Last month, Rivera was named one of three recipients of the inaugural Wagner Arts Fellowship, a new initiative recognizing socially engaged visual artists in Greater Boston. She joins visual activist and public historian L’Merchie Frazier and painter-sculptor Wen-ti Tsen in receiving the award, which includes a $75,000 unrestricted grant and access to supplemental professional development services such as financial planning, career consulting and legal support. Recipients are nominated anonymously by their peers, underscoring the respect and recognition they have earned among the artistic community. 

Rivera, who started teaching at Wellesley 16 years ago, highlighted how this unique opportunity can be transformational for an artist. “I think the most important thing about this fellowship is how it’s being done, also putting you in touch with professional consultants to make a sustainable practice. I’m discovering aspects of being an artist that I didn’t even know after being an artist for so many years.”

Drawing heavily from her upbringing in Chile and immigration experience to America, Rivera’s work explores themes of migration, displacement and belonging. 

“I started thinking of my awareness of art and culture. How was it built?” Rivera explained, “And it was built through a lot of information brought from the West, through colonization, mixing with what’s already there. And that was sort of like the thing that was creating my identity.” 

Distance from the influences constituting her identity allowed her to reflect on their scale, in turn appearing in her artwork. 

“I started to think about cultural migration from before the Spaniards arrived. In the continent we had influence from the Inca Empire and Mapuche people — all of these things created clashes and mixed different types of formations of identity. And then the influence of colonial, religious and Catholic imagery. So being [in Boston], I started looking at those influences and types of movements from a distance, and I started thinking about all of those moments at a global scale, and became really interested in displacement, migration and ideas of belonging and experiences of belonging, too.”

In an interview with The Wellesley News, Abigail Satinsky, Program Officer and Curator of Arts and Culture at the Wagner Foundation, spoke to what success looks like for the inaugural fellowship. To Satinsky, it’s about community and long-term impact: “[I hope] Boston is known for a place that supports its artists, and that when people come to come through town they see that there’s an active civic discourse that involves artists that are part of the conversation. And so in doing this, we hope to establish, you know, as an annual program that will continue into the future, that there will be more and more artists that see themselves as part of this cohort, that feel like that. This is a place that they can stay.”

The fellowship will culminate with the artists presenting their work at the MassArt Art Museum as part of an exhibition titled “GENERATIONS,” organized by the Wagner Foundation to coincide with the launch of the 2025 Boston Public Art Triennial, an ambitious citywide showcase of public art commissions. Running from May 22 to November 30, “GENERATIONS” will offer Boston residents the chance to engage with the fellows’ socially engaged pieces.

As for what to expect from Rivera? For her, support received from the Wagner Foundation has been a “big incentive to keep working and also expand the work outside of the studio.” Besides showing some other pieces that are relatively recent, she will be creating a completely new piece for the “GENERATIONS” exhibition. Here at Wellesley, we certainly cannot wait to see what’s in store.

For the Wellesley student spending summer back in their childhood bedroom:

When you’re lying in your twin bed, staring at the ceiling and wondering why 15-year-old  you decided that was a good color to paint a wall, play Lorde’s new single “What Was That ––using your headphones of course, other people live in this house and your brother is studying for the SATs. As a TikTok I once reposted said, “Lorde is like Nanny McPhee, never showing up when you WANT her but showing up when you NEED her.”

For the Wellesley student determined to have a summer fling:

Play “The Glamorous Life” by Sheila E. It’s fun! It was written by Prince! She’s a drummer! The song is nine minutes long and is major for every single second. Play it while doing your makeup, while driving at exactly the speed limit–for legal reasons–or while riding the subway and being mysterious. Everyone wants you. The person you want definitely wants you. And, who knows? You might just find yourself falling in love.

For the Wellesley student getting beaten down by tariffs:

Eggs are four billion U.S. dollars and the minimum wage in your home state is still the exact same. Get in your car and play Gang of Four’s “Natural’s Not In It.” Or not. Gas is really expensive. What to do for pleasure? This song is featured in Sofia Coppola’s “Marie Antoinette” and if we have to be living in an ancién regime-coded era, it might as well be directed by the very best Coppola.

For the Wellesley student who didn’t get into any summer internships:

Play “Fire with Fire” by AlicebanD. You’re trying to find a purpose in your life right now and so is she. There is somebody else who’s clearly to blame, but is it your professors, politicians, or parents? Who knows? Spend your time dreaming and imagining hypothetical scenarios with your friend who lives way too far away.

