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Review: Laurie Anderson Gets Back to Having a Good Time

With the jazz combo Sexmob, this enduring avant-gardist revisited vintage and recent songs with a grooving spirit.

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By Seth Colter Walls

Laurie Anderson sounds like she’s ready to have fun again.

That much was clear after the first minute or so of her thrilling multimedia show on Tuesday at the Brooklyn Academy of Music. This one-night-only, 100-minute set, titled “Let X = X,” featured new arrangements of several 1980s-era Anderson songs. It also featured a fun backing band in the jazz combo Sexmob, reliable purveyors of a good time.

Hasn’t Anderson earned a romping concert? So far in this century, she has kept her eye on grave matters. She mourned a changing, vulnerable New York City after Hurricane Sandy in “Landfall,” with the Kronos Quartet. She has likewise mourned the death of her longtime partner, Lou Reed, across multiple projects — including in her graceful, meditative film “Heart of a Dog.” And she detailed human rights violations in “Habeas Corpus,” a 2015 collaboration with a former Guantánamo prisoner , Mohammed el-Gharani, at the Park Avenue Armory.

I attended and admired all those. But I have never witnessed her really enjoying a groove — at least not in the same way that I’ve enjoyed on some of her first recordings, such as “Home of the Brave” or “United States Live.” On Tuesday, though, at the tail end of one spoken interlude that detailed a variety of her heroes — such as Gandhi and Philip Glass — she concluded by mentioning James Brown. When Anderson named the tune “Get on the Good Foot,” the Sexmob slide-trumpeter Steven Bernstein and the drummer Kenny Wollesen indulged her with a musical quotation. Then Anderson whooped a funk-accurate exultation and danced a bit in front of her array of electronics.

It wasn’t the only time she behaved like that. From the moment she strode onstage and triggered the synth samples of “From the Air,” she seemed to be enjoying herself, and reveled in the droll lyrics of that number: “Good evening. This is your captain. We are about to attempt a crash landing.”

Tuesday’s concert wasn’t a historical recreation of past recordings; Sexmob’s sound is a beefier one than on Anderson’s albums. With musicians who can double on electric guitar and bass clarinet, its members offered a rich range of textural variation throughout the evening. “Walk the Dog” was no longer spare, but galvanic. This new backing-band energy seemed to make Anderson’s high, digitally pitch-shifted vocals avoid rote, greatest-hits-show style. Similarly, a medley of “Born, Never Asked” and “It Tango” had fresh, more syncopated force.

Recitations of childhood memories that appeared in “Heart of a Dog” were also part of the set, along with some basso profundo observations from Fenway Bergamot, Anderson’s male alter-ego (as heard on the 2010 album “Homeland”).

And when Anderson and Sexmob played “Only an Expert” — perhaps her only banger from this century — she also took the opportunity to address the gravity of breaking news from the current Israel-Hamas war. (She avoided assigning blame for a hospital bombing in Gaza that day, while acknowledging the undeniable fact that it happened.) Originally, the song’s litany of state-sponsored crimes was a gloss on America’s invasion of Iraq, ironically noting:

Even though a country can invade another country And flatten it and ruin it and create havoc and civil war in that other country If the experts say it’s not a problem and everyone agrees they’re experts And good at seeing problems then invading those countries Is simply not a problem.

But on Tuesday, she slipped in a new travesty: “and bomb hospitals.” (At another point, she invited the audience to scream — cathartically, Yoko Ono-style — against “genocides happing everywhere” and the holding of “hostages in Gaza.”)

In a concert that otherwise offered breezy, rocking, swinging fun, such invocations of unsettling current events rode a fine line. But to my eyes and ears, Anderson pulled off that tricky task. In this moment, all sophisticated, adult-coded entertainment is obligated to compete with our awareness of sobering topics, the ones that Anderson has focused on in recent years, like increasingly dangerous waves of water and lethal tides of government-sponsored dehumanization.

There was a great deal else in the show: her electronically modified solo violin playing; a performance of her Massenet-inspired pop hit, “O Superman”; aperçus from her friend Sharon Olds, the pathbreaking confessional poet; video art of Anderson’s design that embraced concepts of artificial intelligence. But it was her willingness to keep tragic contemporary material in view — even when enjoying the breadth of a half-century’s catalog — that amounted to its own form of spiritual advice or moral instruction.

When Anderson appeared for an encore, she led the audience in tai chi movements. This risked objections of blasé appropriation, but her creative practice has always made space for genuine gestures of cultural synthesis. And on Tuesday, it was good to see these aspects of her art operating in counterpoint once again.

