I’m counting down a dozen (or possibly a Baker’s Dozen) of my favorite shows I caught this year around the country (I have not yet caught a show outside of the U.S. this year, though I am planning on seeing Mac DeMarco in Winnipeg next Friday).
I’ll be updating this post — and hopefully will actually complete this task, as last year’s list was one of my latest ADHD casualties — as I countdown to the top dozen. I’m hoping this format makes it easier for me to complete it this time.
I’m putting them in chronological order, and I do already have a dozen shows picked out. If I catch a show that I feel must be included on this list in December, I will add it (as the baker’s dozen) no sooner than Jan. 1.
So keep coming back to this link — and also look out for updates to be noted on my social media channels at Instagram and Facebook. The latest addition will be featured first just below.
Saltydog and friends burned down Tom’s Burned Down Cafe back in September and they hope to return to the island to perform next summer! PHOTOS BY JAVIER SERNA/@jaminthestream
No. 7: Saltydog with Boss Mama and the Jebberhooch and Between Howls at Tom’s Burned Down Cafe’, La pointe, wis., Sept. 11
I’ve only seen one band (TWINE) more than I have watched Saltydog this year (thus far 15 shows with one more big one yet to come) and that’s not a coincidence — don’t tell ‘em but these guys are one of my all-time favorite jam bands. They are still early in their career but have already written a catalog of excellent songs, just one of a few ways they remind me of The Big Wu — but I digress. They have a bright future ahead of them.
They brought the heat to their shared bill last January at 7th Street Entry, their residency at Zen Arcade, and at a recent private party, but the one I must go with was at the quirky Tom’s Burned Down Cafe’ on Madeline Island, out in the big lake they call Gitche Gummee. The band camped on the island for several days — something they hope to repeat next summer!
These guys are some of the nicest folks you will meet, and they know how to use their musical gifts to express their love and gratitude towards their friends, which can include fellow musicians, fans and venue staff.
They channeled positive energy, fueling their jams, making this quirky island bar rumble into the night.
Saltydog is one of those bands that loves to bring their talented musician friends up on stage — and Colleen “Boss Mama” Myhre is a frequent collaborator.
It’s not the first time I’ve seen them collaborate on stage with their Duluth friends in Boss Mama and Between Howls, and it surely won’t be the last.
In fact, the band will be performing with Boss Mama at their New Year’s Eve show at Bent Paddle in Duluth on New Year’s Eve (that also includes Minneapolis’ TWINE).
And the band will be headlining Turf Club on Jan. 9 with Between Howls and Chicago’s Hot Like Mars. They will also be releasing their third album at this show.
Stu Mackenzie needed his flute during “Hot Wax,” a song the band took off the shelf after almost a decade on the second night of their festival Field of Vision, Aug. 16, 2025.
PHOTO BY JAVIER SERNA/@jaminthestream
No. 8: King Gizzard and the Lizard Wizard, Meadow Creek, Buena Vista, Colo., Aug. 16
I’ve mentioned before that Field of Vision, King Gizzard’s first U.S. festival this past August was the most fun I’ve had at a music festival in a decade. That feeling is for so many reasons, including who I was with, a couple of dear friends and my brother, who lives in this cool, little Colorado town in the high desert.
But Gizz did their part, both musically and in creating a magical event and gathering space, safe from the bigotry that has raised its despicable head.
Saturday’s show (Night 2), for sure was my favorite of the three marathon, three-hour sets the band ground out.
There were some amazing jams in this show, and I think my favorite improvisational segments were during “Slow Jam 1,” with Ambrose Kenny-Smith on saxophone, “Ice V” and the set-closing “Rattlesnake,” which featured a pair of the Aboriginal members of King Stingray sitting in with their digeridoos.
The band busted out “Empty,” which hadn’t been played in 622 shows, according to KGLW.net. BTW, check out their full show notes here. Also, check out my full photo gallery from the show here.
Another highlight was when Stu let a young fan (Callum) play his guitar on “Superbug.” What was so special to me about that moment was just the fact that the band let him do it — he had held up a sign asking for the opportunity.
This is a band that truly cares about its fans and has shown itself to be on the right side of humanity, publicly rejecting all forms of bigotry with its songwriting.
And the show also included a “Fuck Donald Trump” refrain from guitarist Joey Walker during “Pleura,” a song that references “orange baby always squealing.”
Recounting this show has me looking forward to Field of Vision II next August back in Colorado.
Alex Malheiros of legendary Brazilian funk trio Azymuth at Amsterdam Bar in Saint Paul, June 20. PHOTO BY JAVIER SERNA/@jaminthestream
No. 9: Azymuth, Amsterdam Bar, Saint Paul, Minn., June 20
I saw more than one legendary artist late in their careers in Herbie Hancock and Bob James this year, to name the most illustrious of that bunch.
We’re not talking about nostalgia acts. These two, both in their 80s, along with 79-year-old Alex Malheiros of Azymuth filled me with gratefulness, wonder and inspiration — and a desire to live a long life, in a year when I was otherwise wounded, scarred and traumatized with the facts of how short life can be.
Malheiros, the last surviving member of the legendary Brazilian funk trio Azymuth, may not have the same name recognition of Hancock or James on this continent, but I had a similar feeling of awe wash over me as I watched him perform.
