An essay on Chris Cornell, untimely death, and the act of communal release.
“How this works is that it’s like busking, except there’s no money involved.”
From the front steps of Grace Cathedral, Jon Foreman addressed the fans gathered to see his aftershow performance. Minutes earlier at The Masonic, a venue just steps away from the cathedral, Foreman’s band Switchfoot kicked off the second leg of the Tour de Compadres along with Needtobreathe, Colony House, and Drew Holcomb & the Neighbors. Foreman began playing “Only Hope,” and I was overcome with emotion as two realizations hit me: one, that I was in California, and two, that I was finally attending one of Foreman’s famous aftershows. As I sang softly along with the crowd, I hardly noticed the chilly air and occasional raindrops; a welcome change from the crushing humidity of Virginia.
I was nine years old when I fell in love with guitar. At the time, I was enrolled in Saturday morning piano lessons – mostly by my mom’s choice – and had just been promoted to Level 3. […]