bear

Almost a month ago I went to see Vampire Weekend at the Greek, and even with all the 50 SPF sunscreen in the world, my arms remain the most tan they've been in decades. I guess that's what happens at an amphitheatre matinee when the entire shebang faces west! They played a long set and an even longer encore (nearly three hours! not including opener Mike Gordon); impressive endurance. I mostly knew songs off their first album; the rest of the set ranged from fun to weird, but pleasant to listen and bop along to. It was great to catch up with Jill, whom I hadn't seen since high school, and to realize the interests we'd cultivated separately in common throughout the years intersecting (library nerds, progressive politics).

( Vampire Weekend setlist for posterity )

Two days after that, hyounpark and I went into the city to see the San Francisco Opera perform Innocence, in the best seats I've ever had at the Opera House (third row orchestra), comps for performing at the related seminar on opening night. I grew up watching the SF Ballet with my dad in that same venue, climbing dozens of marble stairs all the way up to the balcony. Aside from the subject matter, the primary thing I noticed was the rotating cube set, and how it affected staging. It's been a long time since I'd seen a play or other storyline show, so seeing two performances with very similar sets within 10 days of each other (The Lehman Trilogy at ACT being the other) made me wonder how common this kind of setup was now.

The next morning, we flew to San Diego for work. I managed to squeeze in both a ride on the Coronado Bayshore Bikeway and visits to the Book Catapult and Meet-Cute (where I even found a delightful queer Victorian romance about a bike race?! Hello, intersecting interests compelling me to read something I wouldn't usually! (Victorian; my tastes generally run more contemporary/sci-fi/romantasy).

I came home briefly to do laundry and because I had a ticket for Iron and Wine at the Fox.

Amythyst Kiah opened; lovely deep rootsy contralto. Looking forward to digging into her repertoire now that I'm home for awhile. I wish she'd duetted with Sam on All in Good Time like she would a few days later in LA; ah well.

Then Iron and Wine took the stage; full band for most pieces, along with additional artistry from Manual Cinema. When I tell you all June 2024 was the most immersed I've been in the theatre in decades, this was a prime example. Using a projector and a wide variety of objects, they did some kind of shadow puppetry light play to accompany a good portion of the program, in real time as opposed to the typical running a film strip in the background. I loved seeing that level of interaction between the artists; they were another instrument doing their part in live performance.

Even so, my favorite part of the show was still when Sam let it all fall away and it was his voice and maybe some guitar. Especially so for Flightless Bird, Call It Dreaming, and Each Coming Night. Seeing Sam Beam in a 2800 seat theatre even more enchanting than seeing him in an 18,000 seat amphitheatre; I really do prefer the more intimate venues, and if he ever plays the Freight again, I'll be there. (If he somehow books in somewhere as small as Passim? Goals.)

( Iron and Wine setlist )

The two Death Cab For Cutie/The Postal Service concerts I treated myself to in October were really a belated present to my early-mid-20s self.

( some backstory, 2002-2004 )

So when I heard that The Postal Service was pulling it together for one more reunion tour, and that Death Cab for Cutie would be their costar on the double bill? Of course I was going to try for tickets. (You announce this on my birthday week? Double duh!)

( neuroses about arena shows )

And oh, my heart.

Sitting six rows up in the Greek Theatre in shirtsleeves as the fog rolled into the Berkeley Hills and settled on my arms, listening to Ben Gibbard croon to me for two hours about love and long distance and loss, was the best possible present I could have given February 2003 me, however belated. (Sitting a little further back at the Hollywood Bowl for an encore just over a week later, with bonus Iron & Wine? Cherry on top.)

( The Beths: love is learned over time )

( Death Cab for Cutie: there'd be no distance that could hold us back // I need you so much closer )

( The Postal Service: I am a visitor here, I am not permanent // everything will change )

( Iron & Wine: god give us love in the time that we have // for all the love you've left behind you can have mine )

The one thing I do feel was a real missed opportunity - they had Sam Beam there. How do you *not* figure out a way for Sam *and* Ben *and* Jenny to do a three-part harmony version of the acoustic version of Such Great Heights in the encore, when you even jokingly introduce it as "Alright, this next song is an Iron & Wine cover." I already knew how I'd harmonize it, how I'd buff up Jenny's part and add in more close harmonies from Sam. Somebody pass me a copy of Finale and Ben Gibbard's email, please :P

(And as I was heading back to the Metro after the concert with the other transit-takers, close to 11 pm on a Tuesday night, I had the most LA moment. Walking down Hollywood Boulevard, gliding past one person filming another person peeing on Ryan Reynolds' star, while a third person was art directing the shot. OH HOLLYWOOD, this is why you wear sunglasses at night, got it.)

But oh, 2003 self. I hope you enjoyed this present. Take heart. Go see more shows. Keep singing. (The choir you'll join that fall will do wonders for your soul.) Continue to fall in love as quickly and fiercely as you always do. Maintain that openness, that willingness to be vulnerable, to take risks. You have so much good coming your way. You were, and are, and will be loved.