MTT conducts Mahler’s Sixth Symphony

by Philip Campbell

The remarkable nexus between Gustav Mahler’s intense Symphony No. 6, the San Francisco Symphony and Music Director Laureate Michael Tilson Thomas has captivated listeners, both at home and on tour, for many years. Whether by coincidence or design, previous concerts have also frequently corresponded with significant world events and SFS milestones.

At the end of March, Thomas returns to Davies Symphony Hall for three evening performances and an open morning rehearsal to explore again the spiritual transcendence of the Sixth, often called ‘Tragic’ symphony. For the first time since shortly before the pandemic lockdown of Davies Symphony Hall and the cancellation of a scheduled European tour, Mahler’s towering masterpiece with its famous “hammer blows of fate” in the finale resounds live once more, the way it should be heard.

The fearless maestro is making the most of his Indian summer resurgence after a brain cancer diagnosis and sur- gery. It seems characteristic of him, if a little worrying for us, that he is tackling such a daunting and physically demanding task at this late point in his career. If his husband Joshua Robison does not object, we will look forward guilt-free to the upcoming visit. When Thomas was last here in late January, his walk to the podium prompted a prolonged standing ovation. Warm wishes can equate with good medicine.

Mahler wrote the massive Symphony No. 6 in A minor during a relatively happy period in his own life, but still agonized over its reception and was reportedly highly anxious, even tearful backstage at the premiere. Called the greatest symphonist after Beethoven, and sometimes the greatest composer of symphonies ever, Mahler has come to define modern music, the transition between musical eras, and perhaps, the best exemplar of what a symphony is supposed to be.

He thought the symphony should embrace the world, and if he really meant universe, the ‘Tragic’ Sixth certainly exhibits his endlessly fascinating, sometimes pessimistic philosophy, with deep insights into the very meaning of life (or lack thereof).

Critics and listeners have sometimes complained the piece does not offer hope and that Mahler’s vision was unrelentingly bleak. Many others, including generations of appreciative musicians and audiences (including myself) disagree. It may be convoluted and end in silent darkness, but “It’s a sheltering darkness, one that peculiarly enough offers refuge,” says Music Aeterna conductor Teodor Currentzis. It also contains some of the most thrilling theatrical moments in classical music.

Thomas has made his own highly quotable observations over the years. Almost three decades ago he called the Sixth, “the symphony I am most afraid of” and, “I find it both wonderful and nearly unbearable.” Strong words from an artist who admits to an “obsessional thing” for the score.

Despite the challenges, he keeps going back to find more understanding. One of his opinions has remained constant; we can listen to the music and know we are not alone in tragic times. Music has a healing power that communicates universal empathy. This was memorably apparent in the grim, sobering days following 9/11 when Thomas and the SF Symphony performed the Sixth for stunned audiences lost in grief and contemplation. The profoundly moving experience provided a necessary group ritual that transcended tragedy. It was a moment of ethereal solace we can still use today.

Thomas has never expressed which Mahler Symphony is his favorite, though he comments most lovingly about the Ninth. I suspect his favorite may be whichever one he is working on. 25 years on the podium and the historic legacy of The San Francisco Symphony Mahler Recording Project on SF Symphony Media testify to his commitment. He first conducted the Symphony in 1974, leading Gustav Mahler’s Ninth.

My favorite Mahler symphony is whichever one I am listening to, though I confess, like Thomas, to having something of an “obsessional thing” for the Sixth.t

Michael Tilson Thomas conducts Mahler’s Sixth Symphony at Davies Symphony Hall, 201 Van Ness Ave. Open Rehearsal, March 30 10am, $30-$40. Performances March 30-April 1, 7:30pm. $35 to $165. (415) 864-6000 www.sfsymphony.org

by Gregg Shapiro

With a name like Smut, you might not expect the Chicago-based band to sound like a Great Lakes version of The Sundays on the album “How the Light Felt” (Bayonet), but it does. Lead vocalist Tay Roebuck could easily be mistaken for The Sundays’ Harriet Wheeler, especially on the title song, “Let Me Hate,” “Supersolar,” and “After Silver Leaves.” That said, Smut has no trouble carving out its own identity throughout the album, as is obvious on “Unbroken Thought” and the synth-driven “Morningstar.” In other words, with a name like Smut, it has to be good.

