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In the eighties, they used to make mixtapes with cassettes.
To make one, you would stick the original cassette with the song you wanted into one side of the stereo & a blank one into the other & press the “play” & “record” buttons simultaneously. That song from the original would then be recorded on the blank as it played. Three, four, five minutes would pass. You would hit the “pause” button exactly when the song ended, change the original cassette, repeat twenty times over, & out of the hundreds of rewinds & tape hisses would emerge a cobbled-together tapestry of songs.
This is why mixtapes are such a labour of love – because they had to be made in real time. It’s hard to imagine an age where one was unable to assemble a playlist in a matter of seconds like how you would on Spotify but yes, there was. Before iTunes & digital streaming, it wasn’t uncommon to spend hours ruminating on the perfect sequence of songs and compiling them for a certain mood, a certain season, a certain someone. Why do you think there have been so many movies made & books written about mixtapes? They are soundtracks to the beat of love unraveling, stitched together by fictional characters.
In the film High Fidelity, the main character Rob (played by John Cusack) summed up my feelings about a good mixtape when he said this: The making of a good compilation tape is a very subtle art. Many do’s and don’ts. First of all, you’re using someone else’s poetry to express how you feel. This is a delicate thing.
Rob was right – it is a delicate thing, especially when they’re made as gifts. The best mixtapes were the ones embedded with coded messages, not unlike song titles. A good mix didn’t just say: Here, This is For You, but also Hey, I Love You, or This Is Who I Really Am, or This Was How I Felt That One Hot Summer Night When I Was Thinking of You but You Didn’t Have a Clue.
The word “mixtape” was foreign to me for a long time because I was born in a time of discmans & their accompanying CDs – yes, those long-gone, shiny circles of music. When I was eight or nine, the first iPod had not been invented yet & I spent most of my school allowances at HMV, picking up whatever looked interesting & rushing home to stick it into my CD player & listen to the delicious morsels of music under the sheets (as detailed in this long spiel about my love for Fleet Foxes).
The first time I ever heard the word “mixtape” was when I was at a sleepover with my friend Liz (who loved The Dresden Dolls & The Academy Is & who was always introducing me to interesting music) & we were falling asleep in the attic after a night of eating too much pizza & watching bad chick flicks. After hours of dancing to Cobra Starship (!), we finally collapsed, exhausted, our bodies splayed out on the floor. She put on this CD at a low volume & this amazing, piano-driven rock started to play, & as we drifted to sleep, I asked her what it was & she whispered drowsily, The Mixed Tape…
Where are you now? As I rearrange the songs again This mix could burn a hole in anyone But it was you I was thinking of
Since hearing that line in Jack’s Mannequin’s record Everything in Transit, I don’t think I’ve stopped making mixtapes, whatever form they may take. When I was thirteen & broke during Christmas, I bought blank CDs by the dozen & make a “mixtape” for each of my friends. I’m sure most of them went unlistened to, but I loved making them all the same, loved the gentle whirring of the disc in my dad’s laptop, designing album covers with magic markers while I waited for it to burn, the click of the CD tray as it delivered its gift to me twenty minutes later, warm & complete.
Where are you now?
As I’m swimming through the stereo
I’m writing you a symphony of sound As I’m cutting through you track by track I swear to God this mix could sink the sun But it was you I was thinking of
When I was eighteen, a good friend moved to Australia for college. We had grown up together & shared common tastes in television shows & music & when she told me she was really leaving, I was happy for her but also quite morose. I was in that stage in my life where all my friends were making major life decisions, some of which scattered them across continents. Anyway, in December that year, she called to wish me happy birthday & we ended up speaking for a bit. I had missed her terribly & knew she had missed me too.
Finally, as we reluctantly said goodbye over the static of international airwaves, I thought I heard her say “I made a mistake!” before the line went dead & for the rest of the week, I wondered what mistake she had made… Was it her decision to leave Singapore? Did she want to come back? It wasn’t until I received a square package postmarked Australia a few days later that I realised that what she had really meant to say was this: I made a mixtape (for you).
