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      Cultural Venues’ Quest for Billions in Federal Aid Is Halted by Glitch

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      On the first day nightclubs, movie theaters and other arts organizations hurt by the pandemic could apply for $16 billion in federal aid, the system malfunctioned. No applications got through. As the government prepared on Thursday to start taking applications for a $16 billion relief fund for music clubs, theaters and other live event businesses, thousands of desperate applicants waited eagerly to submit their paperwork right at noon, when the system was scheduled to open.And then they waited. And waited. Nearly four hours later, the system was still not working at all, sending applicants into spasms of anxiety.“This is an absolute disaster,” Eric Sosa, the owner of C’mon Everybody, a club in Brooklyn, tweeted at the agency. Shortly after 4 p.m., the Small Business Administration — which runs the initiative, the Shuttered Venue Operators Grant program — abandoned its effort to salvage the broken system and shut down it down for the day. No applications were processed. “Technical issues arose despite multiple successful tests of the application process,” Andrea Roebker, an agency spokeswoman, said in a written statement. After discussions with the vendors that built the system, the agency decided “to shut down the portal to ensure fair and equal access once reopened, since this is first-come, first-serve,” Ms. Roebker said. “This decision was not made lightly as we understand the need to get relief quickly to this hard-hit industry.”In social media forums and Zoom calls, frustrated applicants vented and shared their anger. “It’s hard to keep hearing ‘help is on the way’ and then not be able to apply,” said Tom Weyman, the director of programing at the Columbus Theater in Providence, R.I. “I don’t think any of us thought the application process would be totally smooth, but this is life and death for our venues.” The meltdown echoed problems the agency had last year in taking applications for the Paycheck Protection Program, which it also oversees. When that program opened, the agency’s overwhelmed systems seized up — and the same thing happened again, weeks later, when a new round of funding became available. Applicants for the grant program were incredulous that the agency was not better prepared — especially because the funds are to be distributed based on the order in which people apply. Those who get their applications in early have the best chance of getting aid before the money runs out. “It pits venues against each other because we’re all mad-dashing for this,” Mr. Sosa, the Brooklyn club owner, said in an interview. “And it shouldn’t be that way. We’re all a community.” For businesses like Crowbar, a music club in Tampa, Fla., getting a grant is a matter of survival. Tom DeGeorge, Crowbar’s primary owner, took out more than $200,000 in personal loans to keep the business afloat after it shut down last year, including one using its liquor license as collateral.More than a year later, the club has reopened with a smattering of events at reduced capacities, but the business still operates in the red, Mr. DeGeorge said.“We lost an entire year of concerts in the blink of an eye, which was close to $1 million in revenue,” Mr. DeGeorge said. “That’s why we need this grant so badly.”The aid was authorized by Congress late last year after months of lobbying by an ad hoc coalition of music venues and other groups that warned of the loss of an entire sector of the arts economy.For music venues in particular, the last year has been a scramble to remain afloat, with the proprietors of local clubs running crowdfunding campaigns, selling T-shirts and racking their brains for any creative way to raise funds. For the holidays, the Subterranean club in Chicago, for example, agreed to place the names of patrons on its marquee for donations of $250 or more.“It’s been the busiest year,” Robert Gomez, the primary owner of Subterranean, said in an interview. “But it’s all been about, ‘Where am I going to get funding from?’”As it struggled to make ends meet, the Chicago club Subterranean decided to place the names of patrons on the club’s marquee for donations of $250 or more. Robert Gomez, its primary owner, said, the year has “all been about, ‘Where am I going to get funding from?’”Lyndon French for The New York TimesEven before Thursday’s fiasco, the opening of the shuttered venue program was riddled with complexity and confusion.The Small Business Administration posted a 58-page guide for applicants late Wednesday night, then quickly took it offline. A revised version of the guide was posted just minutes before the portal opened on Thursday. (An agency spokeswoman said the guide had to be updated to reflect “some last-minute system changes.”)And less than two hours before the agency was supposed to start accepting applications, its inspector general sent out an alert warning of “serious concerns” with the program’s waste and fraud controls. The Small Business Administration’s current audit plan “exposes billions of dollars to potential misuse of funds,” the inspector general wrote in a report. Successful applicants will receive a grant equal to 45 percent of their gross earned revenue from 2019, up to $10 million. Those who lost 90 percent of their revenue (compared to the prior year) after the coronavirus pandemic took hold will have a 14-day priority window for receiving the money, followed by another 14-day period for those who lost 70 percent or more. If any funds remain after that, they will then go to applicants who had a 25 percent sales loss in at least one quarter of 2020. Venues owned by large corporations, like Live Nation or AEG, are not eligible.The application process is extensive, with detailed questions about venues’ budgets, staff and equipment.“They want to make sure you’re not just setting up a piano in the corner of an Italian restaurant and calling yourself a music venue,” said Blayne Tucker, a lawyer for several music spaces in Texas.Technical glitches marred the beginning of the first day of submitting applications for the grant program. Empty chairs were seen in Crowbar.Zack Wittman for The New York TimesEven with the grants, music venues may be facing many dry months before touring and live events return at anything like prepandemic levels. The grant program also offers help for Broadway theaters, performing arts centers and even zoos, which share many of the same economic struggles.The Pablo Center at the Confluence, in Eau Claire, Wis., for example, was able to raise about $1 million from donations and grants during the pandemic, yet is still $1.2 million short on its annual fixed operating expenses, said Jason Jon Anderson, its executive director.“By the time we open again, October 2021 at the earliest, we will have been shuttered longer than we had been open,” he added. (The center opened in 2018, at a cost of $60 million.)The thousands of small clubs that dot the national concert map lack access to major donors and, in many cases, have been surviving on fumes for months.Stephen Chilton, the owner of the 300-capacity Rebel Lounge in Phoenix, said he had taken out “a few hundred thousand” in loans to keep the club afloat. In October, it reopened with a pop-up coffee shop inside, and the club hosts some events, like trivia contests and open mic shows.“We’re losing a lot less than we were losing when we were completely closed,” Mr. Chilton said, “but it’s not making up for the lost revenue from doing events.”The Rebel Lounge hopes that a grant will help it survive until it can bring back a full complement of concerts. And if its application is not successful?“There is no Plan B,” Mr. Chilton said. More

