Concert Review: Lil Wayne at the T-Mobile Center

Original image by There Stands the Glass.

A woman repeatedly howled “tha cawtah six” as she stumbled out of T-Mobile Center in downtown Kansas City following Lil Wayne’s concert on Tuesday, August 26. Her slurred cry resembled an anguished lament rather than a celebratory cheer.

I could relate. Even though I paid just $38.23 to attend ($20 for the ticket plus a $18.23 service fee), I shared her disappointment. Tunechi dedicated much of his ninety-minute appearance to promoting his lackluster new album Tha Carter VI. 

The star presented himself as a genial celebrity rather than as a vital artist. Repeating trite phrases as he shamelessly pandered to the audience of more than 10,000, the man billed as “the greatest rapper alive” was on autopilot.

Wayne touched on classics like "6 Foot 7 Foot", “Go DJ,” “Let the Beat Build” and “A Milli,” but the abbreviated versions of the songs were frustrating. Aside from the surrealism of experiencing metal belter Lucifena’s "Tyrant" at a hip-hop event, none of Wayne’s guests made a positive impression. One was manifestly wretched.

Also joined by a muscular drummer and an intrusive DJ, Wayne was half as good as he was in the same arena in 2016. Just 42, Tunechi is too young to settle for complacent mediocrity. While even lackluster Wayne is great, I expect more from one of the most consequential musicians of the past 25 years.

Album Review: Emily D’Angelo, Ben Bliss, Yannick Nézet-Séguin and The Metropolitan Opera- Tesori: Grounded

Emily D’Angelo dominates "Grounded". Jeanine Tesori wrote the opera with the mezzo-soprano in mind. The opera is incredibly potent, but it’s impossible to imagine “Grounded” without D’Angelo in the role of fighter pilot and drone operator Jess.

Five months after watching a broadcast of “Grounded” on PBS, D’Angelo’s star turn still has me reeling. The live recording of “Grounded” released by Deutsche Gramophon on August 22 offers a much different experience. Severed from D’Angelo’s magnetism and the dazzling stage production, the compositional strength of the opera is more apparent.

And in a significant development for proponents of all things Kansas City, local product Ben Bliss shines as Jess’ romantic partner Eric. He soars in arias including "I Didn't See You Coming". Moreover, I didn’t see the monumental performances of D’Angelo and Bliss coming.

Album Review: Linda May Han Oh- Strange Heavens

Ambrose Akinmusire’s latest album is exasperating. The blend of jazz, chamber music and hip-hop should have made honey from a winter stone a leading contender for my album of the year. Yet the presence of Kokayi spoils the project. I dislike the rapper’s flow, voice and lyricism. Das Racist’s Kool A.D. elevated Akinmusire’s Origami Harvest, my #3 album of 2018, but Kokayi sinks honey from a winter stone.

Rapping doesn’t intrude on Strange Heavens, the new album by bassist and bandleader Linda May Han Oh, trumpeter Akinmusire and drummer Tyshawn Sorey. Yet the trio of three of the most vital living musicians defy expectations as they play in and out as well as above and beyond.

The perfect groove of “Noise Machinery” is a smash hit in my little Kansas compound. Linking the works of Georg Philipp Telemann and Steve Swallow, the spectacular “Folk Song” is the polar opposite of “Noise Machinery.” 

Thanks partly to Oh’s refutation of the notion that bass solos are invariably boring, other tracks like "The Sweetest Water" are almost as memorable. Unburdened by an inferior collaborator, Akinmusire soars. My disappointment with honey from a winter stone is diminished by the celestial Strange Heavens.

Album Review: Woody Guthrie- Woody at Home, Vol. 1 + 2

Torrential rain made my pilgrimage to Okemah, Oklahoma, perilous a few weeks ago. I had to keep my eyes fixed to narrow two-lane country roads rather than leisurely perusing limestone quarries and Native American reservations as I neared the hometown of Woody Guthrie.

The white-knuckle drive was rewarded at the Woody Guthrie Folk Festival. The kindness of folkies- both the featured musicians and the fans- and the gentle sincerity of welcoming townies were just as heartwarming as the Guthrie covers I heard during my Oklahoma outing.

The August 15 release of Woody Guthrie- Woody at Home, Vol. 1 + 2 enhances my appreciation of the trip. The “home recordings made by Guthrie between 1951 and 1952 at his apartment in Beach Haven, Brooklyn, as a way to introduce himself to his publisher” further verify his status as the conscience of America.

Songs about immigration, greed, thuggery, liberation theology and lost love make Woody at Home, Vol. 1 + 2 the right album at the right time. These unadorned lofi recordings are absolutely essential and all-too relevant more than 75 years since they were committed to tape.

What to Listen for in Music

Original image by There Stands the Glass.

I’m currently reading Aaron Copeland’s 1939 guide What to Listen for in Music. The admission is funny, I know. Haters are welcome to make lacerating jokes at my expense.