Laurie Anderson and Sexmob

Performed on Tuesday at the Brooklyn Academy of Music.

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Concert review: laurie anderson.

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Attending a Laurie Anderson concert is a bit like sitting through a self-help conference. It’s like taking a guided meditation through a litany of modern anxieties and yet you come out the other end feeling a cathartic release of sorts. Consider just some of the advice Anderson imparted during the show:

“Learn how to feel sad without being sad.”

Now imagine it being said in her somewhat monotone, hypnotic voice.

Excellent advice indeed.

Anderson is calling her latest tour, “Let X=X,” a nearly two-hour multimedia feast featuring songs and spoken word pieces from throughout her career. Backed by the propulsive force of jazz ensemble, Sexmob, Anderson’s show twisted from ecstatic fun, taking on modern terror, gut-wrenching sadness and a sense of Zen.

Anderson and the band took the stage and behind the exultant opening strains of “From the Air,” she intoned, “Good evening. This is your captain. We are about to attempt a crash landing.” With the five-piece band behind her, brandishing horns, guitars and drums, Anderson turned in a performance that featured full-bodied, lived-in versions of classics such as “Let X=X/It Tango,” “O Superman” and “Gravity’s Angel.” In some ways, these iterations with Sexmob felt like the definitive incarnations, as if Anderson’s sometimes sterile songs begged to be played live.

Between the songs, Anderson lectured, recreating spoken word pieces from her records or telling a tale about how Yoko Ono let out a three-minute-long scream when reacting to Donald Trump’s 2016 victory. In response to the horrors happening right now in the world, Anderson led the audience in a 10-second-long shriek, a deafening cry that reverberated through the tall ceilings of the auditorium.

Anderson, who uses vocoders and synths in her music, has long been a technophobe and more than once mentioned the dangers of artificial intelligence. It was definitely a balancing act to juggle so many joys and fears, but somehow Anderson struck the right tone, even earning applause when slipping references to Gaza into her material.

Perhaps the emotional core of the evening came with a cover of “Junior Dad,” from Lulu , Lou Reed’s much-maligned 2011 collaboration with Metallica. With Anderson and Sexmob handling the instrumentals, Reed’s phantom voice floated over the song that just kept building in intensity. On the giant screen at the rear of the stage, a shadowy video of Reed’s face played on a loop, droplets of rain splashing over it like he was behind glass. Anderson’s performance was both a tribute to her deceased partner and a reclamation of an album that many are recognizing now is much better than its reputation.

The set ended on a humorous, yet sardonic note. First was the jaunty “It’s Not the Bullet That Kills, It’s the Hole,” Anderson’s 1977 tribute to artist Chris Burden and his 1971 performance where he had a friend shoot him in the shoulder. Next came “Only an Expert,” a funky piece from Homeland (2000), where she confronted the travails of modern life, including more references to the crisis in the Middle East.

After finishing the set with “Twinkle Twinkle Little Star,” Anderson returned to lead the audience through a set of tai chi movements. While the audience tripped over itself, Anderson moved gracefully on stage, showing off moves like the one Reed called, “carrying the pizza.” Even in Zen there is laughter. Perhaps there is no better teacher for quelling our modern tensions than Laurie Anderson.

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Laurie Anderson concert reviews and tour history

• rating: 94.2% (6)

Fans' concert reviews

Lisner auditorium in washington, us on sat, 17 mar 1990.

Laurie was sublime in this concert. My friend and I were mesmerized by her innovative performance

Oz in Nashville, US on Thu, 12 Mar 2015

As adorable, profound, exquisite, subtle, & mesmerizing as always. What an instrument her voice is- the intonation of each word, the pause between. She is unique and a true artist. Free to create magic, humor, politics, poetry.

Weill Hall in Rohnert Park, US on Sat, 25 Oct 2014

This was the first time that I have seen Laurie Anderson live, and I really enjoyed the show. I like the juxtaposition of the storytelling over some of the more familiar music, which added an extra layer of meaning to the stories. I was also impressed with how current and topical some of the stories were. The performance appealed to both the head and the heart, and I came away from the show with some new perspectives on life, and with much to reflect upon. I missed Laurie on her Landfall tour, and hope the she and the Kronos Quartet will bring it back to California at some point in the near future.

Kessler Theater in Dallas, US on Thu, 23 Oct 2014

Great concert. Unique performance experience. Loved it!

Bass Concert Hall in Austin, US on Tue, 14 Oct 2014

i was so sad that only people in the front got to ask questions during the Q&A!!!!!!!!!! maybe please pay more attention to the younger people in the back please????? i'm so disappointed!