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      Tanglewood Is Back This Summer, With Beethoven and Yo-Yo Ma

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      Closed last year, the Boston Symphony’s warm-weather home in the Berkshires will host an abbreviated six-week season.There won’t be the traditional, grand closing-night performance of Beethoven’s Ninth Symphony, with its stage full of singers. In fact, to reduce the risk of aerosol transmission of the coronavirus, there will be no vocal music at all at Tanglewood this summer.But there will still be a lot of Beethoven, along with crowd-pleasing tributes to the composer John Williams and familiar guests like Emanuel Ax, Anne-Sophie Mutter, Joshua Bell and Yo-Yo Ma.Tanglewood, the Boston Symphony Orchestra’s warm-weather home in the Berkshires, announced in March that after remaining closed last year because of the pandemic, it would open this summer for a six-week season — about half the usual length — with limited crowds and distancing requirements. On Thursday, the orchestra filled in the programming: heavy on appearances by its music director, Andris Nelsons, and with a focus on Beethoven, whose 250th birthday last year was muted because of widespread concert cancellations.Nelsons will lead eight orchestral programs, including a Beethoven opener on July 10 featuring the “Emperor” Piano Concerto, with Ax as soloist, and the Fifth Symphony. On July 23, the Boston Pops will honor Williams, who turns 90 next year and is the Pops’ laureate conductor; the following evening, Mutter gives the premiere of his Violin Concerto No. 2, and on Aug. 13 Williams shares the podium for a night of film music. On July 30, the violinist Leonidas Kavakos does Beethoven trios with Ax and Ma, who also plays with the Boston Symphony under Karina Canellakis on Aug. 8. (Details are available at bso.org.)Throughout the summer, performances will last no longer than 80 minutes, without intermissions, and all concerts will take place in the Koussevitzky Music Shed, which is open on the sides. The space, which usually holds thousands, will have a reduced capacity, as will the lawn that surrounds it — a favorite spot for picnicking. Tanglewood is waiting to announce what might go forward in late summer of its well-loved series of pop performers like James Taylor.Students at the Tanglewood Music Center, the orchestra’s prestigious summer academy, will play chamber concerts on Sunday mornings and Monday afternoons, and programs are planned for the Tanglewood Learning Institute, a series of lectures, talks and master classes that began with great fanfare in 2019. The orchestra will host a two-day version of its annual Festival of Contemporary Music, July 25-26.The Knights, a chamber orchestra, will be joined on July 9 by the jazz and classical pianist Aaron Diehl for Gershwin’s “Rhapsody in Blue” and selections from Mary Lou Williams’s “Zodiac Suite.” Among the Boston Symphony’s guest conductors will be Thomas Adès (the orchestra’s artistic partner), Alan Gilbert, Anna Rakitina and Herbert Blomstedt; soloists include the pianists Daniil Trifonov, Jean-Yves Thibaudet and Kirill Gerstein, and the violinists Baiba Skride and Lisa Batiashvili.The Tanglewood season is part of the nationwide thawing planned for this summer of a performing arts scene that has been largely frozen for over a year. The Public Theater has announced that its venerable Shakespeare in the Park will go forward, as will Santa Fe Opera and the Glimmerglass Festival in upstate New York. On Thursday, the Aspen Music Festival and School in Colorado said it would move forward with a nearly two-month season.But as they reopen, institutions are reckoning with sharp losses. As it celebrated the return of Tanglewood, the Boston Symphony said its current operating budget was $57.7 million, down from its prepandemic budget of over $100 million. The orchestra estimated that it has lost over $50 million in revenue in the last year. More

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      Williamstown Festival Will Take the Shows Outside

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      After a lost live 2020, the theater will stage a musical at a museum’s reflecting pool and an immersive show, all over town, based on real events.The Williamstown Theater Festival, which was forced by the pandemic to convert its 2020 season into a series of audio plays, will present live performances again this summer, though not in its indoor venues.Instead, the festival announced on Wednesday three shows that will be staged outdoors throughout the festival’s college-town home. Alongside new plans for scaled-down seasons at Tanglewood and at the Jacob’s Pillow dance festival, it marks a tentative step toward business as usual for the culture-rich region of Massachusetts.The Williamstown season will open on July 6 with “Outside on Main: Nine Solo Plays by Black Playwrights,” to be staged on the front lawn of its main venue. The series, curated by the writer and director Robert O’Hara (“Slave Play”), includes short works by the writers Ngozi Anyanwu, Charly Evon Simpson, Ike Holter and Zora Howard, among others.The world premiere of the musical “Row,” with songs by Dawn Landes and a book by Daniel Goldstein, will be staged at the reflecting pool of the nearby Clark Art Institute starting July 13. The show, directed by Tyne Rafaeli, is about a woman who intends to row solo across the Atlantic Ocean.Initially slated to be produced last summer, “Row” was recorded as part of the festival’s deal with Audible, and will be released April 8 on that platform.The third show, “Alien/Nation,” is a world premiere immersive production that asks audiences to journey through Williamstown by foot or car and “plunge themselves into the center of stories inspired by real events that took place in Western Massachusetts in 1969,” according to a news release.Scheduled to run from July 20 to Aug. 8, it is the brainchild of the Tony Award-nominated director Michael Arden and a company called the Forest of Arden, who devised it along with the playwrights Jen Silverman and Eric Berryman. Early last summer, Arden and some of his collaborators created a similar, experimental piece called “American Dream Study” in New York’s Hudson Valley.The festival typically presents seven shows per summer; according to a publicist, digital-only productions are still to be announced.The Berkshires ended up a national center of attention last summer when Berkshire Theater Festival’s “Godspell,” staged outdoors in a tent next to its main venue, became the first musical production in the country to get approval by the leading actors’ union since the theater shutdown.This summer Berkshire Theater Festival has announced outdoor productions of “The Importance of Being Earnest” and “Nina Simone: Four Women,” while Shakespeare & Company will open its season with Christopher Lloyd in the title role of “King Lear.”Barrington Stage Company, another notable theater in the region, promises a seven-show season that features a Gershwin revue and the comedy “Boca” outdoors and four shows indoors, including two world premieres and a solo play about Eleanor Roosevelt. More