“Sentimental music has this great way of taking you back somewhere at the same time that it takes you forward, so you feel nostagic and hopeful all at the same time.”
― Nick Hornby, High Fidelity
& then finally, there was that time when I took a music composition module in university which turned out to be an “experimental” soundscaping class. The professor was a hippie who wore long, white linen shirts and whose eyes lit up when he talked about John Cage or Steve Reich. He was also a terrible teacher & had the tendency to drone on or get lost in the middle of his sentence, never to find his way back again. It’s a true miracle I managed to pass the class since I was asleep most of the time.
Once though, he told us about how composers would create “incredible masterpieces” by locating sounds they liked in certain tapes & painstakingly splicing the portions by hand – literally cutting & pasting sounds together to create an auditory landscape. This avant-garde work had to be precise & sometimes took months, all to create pieces of “music” that sounded like noise to me. In that moment, I remember feeling crestfallen because it seemed like those new pieces, like the hundreds of mixtapes I had made over the years, were not new per se & were just combinations of things that already existed. You’re using someone else’s poetry to express how you feel. This is a delicate thing…
The question of whether I would ever create something original haunted me all the way till I started to write in earnest. All the same, many poems & songs later, I arrived at the inevitable conclusion that everyone comes to when they set out to create something original – that we can’t, not really. But it’s quite alright, isn’t it? Artistic expression is but a combination of observation & imitation & influence. & we too, are undeniably made out of a thousand, indelible impressions from our pasts, & music is just a tiny slice of this inconceivable miracle that defines our humanity.
& where are you now?
& this is my mixed tape for her
It’s like I wrote every note
With my own fingers
Console yourself with this, dear reader: that we are more than the sum of our parts.
Even as I make playlists on Spotify today, some of them two hundred songs long, I try to think of what it was like for the original makers of mixtapes, how slow & torturous, but also how rewarding it must have been to find oneself in the immersive process. Sometimes the magic of music is lost on us because it has become so easy. But I won’t forget – no, I won’t.
I am from a time past, I fade onto squares of film, I am a mixtape…
“In the other room, there is a light twinkling of distant keys & like a planet pulled along its orbit, you gravitate to where the music is. You turn the corner and find yourself in this hidden chamber. It is drenched in an other-worldly, warm light. Six people sit on traveling chests & rocking chairs & one dishevelled, badly made up bed. One dark-haired boy with glasses sits in front of the upright, playing something you could swear you’ve heard before. Perhaps it was that Nico Muhly song you heard once a very long time ago… yes, the one that made you cry inappropriately in the middle of a university lecture. You had turned to your friend & begged her to listen to it but by then the moment was over & the magic was lost & you didn’t listen to that song ever again.
Anyway, the boy that sits before you, his awkward elbows jut out as he ploughs on with concentration. He plays a tune, his fingers dipping into the ivory bars like liquid. He isn’t very good, no, but he plays beautifully all the same, the sound coming out like sirens of a distant sea, muted where the piano’s insides have grown mouldy with age, the notes breathing with memory, lovely in its out-of-tune sweetness as the room swirls around you… & before you know it, the song is over & everybody is clapping, laughing, speaking in several languages all at once. Bravo, bravo!
The boy stands up, does a little bow. People disperse & walk right past you, but you, you stand there alone in the room, quite stunned. All is quiet again.”
Light ended the night, but the song remained And I was hiding by the stair Half here, half there, past the lashing rain And as the sky would petal white Old innocent lies came to mind As we stood, congregated, at the firing line
Night ended the fight, but the song remained And so I headed to the wall Turned tail to call to the new domain As if in the sight of sea, you’re suddenly free But it’s all the same… Oh, but I can hear you, loud in the center Aren’t we made to be crowded together, like leaves?
On 16th June 2017, Fleet Foxes released Crack-Up, their first full-length album in six years. I have just finished listening to it in its entirely in my bedroom, under the covers & with the lights off, & I am flush with feeling & memory. Music has such a powerful transportive ability; it can take you anywhere, anyplace, if you let it.