Łaźnia Nowa Theatre in Krakow, Poland on Thu, 18 Sep 2014

sheer perfection, pure magic - it took me far away

Rated concerts

• Łaźnia Nowa Theatre in Krakow, Poland Thu, 18 Sep 2014 100% from 1 rating
• Kessler Theater in Dallas, US Thu, 23 Oct 2014 100% from 1 rating
• Oz in Nashville, US Thu, 12 Mar 2015 100% from 1 rating
• Lisner Auditorium in Washington, US Sat, 17 Mar 1990 100% from 1 rating
• Weill Hall in Rohnert Park, US Sat, 25 Oct 2014 90% from 1 rating
• Bass Concert Hall in Austin, US Tue, 14 Oct 2014 75% from 1 rating

Ratings View all

• one of the best: 4 67%
• fantastic: 1 17%
• great: 1 17%
• disappointing: 0 0%
• should've stayed at home: 0 0%

Laurie Anderson 2024 tour dates

Laurie anderson tour history, about laurie anderson.

Laurie Anderson was born 76 years ago, on Thursday, 5 June 1947 in Glen Ellyn, US.

Based on our research data, it appears, that the first Laurie Anderson concert happened 43 years ago on Sat, 03 Oct 1981 in Riverside Studios - London, UK and that the last Laurie Anderson concert was 8 days ago on Fri, 29 Mar 2024 in Keller Auditorium - Portland, US.

• experimental
• modern classical
• spoken word
• official website
• Philip Glass
• Einstürzende Neubauten
• Sweet Billy Pilgrim
• Pin Me Down
• Patti Smith
• Kronos Quartet
• Nick Cave and the Bad Seeds

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Last information data update: 10 days ago

New York Theater

by Jonathan Mandell

Laurie Anderson at BAM: Songs, A Scream, Tai Chi

 Laurie Anderson launched the Brooklyn Academy of Music’s fortieth annual Next Wave Festival Tuesday night with “Let X = X,” an unconventional concert that featured, yes, songs from throughout her four decade recording career, accompanied by the 25-year-old avant-garde jazz band Sexmob, but also  a scream, in homage to Yoko Ono, and Tai Chi, in homage to her late husband Lou Reed.

Anderson recalled how “the great artist” Yoko Ono screamed for three minutes in 2016 when asked for her reaction to the winner of the U.S. election. Anderson asked her audience to scream in her honor, but only for ten seconds, in reaction perhaps to “the war in Ukraine, the genocides around the globe, the hostages in Gaza, the melting of the Arctic,  the burning of the Amazon – or, you know just how messed up your own life is.”

She prompted such a scream throughout the Let X=X world tour, and compared the decibels:

Other comments in-between musical numbers:

“One of my favorite quotes about technology is from my meditation teacher: ‘If you think technology will solve your problems, you don’t understand technology—and you don’t understand your problems.’ “

“We are the first humans to see the possibility of the end of our own species..No one wants to hear the story about the end of the world.”

Anderson recalled the philosophy of Lou Reed, the musician and songwriter who died in 2013. “The reason we’re here, actual real reason that we’re here is to  have a really, really, really good time.”

She ended the show leading the audience in some Tai Chi moves, in honor of the newly published book “The Art of the Straight Line: My Tai Chi,” put together from Lou Reed’s writings about the subject. “It’s this crazy combination of power and grace that he really loved.”

Sexmob consists of Steven Bernstein (horns), Briggan Krauss (saxophone, guitar), Tony Scherr (bass), Kenny Wollesen (percussion), and Doug Wieselman (guitar and woodwinds)—

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Review Laurie Anderson Let X = X Show, Barbican Centre, London by James Ellis

It has been a few years of waiting to finally see Laurie Anderson on tour in London. All the Things I Lost in the Flood had an ill fated date in the Capitol in 2020 and we wouldn’t discover what exactly happened with her estate just yet. I don’t think its yet to come here and a new tour Let X = X, should please both fans of her new work and much more classic offerings.

It remains her wry observations, slightly surreal sence of humour, her multi talented practices that wow. Spoken word, violin, performance art, video work and more which proves her brilliance. Her band also got us good with an array of pop, jazz, funk and everything in between. 

We flew off From the Air  from her eternal Big Science album, a treasure on vinyl nowadays. There is a plane theme throughout the work and outstanding brass pepper the sound world with vigor. Her puns and modulations in her voice are also highlights, amazing how he can sound masculine when lover and higher is another sort of realm. The mostly  monochrome video work shed her chalk work flourish and thrive as snowflakes and chemical compounds. A spaceman falling off a mountain was a visual to not forget in a hurry. Her love of her late husband Lou Reed also loves here, a collaboration which spanned years. 