It was only a matter of time, wasn’t it, before we started to hear from the next Billie Eilish or the next Lorde (or Lana Del Rey, for that matter)? Enter Nessa Barrett and her debut album “Young Forever” (Warner). Already a social media star (who isn’t these days?), Nessa Barrett wears these aforementioned comparisons on her designer sleeve, while also establishing her own singular voice. Traversing some dark subject matter, including mental health struggles and bullying, Barrett gives listeners a lot to think about on “Gaslight,”

“Forgive the World,” “Talk to Myself,” “Fuckmarrykill,” “Madhouse,” and “Unnecessary Violence.”

Nessa Barrett performs on March 19, 8:30pm at The Masonic, 1111 California St. $17-$400. www.livenation.com

If you’ve been following the incredible singer/songwriter Sunny War (aka Sydney Lyndella Ward) since her 2018 breakthrough album “With The Sun” and 2019’s “Shell of A Girl,” you might be surprised at how much of a leap forward she makes on her new album “Anarchist Gospel” (New West).

Beginning with opener “Love’s Death Bed,” with its hot harmonica work by Chris Pierce and the call-and-response choir backing vocals, featuring a guest appearance by queer artist Allison Russell, you know you are in for something new and attention-getting. The same can be said for the thrilling instrumentation on “No Reason,” a song that puts War in a whole new league of commercial and immediately accessible music. The truth is, there’s not a bad song to be found with “Swear to Gawd,” “His Love,” “New Day,” “Test Dummy,” and worth special attention.

Singer/songwriter Weyes Blood (aka Natalie Laura Mering) had her work cut out for her when it came to following her universally acclaimed 2019 album “Titanic Rising.” The good news is that she met the challenge with grace and delivered the worthy successor “And in the Darkness, Hearts Aglow” (Sub Pop), the second album in a trilogy that began with “Titanic Rising.” Weyes Blood is a purveyor of timeless pop with influences from the 1970s through the present day. Each of these ten songs is nothing short of breathtakingly beautiful, surrounding the listener with the warmth of

Weyes Blood’s distinctive vocals and instrumentation that perfectly suits each song. Standouts include “Twin Flame,” “Grapevine,” “It’s Not Just Me, It’s Everybody,” “God Turn Me into a Flower,” and the deceptively poppy “The Worst Is Yet to Come.”

Weyes Blood performs on March 25 & 26 at The Regency Ballroom, 1300 Van Ness Ave. $27.50-$40. www.theregencyballroom.com

Scottish singer/songwriter KT Tunstall got lucky right out of the gate. Her 2006 debut album “Eye to the Telescope” contained the ubiquitous hit single “Black Horse & the Cherry Tree,” which earned her a Grammy nomination and other accolades. Since that time, Tunstall has released six more albums with “Nut” (Blue Elan) being the latest; a worthy showcase for all of her gifts, including her skills as a guitar player and songwriter. “Nut” kicks into high gear with album opener “Out of Touch,” featuring wily wordplay. The soaring “I Am the Pilot” is asking for club play and Tunstall brings the record to a close with the stripped-down ballad “All the Time.”

Known for their rocking approach, New Zealand’s The Beths move in a slightly softer direction on the poppy, but still amplified, “Expert in a Dying Field” (Carpark). Lead vocalist and guitarist Elizabeth Stokes injects the dozen songs with emotion, a welcome warmth occasionally obscured on previous releases. From the opening title tune through songs including “Your Side,” “Knees Deep,” “When You Know You Know,” “I Want To Listen,” “Change in the Weather,” and the rocking blast of “I Told You I Was Afraid,” The Beths prove they are experts at versatility.

When she was a member of the British post-punk band Goat Girl, Naima Bock was known as Naima Jelly. After leaving her former bandmates, her stage name, and that musical genre behind, Bock steps forward with her gorgeous solo debut album “Giant Palm” (Sub Pop). Experimental folk in the best sense of the term, the ten songs, which drift towards us via Bock’s airy vocals are mesmerizing, and often too brief, leaving us wanting more. Standouts include the title number, “Camp- ervan,” “Working,” “Every Morning,” and her cover of Jobim’s “O Morro.”

