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      10 Songs that Explain My Year

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      A playlist of songs from artists including Liz Phair, Drake and John Cale that explain our critic’s year.An interview with John Cale was a pinch-me assignment for our critic, one which also informed her reading list.Chantal Anderson for The New York TimesDear listeners,In my very first installment of this newsletter, I introduced myself and my musical tastes by sharing 10 (or actually 11) songs that explain me. As we wrap up 2023, I thought it would be fun to revisit that format and compile a playlist of songs that explain my year.Some of these represent older songs, musicians or even artists in other disciplines I first connected with in 2023. Others coincide with some personal milestones in my year: weddings, concerts, vacations, assignments and that time when I got stuck in Toronto for three days in July. The only rule was that I could not include anything released this year — you’ve probably read your share of year-end lists at this point, and anyway, I’ve already made an exhaustive playlist of the year’s best songs. (Seriously. It’s over 8 hours long.)But, on a more personal level, not all of the music that will remind us of this year came out in 2023. Maybe the song that will always trigger the most potent memories of this year was an old one you fell back in love with, a new-to-you discovery or a tune forever linked with an important event.I’d love to hear about your year in music, too. Here is a submission form where you can tell me about an older song that explains your 2023. We may use your response in an upcoming edition of The Amplifier.In the meantime, consider today’s playlist — which features songs by Tia Blake, Jacques Dutronc, the Beatles and more — my own 2023 musical travelogue.Listen along on Spotify as you read.1. John Cale: “Graham Greene”I kicked off my year with a total pinch-me assignment: Traveling to Los Angeles to interview John Cale. That’s only part of the reason this track makes the playlist, though. While I was out there, admittedly under the influence of this song, I realized I’d never read any of Graham Greene’s novels. I stocked up on some used copies of his classics at the Last Bookstore and was almost done with “The End of the Affair” by the time I landed back in New York. Greene’s emotionally immersive novels have been a welcome distraction all year; I currently have about 50 pages left in “The Heart of the Matter” but I keep putting off reading them, because I don’t want the book to end. (Listen on YouTube)2. Jeanette: “¿Porqué Te Vas?”I watch a lot of old movies, and when I discover a director, writer or actor I particularly like, I tend to want to binge their entire filmography. I streamed a bunch of movies by the Spanish filmmaker Carlos Saura last year when the Criterion Channel featured an extensive series on him, and when he died this February at age 91, I resumed my binge in memoriam. This also meant revisiting my favorite Saura film, the 1976 drama “Cría Cuervos,” which just may be the best and most visceral movie I’ve ever seen about what it feels like to be a child. This haunting Spanish pop song by the English-born singer Jeanette echoes throughout the film, and I became particularly obsessed with it after my most recent “Cría Cuervos” rewatch. (Listen on YouTube)3. Tia Blake: “Wish I Was a Single Girl Again”I have my dear friend Jenn to thank for introducing me this year to the music of Tia Blake when we were browsing together in a record store, and she spotted a copy of the Georgia-born singer’s 1972 album, “Folksongs & Ballads.” I sought the record out at Jenn’s recommendation and was completely enchanted by Blake’s plaintive voice and the purity of her tone. (Listen on YouTube)4. Liz Phair: “Big Tall Man”Yes, he’s winning! Spinning! This one is in honor of my favorite basketball player and personal role model in good-natured trolling, Joel Embiid, who finally won the N.B.A.’s Most Valuable Player Award this year. I cried alarmingly hard when his little son Arthur trotted out as he accepted the award. Now all he needs to quiet the haters is a championship for the Philadelphia 76ers! (Listen on YouTube)5. The Beatles: “Here, There and Everywhere”With all due respect to the many (many) mixes I compiled for The Amplifier this year, the most important playlist I made in 2023 was the one my sister Chelsea and her now-husband Andrew asked me to make for their wedding party. I was beyond honored, and if I do say so myself, my most ingenious move was including my own parents’ wedding song, “Here, There and Everywhere.” That’s what you get when you call upon a professional playlister. (Listen on YouTube)6. Taylor Swift: “My Tears Ricochet”Ah, 2023: The Year of the Eras Tour. I went in May with my friend Lauren; not to brag, but we have been besties for even longer than Taylor and Abigail have. This is one of those songs I reached for this year when I was really going through it, emotionally speaking, and I needed a little therapeutic wallowing. When she played it live, I hollered along until I was hoarse. (Listen on YouTube)7. Drake: “Know Yourself”In July, I went to Toronto on assignment, pulled an all-nighter to file a story, and then arrived at the airport only to be