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      5 Minutes That Will Make You Love Brahms

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      Listen as Carlos Santana, Branford Marsalis and others pick their favorites of the moody master of 19th-century music.In the past, we’ve chosen the five minutes or so we would play to make our friends fall in love with classical music, the piano, opera, the cello, Mozart, 21st-century composers, the violin, Baroque music, sopranos, Beethoven, the flute, string quartets and tenors.Now we want to convince those curious friends to love the music of Johannes Brahms (1833-97), master of stirring symphonic exclamations and moody piano solos. We hope you find lots here to discover and enjoy; leave your favorites in the comments.◆ ◆ ◆Isata Kanneh-Mason, pianistThe beginning of Brahms’s Piano Concerto No. 1 is one of my favorite concerto openings. It’s got drama, intensity and emotion — and that’s before the piano even joins! The soloist doesn’t come in for almost four minutes while the orchestra has a long, thrilling introduction illustrating the themes of the movement. Brahms uses the full orchestra, with a lot of grandeur, so the entrance of the piano is always a beautiful surprise, coming in very lyrical and soft. And after such a long wait!Piano Concerto No. 1Krystian Zimerman, piano; Berlin Philharmonic; Simon Rattle, conductor (Deutsche Grammophon)◆ ◆ ◆Carlos Santana, guitarist and songwriterWhen my father died in 1997, I made a resolution that I wouldn’t listen to music for two months. And after two months, my father’s voice said to me, “I need you to play music now.” So I turned on the radio. I was taking my son to school, and as soon as I turned it on, I heard that melody. My father played the violin, and I felt a connection, that he was directing me to this song; it turned out it was Brahms. Not long after, we were working on “Supernatural” with Dave Matthews, and this song came up again. I shared it with Dave, and the next thing you know, it went on the album as “Love of My Life.”Symphony No. 3New York Philharmonic; Leonard Bernstein, conductor (Sony Classical)◆ ◆ ◆Branford Marsalis, composer and saxophonistUnlike a lot of modern musicians who are hellbent on this individuality thing, I openly admit to thievery. I steal. And I steal a lot from Brahms. There are times it’s unintentional, and times it’s quite intentional. This was 50/50. I did some music for “Ma Rainey’s Black Bottom,” and I wrote a melancholy piece for Toledo, the piano player in the movie, and string orchestra. I’m writing the melody and I resolved it in the third and fourth bars. I stole that second half from somewhere, but it took weeks for me to figure out where. Of course, I took it from one of Brahms’s intermezzos.Intermezzo in A minor (Op. 76, No. 7)Glenn Gould, piano (Sony Classical)◆ ◆ ◆Barbara Hendricks, sopranoMy introduction to Brahms came in 1975 at Carnegie Hall, where Herbert von Karajan was conducting the Second and Fourth Symphonies with the Berlin Philharmonic. I had just auditioned for him; he asked me to prepare the soprano solo from the “German Requiem” so that I could sing it at the end of the tour, and he invited me to the concert. It was an unforgettable experience. I later recorded the “Requiem” with him and the Vienna Philharmonic: I dedicate that solo to all who have lost loved ones or are suffering because of this pandemic, essential workers, and victims of conflicts and tragedies all over the world.“A German Requiem”(Deutsche Grammophon)◆ ◆ ◆Tania León, composerDedicated to Clara Schumann, this intermezzo is emotional and intense. It has a magical spell, a loving aura that gently touches the heart. The power of this music sends you to a world of introspection and intimate tranquillity. It is a piece that never dies; it alludes to something you can never grab. You listen to its poetry, and it compels you to listen again and again.Intermezzo in A (Op. 118, No. 2)Murray Perahia, piano (Sony Classical)◆ ◆ ◆Anthony Tommasini, Times chief classical music criticI love the spacious, probing, moody Brahms; the Brahms of breadth and depth; the progressive composer whose mature harmonic language anticipated the atonality of Schoenberg. But Brahms, a virtuosic pianist in his prime, also has a wild side, a showy streak. And no music better captures him in that vein than the dancing, dizzying finale of his Piano Quartet No. 1 in G minor, which he calls a rondo “in the Gypsy style.” On this exciting recording from 1967, Artur Rubinstein, then a month shy of 80, joins far younger members of the Guarneri Quartet.Piano Quartet No. 1(Sony Classical)◆ ◆ ◆Zachary Woolfe, Times classical music editorHere’s more of that jovial Brahms: the finale of his Violin Concerto, a dance with one foot in a sumptuous ballroom, the other in a down-and-dirty village square. After the concerto’s tender slow movement, it’s an irresistible explosion. The soloist here is the silver-toned Janine Jansen; I heard her play this not long before the pandemic began, so for me it’s a precious reminder of what came before — and what will come after.Violin ConcertoOrchestra dell’Accademia Nazionale di Santa Cecilia; Antonio Pappano, conductor (Decca)◆ ◆ ◆Bongani Ndodana-Breen, composerBrahms gave us music of great emotional depth that forces us to pause and reflect. On the whole, his musical demeanor is serious and beautifully melancholic. His “German Requiem” has lived with me since my teens in South Africa, when I first heard it at an arts festival. Three years later I would turn to it when mourning the devastating loss of my grandmother. Instead of the traditional Latin Requiem, Brahms assembled his own beautiful text from biblical sources, in a setting that gave them new meanings. From the opening motif in the cellos to the first words sung by the chorus — “Blessed are they that mourn” — we are embraced with warmth, comfort and, dare one say, love. I have had to turn to it again during this pandemic to quietly grieve the loss of close friends.