Lesser known works is also a reminder that there remains decades of art from Laurie. Her new curiosity with A.I. has lead to some quirky songs. Of course, her number one hit O, Superman  almost certainly her most known track. Minimalasit and quite string, it’s always a bob and had a strange aura all it’s own. Whilst we didn’t hear thing from Home of the Brave, there was a wonderful choice of songs from over the years. One wonders what will happen to A.I. 

This fabulous concert ended by wrapping things up with an audience off its feet doing an impronteu Tai chi session. Wonderful. 

Laurie Anderson continues on tour around Europe. 

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Laurie Anderson to Bring Her LET X = X Tour To The Curran Theater

See Anderson on Thursday, March 28 at 8 p.m.

Composer, writer, director, visual artist, and vocalist Laurie Anderson brings her Let X = X tour to the Curran Theater on Thursday, March 28 at 8 p.m. to perform material old and new—from her debut album Big Science to her latest recordings with the New York City Band SexMob. Tickets for Laurie Anderson (starting at $50.50) are available starting on Wednesday, December 20 at 10 a.m. at www.broadwaysf.com . Two-time GRAMMY award winner, Anderson has created ground-breaking works that span art, theatre, experimental music, and technology. Her recording career, launched by Big Science in 1981, includes the soundtrack to her feature film Home of the Brave, and her 2001 album Life on a String. Anderson's live shows range from simple spoken word to elaborate multi-media stage performances. In 2002, Anderson was appointed the first artist-in-residence of NASA, culminating in her 2004 touring solo performance The End of the Moon. In 2010, a retrospective of her visuals and installation work opened in São Paulo, Brazil. Her largest exhibition to date has been shows at The Smithsonian Hirshhorn Museum of Modern Art in 2022.

About the Curran:

Built in 1922, the Curran has housed some of the biggest productions in theater history and has maintained a reputation over the course of its life as one of the premier live entertainment venues in North America. Most recently, the Curran was the West Coast home of HARRY POTTER AND THE CURSED CHILD, the longest running play in San Francisco. The Curran is part of the Ambassador Theatre Group .

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Laurie Anderson on Her Surprising (to Her) Grammy Lifetime Achievement Award: ‘I’m Glad to See They’re Softening’ on ‘Experimental Stuff’

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When the Recording Academy’s list of its 2024 lifetime achievement awardees was announced on Jan. 5, the name “ Laurie Anderson ” was most surprising to one of its recipients: Laurie Anderson. “The Grammys ? They don’t usually look over at the experimental world. Then again, I do kind of go in and out of both,” says Anderson from her New York City home. “I am really happy to see that they saw this as music, because generally the Grammys ignore experimental stuff. Then again, every category of music is softening, so I’m glad to see that they’re softening too. People are much more open-minded about music than they were, say, five years ago.” The back-and-forth, genre-jumbling that she spoke of refers to a densely-knotted, recorded body of experimental music and spoken word work for which she’s received six Grammy nominations and one win: Best Chamber Music/Small Ensemble Performance for her 2018 “Landfall” album with the Kronos Quartet during the 61 st annual awards.

The luster and bluster of Anderson’s albums range from the avant-pop of 1984’s “Mister Heartbreak” (with Peter Gabriel and Nile Rodgers) to 2015’s “Heart of a Dog,” the elegiacally melodic soundtrack to Anderson’s self-directed documentary tied to her late, finger-painting dog Lolabelle and her experiences in downtown NYC after the terrorist attacks of 9/11. Anderson’s wildly wide oeuvre includes recordings for independent labels (from 1981’s Giorno Poetry Systems double album “You’re the Guy I Want to Share My Money With,” co-starring William S. Burroughs, to 2019’s “Songs from the Bardo” with Tenzin Choegyal and Jesse Paris Smith on Smithsonian Folkways). It also includes albums released as part of her longtime relationship with Warner Brothers, followed by the Nonesuch label. Anderson has also recorded albums that included the voice and guitar of her late husband, Lou Reed, such as 1994’s “Bright Red,” 2001’s “Life on a String,” and 2010’s “Homeland.” Along with appearing as a vocalist and violinist on Reed albums “Set the Twilight Reeling,” “Ecstasy” and “The Raven,” since his 2013 death, Anderson acted as an editor on Reed’s posthumously published book, “The Art of the Straight Line: My Tai Chi.” Looking backwards to the 12-month period in 1981-82 when she went from independent label artist to signing a deal with Warners for her debut album, “Big Science,” and the attention-getting single “O Superan,” Anderson happily remembers the jump to the major label world.