told that all the flights from Toronto to New York had been canceled … for the next three days. If you flew anywhere at all this summer, you might also recognize this experience as being “very 2023.” So for about 72 strange, liminal hours, I found myself, quite literally, runnin’ through the Six with my woes. This became my personal theme song: I am now convinced it is about walking the length of Spadina Avenue while on hold with an airline. (Listen on YouTube)8. Jacques Dutronc: “Et Moi, et Moi, et Moi”The first rule of travel, at least for Amplifier readers: Always listen to the local radio stations. While on vacation in Belgium this fall, my boyfriend and I found a Brussels station that we played constantly in our hotel. It featured a mix of standard American “classic rock” and whatever the French-speaking version of that format is. Among our discoveries were Laurent Voulzy’s bonkers, bilingual “Rockollection” and this bouncy, absolutely infectious 1966 bop by the French singer Jacques Dutronc. Now every time I want to remember how much fun we had in Belgium, I listen to this song. (Listen on YouTube)9. Elvis Costello & The Attractions: “Every Day I Write the Book”Call the title of this song an … aspirational mantra for my year. I’m currently working on the manuscript of my first book, and man, is it difficult to carve out the time to write a book while working full-time. Or doing, like, anything else in your life. Hats off to any and all who have pulled it off — I look forward to being among your ranks soon. But this was a phrase I sometimes hummed to myself on the many days when I wasn’t able to sit down and work on the book in a more traditional sense. I know every day I’m subconsciously working on it, too: Mulling over research, collecting unexpected bits of inspiration, making connections that will someday emerge on the page. Oh yeah, and I caught one of Elvis Costello’s shows when he played a residency at the Gramercy Theater this February, too. That was awesome. (Listen on YouTube)10. The Marvelettes: “Please Mr. Postman”Deliver the (news)letter, the sooner the better! Hey, you know what else happened in 2023? I started writing The Amplifier. Thanks to each one of you for reading, listening and helping to create such a vibrant community of music lovers. Here’s to 2024. (Listen on YouTube)I didn’t have it in myself to go with grace,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“10 Songs that Explain My Year” track listTrack 1: John Cale, “Graham Greene”Track 2: Jeanette, “¿Porqué Te Vas?”Track 3: Tia Blake, “Wish I Was a Single Girl Again”Track 4: Liz Phair, “Big Tall Man”Track 5: The Beatles, “Here, There and Everywhere”Track 6: Taylor Swift, “My Tears Ricochet”Track 7: Drake, “Know Yourself”Track 8: Jacques Dutronc, “Et Moi, et Moi, et Moi”Track 9: Elvis Costello & The Attractions, “Every Day I Write the Book”Track 10: The Marvelettes, “Please Mr. Postman”Bonus TracksBack for a moment to music released in 2023: Jon Pareles and I joined Jon Caramanica to get philosophical (and a little silly) about our songs of the year lists. It was the most fun I’ve had on Popcast in a long time. Listen to our conversation here. More

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      What Older Song Did You Discover This Year?

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      We want to know why it resonated with you.In a recent edition of The Amplifier newsletter, Lindsay Zoladz shared the music that shaped her year. She discovered the music of French singer Jacques Dutronc while on vacation in Belgium, learned about folk musician Tia Blake from a friend and revisited a Beatles classic at her sister’s wedding.As she pointed out, not all of the music that will always remind us of this year actually came out in 2023. Maybe your favorite song of the year was an old tune you fell back in love with, a new-to-you discovery or a piece of music linked with an important event in your life. With that in mind, we’re asking readers: What song explains your 2023? Why did it resonate with you this year?If you’d like to share your story with us, fill out the form below. We may publish your response in an upcoming newsletter. We won’t publish any part of your submission without reaching out and hearing back from you first.Older songs that are new to you More

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      Chatting About the Best Songs of 2023

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThe New York Times’s pop music critics have some overlap in their taste, but in their annual songs-of-the-year roundup, the differences truly reveal themselves. There are songs from across genres, of course. And naturally, across generations. But sometimes, a song isn’t a “song,” per se — it can come from a movie, or a TikTok, or a commercial, or anywhere else music is deployed. Everyone’s personal soundtrack is unique.That means tracks with pop sheen from Olivia Rodrigo and Central Cee, heartache from PinkPantheress and YoungBoy Never Broke Again, wind-instrument wildness from André 3000, and songs from “The Idol” and “Barbie.” Also featured: Noname, Yo La Tengo, Byron Messia, Kylie Minogue, Lankum and dozens more.On this week’s Popcast, a conversation about the most impressive songs of the year, the difference between a musical event and a song, and whether a best-songs list that excludes music from a critic’s best albums can be considered valid.Guests:Jon Pareles, The New York Times’s chief pop music criticLindsay Zoladz, a pop music critic for The New York Times who writes The Amplifier newsletterConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Madonna’s Celebration Tour, an Experiment in Looking Back