For the Wellesley student replacing their smartphone with a flip phone:

Have you told your friends that you’re deleting Instagram again? Did you send a reel 24 hours later? If so, this summer it might be time to reconnect with nature. Hear a child’s laugh. Watch the sunset from a 7/11 parking lot as you plan your big move to Montana. Since you won’t have Spotify, go buy Jim Croce’s “I Got A Name” record on vinyl. Plus, whenever you eventually succumb to social media temptations you can post a picture of said vinyl and appear #rustic and cultured to your followers. 

For the Wellesley student upset with the government:

Did you finally block Elon on X? Have you started googling citizenship and visa requirements for Nordic countries? Are you actively avoiding interacting with anyone from Babson? Listen to “Money Game, Pt. 2” by Ren. Yes, he is British and this song is from COVID-19, but the “unprecedented times” are still going on.

For the Wellesley student traveling abroad this summer:

I hate you. I want to trade lives. I have no interest in sharing music recommendations with you because you already have everything. In any case, play “Free Man in Paris” by Joni Mitchell. Or, at the very least, use it as the score to your Instagram post that I will be hate viewing. A little on the nose? Sure. But so is spending the summer in Europe. And you’re unfettered and alive.

Le Petit Four, meaning “The Little Oven” in French, recently opened its doors at 380 Washington St. in Wellesley, less than two miles from campus. Founded by self-taught baker Valerie Coullet, the bakery prides itself on staying true to its Parisian roots  — each baked good is made with imported French flour and butter. This is apparently just what some residents of Wellesley have been waiting for. Townies flocked to the store on its opening morning in January, with the line wrapping around the plaza and down to the parking lot. 

Authenticity is noticeable from the moment you step into the bakery’s chic interior. Pans of freshly-baked croissants, danishes and kouign amann greet visitors with their golden, flaky layers. A large Eiffel Tower sits atop a counter, proudly standing in front of a sign that tracks the store’s croissant sales, with an ambitious goal of 1,000,000. Familiar bakery scents of butter and sugar filled the air as I browsed through the large assortment of treats.   

A kind, patient worker suggested that I try the tried-and-true pain au chocolat. Boy, am I glad that I never say no to a recomendation. What awaited me was the sweet treat of my dreams — rich, dark chocolate enveloped by flaky, airy layers of not-too-buttery dough. The chocolate-to-pastry ratio was perfectly balanced, a hard feat to achieve, with a crisp outer crust that crumbled delicately with every bite. My sole mistake was only getting one! Despite my purchase being a bit on the pricey side, it saved me a round trip ticket from BOS to CDG (girl math?) for a Parisian staple. 

Safe to say, I’ll be back to this “little oven.” The stale chocolate croissants languishing on the counters of the Starbucks further down the road could never compare. If you find yourself craving a sweet treat this semester, want to support a local business, and not stray too far from campus, give Le Petit Four a try! 

Despite intermittent reminders to donate, this year’s Grammy Awards still delivered on its promise to be the industry’s biggest night of the year. In arguably the biggest story of the night, Beyoncé finally won Album of the Year for “Cowboy Carter” after enduring countless snubs throughout her two-decade solo career. She also took home the award for Best Country Album, making history as the first Black woman to win in any country category since the Pointer Sisters in 1974. Adding these wins to the tally, she remains the most-awarded artist in Grammys history with an astonishing 35 awards. 

Doechii’s acceptance of the Best Rap Album Award for “Alligator Bites Never Heal,” which Pitchfork described as “reprising her playful and melodic sides without skimping on hard-hitting hip-hop,” cemented her place in history as only the third woman to win the award. Her heartfelt speech spoke to Black women and girls watching at home: “Don’t allow anybody to project any stereotypes on you that tell you that you can’t be here, that you’re too dark or that you’re not smart enough or that you’re too dramatic or you’re too loud. You are exactly who you need to be, to be right where you are and I’m a testimony.”

Another powerful acceptance speech was Chappell Roan’s, who implored major labels to offer artists a livable wage and healthcare after she was awarded Best New Artist. Following a flamboyant, rodeo-clown-inspired performance of “Pink Pony Club,” the very song that Roan’s former label Atlantic Records discouraged the release of, she shared her experience of being dropped by her former label and struggling with her mental health. “Labels,” she said, “we got you, but do you got us?” 