“I thought that the question of my brand was the funniest thing I’d ever heard,” she says. “I mean, I knew what they were talking about. I told them I’d be wearing the sort-of glasses and suit on my album cover that I wore during my shows and that was it — like a joke, or something. Now, young artists and musicians take branding very seriously. You have to show up on TikTok, or you don’t exist.” Anderson launches into a story about how within the last month she has received calls from friends that she had gone viral on TikTok, that people had picked up on the two same lines from “O Superman” – “You don’t know me, but I know you” and “I’ve got a message to give to you” – and turned them into memes. “I guess I tapped into the zeitgeist of what TikTok would be 45 years ago.” she says. “The thing about TikTok is wanting to be known. It’s a little bit about celebrity, a little bit about branding. This song is about how I’m going to send this message to the guy I just ditched in a way that is interesting, and how long am I going to put myself out there…. Whoa. People are really smart, how they picked up on this thing and used it in a new way to send messages to each other. It’s as if I reached into the future then, and found something really useful – the usability is fantastic.”

Anderson has added AI-generated projects to her sonic landscape since becoming the Australian Institute for Machine Learning’s first artist-in-residence with a project that found her funneling her songs into an AI program for works based on her tone and sense of language. While Anderson points out that the question of AI being great or terrible for artists is way too broad, she does believe that the art of artificial intelligence is a great writing partner.

“Wow, what do you think?” she quizzes, something she does often throughout this interview. When I state 2001’s “Life on a String” as the most her , with its discordant but warm melodicism, and lyrics about the death of her father (“Slip Away”), Anderson thanks me for my suggestion. “I don’t do things to express myself, so when I think of the ‘most’ me, it doesn’t really matter,” she says, perhaps in connection with William S. Burroughs’ forever-focus on the “you” of the matter, and never the “I.”

“I don’t care if people get to know me. I’m just trying to look at the world in a different way. However, in the sense of how I would like to look at the world, yours is a really great answer. Thank you for being of service.”

And the Recording Academy thanks Laurie Anderson for her service with his weekend’s Grammy Lifetime Achievement Award.

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Laurie Anderson: “Let X=X.” Malmö/ Summer European Tour

Written by Duška Radosavljević | 26th Jun 2023 | Review , Sweden

Laurie Anderson. Press Photo.

Laurie Anderson’s new show – currently on its European tour – is full of meteorological precipitation. The multimedia backdrop, designed by the artist, features various kinds of downfall or condensation, though not infrequently the quiet lightness of snow. This is a theme that reaches back to her previous projects such as her 2021-22 Smithsonian exhibition The Weather, and also her 2015 project Heart of a Dog. Having refracted different kinds of loss – both personal and pertaining to the planet – the artist is now also layering into her live performance some mindful serenity and the characteristic pearls of wisdom about the purpose of night, the angelic provenance of artificial intelligence, and the role of storytelling at the end of the world.

In many ways, Let x=x , a show performed with the avant-garde jazz band Sexmob, is also an attempt at defying gravity, resisting the pull, reverting the downward fall. All seemingly aged 55 and above, the musicians have a variety of genres up their sleeves – they support Anderson’s dreamlike futuristic scores and virtuosic solos with copious grace, but they are also able to rock like the best of the 20th century all over again. On a narrative level, there is a striking story at the show’s climax from the artist’s childhood about trying to pull her siblings out of a frozen lake. Having slept on it, I still cannot decide if this was a true story, a dream, or a parable, but it is one of those I will never forget. Not least because it is delivered with a lightness of touch and true drama that never veers into sentimentality.

As is usual in Anderson’s work – and we do get back all the way to her chart-topping 1981 classic ‘Oh Superman’ – technology, cryptologists and different kinds of experts are all exposed to playful scrutiny. Personal heroes, family members, and friends from the world of Performance Art are lovingly invoked and even honoured with an occasional song number (‘It’s not the bullet that kills you Chris [Burden], it’s the hole’), but it is the audience that ultimately gets the special treatment. Beguiled and elevated all the way through, we begin by being invited, via Yoko Ono, to indulge in a ten second scream on the topic of our choice, and we end by willingly participating a tai chi session in honour of Lou Reed. It is an event at a concert hall certainly like no other that will leave you buoyed and refreshed like a spell of summer rain, and maybe just a little thoughtful about the state of the world.

This post was written by the author in their personal capacity.The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.

This post was written by Duška Radosavljević .

The views expressed here belong to the author and do not necessarily reflect our views and opinions.