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      Her Celebration Tour is the pop superstar’s first retrospective, one which thematically explores her past and perhaps offers a glimpse of how she will chart her future.For 40 years, evolution, rebellion and resilience have been Madonna’s hallmarks, but forward momentum is her life force. She’s been pop music’s premier shark, operating in near perpetual motion: Why would she pause to bask or look back, and risk losing oxygen?So there are understandable touches of both defiance and reluctance to the Celebration Tour, her first road show devoted to hits rather than a new album. The retrospective began its North American leg at Barclays Center in Brooklyn on Wednesday night with all the classic trappings of a Madonna spectacle. But unlike her 11 prior tours of this scale, this one was haunted by ghosts — some invited, and some who crashed the party.The set list began with a moment of birth — not the start of Madonna’s career, but the arrival of her first child — via “Nothing Really Matters,” a song from her 1998 album, “Ray of Light,” about how parenthood rearranges priorities. The anachronism was a table-setter: If Celebration recounts her life story, its arc was animated by her experiences of losing her mother and becoming one, herself. “Never forget where you came from,” she instructed a dancer who served as an avatar for her younger self, whom she then gave a maternal hug.Over two-plus hours, Madonna explored her career through themes which included her bold sexuality.The New York TimesThe first part of the concert, which was divided into seven chapters, was its most carefree (“Everybody,” “Holiday,” “Open Your Heart”). But the joy was built on struggle. Before Madonna took the stage, the night’s M.C., Bob the Drag Queen, reminded the crowd that the singer came to New York City from Detroit with $35 in her pocket and scattered faux bills.Decked out in a teal corset, a black miniskirt and a jacket adorned with chains, Madonna, 65, conjured some of the gritty energy of the late-1970s downtown scene where she first found like-minded creative spirits. It was a relief to be back, she said with a barrage of f-bombs, as she strapped on an electric guitar for a power-chord-heavy version of “I Love New York” blended with “Burning Up.” Vintage photos of CBGB, where she played one of her earliest gigs, lit up on the screen behind her.Glee was soon tempered by devastation: The community of artists who gave Madonna a home was decimated by AIDS, and she presented “Live to Tell” as a powerful tribute. Screens suspended around the stage, which stretched nearly the length of the floor on a series of runways, at first displayed single faces. The images then multiplied, demonstrating the scale of the epidemic. There were simply too many tales to tell.Over two-plus hours, Madonna resisted the simplest routes to depicting her own story. After the first section, the concert was only loosely chronological, leaning instead toward themes: her bold sexuality (“Erotica,” staged in a boxing ring, and “Justify My Love,” staged as a near orgy); her search for love (a salacious “Hung Up,” and the fan favorite “Bad Girl”); her rugged defiance (the perennial cowboy-themed standout “Don’t Tell Me”). She peppered the show with references to previous tours and videos, but skipped obvious choices (“Papa Don’t Preach,” “Express Yourself”) in favor of the glitchy 007 theme “Die Another Day” and a pointed acoustic cover of Gloria Gaynor’s “I Will Survive.”Madonna’s 11-year-old daughter Estere owning the catwalk during a section devoted to “Vogue.”The New York TimesThe show’s most spectacular number was “Like a Prayer,” which she sang on a dramatic spinning carousel that held shirtless dancers striking poses that mimicked Christ’s crucifixion. The remix’s propulsive bass provided tension, and a quick cut to Sam Smith and Kim Petras’s “Unholy” underscored the original track’s enduring influence.Madonna has always fixed her sights on what’s next, but the artists who have followed her have chosen different paths. This year alone, two women decades her junior turned yesteryear into big business: Taylor Swift has been delving into her prior album cycles onstage, and Beyoncé played stadium shows inspired by styles of dance music that date back before her birth.Madonna has never before indulged in nostalgia, and at this concert, it was clear why. In the ’80s she was rewiring expectations for what a pop career could accomplish. In the ’90s, she was testing how explicitly she could express her desires. In the 2000s, she was finding fresh freedom on the dance floor. In the 2010s, she was bringing new voices into her orbit. But on a tour celebrating the past, it’s impossible to ignore the passage of time. There is less future stretched out before Madonna now, and it’s unclear how she will reckon with it.Until recently, her groundbreaking career was a demonstration of seemingly impossible physical