The biggest loser of the night was Drake, who wasn’t even in attendance. Kendrick Lamar’s “Not Like Us,” the diss track destroying Drake’s reputation and dominating pop culture since its release in May, became the most awarded rap song in Grammys history by sweeping five categories on Sunday, most notably Record of the Year and Song of the Year. If rumors are true, this No. 1 smash hit will be featured when Lamar headlines the Super Bowl Halftime Show in New Orleans later this week.

Contact the editor responsible for this article: Anabelle Meyers

One standout is Baked Cheese Haus, an artisanal cheese company offering the unique Juusto “Baked Cheese,” a Scandinavian-inspired delicacy. When heated, this cheese caramelizes, creating a crispy, sweet exterior while remaining soft and buttery on the inside. The variety of delicious flavors includes Smoked Bacon, Cranberry Cinnamon, Garlic and Jalapeno.

An aesthetic treat popular on social media, decadent cake jars and macarons from Love&Flour can also be found among the rows of vendors. If you’re looking for something plant-based, Clarke’s Cakes & Cookies offers vegan baked goods that don’t compromise flavor in exchange for a healthier, more ethical dessert. These treats are also perfect to take home or gift to a loved one!

Another favorite is the Tuck’s hot chocolate by The Fat Cactus. Described as the “most instagrammable hot chocolate” by Instagram commenters, this drink is the ideal choice to romanticize a freezing Boston evening. A Tuck’s truffle is added to the bottom of every cup so it’s extra chocolate-y — what else is there to say…

For market-goers over the age of 21, there are a handful of holiday-themed bars, each with their own signature cocktail & mocktail like Betty the Yeti-ni and Dizzy Eggnog Dizzy. Mulled wine, a staple drink at European holiday markets, is also served infused with seasonal spices like cinnamon, cloves and orange.

Boston’s Snowport celebrates the season through rich and diverse food and drink offerings, making it a must-visit before leaving for winter break. Make sure to check the market’s hours before heading over, and be prepared to wait in line if it’s at capacity. Whether you’re visiting for a quick bite or looking to spend the afternoon with friends enjoying all the market has to offer, it’s a place for everyone to enjoy the holidays!

A casual glance at recent headlines describes the current conversation – “The sad, painful death of Saturday Night Live,” writes Spiked; “The Internet Isn’t Dead. It’s Saturday Night Live,” according to Wired; “Is It Finally Time to Put ‘Saturday Night Live’ to Bed,” writes The Wrap. When SNL was on break due to the recent writer’s strike, a 2023 poll curated by Newsweek revealed that 50% of American adults said they do not miss SNL at all. The show is also losing the interest of younger audiences, namely Gen Z, as comedy moves away from sketch comedy and towards platforms like TikTok and YouTube. Declining ratings confirm this verdict: Season 47, airing in 2021, saw a 35% drop in ratings from the previous year.

Despite the “death of SNL” allegations, the show is preparing for its 50th season next year, in 2025. Clips of sketches still garner millions of views on Youtube and X. Just this season, SNL reclaimed some social cred by inviting in-demand celebrities to host, such as Bad Bunny, Jacob Elordi and Ayo Edebiri. Recent musical guests on the show, like boygenius and Olivia Rodrigo, also demonstrate SNL’s attempt to attract viewers from the younger generation. In a determined effort to remain relevant, an Oct. 2022 sketch portrayed Miles Teller and Mikey Day as bank robbers in the middle of a heist when the hostages’ BeReal notifications go off. Teller is convinced to download the app (“It’s the only honest social media,” claims Bowen Yang’s hostage character) and to take a selfie of his robbery, incriminating himself. 

SNL’s endeavors to grow its audience fall short of addressing the main critique of the show – it’s just not funny anymore. After the departure of some of its bigger breakout stars in the past few years, such as Pete Davidson, Kate McKinnon and Cecily Strong, SNL has failed to produce a new generation of talent to guide the show into its next era. This problem stems from an over reliance on big-name cast members to guarantee views, which worked when said cast members were still employed at SNL but proved tricky when they all departed. Most of my favorite sketches are from such past seasons, including “The Californians” and “The Shooting AKA Dear Sister,” played by legendary cast members “at the peak” of their comedy career. 