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Laurie Anderson and Kronos Quartet’s "Landfall," Their First Collaboration, Out Now

Order the album at Nonesuch

"We Learn To Speak Yet Another Language" Video

All The Things I Lost In The Flood

In this landmark volume, the artist brings together the most comprehensive writing about a collection of her artwork to date, some of which has never before been seen or published. Spanning drawing, multimedia installations, performance, and new projects in virtual reality, the extensive volume traverses four decades of her groundbreaking art, up to, and including her 2017 “Chalk Room” installation at Mass MoCA.

Chalkroom + to the moon currently on view at massmoca.

Chalkroom Named Best VR Experience at the 74th Venice International Film Festival

Heart Of A Dog

Latest News

Let X = X West Coast Tour

March 22 – Knoxville – tickets March 27 – Los Angeles – tickets March 28 – San Francisco – tickets March 29 – Portland – tickets March 30 – Seattle – tickets  

Rubin Museum – About Time

Time is one of the most impermanent forms of measurement that humans have devised to help manage life. Do you feel like you’re running out of time? Which way is time going? Are you able to stop time? If so, how? In a series of on-stage conversations, artist, writer, and vocalist Laurie Anderson tackles these questions and more to help us reframe

2024 Grammys Lifetime Achievement Award

What luck! To be part of a group of some of my all-time favorite artists. https://www.grammy.com/news/2024-grammys-special-merit-awards-recipients-lifetime-achievement-award

Let X = X Fall Dates

Sep 19, 2023 – NYC TAPESTRY: HOME AS REFUGE

NYC TAPESTRY: HOME AS REFUGE Sep 19, 2023 Featuring Laurie Anderson Raven Chacon, Natalie Diaz and thingNY Emel Forró in the Dark Wang Guowei Angélique Kidjo Michael Mwenso Mwenso & the Shakes Curated in Collaboration with Trinity Church Wall Street Programming Consultant Annie Ohayon Directed by Sarah Benson MORE INFO

ZORN @ 70 – August 27, 2023

ZORN@70 at ROULETTE PART THREE: John Zorn, Laurie Anderson, Sean Ono Lennon Sunday, August 27, 20238:00 pm Tickets and info

Let X=X Tour screams

Thank you to everyone who came out to see the Let X=X tour. We measured the loudness of every crowd during the “Yoko Ono scream” section and you can see the results in this video. Congratulations to Gothenburg, Sweden for being the loudest audience!

Summer 2023 Tour: Let x=x

Tickets and info at https://linktr.ee/laurieanderson

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Current Exhibitions

Chalkroom & aloft.

Laurie has several pieces on display through 2018 at Mass MoCA in North Adams, MA.

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A virtual reality installation created along with Hsin-Chien Huang, Chalkroom is covered floor to ceiling with drawings and text that glow in the black-lit space.

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Dear audience,

As of January 2024, the Archa Theatre has been transformed into ARCHA+ , a multifunctional cultural space open to collaboration with many partners and its own work for the upcoming generation.

More at www.archa-plus.cz

Ondřej Hrab and Jana Svobodová continue their creative activity in the newly founded organization Archa - Centre of Documentary Theatre, z.ú.

More at www.archadoku.cz

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Laurie Anderson with Sexmob: Let X=X

Respect festival & Archa Theatre presents

Tuesday 21. 11. 2023 20:00 Large auditorium

Tickets available via Archa Theatre and GoOut.cz

One of the best representatives of the New York avant-garde scene, performer and artist, musician and - by her own definition - 'storyteller', Laurie Anderson announces her return to Europe in 2023 with a refined and overwhelming performance in which she presents, between stories, multimedia elements and experimentation, the ' Let X = X ' tour, accompanied on stage by the New York band Sexmob , led by Steven Bernstein (woodwinds), with Briggan Krauss (sax, guitar), Tony Scherr (bass), Kenny Wollesen (percussion) and Doug Wieselman (guitar and woodwinds). 

Behind Laurie Anderson is an incredible artist who has made the avant-garde and minimalism her inspiration: composer, writer, director, photographer, instrumentalist, visual artist, explorer of new forms of technology, all these characteristics come together naturally in a figure who embodies like no other the creative act understood as uninterrupted performance. 

In the new European adventure, the artist brings to the stage 'Let X = X', a track taken from the masterpiece album 'Big Science' (1982), a happy minimalist synthesis between Steve Reich and Robert Ashley, which freeze-dried avant-garde theatre in the lexicon of popmusic. And which would become the cornerstone of a dazzling musical narrative, conspired with the help of a group of splendid veterans of the downtown New York scene.

https://laurieanderson.com

Project is realised with financial support from Ministry of Culture Czech Republic, State Culture Fund and the Prague City Hall.