The composer’s reference to his "Piano Variations” compelled me to study the 1930 piece. Its revolutionary disjunctions shook me. If I hadn’t previously absorbed “Piano Variations,” what other fundamental milestones are unknown to me?

The penalties of being an autodidact are severe. I’m upset that “Piano Variations” has been concealed by the classical establishment, although I confess to not properly registering the piece on Daniil Trifinov’s 2024 interpretation.

Even worse, I’m now obligated to reassess my deeply felt opinions of the work of artists including Keith Jarrett, Thelonious Monk and Cecil Taylor. I guess I need to relearn what to listen for in music.

Concert Review: Horsegirl, Sweeping Promises and Godcaster at the Bottleneck

Original image by There Stands the Glass.

I dedicated Wednesday, August 6, to questioning my taste in music. Having struggled to formulate a conclusive opinion on Horsegirl’s latest album since offering an indecisive review of Phonetics On and On in February, I drove to Lawrence, Kansas, to hear the band at the Bottleneck.

The Dream Syndicate provided the soundtrack to my 40-mile drive toward the setting sun. I have an opportunity to attend a date by the reunited band during an upcoming trip to the West Coast. I liked the Dream Syndicate in the early ‘80s but I was surprised to find its psychedelic guitar rock now repulses me. I’ll pass on the upcoming tour.

Godcaster was on stage when I walked into the Bottleneck. (I paid $28 for a ticket in advance to be part of the audience of more than 200.) I initially thought the Brooklyn collective was the worst touring band I’d seen in years. Although an excess of musicians never stopped playing at crosspurposes, I eventually succumbed to Godcaster’s art-rock spell.

Unconvinced by Sweeping Promises’ recordings, I hadn’t previously bothered to catch the Lawrence based trio live. I get it now! Its two albums don’t come close to doing Sweeping Promises justice. The unapologetically geeky band’s riveting outing made me regret not attending Gang of Four’s show at Knuckleheads in May.

Horsegirl didn’t attempt to match the high voltage energy of Sweeping Promises. Nora Cheng and Penelope Lowenstein are such reticent frontpersons that the only sound during the breaks between several songs came from oblivious revelers at the venue’s exit.

Their aloofness may be warranted. Playing to an audience dominated by weird old men (ahem) who’d seen Horsegirl antecedent the Feelies perform at the same space in 1986 had to be disconcerting. My two takeaways: the trio’s songs were sadder than anticipated and its vocals were even more delectable than on record.

I listened to Richard Strauss’ "Simfonia Domestica" while driving home. Having recently read Barbara Tuchman’s essay about Strauss in The Proud Tower, I was eager to hear the composer’s poorly reviewed 1903 piece. For the first and only time on August 6, I agreed with the critical consensus.

Flaco Jiménez, 1939-2025

Original image by There Stands the Glass.

One of the most surreal nights of my life transpired in Ellis, Texas, in 1997. On hand with my boss, I was representing independent record labels including Arhoolie, Rounder and Smithsonian-Folkways at The National Polka Festival. I waded through inch-deep puddles of spilled beer while entertaining guests from music retailers and wholesalers.

The majority of the festival’s patrons after the sun went down were wild-eyed college kids intent on drinking, dancing and getting intimate with new acquaintances. The impetuous youth inspired debauchery among revelers of all ages. I detest nostalgia, but that innocent era now seems paradisiacal.

Although he didn’t care for me, Jimmy Sturr eagerly glad-handed my important customers. The polka star’s recent collaboration with Flaco Jiménez- it won a Grammy Award in 1998- was revived in exceedingly sloppy fashion. My boss and I agreed that Jiménez probably shouldn’t interact with our clients that evening.

The accordionist was beyond commerce anyway. He was among the defining American artists of the 20th century. His early recordings are gloriously life-affirming. His hard-earned crossover bids like the 1992 album Partners are thoroughly engaging.

Jiménez also meant a lot to me personally. He was among the musicians to serve as navigable bridges in my stormy relationship with my father. A Freddy Fender appearance we happened upon at a Texas car dealership in 1975 was the first concert I attended. Fifteen years later, we sang along to the Texas Tornados party anthem "(Hey Baby) Que Paso”.

My dad died soon after that. Jiménez died last week.

July 2025 Recap: A Monthly Exercise in Critical Transparency

Screenshot of the trailer for Glyndebourne’s production of Giuseppe Verdi’s Falstaff by There Stands the Glass.

The Top Ten Albums of July 2025
1. Clipse- Let God Sort Em Out
Culturally inappropriate.