 Personally, I believe that SNL is just in a transition phase. Recent additions to the cast, specifically Devon Walker and Chloe Troast, seem promising. Troast, who was just named one of Just for Laugh’s New Faces of Comedy, made headlines with her breakout sketch, “Little Orphan Cassidy,” where she plays an orphan wondering why nobody will adopt her. “Is it ’cause of my hair? Is it ’cause of my laugh? … Is it ’cause I’m 26 years old?” Troast delivers. “Wait, what?” the Moon, played by Timothée Chalamet, responds. 

It should seem obvious that there are peaks and valleys to SNL’s sketches. While many viewers reminisce about departed cast members and complain about the comedic talent of the current cast, there are certainly still good moments. For example, Scarlett Johanson’s recent parody of Alabama Senator Katie Britt’s response to the 2024 State of the Union Address was praised by audiences and received 5.7 million views on YouTube. 

Though SNL may not always strike comedy gold, it’s been considered as a pillar of American comedy and social commentary for almost fifty years, which should be taken into account before completely trashing it. If SNL wants to hold on to its audience, though, the show needs to invest in the growth of its newer cast and discover what younger generations deem to be funny.

I was lucky to catch their Feb. 18 opening set for Deap Vally at the Crystal Ballroom in Somerville. While Deap Vally’s unremarkable set consisted of repeated guitar hooks and lacked personality, every song on Sloppy Jane’s setlist presented as its own distinct production. Haley Dahl, the vocalist, songwriter and composer for Sloppy Jane, no doubt electrified the crowd of Boston’s middle-aged alternative community (it’s as small as you would imagine it to be). 

In the process of writing this review, I realized that it’s much harder to label what exactly Sloppy Jane is than what the band isn’t. Sloppy Jane isn’t fully Riot Grrrl, although their recent supporting gigs with bands like Pussy Riot and Deap Vally could give that impression. They’re also not your typical low-budget garage rock band; Sloppy Jane’s second full-length album, “Madison”, was entirely recorded in a cave in West Virginia (unfortunately, the cave didn’t join the band on tour). They’ve been labeled as art punk, chamber pop, experimental rock and with a bunch of other ambiguous sub-genres. Oh, and throw a classical orchestra into the mix.  

Dahl began the night conducting “Overture” in her signature blue velvet suit. An overture is a piece of music played by an orchestra at the beginning of an opera or play, which fit the ensuing hour-long concert quite nicely. Dahl played a musical version of the game Red Light, Green Light with her band during the piece, squatting down to force the band to stop and then jumping back up to resume the music. 

She put down the conductor’s baton to sing “Party Anthem,” my personal favorite song from Sloppy Jane’s discography. Deceitfully titled, the song explores feelings of inadequacy and isolation in a style reminiscent of a Kate Bush ballad. 

Another highlight was “Judy’s Bedroom,” a sweet-sounding song about murder. As if around a campfire, Dahl sang, “Judy, does whatever she pleases / ‘Cause she’s with Jesus now.” At one point, she dipped to the side of the stage to put blue paint on her face like tears. A chorus of “la-la-la-la” repeated throughout the song, creating an eerie energy around the stage.     

The obvious fan favorite was “Where’s My Wife.” In the song, Dahl screams the title over and over again, each time with a different emotion — first violently, then confusedly and finally in tears. By the time she jumped into the crowd, most people had picked up on the repeating chorus and shouted along into the microphone as Dahl moshed near them. The venue’s energy definitely peaked during this song in comparison to the rest of the night. 

Before playing the final song, Dahl led the audience in a New Year’s Eve countdown. Even though we were about two months past the holiday, she explained that a fresh start was already needed. “Who else feels like they’ve already f*cked up this year,” she yelled, only to be met with resounding cheering. When a woman interrupted her monologue to yell about a Chinese New Year festival that had just happened, Dahl deadpanned, “No more interruptions.” If it wasn’t clear already, Haley Dahl was in charge of the evening’s program for as long as she was on stage. 

Leaving the venue that night, I realized that ascribing a genre label to Sloppy Jane was a lost cause. In reality, their music is constantly evolving and weaving between genres. However, one thing the entire setlist had in common was an affinity to live performance. Haley Dahl’s theatrical charm jumps out when she’s on stage in a way unattainable to fans through streaming platforms. As evidenced by the merch line following Sloppy Jane’s set, Boston’s alternative fans seemed to agree with me.