Ministerstvo kultury ČR

Hlavní město Praha

Státní fond kultury ČR

Coming soon

Breaking News

There’s no escaping Philip Glass and his piano etudes right now

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In 1994, Philip Glass wrote six seemingly ordinary piano etudes for conductor and pianist Dennis Russell Davies on the occasion of his 50th birthday. Glass also wrote them for himself. Etudes are traditionally studies in technique, and here they’re an ever-pragmatic composer’s exercises to improve his own playing.

Davies gave the premiere in Bonn, Germany, in 1994 and soon after played them at the Brooklyn Academy of Music. They seemed then like both technical studies and compositional ones, focusing on this melodic cell or that propulsive rhythmic idea, meant to get the fingers going and the compositional juices flowing, but not much more than that.

With Glass, however, you never know where anything will wind up. He may start out in overly familiar territory, then through barely perceptible gradual changes the end point becomes an unexpected marvel. That the grain of the marvel was always there is sensed only in retrospect.

Something similar happened with the composition of the etudes themselves. Over a span of two decades, Glass wrote two books of 10 each, becoming ever more richly lavish and virtuosic beyond the composer’s own piano skills. The solemn and gorgeous 20th is a Glass masterpiece that abstractly mirrors the music to Godfrey Reggio ’s 2013 film “Visitors,” a series of small portraits that, with the help of Glass’ score, becomes a kind of cinematic transmigration of their souls.

The full 20 etudes are now essential Glass, his most performed music. There have been at least a dozen complete recordings, the latest by the eloquent Polish pianist Maciej Ganski, released March 25. They have become encore favorites by noted pianists. Yuja Wang turns No. 6 into a stunning showpiece. Choreographers as well as pianists (professional and amateur alike) can’t get enough of them.

A lovingly produced large box, with sheet music of each etude and a book of eclectic essays about the etudes, came out late last year. Among those who pay the etudes tribute in it are chef Alice Waters, painter Jenny Saville, choreographers Justin Peck and Lucinda Childs , film director Martin Scorsese , performance artist Laurie Anderson , writer Pico Iyer and NPR newscaster Ari Shapiro.

The 20 etudes have also been part of a touring in a production by Pomegranate Arts over the past decade. The cycle finally reached L.A. last month presented by the Los Angeles Philharmonic as a Green Umbrella concert.

It was a revelation, but not so much for what it told us about the etudes, although there was that, but about what Glass has wrought on music in general. Acceptance of the 87-year-old composer by the classical music establishment has been painfully slow and weirdly irregular. On same day of the etudes event at Walt Disney Concert Hall, the New York Philharmonic announced that its 2024-25 season includes Gustavo Dudamel conducting Glass’ Symphony No. 11. Shockingly, it will be the first time the orchestra will play a Glass symphony (he’s up to 14) and only its second time performing a concert work by New York’s most famous composer since Leonard Bernstein.

Over the 10 days following the etudes at Disney, at concert after concert in the hall and around town, on international radio and on recording, there was proof that — whether you love him, hate him, pay him or his music no mind, or pretend he doesn’t matter — you cannot escape Philip Glass. His impact on composers of succeeding generations, whether they accept him or oppose him, is indelible.

The weekend of concerts by the San Francisco Symphony, L.A. Phil and Colburn Orchestra at Disney following the etudes featured three central post-Glass generations of composers and performers — John Adams, Esa-Pekka Salonen and Timo Andres — all of whom have been affected one way or another by Glass. Their music may not sound anything like Glass (in Salonen’s case adamantly not), but none of it would have been the same without Glass’ precedent.

In this Adams is a central figure. As the longtime L.A. Phil creative chair, he programs the Green Umbrella series, and it was significant that Glass preludes preceded a weekend devoted to Adams and his influence at Disney. Much of Glass’ own influence on American classical music has been channeled through Adams. It was he who found a way to apply the hardcore outsider minimalist musical revolution of Glass, Steve Reich and Terry Riley to a more inclusive and original musical language. With startling originality, Adams combined the propulsive energy of Glass to his more mainstream musical enthusiasms, be they Sibelius symphonies, late Beethoven string quartets, Stravinsky, American jazz and much else.

At Disney, Salonen, touring with his San Francisco Symphony, led an arresting performance of Adams’ “Naïve and Sentimental Music,” a grand symphony in all but name, of which Salonen had given the world premiere with the L.A. Phil in 1999. No Glass is audible in this vast sonic landscape, but its propulsion has minimalist roots and in the exquisite quiet center of its slow movement there is a kind of Glassian sentience. The reception on this occasion was almost like a rock concert from a cheering, screaming audience. The players, too, applauded Salonen and stamped their feet, showing support for their music director, who has announced that he will not renew his contract as music director because of the lack of support from the orchestra’s board.