2. Tyler, The Creator- Don’t Tap the Glass
Provocative.

3. Dom Salvador, Adrian Younge and Ali Shaheed Muhammad- JID024
Miraculous samba.

4. Charlie Hunter and Ella Feingold- Different Strokes for Different Folks
My kind of party.

5. Dino Saluzzi- El Viejo Caminante
Heartbreaking bandoneon.

6. Teddy Abrams- Preludes
A new form of pianism.

7. Myke Towers- Island Boyz
Endless summer.

8. Burna Boy- No Sign of Weakness
Muscular pop.

9. Theon Cross- Affirmations (Live at Blue Note New York)
Hilariously loud.

10. Freddie Gibbs and the Alchemist- Alfredo 2
Old school.

The Top Three Reissues and Reimaginings of July 2025
1. Nick Drake- The Making of Five Leaves Left
Deep in the weeds.

2. Cecil Taylor and Tony Oxley- Flashing Spirits
Live in 1988.

3. Paul Weller- Find El Dorado
Covers of premium obscurities.

The Top Ten Songs of July 2025
1. MC Yallah- “Tunyedde”
Straight outta Kampala.

2. John Glacier- “Fly With Me”
Moonshot.

3. Cécile McLorin Salvant- "Oh Snap"
Kitchen sink.

4. Syd- “Die for This”
Alive.

5. Olivia Dean- “Lady Lady”
Groovy groovy.

6. Jorja Smith- "With You"
Bliss.

7. Che- “Ba$$”
Molly anthem.

8. DJ Snake featuring J Balvin- “Noventa”
Siren song.

9. Pino Palladino and Blake Mills featuring Chris Dave- "Taka"
A-team.

10. Trio of Bloom- "Queen King"
Nels Cline, Craig Taborn and Marcus Gilmore.

The Top Ten Performances of July 2025
1. Woody Guthrie Folk Festival (Okemah)
My notes.

2. Steve Cardenas, Forest Stewart and Brian Steever at Westport Coffee House
My Instagram clip.

3. Elvis Costello & The Imposters at the Uptown Theater
My Instagram clip.

4. Crystal Gayle at Ameristar Casino
My review.

5. Nick Hmeljak, Henry Scamurra, Isaiah Petrie, Jordan Faught and Jaylen Ward at Westport Coffee House
My review.

6. Made in France at the Market at Meadowbrook
My Instagram snapshot.

7. Summerfest at St. Mary’s Episcopal Church
My notes.

8. Stan Kessler, Aaron Sizemore, Craig Akin and Taylor Babb at the Music House
My Instagram snapshot.

9. Michael August and Nell Levin at the Woody Guthrie Center (Tulsa)
Instagram snapshot.

10. Matt Hopper, Gerald Spaits and Todd Strait at Green Lady Lounge
My Instagram snapshot.

The previous monthly recap is here.

Get Me to the Church in Time

Original image by There Stands the Glass.

Never in my history of live music attendance had I bungled a date or venue. In fact, I’ve tended to show up early for each of the more than one hundred performances I’ve caught every year since 1995 (pandemic period excepted). That pristine record came to an end last weekend.

I was giddy upon learning of a local production of Richard Wagner’s “Die Walküre.” A full performance of a Wagner opera- even in a semi-staged version- hasn’t transpired in Kansas City in years. I packed a libretto from my library of opera literature and a cooler full of snacks and cold drinks. Including two intermissions, “Die Walküre” lasts six hours.

I knew something was wrong when the parking lot at St. Mary’s Episcopal Church was almost empty on Sunday, July 27. Musicians at the entrance told me I was 75 minutes early. I was further puzzled because the music being rehearsed clearly wasn’t the sturm und drang of Wagner. 

An event organizer explained that “Die Walküre” was performed at the church the previous day. He kindly invited me to stick around for Summerfest’s final recital of the season.

Works by Guillaume Connesson, Charles Koechlin, Elizabeth Brown and Bohuslav Martinů were rendered by prominent Kansas City classical musicians. Although I was rattled by my uncharacteristic cognitive slip, I was glad to be among an audience of more than 100 hear to the esoteric compositions.

Concert Review: Crystal Gayle at Ameristar Casino

Original image by There Stands the Glass.

My life partner was out of town when I attended a Crystal Gayle concert at Ameristar Casino in 2022. I pounced on a pair of front row seats upon spotting a deep discount on day-of-show tickets to the pop-country artist’s return to the same room on Saturday, July 19. I relished my date’s astonishment at Gayle’s Rapunzel-like hair and her gleeful laughter at Gayle’s endearing delivery of shopworn jokes. And like me, she still finds it hard to believe that Gayle is the younger sister of the late Loretta Lynn. Gayle’s song selection remains problematic. The audience of about 600 heard only a small fraction of Gayle’s hits. Her willingness to share the spotlight with the presumed bandleader is also unfortunate. Those choices may have played a role in the meager turnout. I suspect we may not witness Gayle deliver her songs with her uncommon guilelessness again. It’s a shame. The star’s songs have always been in the background of our "... Long and Lasting Love".