Laurie Anderson has long occupied a unique space in the global cultural landscape, operating at the intersection of electronic music, visual art, and performance poetry. Throughout a career defined by the exploration of technology, loss, and the human condition, Anderson has managed a rare feat: making the avant-garde accessible. Her work often challenges the listener while remaining emotionally resonant, bridging the gap between high-concept art installations and poignant storytelling.
This synthesis of intellectual rigor and emotional accessibility is center stage in the release of Laurie Anderson and Sexmob Let X=X (Live). Recorded during her 2023 tour, the album serves as both a career retrospective and a bold reimagining of her catalog. For many, the project marks a significant return to the live recording format; We see only the third live record of Anderson’s career and her first since 2002’s Live in New York.
Presented as a triple-LP set, the collection spans 23 tracks that blend Anderson’s most iconic works with newer compositions. By collaborating with the jazz ensemble Sexmob, Anderson has stripped away some of the electronic austerity of her earlier recordings, replacing it with a “muscular” and robust sonic palette that breathes new life into her storied repertoire.
The Sonic Architecture of Sexmob
The collaboration with Sexmob transforms the auditory experience of Anderson’s work. While her studio recordings often lean into the ethereal or the experimental, the live arrangements on Let X=X (Live) are grounded in a powerful, jazz-inflected energy. This shift is driven by a tight-knit ensemble of seasoned musicians: Steven Bernstein on brass, Kenny Wollesen on drums and percussion, Douglas Wieselman on winds and guitar, Briggan Krauss on saxophone and guitar, and Tony Scherr on bass.
The presence of this ensemble allows for a more dynamic interpretation of classics like “O Superman,” one of the most influential pieces of electronic music from the early 1980s. In these new arrangements, the track moves beyond its original minimalist structure, gaining a physical weight and improvisational flair that reflects the energy of the 2023 tour. This approach underscores a recurring theme in Anderson’s current work: the willingness to evolve and recontextualize her legacy for a modern audience.
Balancing Mirth and Melancholy
A defining characteristic of Let X=X (Live) is Anderson’s refusal to let the avant-garde become synonymous with joylessness. The album frequently employs humor as a tool for engagement, using vocal effects that oscillate between the eerie and the comical to keep the audience off-balance.
This sense of irony is most evident in the track “It’s Not the Bullet That Kills You,” which pays tribute to the provocative work of performance artist Chris Burden. Burden is well-known in the art world for his extreme endurance pieces, including a 1971 installation where he was shot in the arm as part of a planned performance. By weaving this narrative into the album, Anderson highlights the thin line between art, danger, and the absurd.
However, the album finds its deepest resonance in its more mournful moments. One of the most striking inclusions is a reframing of “Junior Dad,” a piece originally featured in the collaboration Lulu between Lou Reed and Metallica. In this live version, Anderson transforms the track into a poignant tribute, allowing the vocals of her late partner, Lou Reed, to take center stage. The result is a haunting piece of musical mourning that underscores the personal loss entwined with her professional journey.
Addressing a Post-Pandemic World
Beyond the musical reinterpretations, Let X=X (Live) functions as a philosophical dialogue with the audience. This represents most apparent in the final track, “How to Feel Sad Without Being Sad.” In this piece, Anderson draws upon the teachings of her Buddhist teacher to offer guidance on processing grief and melancholy.
The timing of this message is intentional. Recorded and performed for audiences still navigating the psychological aftermath of the COVID-19 pandemic, the track serves as a meditative coda to the album. It positions Anderson not just as a performer, but as a guide, attempting to impart a sense of peace and perspective to a global population reeling from collective trauma.
A Gateway to the Avant-Garde
While Let X=X (Live) may not replace the conceptual weight of Anderson’s full-scale multimedia installations—which typically combine spoken word, visual projections, and physical performance—it provides a high-fidelity window into her creative process. The absence of the visual elements, including the tour’s finale involving a tai chi routine, means the album is an auditory distillation rather than a complete replica of the show.
Nevertheless, the record serves a vital purpose as a career retrospective. For longtime followers, it offers a fresh perspective on familiar motifs. For those unfamiliar with her work, the album provides a structured and engaging entry point into her world. By combining the improvisational strength of Sexmob with her signature storytelling, Anderson proves that her work remains as relevant and challenging today as it was four decades ago.
The album is available through Laurie Anderson’s official Bandcamp and Nonesuch Records, providing a comprehensive look at an artist who continues to redefine the boundaries of performance art.
As Laurie Anderson continues to explore the intersection of humanity and technology, this live collection stands as a testament to her adaptability. The next phase of her work will likely continue to blend these disparate elements, ensuring that the avant-garde remains a living, breathing, and accessible form of expression.
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