“A German Requiem”WDR Symphony Orchestra; Jukka-Pekka Saraste, conductor◆ ◆ ◆Peter Pesic, pianist and scientistWhen I was 11, I went deaf from ear infections. After an operation, I was taken to a concert to try out my recovering hearing. The effect of this music was overwhelming. Later, I realized that no other piece of music begins like this: at the crisis, the critical moment. Over the insistent throbbing of a drum, the orchestra soars slowly upward, straining against gravity, struggling so hard yet falling short. It spoke to me even as a child. How could something so heart-rending be so beautiful? Where did this immense struggle lead? I had to know.Symphony No. 1Columbia Symphony Orchestra; Bruno Walter, conductor◆ ◆ ◆Iman Habibi, composerBrahms’s most intimate emotions manifested themselves in his final sets of piano pieces, Op. 116 to 119. My appreciation for them grew with each encounter: first, when I learned some of them as an undergraduate piano student; later, when I had the opportunity to study them in graduate school; and, most recently, as this composer’s last thoughts resounded through our home as my wife, Deborah, performed and recorded the Op. 119 set. These pieces feel personal and remarkably mature in their simplicity, teeming with an abundance of beauty and intricate detail.Intermezzo in E minor (Op. 119, No. 2)Deborah Grimmett, piano◆ ◆ ◆Hyeyung Sol Yoon, violinistI think back to my ornithologist father-in-law wondering aloud, “How was Brahms able to create music that sounds like the vastness of nature?” And to my former teacher ruminating that Brahms was always trying to write textures that were too big for a given ensemble. I listen to the slow movement of the Clarinet Quintet, and I hear, at a microscopic level, that he is creating a boundless world. It’s like seeing the sinew of the body, the veins of the leaves. There’s so much to take in: richness of the harmonies, rhythm of duplets and triplets rubbing against each other. They all gather to bind the sadness and beauty of this revelatory work.Clarinet QuintetAnthony McGill, clarinet; Pacifica Quartet (Cedille)◆ ◆ ◆Valerie Coleman, composer and flutistBrahms’s Fourth Symphony never fails to fill concert hall seats with its charm and familiar interplay between strings and woodwinds. I love it because of how it makes me feel. It’s an old friend who visits. Together we walk along a woodsy trail, laughing and reminiscing in a constant dialogue of all the happy memories of summer festivals gone by.Symphony No. 4Philadelphia Orchestra; Yannick Nézet-Séguin, conductor◆ ◆ ◆Jeff Scott, hornistWhen I went to Manhattan School of Music in the mid-1980s, I’d go to the library to do my listening homework. One day I was preparing for a reading of the Brahms Op. 40 Trio; one version looked interesting because it had been recorded at the Marlboro Festival, which I knew, even as a freshman, was prestigious. The horn player was Myron Bloom, one of the greats — though I had no idea who he was at the time. The pianist Rudolf Serkin and the violinist Michael Tree were also legends. This recording changed my perception of what classical music is — and how beautifully the French horn could fit into the canon.Horn Trio(Sony Classical)◆ ◆ ◆Simon Halsey, choral conductor“Music for the soul,” “medicine for the voice”: These are two of the comments from my singers when we made this recording of “A German Requiem.” To go deep into the text — its phrasing, diction and meaning — was part of a fascinating journey with this great choir and orchestra, savoring the instinctive understanding of the tradition; the warm, velvety choral sound; and the virtuosity of the Berlin Philharmonic. Everything came together. This piece is so well known in Germany that you can feel the audience singing along in their imaginations; it’s music that elevates us as we share it.“A German Requiem”Berlin Radio Choir and Berlin Philharmonic; Simon Rattle, conductor (Warner Classics)◆ ◆ ◆Corinna da Fonseca-Wollheim, Times music writerIt’s not just strange, the change from major to minor: In this breathless ride of a Scherzo, it feels violent, with existential stakes, as the two modes tussle for control with the gritted urgency of antagonists fighting atop a runaway train. The rhythm, too, veers sharply between duple and triple forms, even as the momentum barrels forward. The sense of unity and propulsive flow that grows out of this destabilizing mix of elements is uncanny — Brahms at his intoxicating and brainy best.Piano Quintet in F minorQuatuor Ébène; Akiko Yamamoto, piano (Erato)◆ ◆ ◆Seth Colter Walls, Times music writerWas Brahms a classicist or a progressive? Why not both? Wilhelm Kempff’s restrained, artful approach to the late piano works serves as a reminder of how to bring it all together. Gorgeous melodic lines are shaped with a singing quality; surprising ruptures have a teasing playfulness. And not long after the three-minute mark in a recording of Op. 119, No. 4, Kempff honors some stray, crunchy low-end notes that trouble the otherwise lilting passage — balancing Brahms’s strangeness with his grace.Rhapsody in E flat (Op. 119, No. 4)(Deutsche Grammophon)◆ ◆ ◆Hélène Grimaud, pianistWith and in music, one can withstand the ambient chaos of life and rediscover a possible harmony which doesn’t speak of lost paradise but of paradise found. Romanticism is a way of being. It is a fight for wholeness, for what is essential. It is to go toward that goal with empty hands and an open heart. Music is passion which has found its rhythm. With Brahms, the music’s inner pulse is very close to that of the human heart. Through his signature “Rückblick,” this sense of longing and looking back, his language becomes poignant beyond words.Symphony No. 3Vienna Philharmonic; Carlo Maria Giulini, conductor (Deutsche Grammophon)◆ ◆ ◆Joshua Barone, Times editorIf anyone ever tells you that Brahms is boring or unemotional — and, bafflingly, that’s bound to happen — just respond with any of the three intermezzos of his Opus 117. After the first, a lullaby of crushing beauty, comes No. 2, in B flat minor. It too is a lullaby, with a lilting melody — as simple as the two-note phrases that open his Fourth Symphony — emerging from gently flowing runs. Despite the cascading architecture, it is not so much a passionate outpouring as an invitation, from one lonely soul to another, for five minutes of deeply felt intimacy.Intermezzo in B flat minor (Op. 117, No. 2)Radu Lupu, piano (Decca)◆ ◆ ◆David Allen, Times writerIt took me a long time to love Brahms, whose music once struck me as all too sleepy — “autumnal,” we critics often call it. It wasn’t until time forced me to learn that to live is to lose, I think, that I came to obsess over the dark side of his scores: the grief and sorrow, the loneliness and guilt, the desperation, even the anger. Nowhere is that darkness more engulfing than in his fourth and final symphony, a work with rage at its heart, whatever face it might try to maintain. And no conductor has made its horrors more consuming than Wilhelm Furtwängler.Symphony No. 4Berlin Philharmonic (Pristine Audio)◆ ◆ ◆ More

