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Music

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t was a Wednesday afternoon in September. I sat in my anthropology class fidgeting in my chair and incessantly checking the time on my phone. I’d soon be slipping out the lecture hall to catch a train from Long Island to Manhattan. I thought back to the feeling of excitement that washed over me as I ordered the tickets for Black Pumas back in June. My anticipation for this show was unmatched, as it had already once been postponed, due to — you guessed it — COVID-19.

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When Adele posted the teaser for “Easy On Me,” the lead single from her new album 30, we all knew it was time to put our favorite artists out of her shining path. Because this is what Adele’s success looks like: a tsunami that breaks all possible records no matter what (or who) is in the way. No fanbase wants to compete with her.

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When we found the key to the Press archives, I only remember finding a box or two of old magazines tucked away. The rest of the long walk-in closet was instead full of records. Boxes and boxes of old WUSB promotional records from the ’80s and ’90s — relics from when the radio station was affiliated with the magazine.

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How do you translate the energy and feeling of a live show — the crowd singing along, watching the lines around a concert venue with excitement — into a virtual production with an audience stuck at home? How does new music, intended to shake a room, get converted into a virtual experience? For Brockhampton, achieving that feat means utilizing the tools in their playbook that make for a great live show, and adapting them.

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