I didn’t “get” Radiohead until I spent two weeks touring the United Kingdom by bus with my grandparents and the Smokers. The Smokers were Charismatic Christians. I was seventeen years old and had never heard of Charismatics, but by the time I boarded my plane home I had deducted that they were the type of Christians that tore horoscopes and lingerie ads out of Cosmopolitan and joked about spitting on Darwin’s grave. There were eight Smoker grandkids and they were loud and obnoxious and the only thing we could agree on was that the Lord of the Rings movies were pretty sweet. I barely tolerated them and so as our bus cruised through the English countryside I sat alone, earbuds firmly in place.
A friend had given me burned copies of a few Radiohead albums the summer before but I had dismissed them as chilly and depressing. She continued trying to convince me to give the band a second chance and I finally caved as I prepared for the trip. It seemed only right to listen to a British band while traveling through Britain. Early on I gave OK Computer a listen. I’m not sure if I switched to another record for the rest of the tour.
As a Star Wars geek the song titles appealed to me. Paranoid Android. Subterranean Homesick Alien. Most of the time I wasn’t able to parse Thom Yorke’s lyrics, but I understood what he was singing about all the same. He was singing about me. It was one of those moments that everybody experiences, often in the aftermath of a bad breakup, when you swear that a certain song was written specifically for you. The album evoked, as David Cheal wrote in The Daily Telegraph, “gloom and alienation; but [also] warmth and yearning.” The music was unparalleled in its ability to perfectly complement a solitary walk through downtown Edinburgh on a gunmetal gray afternoon or the long hours spent staring out through the fog at eighty kilometers an hour. I liked the music because it was complex and deep, because it was unlike anything I had listened to before, because I knew, without a doubt, that this was music the Smokers would never understand.
***
This is all to say that I associate certain artists and albums with specific periods in my life, as I imagine most people do. These interconnections between life and music appear most often during periods of upheaval or strife, during long periods away from home and away from the people I’m close to. In some ways the music serves to help define a period of time and in other ways it helps to define me. Whether through my headphones when I’m in a crowd or through tinny laptop speakers when I’m alone in my room, these are the albums that center me, that bring me back, that tell me, no matter what else is going on, I’m going to be okay.
***
In many ways, The Hold Steady is the antithesis of Radiohead. Since 2004, The Hold Steady has released four albums. Radiohead has released one. Thom Yorke, Jonny Greenwood and the rest of the Oxford quintet are driven, compelled even to reinvent themselves with each new record. Hold Steady frontman Craig Finn would likely have no qualms singing about getting high and coming to blows in bars for the rest of his career. Radiohead push the boundaries of rock music, incorporating diverse elements into their music like the ondes Martenot, an early electronic instrument. The Hold Steady has probably never even heard of the ondes Martenot. In fact, Tad Kubler, lead guitarist for The Hold Steady, recently criticized Radiohead for “losing the plot.” For me though, what the bands have in common far outweigh the petty differences between them. The Hold Steady, like Radiohead before them, are purveyors of my peace of mind.
Craig Finn, Tad Kubler, Franz Nikolai, Gavin Polivka and Bobby Drake comprise the ostensibly Brooklyn-based The Hold Steady, though it is unmistakeable that their roots lie in Minnesota. Their first three albums in particular, Almost Killed Me, Separation Sunday, and Boys and Girls in America, are crowded with the inclusion of Twin Cities landmarks and are filled with the sense of place that is made possible only by growing up in the area. It is their allegiance to the Twin Cities that initially drew me to the band. I wasn’t an early fan of theirs, I wasn’t there in the beginning. I didn’t hear about the band until Boys and Girls made Pitchfork’s Best of 2006 list, and I didn’t listen to them until a few months later when I was looking for new music to get into. The fact that they had ties to the Cities seemed as good of a reason as any to give them a try. When I heard the refrain:
Gonna walk around, gonna walk around, gonna walk around and drink
Gonna walk around, gonna walk around, gonna walk around and drink
Gonna walk around and drink some more
I thought, “Yes, here is music that I can relate to. Here is music that speaks to me.”