“This historic union victory is an expression of our desire for a stronger, more connected community where everyone can thrive,” read an email from Erin Battat, Heather Bryant and Annie Brubaker on behalf of the WOAW-UAW organizing committee. 

Voting took place on Monday, Jan. 29, and Tuesday, Jan. 30 in the Diana Chapman Walsh Alumnae Hall. 92.8% of FIP faculty voted to unionize and be represented by the Wellesley Organized Academic Workers (WOAW), affiliated with the United Auto Workers (UAW). The term “FIP” is used by Wellesley College to refer to Faculty on Term Appointments and Instructors of Science Labs, Physical Education, Recreation and Athletics.

According to Professor Annie Brubaker, senior lecturer in the Writing Program, the vote signifies strong solidarity among faculty members. 

“80% [of eligible faculty members] turned out, which is a really remarkable turnout rate. I think that’s terrific, because it really shows that people cared,” she said. “There’s no mystery now that this is what we want as a community.”

The necessity for this vote was tied to the College’s refusal to voluntarily recognize the WOAW Union. FIP faculty delivered a letter to President Johnson and Provost Shennan requesting recognition for their union in late November. President Johnson’s response letter on Nov. 28 declined to voluntarily recognize the union. The next day, WOAW-UAW filed for an election with the National Labor Relations Board (NLRB).

Hannah Grimmett ’25, heavily involved in UNILAD, the union and labor task force in Wellesley Against Mass Incarceration has advocated for a faculty union for the past two years. She is hopeful the union’s newly won legal status will change the dynamic between faculty and the College.

“Now that this vote has passed, it means that the faculty have legal bargaining rights with the College. That means that the College, or legal representatives of the College, and the faculty will come together at the bargaining table and legally be on an even playing field. The two sides have to listen to each other, more importantly, the College now has to listen to the faculty and their demands,” she commented. 

WOAW faculty now move into the bargaining phase with the College. Visiting Lecturer in American Studies, Ian Alexander, spoke on what this process will look like.

“Now, much of the process is really about changing the dynamic [between faculty and the College] through contract negotiation in very specific material ways. So I wouldn’t say that anything immediately changes as a result of the vote except that now the union is legally recognized as representative of contract-faculty and everyone who is in the union to negotiate the terms of their employment going forward.”

Student response on campus has been supportive of the new union. “I’m very excited,” expressed Evelyn McLear ’25. “I’ve been aware of the unionization effort since the Fall, so I’ve been hearing about it gaining support but didn’t think it would happen so soon.” 

“Nothing is ever going to be 100%, but it’s telling that the vote passed at such a high number,” said Zeina Nassif ’26. 

On Jan. 31, the College issued a response to the results of the election. “The College looks forward to working productively with WOAW-UAW leadership and laying the groundwork for future cooperation,” the statement read. However, the timeline for the bargaining and negotiation phase remains unclear.  

“We need to do some work together as a community to understand what our priorities are and then we’ll begin a formal negotiation process,” Brubaker said. “It could take a while to reach an agreement. It depends on what we decide to prioritize and ask for and how the college responds to that. I think our hope would be that [change] could be before the start of the next academic year.”

Deland cautions us against inaction in “Saying Something,” one of the first tracks. Lyrics directly reference her late mother, “what I could have said / Maria / I might never know what I’d tell you.” The burden of leaving something unsaid plagues Deland throughout the song. Minimal acoustic guitar and vocal layering create a dream-like aura as the lyrics “Knowing what to say isn’t easy” and later, “But believe me / Saying anything might be crucial,” urge someone to take action. 

The fourth track, “Bright Green Vibrant Gray,” is a love letter to the natural world. Deland is captivated by the vastness of Earth in comparison to the minuteness of human experience. This sentiment is expressed through the lyrics, “Rocks you keep in your car door / Have traveled through far more / than your life.” It’s easy to imagine her gazing at a pastoral scene while writing this song. “The view in the morning rain,” she sings, “welcome us like no painting.” 

Later in the album, “The Animals” frames a story of Deland and her love traveling through a scene reminiscent of “Bright Green Vibrant Gray.” The indifference of the natural world is apparent during their journey. Surrounded by animals, she describes how “They didn’t hiss us away / No, to us, my love / They had nothing to say.” Deland requests genuine connection from her love in the final verse, “Put your life on the easel / there right next to mine,” just to reverse her desire with the final words, “Nights like these I can’t quite tell / A fear from a wish.”  

