me Away” became the anthem for love we hoped to find. We choreographed a line dance to “Some Days You Gotta Dance,” unaware that we’d be the only karaoke contest entrants to sing country instead of rap. It didn’t matter; the truth is, some days you do have to dance. The crowd loved us, even if the judges didn’t.

Coming to you live from atop a double decker bus: American tourists! 🙌🏻 #londonbaby

A photo posted by Carla Jean Whitley (@inkstainedlife) on

“‘Cause when the world doesn’t make no sense
And you’re feeling just a little too tense
Gotta loosen up those chains and dance”
–Dixie Chicks, “Some Days You Gotta Dance”

I gave away Dixie Chicks tickets my sophomore year. I don’t remember how I came into them, but it was a street team-esque set up. If you volunteered before the show, your admission was free.

Passing on those tickets remains one of my great regrets.

But I had regrets yet to come. That’s surely typical of decisions made at 19 and 20. At that age, I was convinced I should leave college and set out for the great unknown as soon as possible.

But I couldn’t do it without the Dixie Chicks to send me on my way.

The band’s third release, “Home,” was the only Chicks album that didn’t immediately grab me. There were tracks that did; “Long Time Gone” and “Truth No. 2” had instant appeal.

And as I prepared to leave my college town, just three years after enrolling, another song grabbed me. I know it first as a Dixie Chicks song–my lack of back catalog knowledge is embarrassing–but whether it’s the Chicks or Stevie Nicks singing, “Landslide” brings me back to the transition between college’s adulthood incubator and the rest of my life.

“Well I’m afraid of changing ’cause I built my world around you
But time makes you bolder, children get older
I’m getting older, too”
–Fleetwood Mac, “Landslide”

Through jobs and moves, cross-country road trips and existential crises, the Dixie Chicks’ music has carried me. Each album feels as fresh now as it did on release. I’d argue some songs even improve as I age.

But I still hadn’t seen the band live. The comments that sent them into a tailspin before the United States declared war in 2003 significantly reduced future opportunities. The band toured in favor support of its fourth, and, to date, final, album, but they didn’t come my way. I thought my dance had ended.

But 15 years after I gave up my chance to see the Dixie Chicks, they announced a European tour–and I decided to go.

I had never visited Europe. That, too, was one of my great regrets; if I had a college do-over, I would’ve stuck around for a fourth year and studied abroad. When I bought a pair of tickets for the band’s Birmingham, England, show, I still wasn’t sure I’d see the other side of the pond. But I could always sell the tickets if I had to. How do you put a price on a dream, anyway?

Somehow the pieces fell into place. Thanks to a friend’s Sky Miles and careful AirBNB selections, I traveled overseas with my college roommates for less than $700 each. For them, the trip was about more than a concert. And OK, it was for me, too. But the show was at the heart of my trip.

From Birmingham, Alabama, to Birmingham, UK #dixiechicksbham #londonbaby #theotherbham

A photo posted by Carla Jean Whitley (@inkstainedlife) on

The Dixie Chicks are still as high-energy and spirited as they ever were. It’s as though a decade, births, divorces and public outcry never occurred. Well, as far as their stage presences is concerned, anyway; were it not for the backlash to Natalie’s George Bush comments, some of their best material wouldn’t exist.

It was funny to see them in the country where the incident occurred. I looked around the 15,000-seat arena and wondered how the scene compared to that 2003 performance int he more intimate Shepherd’s Bush Empire. Was the crowd as reserved then as the people gathered in Birmingham? Or did the room ripple with energy?

The quiet Birmingham crowd didn’t stop us from singing every word. When “Ready to Run” was accompanied by a video mocking the U.S. presidential candidates, we joked to the Brits seated beside us that we were on our “Ready to Run” research trip. Later, when we finally rose from our seats for “Wide Open Spaces” and danced to “Sin Wagon,” one of those seemingly reserved Brits leapt to her feet as well.

I’ll see the band again this weekend, and if the North American tour had been announced sooner, I may never have made it to Europe. The trip unwound my two greatest regrets. It was a dream 15 years in the making, even if I took a round-about route.

“Well, I never seem to do it like anybody else
Maybe someday, someday I’m gonna settle down
If you ever want to find me I can still be found
Taking the long way
Taking the long way around”
–Dixie Chicks, “The Long Way Around”

Sounds of the season: My five favorite Christmas albums

I’m something of a grinch. I admit it (and appropriately, “How the Grinch Stole Christmas” is my favorite holiday cartoon). Parades and the hoopla around holidays leave me grouchy.

It’s probably not surprising, then, that I’m not one of those people who flips to the all Christmas music, all the time station as soon as it cranks up for the year. I don’t love most Christmas music. But the Christmas music I love, I really love. Like, move-me-to-tears-and-take-me-back-home love.

