Music festivals have been cancelled this summer – barring, of course, your occasional Smash Mouth-headlined superspreader event. In lieu of putting on new shows, established festivals have tried a variety of “virtual” events. Some have gotten a series of artists to perform from their homes; some have been re-airing a bunch of old performances. All are trying to make it feel like an event, with varying degrees of success.
Critics of ranked lists like this see it as a bug that they’re entirely subjective and somewhat arbitrary. I see it as a feature. There’s not really any difference between #12 and #13. Frankly, there’s not all that much difference between #1 and #25. But my feeling has always been, everyone gets that. No one actually thinks you can mathematically rank works of art. But the trying offers a wonderful opportunity for music nerds to look back at the best of the year, and for the sort of vigorous debate on which such nerddom rests.
This Top 40 looks nothing like the actual Top 40. None of these songs charted, and I don’t think any of them aspired to. That is no knock against them, which probably goes without saying here – anyone reading music blogs knows that much. The adjectives “great” and “popular” occasionally attach themselves to the same track, but not often enough.
So just think of this as an alternate history of 2019 singles. It has no horses, and no town roads. It doesn’t teach love, patience, or pain, and isn’t 100% that anything. It also, as the headline says, only includes artists from one rather small state. But this wildly subjective, somewhat arbitrary survey of the past 12 months should serve as a small introduction to the wealth of talent in one community on the geographic fringe. There was a lot of wonderful music being made this year, much of it far from the big cities, or the Billboard charts. Duh.
Ali T – Electric Haze
Alison Turner is an artist out of time. She’s a singer-songwriter, but not with the folky connotations the phrase often takes on. Rather, something like “Electric Haze” sounds made for radio. Late-’90s radio, that is, when artist like Jewel and Meredith Brooks were racking up top-ten hits. It wouldn’t have a chance today, but “Electric Haze” ably walks to tricky line of engaging with nostalgia while creating something new.
When I saw boys cruise live, the four band members switched pants with each other mid-set. They exchanged instruments too, but pants-swapping tends to steal the spotlight from musical versatility. Like a rock-show Alice in Wonderland, the quartet rotated around the stage after every song, leveling up the antics each time. At one point, they cut off a band member’s hair onstage and threw huge hunks into the crowd. Then they smashed the chair he was sitting on. That went into the crowd too.