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      Damon Locks and the Black Monument Ensemble’s Spiritual, Funky Escape

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      The Chicago musician’s group is following up its 2019 album, “Where Future Unfolds,” with an LP reacting to the events of 2020 titled “Now.”During the summer of 2020, as protesters took to the streets after the deaths of George Floyd, Ahmaud Arbery and Breonna Taylor, and the United States once again reckoned with fierce racial and ideological divides, the Chicago-based vocalist, producer and sound artist Damon Locks found himself at a creative impasse.“Where Future Unfolds,” his 2019 album as the leader of the 18-member Black Monument Ensemble, expressed the pain of seeing Black people killed without adequate justice. Should — and could — Locks gather the Ensemble during the pandemic to record new music in response to what was happening around them?“The challenge was, ‘What would I say now?’” Locks, 52, said in a recent phone interview from Logan Square. “And when breath is the most dangerous thing around, how do you record up to six people singing?”He emailed a local studio engineer about recording with a condensed version of the group in the building’s backyard garden. Two obstacles made themselves evident. One, it was hot. “I think it was like 93 degrees the first day, which is a lot,” Locks said. Then there were the cicadas; they were chirping so loudly you would’ve thought they were in the band.“They were seriously right on beat a number of times,” said the clarinetist Angel Bat Dawid, who plays in the Ensemble.Undeterred, Locks and the Ensemble convened at Experimental Sound Studio in late August and recorded what would become “Now,” the band’s new album, out Friday. Where the group’s 2019 LP spun racial disharmony into a sacred celebration of Blackness, the new record envisions an alternate universe of infinite possibility. “The moment ‘now’ is not accounted for,” Locks said. “So anything can happen, you know?”Partially inspired by sci-fi shows like HBO’s “Watchmen” and “Lovecraft Country,” where Black people literally transport themselves out of perilous situations, “Now” uses up-tempo electro-funk and lyrics that spin societal despair into forward-looking optimism. The album — and Locks’s music, in general — also explores the concept of “the Black nod,” or the unspoken mode of communication between Black people in public spaces. In turn, Locks’s Ensemble work — with all its spiritual jazz arrangements, vibrant drum breaks and esoteric movie clips — feels overtly communal, like a private conversation between those who understand the nuances of Black culture.“To me, the nod speaks to this destabilized scenario in the United States and acknowledges that you’re here,” Locks said. “‘I understand that this is crazy, so I see you.’” Locks, who also teaches art in Chicago Public Schools and at the Stateville Correctional Center, a maximum security men’s prison about an hour outside of Chicago, said he was encouraged by the activism he saw in the wake of protests and the pandemic. “I took inspiration from people checking in on people, people trying to get money from one place to the other, trying to find ways to get food to people who didn’t have food,” he said.Locks grew up in Silver Spring, Md., and was introduced to punk as an eighth-grader. One year later, he started going to punk and hardcore shows just down the road in neighboring Washington, D.C., where he saw now-legendary bands like Minor Threat and Bad Brains.As a nascent musician and visual artist, he loved the freedom these groups exercised onstage. That inspired him to create work based on his own feelings, regardless of what was popular. In 1987, as a freshman at the School of Visual Arts in New York, he became fast friends with a classmate named Fred Armisen, who’d only gone to the college to form a band. (“Because all of my favorite bands were art school bands,” Armisen said in a recent interview.) Armisen couldn’t really find anyone to play with, until he met Locks, who had spiky red-and-black dreadlocks.Locks discovered punk rock as a teen and played in the group Trenchmouth with Fred Armisen and Wayne Montana for eight years.Jermaine Jr. Jackson for The New York Times“Damon had a jacket with the Damned painted on it, and I loved the Damned,” Armisen remembered. A year later, Locks transferred to the School of the Art Institute of Chicago. Instead of saying goodbye, Armisen dropped out of S.V.A. and moved too. Another friend and bandmate, the bassist Wayne Montana, followed suit. “That’s how much I believed in him,” Armisen said. They started the experimental rock band Trenchmouth in 1988.The band lasted eight years, during which Locks earned acclaim as a powerful vocalist, performer and visual artist. He made the band’s fliers, collagelike drawings mixing intricate sketches and printed images, which he photocopied at Kinko’s. “That’s the first place where I was like, ‘Oh, this guy is just a genius,” Armisen said. “This is a brilliant person who cares about every millimeter of what something looks like and sounds like.”After Trenchmouth split, Locks and Montana formed the Eternals, an amorphous outfit with a sound rooted in reggae and jazz. Where Trenchmouth scanned as punk and post-hardcore, the Eternals tried to be even weirder. “We let that free openness overtake the music,” Montana said. “We started using some samples and clips from movies in Trenchmouth, but as we got older and bought more equipment, it allowed tonal things to happen that we were always reaching for.”Locks was doing a studio residency at the Hyde Park Art Center in 2017 when he had the idea of putting singers together to expand the sound of his performances. He contacted Josephine Lee, the director of the Chicago Children’s Choir, who sent him a list of five adult singers who could bring his songs to life. The first performance was in his art center studio, where “I just opened the doors and put chairs out in the hall,” he said. The band landed a gig at the Museum of Contemporary Art Chicago. The percussionists Arif Smith and Dana Hall agreed to do the show. The cornetist Ben LaMar Gay, a friend of Locks’s, joined, too.The band’s breakthrough performance came in 2018 at the Garfield Park Conservatory as part of the Red Bull Music Festival, where Locks brought in dancers, a few new singers and Dawid, who filled in for Gay. The Black Monument Ensemble was born; “Where Future Unfolds” is a live recording of the Garfield Park performance. The group’s membership, and size, is fluid: “Some of the singers have changed over time but I consider it a family and possibly folks might show up again,” Locks said.On “Now,” Locks purposely left studio chatter on the album to underline the band’s kinship. (Listeners can experience the joy that comes after the sessions are done, as the melody fades and the Ensemble applauds the take.) “For it to be such a hard time right now, and for us to have this time to record, it was absolutely beautiful,” Dawid said. “We were just thankful to see each other again.”Locks said that his art is designed to speak one-on-one with the receiver. “I’m just trying to communicate as a human being,” he said. “The idea is to be in classrooms talking to students, to be in Stateville talking to artists who are incarcerated, trying to get their voices out there.” And with the collective anguish endured over this past year, he hopes “Now” can bring some positivity: “I’m talking about things that inspire me and passing that along.” More

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      Broadway Reopened. For 36 Minutes. It’s a Start.