strength. But near the end of the 2020 theater shows supporting her last studio album, “Madame X,” serious injuries took a toll. Madonna’s once inexhaustible body failed her just days before the Celebration Tour was scheduled to start in July, and she was hospitalized with an infection.Over her career, Madonna’s performances have demonstrated seemingly impossible physical strength.The New York TimesAt Barclays, she let her dancers do much of the heavy lifting, though she still handled choreography — mostly in heels — for the majority of the show. At times, skipping down the runway with her blonde hair flying behind, she looked like the carefree upstart who flipped the pop world on its head. At others, a hair behind the beat, she looked like a stage veteran who has endured decades of punishing physical labor.“I didn’t think I was going to make it this summer, but here I am,” she told the crowd early on. She saved space in the show for those who didn’t: In a curious tribute to Michael Jackson, a silhouette of the two superstars dancing together was projected as a mix of “Billie Jean” and “Like a Virgin” played. Someone dressed like Prince mimed soloing on one of his signature guitars at the end of “Like a Prayer.” And, movingly, Madonna honored her son David’s birth mother alongside her own when he joined her for “Mother and Father.”David strummed a guitar to that melancholy song from “American Life” as well as to “La Isla Bonita”; her daughter Mercy accompanied her on a grand piano for “Bad Girl.” But otherwise, Madonna eschewed a band for this tour, instead using tracks edited by her longtime collaborator Stuart Price. The choice removed some of the theater of the show and put extra pressure on Madonna’s vocals, which started out raspy and occasionally strained. (For what it’s worth, the crowd didn’t hit the high notes of “Crazy for You,” either.)Madonna eschewed a band for this tour, a decision that emphasized her vocals.The New York TimesMadonna, long a noted perfectionist, seemed looser and chattier throughout the night. Several pauses to address the audience were dotted throughout the set, and she was elated during a playful tribute to the ballroom scene she spotlighted in “Vogue,” which featured her 11-year-old daughter Estere owning the catwalk. For “Ray of Light,” Madonna looked like she had a blast dancing in the confines of the rectangular lift that ferried her above the crowd.Madonna has long known the power of video, and the most effective encapsulation of her impact came in a montage before the show’s penultimate act that stitched together headlines and news reports about her unparalleled ability to shock the world. “The most controversial thing I have ever done is to stick around,” she said in a 2016 speech highlighting how she’s continually had to battle the twin scourges of sexism and ageism.New Yorkers, she noted onstage, don’t like to be told what to do. But perhaps finally pausing to look back has showed her another path forward: her well-earned legacy era. “Something is ending,” she sang in “Nothing Really Matters” as she swooped around the stage alone, “and something begins.” More

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      Trinity Church’s ‘Messiah’ Is Still the Gold Standard

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      The church’s urgent and eloquent version of Handel’s classic oratorio remains an inspired communal rite.The holidays are a time for traditions — and for doubting them. Is Grandma’s ham drier than you thought when you were young? Is the movie the whole family watches every year maybe a little offensive?For me, the question on Wednesday was whether Trinity Wall Street’s version of Handel’s “Messiah” would be as good — as bracing, as riveting, as disturbing and consoling — as I remembered.Seeing Trinity’s “Messiah” for the first time, in 2011, showed me the galvanic possibilities of this classic work more than any recording or live outing I’d ever heard. This wasn’t the usual, quaintly sleepy Christmas routine, but a seething, electrically direct and dramatic enactment of an oratorio that both describes and calls for transformation: “And we shall be changed,” its crucial line promises.It had been a good few years since I’d heard the church’s Handel. But when people would ask me for a “Messiah” recommendation among the many options that pop up in New York each December, I always replied with a single word: Trinity.This “Messiah” long achieved its exhilarating quality because of an exceptional in-house choir and period-instrument orchestra — and because of Julian Wachner, Trinity’s director of music and the arts, who led the church’s medieval-to-modern music program with energy and ambition.Early last year, Wachner was fired by Trinity before the church completed an investigation into an allegation of sexual misconduct against him, but after it found he had “otherwise conducted himself in a manner that is inconsistent with our expectations of anyone who occupies a leadership position.” (He has denied the allegations.)His departure left one of the jewels of the city’s artistic and spiritual scenes leaderless until early this month, when the church announced that Melissa Attebury would be its next director of music. For almost two years, Trinity has depended on staff and guest conductors, including, for