Listening to Third of May / Ōdaigahara brought me back to almost a decade ago when I wandered into HMV at City Hall & was drawn to this slim, paper sleeve with the most intriguing cover – a composite of two strange images, gothic yet modern, speckled with neon spots of colour & the notion of motion, like a technicolour medieval film framed within a 5″ square. I was reeled in even by their name, the “f” consonants light & fleeing on my tongue. I imagined their songs would feel like smoke, slipping seamlessly out of a room & back in again. I bought the five-song EP on a whim, not knowing how much this record was going to change me & how I related to music. I was only fifteen years old.
I remember listening to Mykonos for the very first time, not unlike how I just listened to Crack-Up, plugged in & with my eyes squeezed shut in the dark, & even though I had not been to the tiny Greek island (I still have not, but I am hopeful), I felt all at once wrecked & known. I thought, perhaps if I could write a song like that someday that could make someone feel so intensely (like how Mykonos was for me), all that time spent saturated in music – all the hours & days of intent listening & furious writing & practicing the guitar – would not have been wasted… No, they wouldn’t have been wasted at all.
And you will go to Mykonos With a vision of a gentle coast And a sun to maybe dissipate Shadows of the mess you made
I didn’t know much about folk music then, but Fleet Foxes made me feel like it was okay to be into the folk music that I did know about – Simon & Garfunkel, Bob Dylan, Crosby, Stills & Nash – & not feel so ridiculously old-fashioned about the music I was dreaming about making one day. If you are a curious person, music is like an infinite series of rooms waiting to be discovered – genres & artistes cascading into another – & Fleet Foxes was my backdoor to modern folk acts like Bon Iver & Laura Marling & Feist. I learnt how to harmonise by singing along to White Winter Hymnal, how to finger-pick by practicing with Ragged Wood, & about the intricacies of arrangement by listening to Grown Ocean & Helplessness Blues. I listened to Quiet Houses when I was becoming somewhat disillusioned with the Junior College literature syllabus & marveled at how poetry could be derived from six words, sung over & over in majestic crescendos:
Lay me down… Darkening… Come to me…
Nearly ten years later & having a little experience in music-making, I still find myself crying whenever Oliver James comes on, & I inevitably wander back to my shelves again to pick through the weathered record covers. In Sun Giant, the only thing you’ll find in the sleeve besides sparse album credits & the CD itself is a lengthy note jokingly credited to Thomas Jefferson but actually written by Fleet Foxes’ frontman Robin Pecknold. It is essentially a long preamble about the magic of music but it holds so much truth & remains relevant to my existence till this day. I don’t know if Pecknold is a religious man, but this piece of writing speaks to me deeply about my faith & I suppose to a greater extent, the expression of that very faith – worship. The music of Fleet Foxes has inadvertently taught me how to host my sense of wonder well, & along with it, whatever gifts God has chosen to bless me with.
Here are portions of that note:
Sometimes when driving, or riding the bus, or walking around some park, I will try to get an image in my head of what the land around me would have looked like 400 years ago. The same hills, the same landscape, but in my mind I’ll cover it with nothing & wonder what it was like to be the first man to chance upon it. This is always useless to me. There is so much wonder in this world, but I always have trouble getting past our influence, our disasters & clumsy systems. & even in those places where there is some real beauty, like down at Golden Gardens or on the Olympic Peninsula, or in my grandparents’ cabin in Wenatchee when it’s deep in snowdrifts, all I have to do is take one look at the skyline in the distance, or the cement path I’m walking on, or the white car parked in the gravel driveway to take me out of the tenuous illusion & put me back in reality.
We are constantly tethered to some safety line. There is always a lantern, or a map, or a screen, or a cell phone. These things guarantee that whatever experience we’re having is just an attempt at connecting to something foreign & old, that it’s not real, no matter how real it looks. We’ve sketched out a new world over the old & they are in two separate universes. The old is lost despite the remnants of the everyday. If properly prepared, one could live entire decades indoors, in a world of their own creation.
