“I’m taking the train to take time for my thoughts …”
I’ll never forget the first time I heard Gabriel Kahane, toward the end of 2018. I was standing in the kitchen of the house I’d shared with Tom, and Kahane was a guest on the late great radio show Live From Here. The songwriter explained how, the day after the presidential election two years earlier, he’d climbed aboard a train to ride 8,980 miles around America. The idea was to see people face to face, talk with them, turn their stories into songs, and see whether music could maybe bridge some of what divides us as a country. Transfixed by that introduction, this rail devotee eagerly sought out Kahane’s work, especially Book of Travelers, the album based on his post-election trip.
In January 2019, Kahane came to the Triple Door, my favorite Seattle club. I sat by myself at a table for two, off to the side of the room, but still feeling awkward and adrift in the small venue where I’d seen many shows with Tom. It didn’t matter; I needed to hear these songs live, and Kahane — onstage alone, with no backup band and minimal patter for the audience — seemed a bit lost at sea, too. He let the music do the talking for him, as he did later in the year on a rainy fall night at the University of Washington’s Meany Center, one of the last concerts I’d see before the pandemic.
Kahane was back at the Meany Center last Saturday, so of course I was there, seeing him for the third time on another rainy November night. He opened with a song that posed the question, and I am paraphrasing: What if this were the last show I ever get to play? More personable now, married and the father of a three-year-old, full of songs and stories of a year spent away from the Internet (the basis for his next album, due in 2022), Kahane played for 75 minutes, all of us except him masked for the duration, all of us grateful to be there hearing live music. He ended his set with the same song with which he’d begun, prefaced this time with its backstory.
It was early March 2020 and he had to take two planes to get to a small-town show. After the concert, a nice woman named Lisa drove him to his motel — nothing special, she said, except for the cows. Make sure you see the cows. The next morning, after making a waffle at the breakfast bar, Kahane looked out the window, saw 25 cows, and turned the scene into a bedtime story for his daughter: Let’s count the cows. His little girl couldn’t get enough of the story, and neither could her papa, who told it countless times during the pandemic. It put his kid to sleep, and it gave him a chance to relive that last pre-COVID show one more time.
It’s human nature to hope we haven’t experienced our last time doing something. I recently wrote a magazine story about how many of us have lacked physical contact during the pandemic, starting it with a line I penned in my journal in March 2020: What if I never get to hug anyone ever again? Twenty months ago, for someone living alone as the world shut down, that was not a rhetorical question.
Amid his new work, Kahane sang three songs from Book of Travelers. I know every note and nuance of these songs; they sustained me as no other music could in the second half of the first year after Tom died. He started with “Baedeker,” a hymn to travel and to maps, then he segued into “Baltimore,” a song about loss and reckoning. As soon as he sang the line with which I started this post, I found myself weeping softly into my mask, ambushed by the first sneaker wave of grief I’d felt in a long while, my emotions swirling past me into a present in which I’m missing both Tom and my summer companion amid a new season of overly complicated romantic geometry.
Four times during the first two years after Tom died, I took long-distance trains as a means of connecting with my memories of our life together: how we’d squeeze into a tiny Amtrak roomette, make a list of all the train songs we could think of, watch movies on his laptop, and just watch the world roll by. How we’d talk with strangers during communal meals in the dining car, holding hands beneath the table as we waited for our food. My memories and tears continued as Kahane played “Little Love,” a song about two people who hope to simply fade away together, the kind of life I wish I’d been able to experience with Tom, except he prematurely disappeared into the long gray silence.
I’m still here, vaguely restive with a reawakened desire that has left me feeling lonelier than ever for a specific set of arms. I could use some time on a train.
Fortunately, I’ll soon be climbing aboard the southbound Coast Starlight for a 23-hour ride to California and my family’s Thanksgiving gathering. I could make the same journey in a few hours by air, but I’d rather take the train to take time with my thoughts, to be in motion while sitting still, to be rocked to sleep, and to be grateful for all the experiences that I may or may not have again.
This week’s videos are of “Baltimore” and “Baedeker.” You can learn more about Gabriel Kahane and his music here. (There’s a lot to know.) Enjoy, and in case I don’t get back here before November 25, happy Thanksgiving, and thanks for reading Surely Joy.