this year’s Handel, Ryan James Brandau.And what a relief to find that Trinity’s “Messiah” is still burning and gladdening, vivid in both darkness and light. If Brandau’s account lacked some of Wachner’s charged, even savage intensity, that wasn’t entirely a bad thing. The performance on Wednesday added some elegance to the urgent, heartfelt directness, the emphasis on communication, that has been Trinity’s standard in this piece.The soaringly resonant acoustics of Trinity Church smoothed some of the choir’s bite into airy creaminess, but the passion was still palpable. And while the orchestral sound was sleeker than I recalled, it had the same stirring commitment and bristling responsiveness to the vocalists, as well as a glistening, pastoral dawn quality to the shepherds.These forces are truly an ensemble, aided by my favorite aspect of the church’s version. Most “Messiah” presentations bring in a quartet of opera singers for the solos. Trinity’s soloists — almost 20 of them — come forward from the choir, giving the oratorio the feeling of an intimate, alternately sober and joyous communal rite, modest yet monumental.This practice also allows the ensemble to show off the strengths of its roster — no soprano is ideally suited to all the work’s soprano arias — and to experiment. In 2017, Wachner switched the traditional genders of all the solos, a change thrillingly recalled this year by having Jonathan Woody, a bass-baritone, blaze through “He was despised,” instead of the standard female alto.There was more sense than there usually is of the range of emotion within numbers, not just between them. The tenor Stephen Sands was calm, then pressing in the beginning of the work, and the soprano Madeline Apple Healey was sprightly, then tender in “Rejoice greatly.”Brandau guided the score so that “Hallelujah” seemed to emerge from the preceding numbers, which gradually rose in fieriness. And he, choir and orchestra built patiently to the work’s true climax — “The trumpet shall sound,” sung with annunciatory power by the bass-baritone Edmund Milly and accompanied with eloquence, on a difficult-to-control, valveless natural trumpet, by Caleb Hudson — before the shining waves of the final “Amen.”Though pleasant enough, a pared-down New York Philharmonic’s “Messiah,” heard on Tuesday, paled in comparison. Conducted by Fabio Biondi, the founder of the distinguished period-instrument group Europa Galante, in his debut with the orchestra, this Handel was a little stolid in the first part, though with more crispness and color in the second and third.Fabio Biondi made his debut with the New York Philharmonic conducting Handel’s “Messiah.”Chris LeeThe quartet of young vocal soloists made little impact in tone or interpretive zest; the star here was the venerable Handel and Haydn Society Chorus, from Boston. A few dozen strong, it sounded rich yet lucid, with metronomic clarity in the burbling 16th notes of “And He shall purify” and with evocative gauziness in “His yoke is easy.” Biondi led a lithe, brisk “Hallelujah,” seemingly designed to make this omnipresent number a bit more unassuming than the norm.Beyond the start of “Messiah” season, this was a banner week for early music in New York. On Saturday, the Miller Theater hosted the Tallis Scholars at the Church of St. Mary the Virgin in Manhattan, part of the ensemble’s 50th-anniversary tour. And yet more Handel: On Sunday, Harry Bicket and the English Concert continued their annual series of concert performances of his operas and oratorios at Carnegie Hall with “Rodelinda.”“Messiah” is Christmas music, but not entirely, since Jesus’ birth occupies only a few minutes of this long meditation on his life and example. The Tallis Scholars, though, offered a real Christmas program of largely Renaissance works focused on the shepherds who receive the news of the Nativity.Under their founder and director, Peter Phillips, these 10 singers displayed the floating silkiness, light without seeming insubstantial, that has been Tallis’s trademark over its remarkable career.With the parts of Clemens’s “Missa Pastores quidnam vidistis” interwoven with other pieces, the concert was notable for its exploration of different composers’ treatments of the same texts. Pedro de Cristo’s straightforwardly lyrical, almost folk-inflected “Quaeramus cum pastoribus” preceded Giovanni Croce’s grander version. And Jacob Obrecht’s plainchant-and-elaboration “Salve regina” came before Peter Philip’s later, more declamatory one.At Carnegie, the English Concert brought its characteristic spirited polish — moderate yet exciting — to “Rodelinda,” a work that Bicket has helped make a sterling recent addition to the Metropolitan Opera’s standard repertory. The cast of six was individually impressive and, even better, well matched. The soprano Lucy Crowe’s voice warmed in the title role as the afternoon went on, and her portrayal was gripping from the start. The countertenor Iestyn Davies, as her believed-to-be-dead husband, Bertarido, had, as usual, special time-stopping persuasiveness in slow music.It was refined work. But the performance over the past week that has lingered with me most is clear. If someone asks for a recommendation — for the holidays, or for music in New York in general — my answer is the same as it’s been for years: Trinity’s “Messiah.” More