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      Before a masked, distanced and virus-tested audience of 150, the dancer Savion Glover and the actor Nathan Lane performed, celebrating theater and testing safety protocols a year after the pandemic caused theaters to close.Three hundred and eighty-seven days after Broadway went dark, a faint light started to glimmer on Saturday.There were just two performers — one at a time — on a bare Broadway stage. But together they conjured up decades of theater lore, invoking the songs and shows and stars that once filled the grand houses in and around Times Square.The 36-minute event, before a masked audience of 150 scattered across an auditorium with 1,700 seats, was the first such experiment since the coronavirus pandemic caused all 41 Broadway houses to close on March 12, 2020, and industry leaders are hoping it will be a promising step on what is sure to be a slow and bumpy road to eventual reopening.Mr. Glover, a renowned tap dancer, performed an improvisational song-and-dance number in which he seemed to summon specters of productions past.Sara Krulwich/The New York TimesThe dancer Savion Glover and the actor Nathan Lane, both of them Tony Award winners, stood in for a universe of unemployed artists and show-starved fans as they performed a pair of pieces created for the occasion.Mr. Glover, a renowned tap dancer, performed an improvisational song-and-dance number in which he seemed to summon specters of productions past. He walked onstage, removed the ghost light that by tradition is left on to keep spirits away from an unoccupied theater, and began to sing lyric samples, accompanied only by the sound of his bright white tap shoes. “God I hope I get it,” he began, citing the yearning theme of “A Chorus Line.”And from there, he was off, quoting from “The Tap Dance Kid,” “Dreamgirls,” “42nd Street” and other shows that he said had influenced him, often celebrating the urge to dance, while also acknowledging the challenges of the entertainment industry. (“There’s no business like show business,” he sang, before adding, “Everything about it is eh.”) He also made a pointed reference to Black life in the U.S., interpolating the phrase “knee-on-your-neck America” into a song from “West Side Story.”“I was a little nervous, but I was elated, and happy, and there was nostalgia, and I was sentimental — it was everything,” he said in an interview afterward. “And I felt very safe. I want to be rubbing elbows and hugging — we’re looking for that eventually — but there’s no more safe place than right in the middle of that stage.”Mr. Lane, a three-time Tony winner, performed “Playbills,” a comedic monologue written for the occasion by Paul Rudnick.Sara Krulwich/The New York TimesMr. Lane, one of Broadway’s biggest stars, performed a comedic monologue by Paul Rudnick, in which he portrayed a die-hard theater fan (with an alphabetized Playbill collection) who dreams (or was it real?) about a parade of Broadway stars, led by Hugh Jackman, Patti LuPone and Audra McDonald, arriving at his rent-controlled apartment and vying for his attention while dishily one-upping one other. (“Have you ever heard of a little show called ‘Evita’?” Ms. LuPone, Broadway’s original Eva Perón, asks Mr. Jackman, to which he retorts, “I loved the movie with Madonna,” at which point Ms. LuPone grabs a steak knife.)In an interview after the event, Mr. Lane said: “These are baby steps toward a real reopening. It’s a way of signaling to everyone that we’re coming back.”And did he feel safe? “I felt as safe as anyone who has been vaccinated and tested 123 times,” he said. “I’ve been swabbed. I’ve been hosed down. There were a lot of precautions and protocols, so yes, I felt safe.”The event’s safety measures included the limited audience, mandatory masks and socially distanced seating. Plus, all attendees were required to show proof of a negative coronavirus test or a completed vaccination regimen and to fill out a digital questionnaire attesting to an absence of Covid-19 symptoms or recent exposure; attendee arrival times were staggered; there was no intermission, food or drink; and although bathrooms were open, attendees were encouraged to use a bathroom before arriving to reduce potential crowding.The 150 attendees sat spaced apart in the 1,700-seat theater, and had to provide proof of a negative coronavirus test or a completed vaccination regimen in order to enter.Sara Krulwich/The New York TimesThe St. James, a city historic landmark built in 1927, was chosen in part because it’s big — one of the largest theaters on Broadway — and empty. The theater also has a modern ventilation system, which was installed when the building was expanded in 2017, and its air filters were upgraded during the pandemic in an effort to reduce the spread of airborne viruses.The theater’s owner, Jordan Roth, teared up in the lobby before the event, moved by the moment. “It’s the first step home — the first of many,” he said. “This is not, ‘Broadway’s back!’ This is ‘Broadway is coming back!’ And we know it can because of this.”The event, while free, was by invitation only, and the invitations went mostly to workers for two theater industry social service organizations, the Actors Fund and Broadway Cares/Equity Fights AIDS. Among them was a Broadway Cares volunteer, Michael Fatica, who is an actor; he was in the ensemble of “Frozen,” which was the last show at the St. James, and which has announced that it will not reopen on Broadway. “They were fantastic,” he said afterward. “And it’s incredible that people are performing. But it’s so far away from commercial theater, and tens of thousands of actors are still out of work.”The event was also a chance to bring back the theater’s employees. Tony David, a porter, was there wearing his black suit and a tie and hat with the logo of the Jujamcyn theater organization, plus latex gloves and a face shield over a mask. “It’s nice to be back and doing something,” he said. “Hopefully this is the beginning.”Jordan Roth, left, the theater owner, greeted the event’s director, Jerry Zaks. “It’s the first step home,” Mr. Roth said of the show. “The first of many.”Sara Krulwich/The New York TimesThe event was directed by Jerry Zaks, a four-time Tony winner, who over the years has both acted and directed at the St. James. “This has been the longest I have not been inside a theater in 50 years,” he said. “I don’t want to sound giddy, but I’m excited, and I feel like a kid. There is a pulse — it’s faint, but there is one, and it augurs well for the months ahead.”The performance was sponsored by NY Pops Up, which is a partnership among the state government, the producers Scott Rudin and Jane Rosenthal and the artist Zack Winokur. Empire State Development, which finances the state’s economic development initiatives, has set aside $5.5 million from its marketing budget to pay for 300 performances through August; the purpose, the state says, is to lift the spirits of New Yorkers and to jump-start the entertainment industry.The organizers said they would confer on Monday morning about lessons learned from the Saturday event, and they anticipate nine other programs in Broadway houses over the next 10 weeks. But most producers expect that full-scale plays and musicals will not return to Broadway until the fall; commercial theater producers have said they do not believe it is financially feasible to reopen at reduced capacity, and the state is hoping to increase occupancy limits and reduce restrictions over time.“I don’t have a crystal ball — none of us do, but we have shows scheduled to reopen in September, October and November,” said Charlotte St. Martin, the president of the Broadway League. Ms. St. Martin, who attended the Saturday event, said the Pops Up performances could be helpful steps toward reopening.“It will give the health department the opportunity to see how the theaters work, and hopefully to learn what it will take for us to be declared OK to open at 100 percent,” she said. “And it’s also a great opportunity to remind us all of what makes New York so special.” More