I was lucky enough to hear Deland perform these songs live when my friend, Zeina, and I bought tickets to her tour in Montréal last November. We arrived before the ticket booth opened, expecting a full house, and waited in freezing conditions just to be the first few inside the venue. By the time Deland took the stage, the atmosphere inside of La Tulipe, a cozy concert hall just north of Montréal, was reminiscent of a high-school reunion. Deland, a Montréal native, acknowledged her friends and family in the crowd and primarily spoke in French throughout the night, something she mentioned was comforting to her as she had just finished her U.S. leg of the tour. It was clear that Deland loved Montréal and that Montréal loved her back. Even as a tourist in the city, the intimate nature of Deland’s music allowed me to connect to the crowd and feel included in this quasi-reunion. 

The track progression acted as an emotional rollercoaster — building you up only to tear you down. While seeing Deland perform live was incredible, “Goodnight Summerland” demands intimacy from the listener. Just like you wouldn’t yell private information to a friend across a crowded room, comprehending the album in the way it was intended to requires a sense of seclusion. Overall, “Goodnight Summerland” is beautifully devastating and one of my favorite albums that was released in 2023. 

Since forming in 2014, the band has cemented itself as a rising name in the Riot Grrrl genre. Their wildly energetic discography is filled with grungy guitar tones and songs that perfectly encapsulate feminine rage, a description that epitomizes the feminist punk movement from the 90s. Their most recent album, “Happy Now,” was released in 2022 and explores a wide array of complex topics such as insecurity, victim-blaming, and being your own source of happiness. 

I was first introduced to THICK’s music in November 2022, when they opened for Letters to Cleo, also at Paradise Rock Club. Having no expectations at the beginning of the night, I was left in awe by the time they exited the stage, completely forgetting about the headliner. The next morning, I began planning to learn guitar and endlessly bugging most of my friends about starting a band for the foreseeable future. Needless to say, when they announced their return to Boston with Pussy Riot, I immediately told everyone that would listen. 

THICK began the night with “Montreal,” a song from the “Happy Now” album. The crowd, a surprising blend of people from older and younger generations, gained life as the distinctly robust intro started. Nikki Sisti and bassist Kate Black divided lead vocals as Nikki and Shadow Monster’s guitarist Gillian Visco wielded guitars, producing a vigorous sound that was completed by Rosie Slater’s fervent drumming. After the song ended, a guy behind me exclaimed to his friend, “I told you they were good, man!” 

The song, “Bleeding,” reminds the crowd of THICK’s Riot Grrrl roots. A memorable guitar lick connects lyrics that exclaim the singer’s annoyance with her environment while on her period. A trope that is commonly satirized by male comedians, Sisti and Black powerfully reclaim the truism as they scream, “DON’T TOUCH ME / I’M BLEEDING” into the microphone. The energy radiating from the band continues as the song, “Your Mom” thunders through the venue. By this point in the set more people are moving (I even saw a woman in her 70s dancing), and a few other people obviously familiar with the band sing along as Sisti and Black approach the mic again to scream the first verse. This is just a facet of THICK’s appeal. In addition to a sound that makes it impossible not to dance along to, their stage presence, full of headbanging, jumping in platform boots and overall upbeat enthusiasm, is undeniable.   

After the show was over, my friend and I decided to stay and try to get a picture with the band. I awkwardly loitered around the area where the band was packing up their gear, contemplating how to get their attention, until I decided to finally call out to them. After rambling with a childlike excitement about how much I loved the band and the inspiration they have been to my own relationship with music, Nikki and Rosie graciously talked with us for another five minutes. We chatted about the first couple songs we learned on guitar and how their pre-show ritual had shifted from martinis to jagerbombs. There is no cool way to ask someone to be in your Bereal, but we were met with excitement at the request, even when my friend messed up the first try and had to ask them to pose again.      

That interaction, short as it was, cemented the virtue of the band for me. THICK is just as cool in person as they appear on stage. Additionally, as someone who spent a majority of the year listening to music through headphones (+100,000 minutes according to Spotify Wrapped), the show reminded me of the exhilaration that live music brings. Not only do you support your favorite artists by paying for a ticket and showing up, singing along to songs surrounded by a crowd of people that share your excitement allows you to connect with the music in the way it was intended to.