February 6 & 7

Terminal 1

Experimental harpist Mary Lattimore creates an expansive and aching sonic universe in each glissando of her instrument. As one of today’s preeminent instrumental storytellers, Pitchfork’s Jemima Skala notes the artist’s “uncanny ability to pluck a string in a way that will instantly make someone remember the taste of their fifth birthday cake.” Lattimore’s impulse to record life as it happens matches her drive to travel and perform, as profiled by Grayson Haver Currin for The New York Times: “Lattimore recognized that being in motion shook loose strands of inspiration, moods she wanted to express with melody. She needed, then, to remain on the go.” Lattimore’s sense of fluidity has also made her a prolific collaborator outside of solo work. Her 2020 album Silver Ladders, recorded with Slowdive’s Neil Halstead, opened the door for Lattimore to widen the vision of her primary project, and its follow-up album Goodbye, Hotel Arkada (2023) is the natural next scale.

Discussing Goodbye, Hotel Arkada, the artist explained: “When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you’re away, not realizing how ephemeral experiences are until they don’t happen anymore, fear for a planet we’re losing because of greed, an ode to art and music that’s really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency.” Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore’s decade-long catalog.

@maryoverthere