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      Esperanza Spalding’s Quest to Find Healing in Music

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      The bassist, vocalist and producer’s latest project is a therapeutic suite of songs sparked at an artists’ retreat she started during the pandemic.Esperanza Spalding has never been one to sit idle. Her wandering spirit has brought this 36-year-old musician major achievements over the past decade and pushed her work in new directions. In 2017, Spalding, a bassist, vocalist and producer, spent 77 straight hours in the studio, writing and arranging songs. The resulting album, “Exposure,” was pressed directly to CD and vinyl for a limited release of just 7,777 copies. Her next project, “12 Little Spells,” explored the healing power of music; each song correlated with a different body part.Continuing in that vein, Spalding’s new release, a suite of three songs called “Triangle” due Saturday, is meant to bolster listeners, physically and emotionally. But this time, she’s setting her sights on pandemic tension.“I was remembering ways that music had supported me,” she said on a recent call from her native Portland, Ore., “and wondering if we could go deeper into those themes.”Spalding, an easygoing conversationalist who effortlessly accesses a broad range of scientific vernacular, lights up when unpacking the medicinal powers of music. But with her youthful curiosity and considered cadence, it doesn’t feel like you’re talking to a stuffy professor. Over the past year, she spent time building a retreat in Portland where like-minded artists can think and create without real-world interruptions. Occasionally, she jammed with other musicians, including the R&B luminary Raphael Saadiq and the jazz guitarist Jeff Parker.The concerns about health and restoration in “Triangle” have been percolating in Spalding for quite some time. After the release of “12 Little Spells” in 2018, she took a semester off from teaching music at Harvard and moved to Los Angeles to finish writing an opera with the jazz saxophonist Wayne Shorter, who had fallen ill.“I was worried that Wayne’s health was not going to hold and we wouldn’t be able to finish his opera while he could see it,” Spalding said.But over six months, he “completely sprang back to life,” she said. “He was like this wilted plant that finally got the water and just completely transformed before our eyes.”When the pandemic took hold just a month later, she returned to Portland to start the retreat, where she and 10 other artists of color spent a month on a 5,000-acre property. It’s an idea Spalding had been considering for years.“People use this weird uninvited breath of the pandemic to start the things that they’ve been putting off,” she said. “That definitely happened for me.”The real spark for “Triangle” came at the end of the retreat, where after an event, she sat alone in a garden and wondered how she could assuage the stress of isolation. “We’ve all experienced being confined in a situation that we didn’t design and didn’t ask for,” she said. “A feeling like we can’t break out of it.”She started drafting sketches for songs, with sounds rooted in Sufism and South Indian Carnatic and Black American music, and sent them to would-be collaborators.Three months after the retreat ended, Spalding drove to Los Angeles to finish the music with Justin Tyson, Phoelix and Raphael Saadiq.Will Matsuda for The New York TimesThe compositions — which were written in consultation with music therapists and neuroscientists — are supposed to elicit different emotions. The hypnotic “formwela 1,” carried by Spalding’s looping falsetto, is meant to aid self-soothing during stressful times. “So you learn the song and then you can play it for yourself in your head when you are stuck in a home and there’s no way the dynamic in that moment is going to change,” Spalding said. The ethereal “formwela 2” and soulful “formwela 3” are designed to calm interpersonal aggression and re-center the listener once the anger has dissipated.Three months after the retreat ended, Spalding drove to Los Angeles to finish the music with the drummer Justin Tyson, a regular collaborator of hers; the keyboardist Phoelix, a go-to producer for the Chicago rappers Noname, Smino and Saba; and Saadiq, who’s worked with D’Angelo, Solange and Alicia Keys.“Honestly, she didn’t need anything,” said Saadiq, who produced “Triangle” with Spalding and Phoelix. “She’s so moving in how she plays and how she thinks. I likened myself to Phil Jackson — like, why was he there when Michael Jordan was on the court?”“Triangle” was recorded in his studio. When he heard the final version, he recalled the sound being so transformative that it helped him mentally reset. The music, Saadiq said, “took everything out of my head. I was 100 percent clear.”When played in one go, “Triangle” burrows into your head and stays there, its meditative blend of chants, the sound of rain and vocal repetition meant to pacify prevailing anxiety. “It’s happening,” said Shorter, who plays on the third track. “It’s out there, but it’s interesting what she’s doing. She’s taking all kinds of chances and not giving up. If you see a fork in the road, which path should you take? Take both of them. She’s done that and is going to need good company.”“Triangle” is being released through Spalding’s Songwrights Apothecary Lab, where she, other musicians and practitioners in music therapy and medicine will explore how songwriters blend therapeutic sounds into their work. This summer, she will host in-person pop-up labs throughout New York City, where residents can make appointments and have compositions created to fit their mood.“Basically, what we want to do is hear what people are wishing for from the music, like, what do you need?” she said. “It’s an invitation to hear what you need a song for, and then that informs what we look for in our research, in our investigation.”The songs created in the lab will be available on the website. Some of them will be featured when Spalding releases a full album this fall.It seems like she’s not interested — at least not currently — in the conventional rigors of recording albums, putting them out and going on tour. These days, Spalding would rather improvise and see what happens. Still, she understands that her new initiatives might take some getting used to.“It’s a lot,” she said. “I know part of the work I have to do is introducing and making legible the shape of this project and the offering, because it’s not an album and it’s not a concert. It’s not this and it’s not that.”“I want the collaborative truth of it to be legible,” she added. “That’s part of what’s most important to me about sharing music.” More