I spent most of that summer with Boys and Girls in America on repeat. The album seemed to be the perfect summer record, a record that was made to be blasted through open windows while speeding down the highway, a final protest as I drove to my low-paying job. “This is what summer should be like,” I thought to myself.
***
I spent the first half of 2008 studying in Amsterdam. I fell in love with the city the moment I first stepped out of Centraal, the city’s Gothic main station. It was dawn and the sky was a beguiling shade of pink. I couldn’t check into my apartment until later in the morning, and so with hours to kill and no knowledge of anywhere to kill those hours, I decided to walk to my apartment rather than take a taxi like our program had recommended. Wearing my 3000 cubic inch travel backpack, a giant Lands End duffel bag and a messenger bag with my laptop inside, I shuffled down the sidewalk away from Centraal, my resolve to find the apartment based entirely on the fact that I had looked up a Google Map of the area before takeoff. I walked along the IJ, the river that separates the central part of the city from the northern section, my nose running in the brisk morning air. I got turned around in Zeeburg, a neighborhood I would later learn was just down the street from my apartment, and I walked around in circles for an hour or two before arriving at Funenpark, my apartment. By the time I checked in and fell quickly into jet-lagged sleep, I felt a connection with the city, an understanding that develops from wandering lost and unhurried and finally finding your way.
Over the next few weeks I slowly began to meet and make friends with other American kids studying in the city. There were four other Macalester students there also, but I didn’t know them. My slate was blank. My roommate decided at the last moment not to study abroad, so I had the apartment to myself. At first I spent most of my time alone in my room, watching The Wire and Big Love on my laptop and blogging about the ways in which I wasn’t taking advantage of being in Amsterdam. Slowly the people I met began to pull me out of my shell and we began to go out to bars together and get high together. We sat in my room passing around two Euro bottles of Albert Heijn wine and tossing back drinks from the liquor store clearance table. We rode to clubs and coffee shops two-to-a-bike and rode back home again, amazed we hadn’t toppled in our haze. We became a tightly knit group and I spent less and less time watching television alone on my laptop.
Two things about The Hold Steady began to resonate more true for me during those months. First was that the band encapsulated a near-perfect nugget of Americana. Not only could they offer a does of sweet Saint Paul whenever I felt wistful or removed from my people back home, but they provided the whole United States. They reassured me that Virginia really is for lovers and that sometimes it’s best just to hang around the upper Midwest, that Philly’s full of friendly friends that’ll love you like a brother and people are still shakin’ it up in Shaker Heights. As I neurotically cleaned my kitchen and tidied up the rest of the apartment before my friends came over, I would play their music from my laptop’s tiny speakers and they would remind me that I was going to be all right.
The band also does a remarkable job combining a romanticized vision of drug use and drunkenness with the idea that there is so much more the life than getting high. Being in Amsterdam, surrounded by kids on my program who seemed to be high whenever I saw them, this held a special resonance for me. Because getting high was fun. There was ritual in packing a bowl or rolling a joint and passing it around the circle. But as our time in Amsterdam drew to a close, the allure began to wear off. I want to spend time with these people, my friends, rather than sit next to them in silence, staring at my cuticles.
About a month before I was to leave Amsterdam, The Hold Steady’s fourth album, Stay Positive, leaked online. The album’s first song, Constructive Summer, in particular rang with impeccable relevance as I prepared to leave that city and those people that I loved. To me, the song is drenched in a hopeful melancholy. It’s about making the most of the time you have, because you don’t have very long. As my friends and I prepared to say goodbye to each other and to Amsterdam, we were brought together with our sing-along songs.
I don’t know when I’ll see the friends I met in Amsterdam again. I guess part of the struggle of growing older is saying goodbye to friends with the knowledge that it may be a long while before you see them again. I think The Hold Steady is obsessed with this struggle. And so now another dimension of meaning has been added to my interpretation of Craig Finn’s lyrics: not only will they invoke feelings of Americana and nights spent in Amsterdam clubs, stomachs filled with too many substances, but they will remind me of a time that I long to get back to, a time when we could all be something bigger. I’ll just wait for the time when my friends start getting back in touch. And it’ll be a pretty good feeling, yeah it’ll feel pretty good.






















