Photo Credit: Alessandra Leimer<\/p>\n
Review by Jonny Malyon<\/p>\n
Haley Heynderickx is on tour for her sophomore album, \u201cSeed of a Seed.\u201d The concert began with a fairly brief set from Kalia Vandever, a solo trombonist. Her set was full of lush soundscapes built with her trombone, an array of effect pedals, simple backing tracks, and brief sung and spoken word passages. Vandever spoke about childhood memories, passed on relatives, tumultuous relationships, and Hawaiian spiritual guides influencing her music. I was struck by her earnestness and how she expressed so much emotion through a largely instrumental set.<\/span><\/p>\n Following her set, Haley Heynderickx took the stage accompanied by electric guitarist William Seiji Marsh and cellist Caleigh Drane to her right, Matthew Holmes on electric bass, and Daniel Rossi on drums to her left. While an artist like Heynderickx, with a somewhat soft voice and acoustic guitar, could easily get drowned out by such a band, these players refused to let that happen. I was especially impressed with Daniel Rossi on the drums, who illustrated this point perfectly. He is clearly an incredibly talented player, but never once showed off. He was looking at Heynderickx throughout the entire set, following her cues and supporting her grooves. The delicacy and almost reverence that Rossi and all of these incredibly talented musicians showed in the songs they played were awe-inspiring. They are clearly all very close and know each other well. When introducing her band members, Heynderickx invited them all to share a fun fact about themselves, and towards the end of the set, Marsh even quipped, \u201cWho needs a family when you have us!\u201d<\/span><\/p>\n Heynderickx’ set included the entirety of \u201cSeed of a Seed,\u201d with the exception of \u201cSpit in the Sink,\u201d albeit in a slightly different order. She started with \u201cGemini\u201d and “Foxglove,\u201d followed by \u201cAyan\u2019s Song\u201d and \u201cSorry Fahey.\u201d She was very talkative during the set, lightheartedly lamenting about life on tour and thanking us for our support. She shared that many of these songs provided her refuge when she wrote them during the COVID-19 pandemic, and she hoped that sharing them at this time might provide a safe place for us following the recent election and current political climate in our country.\u00a0<\/span><\/p>\n As she prepared to play \u201cSeed of a Seed,\u201d it became clear how important the song was to her. Afterward, she joked about taking more than two minutes to explain a two-minute song but shared her realization that while every generation feels that they did things best, no one really knows what they are doing. We are all just trying our best. She lightheartedly invited us to join in a quick moment of silence for the houses that we will never be able to afford. While Heynderickx is clearly aware of the hardships, division, and seemingly stacked odds that face her and the vast majority of people living in the United States, she maintains a sense of radical acceptance and hope. The line, \u201cIf I get lucky, maybe a simple life,\u201d reveals that her dreams are tempered. She\u2019s not asking for or expecting much, and she\u2019s committed to finding happiness in the simple joys that life offers.\u00a0<\/span><\/p>\n Next, Heynderickx played \u201cMouth of a Flower\u201d and \u201cRedwoods.\u201d She spoke about technology and constant marketing and how she always tries to balance it with nature. Both of these songs provide a glimpse into the way that Heynderickx communes with the natural world. A very spiritual and reverenced relationship exists. \u201cRedwoods\u201d posits Heynderickx as a plant prophet of sorts, sharing a magical history that her \u201cancient god[s]\u201d shared with her in hopes that we might return to a time of communicating more directly with trees, rivers, birds, and bugs. She laughs at the fact that she still doesn\u2019t have the skills necessary to live in the forest but hopes \u201cone day.\u201d<\/span><\/p>\n \u201cSwoop\u201d ended this portion of the set, and the band left Heynderickx alone to perform \u201cOn a Good Day,\u201d a Joanna Newsom cover, and \u201cDrinking Song\u201d from her first album, \u201cI Need to Start a Garden.\u201d The band rejoined for \u201cJerry\u2019s Song\u201d and a few old favorites, \u201cThe Bug Collector,\u201d \u201cNo Face,\u201d and \u201cOom Sha La La.\u201d\u00a0<\/span><\/p>\n Haley Heynderickx is a truly special artist. She sings of her fears, loves, musings, and dreams in such an honest and approachable way. Towards the end of her set, she shared her belief that you don\u2019t need a guitar or a paintbrush to be an artist, cultivating relationships is art. She also shared that her fears of permanence and commitment to only leaving on the album what she truly meant caused the delay in its release. I left the theater committed to giving more time and intentionality to my relationships, nature, and simple happiness. Haley Heynderickx reminded me that life is hard and beautiful all at the same time, and that\u2019s okay.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":" Photo Credit: Alessandra Leimer Review by Jonny Malyon Haley Heynderickx is on tour for her sophomore album, \u201cSeed of a Seed.\u201d The concert began with a fairly brief set from Kalia Vandever, a solo trombonist. Her set was full of lush soundscapes built with her trombone, an array of effect pedals, simple backing tracks, and […]<\/p>\n","protected":false},"author":24057,"featured_media":44746,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1525,1523,15],"tags":[33,97,327,2192,1928],"_links":{"self":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/44745"}],"collection":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/users\/24057"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/comments?post=44745"}],"version-history":[{"count":1,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/44745\/revisions"}],"predecessor-version":[{"id":44747,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/44745\/revisions\/44747"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/media\/44746"}],"wp:attachment":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/media?parent=44745"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/categories?post=44745"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/tags?post=44745"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}