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      Itchy to Perform Again, Musicians Eye Return to Touring

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      For now, there may be just a trickle of events (a Dinosaur Jr. tour, the lineup for Bonnaroo in September), but many artists are said to be planning live announcements soon.Like many musicians, J Mascis, the leader of the stalwart alt-rock band Dinosaur Jr., has struggled through a year without touring.“I’ve never been home this long since, like, high school,” Mascis said in a phone interview from his home in western Massachusetts. “To have no idea when or if you can do anything again, just sitting around,” he added, trailing off. “My mental health has definitely suffered.”But a few weeks ago, Dinosaur Jr. took a step toward normalcy by announcing an extensive fall tour, with a handful of warm-up dates booked for as early as May.“We’re not naïve; we know we might have to reschedule,” Mascis said. “But just to have something on the books somehow makes things a bit more hopeful.”After a grueling year, blocked from what is often their most vital income stream, musicians are impatient to get back on the road, and fans are eager to experience live music again. While large-scale shows at arenas and stadiums may not come back full-throttle until 2022, promoters and talent agents, encouraged by the speed of vaccinations, have begun laying the groundwork for what may be a surprisingly busy summer and fall of concerts at clubs, theaters and outdoor spaces.Rhett Miller performing at the City Winery in Manhattan in 2019. He is set to play there again this weekend.Al Pereira/WireImage, via Getty ImagesCity Winery moved its tables in accordance with New York State’s rule that will allow entertainment venues to reopen with limited capacity starting Friday.Emon Hassan for The New York TimesFor now, there may be just a trickle of events. Starting Friday, New York State will allow entertainment venues to reopen at 33 percent of their regular capacity, up to 100 people for indoor spaces. Throughout the country, rules from local governments have kept many clubs and theaters closed, or allowed them to operate at reduced capacities — which for many of those places does not allow enough business to cover the basic costs of operating and of paying artists and employees, said Audrey Fix Schaefer of the 9:30 Club in Washington.“The only thing worse than being totally shuttered is being partially reopened,” said Fix Schaefer, who is also the communications director for the National Independent Venue Association.But many artists are said to be planning tour announcements soon, and hungry venue owners — buoyed by the prospect of $16 billion in federal relief through the Shuttered Venue Operators Grant fund, which they can apply for starting April 8 — are eager for the business.The relative handful of clubs and theaters set to reopen in the spring are doing so with altered seating plans, temperature checks and adjusted financial deals with performers. A recent rock concert in Spain, with extensive Covid-19 protections, drew 5,000 fans. These events are being watched closely by the concert industry, which went into 2020 anticipating its biggest year ever but ended up losing nearly $10 billion in box office revenue, according to data collected by Pollstar, a trade publication.Lizzo performing in Miami early last year. She’s among the artists on the bill for Bonnaroo, in rural Tennessee, now planned for September.Scott Roth/Invision, via Associated PressCity Winery, a restaurant and concert venue on Pier 57, on the West Side of Manhattan, is reopening Saturday with a performance by the singer-songwriter Rhett Miller; it has been gradually filling out a calendar of socially distanced shows, confirming some just days ago. (Rufus Wainwright, Steve Earle, Patti Smith and Stephin Merritt of Magnetic Fields are among those on the calendar.) Tables have been arranged to allow space between parties, and patrons, who must wear masks when not seated, will get their temperatures checked upon entry.“Even if it’s for 100 people, it takes on such a significance to be putting on a show,” said Michael Dorf, the venue’s founder. “It feels like a sacred job, putting on culture.”Miller, a regular performer at the dozen City Winery spots around the country, said that he had struggled with the forced grounding from Covid-19, though he also noted the silver lining of spending more time with his family. The idea of playing live again, he said, both excites and terrifies him.“I’ve been dreaming about it night after night, climbing up on a stage in front of people,” Miller said. “The dreams are fraught and weird. Half the time I’m trying to sing through a mask, or I’m in trouble for not wearing a mask.”Major tours, which typically require months of planning and the hiring of a large crew of workers, have largely punted to next year or even 2023. That should make the next couple of years an extraordinary time for live music, with dozens of superstar acts planning to reschedule postponed tours and make up for lost time. But it may also be a test of touring infrastructure and of fans’ willingness to buy tickets to multiple high-profile shows.“The amount of stadium activity in 2022 is something I’ve never experienced,” said Jay Marciano, the chairman of AEG Presents, one of the industry’s biggest promoters and venue operators. “Over a dozen major artists are actively holding real estate for next year.”Josh Lloyd-Watson, left, and Tom McFarland of the British electronic duo Jungle. They’ve announced fall tour dates.Anna Victoria BestThe fate of summer festivals, an important bellwether, is still uncertain. Some, like the Newport jazz and folk festivals, in Rhode Island, are planning to go on this year, with reduced capacities. Bonnaroo, in rural Tennessee, is planned for September, with Megan Thee Stallion, Lizzo, Foo Fighters and others; Summerfest in Milwaukee, a major urban concert series, is also planned for September. But whether Lollapalooza in Chicago will go forward is unclear.In New York, a smattering of clubs are also planning shows, like Bowery Electric and the Bitter End. But the majority are holding out for when they can reopen at full capacity, or close to it, many proprietors said. The industry has been placing its bets on summer or fall for that.Still, many artists and promoters report watching every news blip about infection spikes and virus variants with trepidation.The British electronic duo Jungle has announced a fall tour at large clubs like Avant Gardner in New York and the Anthem in Washington. Sam Denniston, the group’s manager, said that all signs have pointed toward that being feasible, as millions more people get vaccinated and more venues fully reopen. Yet uncertainty about the pandemic means that anything could happen.“It’s kind of like penguins sitting on the edge of a cliff, and they push one in to see if there’s a killer whale in the water,” Denniston said. “I kind of feel like we’re that first penguin. But someone’s got to take the risk.”While stadium-sized artists are counting on the pandemic coming under control and the full revival of a mothballed industry by the time they hit the road, for many others below the superstar level, a year without shows has simply been long enough.“I don’t know if I can wait another six months to a year,” Miller said, “to do my job again.” More