A very smart & gifted friend of mine told me once that music is a kind of replacement for the natural world that, before civilisation or whatever, the world must have seemed a place of such immense wonder & confusion, so terrifying in a way, unthinkably massive & majestic. & that feeling of mystery & amazement, is somehow hardwired into us. Once the world became commonplace, mapped, & conquered, that mystery left our common mind & we needed something to replace it with & then came along music. I think she’s right, music is magic to me, transportive & full of wonder in a way that I have trouble getting from the natural world. All the human things that make the natural world so hard to connect with just aren’t there with music… Music to me is just as awe-inspiring as the world maybe once was, & I just love it a lot.”
Another one, & a lasting favourite.
In that dream I’m as old as the mountains Still is starlight reflected in fountains Children grown on the edge of the ocean Kept like jewelry kept with devotion In that dream moving slow through the morning
Wide-eyed walker, don’t betray me I will wake one day, don’t delay me Wide-eyed leaver, always going…
I’m going away to leave you I’m going to leave you in disgrace Nothing in my favour Got the wind in my face
I’m going home hey, hey, hey, over the hill Over the hill
hey, hey, hey, over the hill
(Over the Hill – John Martyn)
Covers are a tricky thing. On one hand, you adore the song. This is an absolute fact and necessary prerequisite because it obviously meant enough for you to choose it to cover, & the last thing you’d want to do is to butcher the song that holds so many tender memories for you. On the other hand, to do it the exact same way with the same instruments & arrangements & harmonies would be to remain at a creative standstill, to be trite & spiritless.
So therein lies the question – how does one pay proper homage to the artist & the work of art & at the same time take it a step further?
Well, I’ve got no clue. I just know that it happens occasionally when the right people are all in the right place at the right time. Michael Kiwanuka, Ben Howard & band, The Staves & Ben Lovett (Mumford & Sons) covering John Martyn’s 1973 hit Over The Hill on the Austin to Boston tour is a perfect example of that rare moment – slowed-down, wistful, evocative & yet distinctive from the original. It sounds like a kind of yearning, doesn’t it? Like a natural beckoning. I’m going home… hey hey hey, over the hill.
Here’s another fantastic cover of one of my favourite songs by one of my favourite bands ever.
Half of the time we’re gone but we don’t know where & we don’t know where Here I am The only living boy in New York…
Aunt Lisa, or “Ah Yi”, as I call her, has invited me out to lunch.
The more accurate term would be summoned, a word that almost always induces a sense of foreboding & fear. Once every few months, & more often since I’ve been freelancing, I get a phone call from Aunt Lisa telling me that it is time we meet for lunch. Each phone call never lasts more than twenty seconds. The last time I saw her, I had been similarly summoned to her law office at Circular Road & I had walked in on her yelling at one of her two secretaries & throwing down files on the floor… so, you can understand the foreboding feeling a little.
We agree to meet at Wakanui at noon, an upscale steakhouse which is our usual lunch place. Nothing but white tablecloths & an extensive wine list for Aunt Lisa. Once I tried to buy her lunch at a nice Italian cafe & she scoffed before booking a table at Fairmont Hotel’s Prego. A cafe, really…? She says the word “cafe” like one would say “baby vomit”.
So Wakanui it is. She has a permanent reservation on a back table there, & more importantly, the staff simultaneously fears her & understands her. By the time I reach, I see that she has already started on a bottle of white wine. She is wearing a little black dress & with her gamine features & slight build (I am a whole head taller than her), she reminds me of Audrey Hepburn, walking down Fifth Avenue, Manhattan, regarding Tiffany gems with a rarified air on a quiet morning. She is smoking long, slim cigarettes out of the gilded case I’ve seen her carry since I was a child, going through them like candy, the blue smoke rising around her like curling wings. She sees me & her expression loosens into a smile. She reaches her hands out to hug me & tenderly asks:
How are you, dear?