Not only had Glass helped to pave the way for Adams, but it was Adams who helped pave the way for Salonen as a composer. As far as I know, the only time Salonen has ever performed Glass was dressed in a bunny suit in a moment of silliness at the 1999 Ojai Music Festival. He and composer Magnus Lindberg began an opera-themed Saturday morning children’s concert seated at a piano as bunnies, banging out the opening of “Einstein on the Beach.” That evening, Salonen conducted Adams’ Chamber Symphony, in which Glass and a few other composers irreverently meet Schoenberg.

It was Adams and particularly the Chamber Symphony that had led to Salonen’s own compositional breakthrough with “LA Variations” two years earlier, not so much as a style (no Glass, for sure) but as permission to allow new uses of melody and harmony in his music.

Adams was just back in town after the London premiere of his latest wild and wildly engaging symphonic score, “Frenzy,” conducted by Simon Rattle with the London Symphony. (An L.A. Phil co-commission, it is supposed to arrive here in the 2025-26 season but can be heard through April 24 in an archived broadcast on BBC Radio 3 .) At Adams’ concert conducting the L.A. Phil last month, he turned to yet another of his large symphonic works, “City Noir,” this one commissioned for Dudamel in 2009. In a performance both moody and propulsive, Adams relished his echoes of jazz and classic soundtracks from 1950 Hollywood noir soundtracks.

He also conducted a premiere by his younger colleague, Timo Andres, who is a superb pianist and happened to be one of the five participants in the etudes concert. “Made of Tunes,” though, is a concerto for Aaron Diehl, a pianist equally conversant in classical music and jazz, and someone with his own attachment to Glass: He made a sparkling jazz trio arrangement of No. 16 . The “tunes” Andres makes use of in his concerto come from American folk songs, parlor songs, blues and ragtime, and they go through colorful repetitive transformations, embellished by Diehl’s improvisations. While sounding little of Glass or Adams, the way Andres develops his tunes as process, his arresting use of percussion and the music’s forward motion all imply that he has absorbed Glass and Adams into his own unique voice.

That originality was very much on display in the etudes marathon itself. Along with Andres’ brilliantly illuminating performances, Maki Namekawa, who has been muse to Glass, brought her radiance to all she touched, especially No. 20. Jenny Lin made sure we heard the etudes as brilliantly virtuosic new music. Russian pianist Anton Batagov made sure we heard them as brilliantly hypnotizing traditional music. Crossover pianist Lara Downes could have you believe the etudes were written in 2024.

In the book of short essays about the etudes, Davies, who has conducted nearly all of Glass’ operas and symphonies and who is married to Namekawa, contends that the challenge of the etudes is to keep them pure, “in the sense of keeping the ego out of it.” When his wife was learning them, he writes, he had to go outside to leave her alone.

He has a point. Letting the processes in Glass’ music speak for themselves is what gives license for others, including Glass dissenters such as Salonen, to find their own processes. But when it comes to interpreting the etudes, which Davies fears could be overly romanticized in the wrong hands, he’s going to need to spend a lot of time outside.

The week following the Disney cycle, the second and fifth etudes got a complete makeover in UCLA’s Center for the Art of Performance’s “Maya Beiser X Philip Glass in Concert” at the Nimoy . The cellist, joined by four cello colleagues, slowed the etudes down to almost half speed, wrapping and enrapturing her surroundings with the sonic blanket of amplified cellos. These transcriptions were no longer piano etudes, per se, but the performances conveyed the essence of practicing, of learning a piece by slowly going over and over passages, getting more and more inside the sound of your instrument.

The resonance of Glass’ openness in the etudes is, indeed, inescapable. Laurie Anderson and the composer Jlin both write of Glass creating a sense of the infinite. Closer at hand, Third Coast Percussion includes Glass and Jlin in its concert at the Nimoy on Friday. Works by Anderson and Jlin will be part of the the Kronos Quartet’s program at Royce Hall on April 28.

More to Read

What made Maurizio Pollini a piano god? Even his late recordings are a revelation

March 27, 2024

Column: Why we need ‘Rhapsody in Blue’ more than ever as it turns 100

Feb. 14, 2024

The L.A. Phil just finished its best fall season in memory. How three maestros made magic

Dec. 20, 2023

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Thursday 08 June 2023

Laurie Anderson and Sexmob

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Tour name: Let X=X

Part of the Holland Festival 2023 programme.

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