One of the most exhilarating debut albums of 2022, “Versions of Modern Performance” (Matador) by Chicagobased female trio Horsegirl, blazes with youthful daring and exuberance. Taking cues from Sonic Youth, as well as a host of `90s alt-rock acts, Horsegirl synthesizes its influences into a wholly original sound. “Beautiful Song,” “Option 8,” “Live and Ski,” “The Fall of Horsegirl,” “Anti-glory,” “World of Pots and Pans,” and “Billy,” all deserve to be on your playlist.

There’s no question that Californiabased vocalist Judy Whitmore can carry a tune on her new album “Isn’t It Romantic” (Arden House Music). She has a pleasant and expressive voice and is respectful of the material. The arrangements are appropriately jazzy if a bit safe. The trouble is that Whitmore doesn’t really add anything new or original to her renditions of welltrodden songs by Ray Charles (a swinging “Hallelujah I Love Him So”), Barry Mann and Cynthia Weil (“Just A Little Lovin’”), Johnny Burke and Johnny Van Heusen (“It Could Happen to You”), Hoagy Carmichael and Ned Washington (“The Nearness of You”), Kurt Weil and Ogden Nash (“Speak Low”), and the Rodgers and Hart title tune. Maybe the left-coast cabaret acts didn’t get the memo about expanding their repertoire beyond the Great American Songbook of the 20th century.t

by Gregg Shapiro

S hortly before Benjamin (Cooper Koch) leaves town to start his gay porn career in Los Angeles, he and straight best friend Dom (Jose Colon) hang out in a Maine gay bar in Carter Smith’s “Swallowed” (All The Dead Boys Productions). Benjamin tells Dom he’ll miss him, and the bar, but can’t think of a good reason to stay.

Dom tells Benjamin he has a going away present for him, but they must make one quick stop first. At a work site, Dom meets up with Alice (Jena Malone), a friend of his cousin’s. Alice is a drug dealer and Dom has agreed to make a drug run for her across the border in Canada in exchange for $15,000, which he intends to give to Benjamin. But the drug run isn’t a simple one, and it involves Dom swallowing said product drug-mule style. When he refuses, Alice pulls a gun and he complies, swallowing five mysterious packets. Benjamin swallows one, too. As you may have guessed, the one quick stop is anything but.

At the designated rest area where Dom is to make the delivery, he gets into a fight with a local redneck who was harassing Benjamin. The redneck punches Dom in the gut, setting off a potentially dangerous chain reaction. Alice shows up at the rest area, prom- ising to get Dom to a hospital, but in truth diverts them to a cabin owned by her boss, Rich (out actor Mark Patton) so she can extract the drugs. En route, Alice explains what it is exactly they’re transporting. It’s an exotic bug whose bite, when first hatched, provides an intense high resulting in, among other things, a nine-hour erection. But unfortunately, it also tempo-

Spring Fling

rarily costs the user the use of their legs. Pros and cons, don’t you know?

Once inside the cabin, Benjamin greases up his hand and assists Dom with the delivery. Because, as Alice says while she’s pointing a gun at Benjamin, “You don’t want them hatching” inside of Dom. And then Rich arrives. His presence ratchets up the tension, but in terms of horror, there’s not much to speak of. However, one of the sacks does break and Dom dies. But this is a lost horror opportunity for director Smith. Why didn’t the beast burst forth from Dom’s chest a la “Alien?”

Not long after, Rich, who’s in a frenzy over the loss of profit dead bugs symbolize, kills Alice. That leaves Benjamin and Rich, and the creepiness potential increases. What follows is a hot bath, an attempted seduction, a full-frontal nude scene (Benjamin’s, not Rich’s), a daring escape, and a brutal act of revenge.

Cooper Koch is in the process of becoming the Scream Queen of 2022 with his performances in “Swallowed,” as well as Peacock’s “They/Them.” While he’s the best part of “Swallowed” (and that’s not saying much), it’ll be interesting to see where he goes from here. Rating: Ct

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