Like always, I order the steak & she orders the fish. When Mario the head waiter has left, the quick-fire questions begin. As all conversations with lawyers go, she doesn’t bother with small talk & immediately starts asking me questions of both a professional & personal nature at bullet speed: How was Europe? Isn’t Wales a bloody hole? Haven’t you gotten a job yet? What trouble are your sisters in nowadays? Thank God I’ve come prepared & shoot back at her like an old pro (or a defence attorney for that matter): Europe was great. Wales isn’t a bloody hole but you wouldn’t have liked it. Yes I have. Well, there’s been some trouble, but nothing for you to worry about. Kapow!
We then talk about movies, music, food. Aunt Lisa eats like a bird but loves food all the same. She is the only person I know in the world who appreciates food like an art form & who isn’t bored to death when I obsess over culinary trends or fine dining. When I tell her that I was considering going to Alain Passard’s three-star Michelin star restaurant L’Arpège for dinner when I was in Paris, she scoffs & insists that it is “bullshit” (just because you sprinkle black truffles on everything doesn’t mean it’s good food, she says). She likes dining at Thomas Keller’s The French Laundry, Alex Atala’s D.O.M & Gunther Hubrechsen’s Gunther, but detests Scandinavian cooking because she thinks that it’s all smoked fish & potatoes. I tell her about the things that Sweden’s Magnus Nilsson is doing in Fäviken & Denmark’s René Redzepi in Noma but the jury is still out on that… her jury anyway.
This is the part of lunches with Aunt Lisa I love most, when we simply talk about the things we like, when she is out of her “lawyer” mode & we slip into something resembling pleasant conversation. Aunt Lisa is from another time, old-fashioned & classy. She uses the most archaic expressions. Like a character out of a Miller or Lawrence novel, her eyes light up when she talks about a jazz band she saw a few weeks ago: This place was really something, quarried away on Club Street & when we went in, it was perfect – not too crowded but just right, you know? The band was absolutely ripping, & everyone was loving it & responding to them in just the right way… Uncle Richard & I loved it, so fantastic, so bohemian…
I love it when she talks like that.
Aunt Lisa is my mother’s older sister & the eldest amongst the four children. Growing up, my mother was the cheery one who was well-liked among all the relatives because of her sweet tongue & amiable character, while Aunt Lisa disliked noise & had a bad temper & preferred to spend her afternoons holed up somewhere, reading a book. Family is a fickle thing, isn’t it? The way we turn out different from our siblings.
Anyway, it was no doubt that Aunt Lisa was massively intelligent & driven. She breezed through junior college, went to law school & cut her teeth at a top-tier law firm for a few years before setting up her own in the early ’90s. Till today, Lisa Chong & Partners remains a successful, largely one-woman show because – & this is verbatim – she doesn’t like answering to any assholes & likes going where she likes, when she likes. That was a huge feat in the late 1980s, back when female lawyers weren’t common & her male peers weren’t too fond of a woman telling them what to do. Now of course, things are different. People in the law circuit know who she is – that Lisa Chong, she’s a badass.
She then moved out of the family home, met & married Uncle Richard (a good-natured, American oil engineer from southern California who claims to have moved to Asia because he loved noodles & stuck around because he met Aunt Lisa. He is an amazing jazz drummer who introduced me to artistes like Dave Weckl & Buddy Rich & The Yellowjackets, but that’s another story for another day.). She turns 55 this year & even though that’s seven years to official retirement, she is by no means letting her age slow her down.
I didn’t always like her. I used to find her mean & condescending & prideful. As a sensitive child, I watched her carefully from a young age, despising it whenever she used cutting words to speak to her siblings or her own mother. She always lost her temper with service staff, was curt with her peers, & impatient with children. I would never have gotten close if we did not share a mutual love: books.