Today AL.com has a short essay I wrote about one of my favorite Christmas albums, the simply named “Christmas” by the group Alabama. As I prepare to spend the holiday with my dad’s family tomorrow and my mom’s family on Christmas day, my five favorite Christmas albums (listed in no particular order) will accompany me:

  1. Alabama “Christmas”
  2. Amy Grant “A Christmas Album”
  3. Red Mountain Church “Silent Night”
  4. Over the Rhine “Snow Angel”
  5. Vince Guaraldi Trio “A Charlie Brown Christmas”

There isn’t a Sunshine State line in “Christmas in Dixie,” the Alabama track that debuted in 1982 and anchored the band’s 1985 “Christmas album.” Although the album released while we still lived in Alabama, I associate it with gathering around the tree in our suburban Florida home. We would often crank up the air conditioning to balance a blaze in the fireplace, decorating the tree in shorts and T-shirts and running outside to unseasonably warm weather with to play with whatever gifts Santa bestowed. Read more “Alabama’s ‘Christmas’ album has called me home for 30 years” at AL.com

I screamed so loud but no one heard a thing

My relationship with Taylor Swift began with yoga, coffee and a break up.
imageI met Brooke at a yoga class in June. She approached me after I taught and bubbled over with enthusiasm and encouragement. Later, I asked a mutual friend why she seemed so familiar.

Right. Because she’s on TV and we had exchanged a half-dozen work-related emails over the years.

Brooke and I met for coffee weeks later, and our friendship quickly moved from yoga to heart issues when she asked how I prepared for teaching.

“Well, my boyfriend of three years broke up with me two days prior to the class you took,” I said. “When I planned that session, I focused on maintaining an open hear even after heartbreak.”

Brooke teared up. Her best friend had recently called off their relationship, she said, and Taylor Swift’s “Bad Blood” became her anthem in the aftermath.

We shed tears in that suburban coffee shop and declared our friendship cemented. And Brooke insisted I buy Taylor’s “1989” as soon as possible.

By that afternoon, I asked a coworker to take a coffee break with me because the one-two punch of “Wildest Dreams” and “How You Get the Girl” bad me welling up at the office. After we returned from that coffee run, I looked up the 1989 tour. I needed to be there.

My therapist OK’ed a bit of retail therapy in the wake of that break up. She said I was doing well, but it was fine to brighten my day with purchases within reason. I took that to heart, refreshing my makeup routine and subscribing to a flower CSA. On that June afternoon, I didn’t think twice about dropping $118 to see Taylor Swift, alone, in Atlanta.

image

It’s been nearly five months, and “1989” is an album that I return to repeatedly. I suspect fame has increased Taylor’s maturity, and there’s much I relate to as a result. The album creates a safe place to process the often-heavy emotions that accompany life and loss. In fact, the dichotomy of Taylor’s upbeat pop and the more nuanced lyrics is exactly why I (think I) prefer her version to Ryan Adams’ beautiful, mournful cover album (and I’m an RA fan girl).

Tonight I’ve donned my red-lip classic look and set out for the Georgia Dome. It’s a pilgrimage second only to seeing Paul McCartney years ago, another show that carried such emotional importance that I didn’t beauty to go it alone. Tonight I’ll sing, dance and cry in a dome filled with thousands of other people who have been moved by this music. Tonight I’m going to party like it’s 1989.

She needs new faces, she knows the high stakes

This summer has been filled with stress and change, some of it positive, other elements less so. I’ve been seeking positive ways to ease those adjustments: subscribing to a flower CSA, attempting to increase the number of yoga classes I take per week, setting aside more and more time for reading.

Today, inspiration struck.

A song playing over the sound system at Urban Standard reminded me of the Dixie Chicks, and so I spent the rest of the day listening to “Taking the Long Way” (an album I’m still infatuated with, all these years later). I tweeted about my music of choice, and later noticed the band’s account had favorited that tweet. So I clicked through to the band’s Twitter profile–and remembered they’re touring Europe this spring.

Then I did what any normal person would do. I hopped on Ticketmaster and bought a pair of tickets to see the Dixie Chicks in Birmingham, England.

A coworker giggled as I narrated the purchase. (“I don’t even know how much I just spent! How do pounds convert to dollars?”) Several people have already asked if I purchased tickets in the wrong Birmingham by mistake. (I didn’t.) Now, I’m daydreaming about my first-ever European trip.

One of my greatest regrets is giving away tickets to see the Dixie Chicks on their “Fly” tour. My sister and one of my best friends went, while I spent the weekend on a ministry retreat to one of Florida’s least appealing beaches. Fifteen years later, I’m correcting that mistake.

I’m not yet sure how this plan will come together. I’m not positive it will. I have to figure out airfare, lodging in multiple cities, what I want to see and do in England and whether I can justify the expense. Oh, I need to be sure my passport hasn’t expired! But I have time–the show isn’t until April. As many reasons there are to travel abroad, why not make the impetus for my first such trip a concert? It’s something I’ll look forward to for months to come–and likely won’t forget for years afterward.