First Unitarian Church (Sanctuary), Philadelphia, PA — Note to self: Look for Mary Lattimore interviews discussing her composition and documentation process. I’ve enjoyed her music casually for a few years, but after now seeing it assembled in real time in front of me—with her hands constantly moving back and forth between the massive harp in front of her and the delay pedal on her lap—I’d love to know more about her mental model for her music. Most other delay-oriented performances I’ve seen (including the opener, Ana Roxanne) were less complex and/or more improvisational, so I’m fascinated by how her live shows can recreate these swirling songs that so boldly defy any traditional form of notation. Are they played verbatim, or within a looser framework that captures their particular vibe, or something else? However it’s done, it’s a delight to watch her at work, weaving together ethereal compositions that are both powerful and delicate, dense and light as a feather.