Aunt Lisa had an impressive library, a proper one – wall-to-wall oak shelves, thousands of books & that rolling wooden ladder that helped you reach the ones stacked on top – in her old house & whenever she hosted our weekly Sunday night family meal, I would run to the reading nook straight after dinner & spend two hours rifling through her collection while my two sisters spent their time in her walk-in wardrobe, trying on her clothes & pieces of costume jewelry. I was such a different child back then from my sisters, so quiet & timid & always sick & crying but I remember how those books would make me feel as hours passed in that magical place. In the sweet solitude of the library, I went on adventures with writers like Rudyard Kipling, Jules Verne & Alexander McCall Smith who had travelled to faraway places like Africa & India & ate exotic foods with the locals & danced with them till the night dwindled away. I read true crime stories like In Cold Blood & had nightmares for weeks afterward. I delved into the landscape of the American south when I read To Kill A Mockingbird & I was Scout, the brazen tomboy who unwittingly saved Tom Robinson’s life, who loved Calpurnia’s crackling bread & who managed to encapsulate all I felt about books as a young child when she said: Until I feared I would lose it, I never loved to read. One does not love breathing.
Often, Aunt Lisa would join me & take out a hefty, square book on Greek Mythology & tell me all about the ancient gods – Chaos, Gaia, Uranus, Cronos, Zeus, Heracles, the whole lot of them – & their stories. She named one of her seven cats Calypso, after the nymph who kept Odysseus captive on her own island for several years until Athena & Zeus intervened, always wishing that the Homeric Hero would one day love her the same way she loved him. Aunt Lisa loved that story. From there, she would slip into this state of dreaminess, talking about her travels to Greece & South America & Italy with Uncle Richard, visiting everything from ancient ruins to elephant jungles, touching the worn stones of history & walking on the hearths of our ancestors, where there was once eating & drinking & sleeping & breathing… & I, I so young & inexperienced, with nothing but the waxy pages & their glorious illustrations laid out before me, all those Gods with bodies cut from white marble, fiery chariots, & of course the mere mortals themselves, often so beautiful that they could sometimes bewitch those whom they were supposed to worship. I breathed in whole worlds like that on that library floor. When I think about it now, it was a gift, all that time amongst books & my Aunt Lisa, pure & unappreciated.
My reverie is broken when Aunt Lisa calls over Mario & snaps at him for more ice. That’s her for you, able to switch between complete cordiality to a cantankerous, Anna Wintour-ish nightmare in a matter of seconds. It’s something I’ve gotten used to & I let it slide. She decides that we’ll be taking dessert & the rest of the wine outside so she can have a good smoke. Mario materialises like a ghost & whispers, yes, madame, & soon we are seated outside with fresh glasses & our chocolate soufflés.
Stories shift into ideas. We talk about philosophy, faith, religion. I know this is when things can go either way. She doesn’t deny that there is a God but she doesn’t like the Christians that she has met (she is quick to tell me that this group excludes me & that this faith I have seems to have served me well, unlike many others). I don’t know what it is – the thumping pace of the conversation we seem to be having, or the three glasses of wine I’ve had so far – but then somehow in a burst of courage, I ask her for the very first time in my life, what then, do you believe in?
She gets very quiet. Two long puffs of her slim cigarette. She doesn’t answer immediately, but then when she finally speaks, she tells me something she’s never told anyone before.
Fifteen over years ago, when she shifted her office to a little street in Boat Quay, she started a ritual of buying her daily newspaper every morning from a little old man from across the road. The old man had sat behind a desk with glossy tabloids & copies of The Straits Times fanned out before him – one of those old-fashioned vendors you don’t see anymore. They didn’t talk very much for a long time but one day after purchasing the paper, Aunty Lisa noticed that the old man had a bloody patch on his head. She asked him what had happened in Cantonese & he told her that he had fallen & his leg was all swollen up as well. Where are your kids? Who takes care of you? It became clear after a few exchanges that there was no one. Immediately, Aunt Lisa took him to the hospital.
At the emergency room, she then finds out that not only does the old man have no money or insurance, but that he has no form of identification. He had come from China to make a living in Singapore a long time ago, has no family & didn’t even know his own birthday. Thus, even though he had a fractured hip & several other injuries, the system prevented him from receiving any form of government help. The bill came up to several thousand dollars & Aunt Lisa paid it off without a second glance. She then started the excruciatingly long process of helping this old man get registered & recognised by the state, putting together papers & going to government offices to yell at poor administrative assistants & their terrified bosses. She succeeded, of course. The old man started to receive medical subsidies & monthly welfare from the government.