These musicians are extremely fortunate to be able to be performing for their fans five decades into their careers. They are also extremely gifted — and their fans, such as myself, felt so fortunate to see them perform with such passion after all of these years.
It’s become somewhat delicate and difficult writing this chronological list of my favorite shows from this year because I lost my dad in April, and my brain has always used the calendar as a reference point for remembrance.
In the middle of this show, I was overcome with the funk — and I remember feeling also thankful to be around a few friends that knew how special this performance was beyond just being able to hear and see it.
Azymuth started their career in 1973, but their musić is forever.
I couldn’t believe how good this band still could perform, as impermanent life is, on a Friday night in June, 2025.
Azymuth released an album, Marca Passo, right before their June show at Amsterdam. I found it equally unbelievable that they were still capable of producing songs like “Belenzinho” 52 years into their career.
So much love to the Jazz is Dead crew led by Tribe’s Ali Shaheed Muhammad and Adrian Younge for making dreams come true with tours celebrating and honoring legends like Azymuth.
Ty Segall let a fan play guitar on “You Make The Sun Fry” in the encore of his Nashville show at The Basement East, April 10. PHOTO BY JAVIER SERNA/@jaminthestream
No. 10: Ty Segall, The Basement East, Nashville, April 10
I’ve seen some weird shows in terms of interactions between fans and artists but none have worked out as well as Ty Segall’s acoustic set at this intimate Nashville venue.
Fans awkwardly pierced that intimacy, but Segall brilliantly went with it and made it a part of the show.
One of the most awkward of interactions was early when a fan, parked at the end of the rail, kept pointing directly at Segall. It seemed to, understandably, make Segall a little uncomfortable. Eventually, Segall just went with it and asked him to move to the center rail spot directly in front of him, a spot that happened to be illuminated by a lot of stage lighting.
The man’s girlfriend was the first to bail, and he didn’t make it much longer. It seemed like spotlight was just too much for this guy — weirdness diffused.
One of the funnier interactions was from one fan who kept emphatically shouting “Thank you, brother,” from the back of the room, between songs. Segall noticed, and I’m not sure he knew what to do with it. Late in the show, the refrain grew on Segall, who said something like, “I love this guy.” Which was all of the approval the man needed to move from the back of the room to in front of the stage, where it was said one more time, drawing the approval and excitement of Segall.
But maybe the best part of the show came in the first of two encore songs, when a fan convinced Segall to let him play guitar on “You Make The Sun Fry,” freeing Segall to sing.
It was a banger, and the cherry atop of weirdly dripping sundae of acoustic rock.
Øyvind Blomstrøm and Chris Holm of Orions Belte, which played 7th Street Entry in March.
PHOTO BY JAVIER SERNA/@jaminthestream
No. 11: Orions Belte, 7th Street Entry, Minneapolis, March 12
Sometimes the best shows happen at the most intimate of venues. I was super stoked that Norwegian instrumentalists Orions Belte had scheduled a show at 7th Street Entry, but, honestly, this level of anticipation can sometimes set me up for disappointment.
Orions Belte more than managed to exceed my expectations with their “Norwegian mountain jazz.”
The trio brought genuinely positive energy, despite having had some of their gear jacked earlier in the tour while on the West Coast.
But I already knew they were good people. I had interviewed lead guitarist Øyvind Blomstrøm (check that out here). I actually caught them twice that particular week — taking pictures at this show and at Schubas Tavern in Chicago.
7th Street Entry holds in the energy so well.
I was able to catch three amazing psychedelic rock shows here this year, including Los Bitchos and Hannah Cohen. All three were great shows, but Orions Belte was my favorite, and it probably was their incredibly touching cover of the late Mac Miller’s “2009,” that left the biggest impression and singed my memory.
Charlie Parr singing “Ain’t No Grave,” at Turf Club, Jan. 26. PHOTO BY JAVIER SERNA/@jaminthestream
No. 12: Charlie Parr, Turf Club, Saint Paul, Minn., Jan. 26.
I was fortunate to catch the first and last of the four residency shows that Charlie Parr played at Turf Club last January. Parr, who is cut from a bonafide line of folk artists from Minnesota, is a state treasure. He has the ability to touch raw, emotional nerves — and thankfully he writes from a place that is kind, real and pure.
The sound of Parr’s voice comforts many of us, even when he sings about the sadness that we all experience in life and death.
His song “Blues for Whitefish Lake, 1975” is one such song that has personally pierced my soul and echoed the feelings of loss I have for my own father (who died this year), and he did play this song at one of these two shows, but it’s still too soon for me to delve deeper on that with you all here.
At the first of these shows, Parr mentioned the recent passing of his mother and as a result he didn’t know when he’d again feel comfortable performing “Ain’t No Grave,” a traditional song on which his vocals thunder. He knew it would hurt him.
But he proceeded to encore the month-long residency with this song after expressing gratitude for the intimate tradition of these Turf Club shows. He holds this recurrent residency dear, like the 12-string guitar the late Spider John Koerner gifted him. He dug deep on this song, and the pain, which could see in his face, hit all of our hearts.