After his leg was properly healed, he went back to selling his papers every morning & Aunt Lisa went back to buying them, except that things were a little different. One evening, she went out for dinner with her bunch of rich girlfriends & announced that she was taking up a collection for this old man that none of them even knew. Come on, I know how much you’re spending on these salads & martinis in just one meal. Cough up! & they all did, whether it was from shock or fear or reverence. For many months, she used that little fund as a type of allowance for the old man, giving him fifty dollars every week to make sure he had money to get food, to get medicine. When that fund dried up, she started to give him money out of her own pocket. A hundred dollars a week. Two hundred sometimes. She gave him her name card so he could get in touch with her if he was in any trouble, & gave instructions to her assistant to continue giving him the usual weekly amount whenever she was on vacation. That cheeky bastard, Aunt Lisa says at this point. He was so happy, he sat behind his little stand like a big towkay ever since I started to give him money, as if saying to all of his friends, see I have a benefactor!
A few years ago, Aunt Lisa got a call from a policeman out of the blue. The old man had passed away in his one-room flat & the officer had found her name card on his person. Does he have family, he asked. No, Aunt Lisa replied. Just me. She didn’t feel like explaining their complicated relationship to the officer, so she just asked what he wanted her to do & he told her that if no one claimed the body within thirty days, the state would “take care of it”. So she did, of course she did; paid for his cremation & all. & that was the end of a very long, bizarre, sad, beautiful relationship between the unlikeliest of parties.
So what do I believe in? I’m not sure. But I do believe in universal goodness. We encounter situations in life & well… it’s up to you what you choose to do with them. & if you choose right, you choose goodness. It’s the weirdest thing isn’t it… Life.
She trails off, looks away, takes a long drag of her cigarette. It is a long story & I’m filled with a confluence of emotions. The strange thing is that I know this about my aunt; that beyond the prickly demeanour & no-nonsense attitude, she is someone who secretly gives & loves generously but who hates talking about it. This is one of the rare instances that she does & I am astounded by how simple the decision was for her, to help a man she barely knew for so many years. I ask her what his name was, & she says it immediately without thinking. The two syllables, the two Chinese characters carry so much weight & it sits between us on the table, like an unsaid prayer.
After an extended silence, I tell Aunt Lisa that she reminds me of Audrey Hepburn. She breaks out in laughter & says, what the fuck, I’m trying to tell you an important story here & all you can think about is a New York prostitute. I correct her – I didn’t say Holly Golightly, but Audrey Hepburn. I tell her that what I admire most about Hepburn isn’t her repertoire of wonderful movies & the memorial characters she played, or her beauty & timeless fashion sense, but her unabashed grace & her love for humanity. Audrey Hepburn wasn’t religious, but she was kinder than most religious people. & that’s kind of like who you are, Ah Yi, I whisper.
She shakes her head & then smiles, & then does a little shrug. She pushes her cigarette stub into the nearly-full ashtray & stands up abruptly, breaking the spell. Mario comes over & she pays the bill & we walk out onto the street, squinting in the jarring, midday sun. It’s nearly four in the afternoon & that’s how the lunch meeting ends, as sharply as it began. She holds her palm to my cheek as a goodbye like she always does & quite suddenly, I realise that I love my Aunt Lisa very much.
I tell her that the next time she “summons” me for lunch, I will have read The Man Who Ate Everything & I will bring her Jonathan Safran Foer’s latest novel & that I will be paying the bill & treating her instead. She rolls her eyes, slaps me on the arm & waves me off.
“As itinerant musicians, we find ourselves here quite often, saying farewell again & again… After all the road is just one long goodbye.“
I’ve been listening to The Staves a lot lately (something about their music resonates in this season) & a music producer friend of mine recommended that I watch this documentary chronicling their 2012 American tour with Ben Howard, Nathaniel Rateliff & Bear’s Den because it “outlined the reality & the romanticism of music-making & touring”. So I did, & it was just that: filled with powerful moments, featuring in equal measure the rapturous music & the people who made it, all twenty-five of them.
The story is simple: In 2006, Ben Lovett (Mumford & Sons) & Kevin Jones (Bear’s Den), frustrated by the lack of live gig exposure for talented singer-songwriters founded the concert promoter, music label, & recording house Communion, & began planning these fantastic single shows & tours all across the US & the UK, bringing lesser-known artistes & their music to all sorts of venues – concert halls, chapels, bars, rooftops, friends’ backyards, & so on. Austin to Boston charts the 2-week, 10-show, 4000-mile journey a bunch of bands take across America in 5 Volkswagen vans, one journey bleeding into another.
“When I think of Ben Lovett, I think of time travel. Old factory dreamer.”
(Gill Landry, tour driver)
“You know, this is a hard tour. People are exhausted. Everyone’s just pulling together & there’s no hierarchy & everyone’s just here because you feel part of something & that’s kind of embodied by the vans, you know, that’s like symbolised by the vans. We’re not in some big corporate tour bus or whatever. We’re in these little shitty little vans. Communion is like a camper van. It doesn’t work very well, it’s disorganised, it breaks down all the time but it still feels really nice when you’re in it. You know what I mean?”
(Kevin Jones, Bear’s Den & Co-founder of Communion)
I think that touring in buses or vans is something of a time past in this age of plane travel, but I get what they mean, even with my little experience in this field. Music is always a magical thing, but music shared with strangers (who become new friends, & then family) across time & space becomes a transcendental experience. You know what I mean, don’t you, the swell? The perfect moment. I am always chasing it, & always finding it in unexpected places.
“I like moving. I think it’s nice to always have a base & go back to it. Always in transit & kind of popping through places. Sometimes it’s really cool & sometimes it’s frustrating, but most of the time it’s a blessing. You get to see places like this… I’ll probably never come here again. You get those little moments where you’re like, ‘memory photo’, & then you move on. I don’t know what it is… I think anyone on this trip will tell you it kind of gets in your blood.”
In this documentary though, it is not hard to find the perfect moment because the music is just so good… Ben Howard, the “indie snob’s John Mayer” & crazy, creative savant, ripping up the stage every night with his leftie-Fenders & wonderfully talented friends India Bourne & Chris Bond. & then there is the folk genius that is The Staves, who evoke mountains of tenderness with a single other-worldly, soaring harmony. With their songs, Emily, Jessica & Camilla render every room vibrating, every person speechless.
“When I first heard The Staves, it was like being called by sirens from across a dark & silent sea. It’s hard not to be struck by their beauty when they walk on the stage… but when their harmonies set in, you’re done. You’re just done.”
& there was the unexpected treat – the storytelling of Nathaniel Rateliff, so full of raw pain & truth, the only artiste I had not heard of before this documentary but whose music & stories struck me the most & made me cry. & of course not to leave out Bear’s Den, the youngest of the ragtag crew, with their deep, blossoming vocals & strings.
Between Gill Landry’s (Old Crow Medicine Show, The Kitchen Syncopators) deep drawling narration & the distinctive direction & cinematography by James Marcus Haney (No Cameras Allowed) – an interweaving of gritty, b-roll footage, lens flares, high-contrast stage shots & intimate warm lighting – Austin to Boston captures the bittersweetness of old-fashioned touring perfectly, the grime & the splendour of being on the road, the friendships forged & the euphoric moment of a note sang well & sweet.
“& the same way it came together, it parted. Since this tour has ended we’ve crossed paths many times & many places. Sometimes you can be quite far down a road you didn’t even know you were on. The draw of touring can be so strong that years can pass before you even stop to question why you’re even doing in the first place. Why make all those miles to perform to total strangers in far-off towns? Why leave all your loved ones behind to live out of suitcases & shit hotels & the back of vans? I suppose the answer I give myself is because it’s a damn good time. & so the road is one long goodbye & here we are, again… again… again.”