Concerts began returning in 2021 as artists cautiously hit the road, still balancing their safety and health with their livelihoods. Some of us couldn’t wait to step back into the clubs, arenas and festivals, while others are still waiting and hoping the pandemic gets squashed completely. A few of us compiled a list of our favorite shows, including the likes of Jon Batiste at BottleRock and Beck in Los Angeles. If you haven’t yet, please get vaccinated and get boosted so we can find that new normal everyone keeps talking about.

Jon Batiste – BottleRock Napa Valley – Sept. 5 — Roman Gokhman

Most music fans know of Jon Batiste now that he’s been nominated for 11 Grammy Awards (for multiple albums). But back in September I was looking forward to seeing him more out of curiosity than expectation, and he and his band blew me away with the best performance I’ve seen in years. It not only impressed me on a technical level or with flashy production (the blow-up props and barbecue equipment were pretty lo-fi) but moved me on a personal level.

Or, to put it another way: I was thinking Jon Batiste would play some jazz, maybe some songs from his Grammy-nominated companion album for the film “Soul,” he unleashed a torrent of funky love instead. Jon Batiste was a cross between a preacher, a carnival barker and a therapist, and performed like he was anointed by God. The New Orleans native and his band members were dressed like they were going to be in a second line parade, in various colorful uniforms. Batiste danced, jammed on different guitars, attacked the grand piano, shook his butt and said some really meaningful stuff about self-worth and hope and living in the moment.

On “WHATCHUTALKINBOUT,” Batiste sounded like has was scatting at times. He also sped through “We Are” and “I Need You.” He and the other singers had some pre-planned interaction on a medley of Bob Marley’s “One Love,” Bobby McFerrin’s “Don’t Worry, Be Happy” and Bill Withers’ “Lean On Me.” He jammed on a melodica a few times as well. On “TELL THE TRUTH,” he was at one point convulsing on the stage floor.

Beck – John Anson Ford Theatre (Los Angeles) – Sept. 28 — Rachel Alm

In a way, Beck opened up for himself at this show. He came out alone at first, in an all-white suit, with just an acoustic guitar and a harmonica. He proceeded to play deep cuts from his early catalog like “Nitemare Hippy Girl,” “Hollow Log,” and “Cyanide Breathmint,” as well as covers “Everybody’s Gotta Learn Sometime” (The Korgis) and “I Am the Cosmos” (Chris Bell). His between-song banter was delightful and Beck seemed buoyed by the love from the hometown audience.

Then he brought the full band out and played the big hits, like “The New Pollution,” “Go It Alone,” “Devil’s Haircut” and, of course, “Loser.” He also played “Waking Light,” one of my absolute favorites from Morning Phase, which he hadn’t played live since 2015, and “Hollywood Freaks,” from 1999’s Midnite Vultures, which was a rare treat. Beck is an incredible live performer, so despite his protestations that he was rusty, he absolutely killed it.

It was amazing to see him in such a small venue, and such a beautiful one, too. Toward the end of the show, Beck wandered off mid-song into the hilly area behind the stage and went on an impromptu hike in his Gucci shoes, narrating his journey the whole way. He closed out the show with “Where It’s At,” with an outro that interpolated his rousing harmonica stomp “One Foot in the Grave.” It was the perfect return to live music for me.

Run The Jewels – BottleRock Napa Valley – Sept. 4 — Roman Gokhman

Killer Mike and El-P hadn’t played a show in three years, and their excitement for hitting the stage again was palpable. The duo went blisteringly hot for its entire set with a mix of songs from RTJ4 (RIFF’s 2020 best album of the year), as well as older material. The performance wasn’t just high-caliber; it was extremely fun and optimistic,  aggressive and fast, with tracks like “Blockbuster Night, Pt. 1,” “Oh My Darling Don’t Cry,” “Legend Has It” and “Walking In Snow.”

Killer Mike, who was animated, gave an impassioned speech about finding value as human beings and not as part of a corporate machine. That preceded an absolutely fantastic “JU$T.” Killer Mike and El-P paced the stage with an extra spring in their step, as if they were dancing.

Eagles – Chase Center – Oct. 23 — Sam Richards

On the second night of a two-night run in San Francisco, the Eagles’ setlist was exactly the same as the first night’s. The Eagles aren’t the most spontaneous band going, but that setlist was long, and it gave listeners what they wanted to hear—the entire Hotel California album from beginning to end (with the help of an orchestral string section and a chorale) and a healthy portion of other hits from the 1970s.

The list of well-known songs they didn’t play—”The Long Run,” “How Long” and “Get Over It”—was far shorter than the list they did roll out. Even with three members (Don Henley, Joe Walsh and Timothy B. Schmit) now in their 70s, the show was energetic and impeccably played, especially if you like guitars. And auxiliary Eagles Vince Gill and Deacon Frey (Glenn’s son) acquitted themselves well.

Tinashe – Warfield – Oct. 19 — Onome Uyovbievbo

The energy of the crowd and Tinashe’s stage presence encapsulated the idea of what it means to be a performer. I was impressed by how effortlessly she was able to serenade the crowd and had attendees engaged in every aspect and during every song. One that stood out most was “Bouncin’,” which included the use of a trampoline on stage. I absolutely loved the energy she channeled to her fans. At each song, she gave us a chance to dance it out.

The Jayhawks – The Chapel – Oct. 24. — Sam Richards

The Jayhawks had new material to play, from 2020’s XOXO. One of those new songs, “Dogtown Days,” gave drummer-vocalist (and emerging rocker) Tim O’Reagan the spotlight he deserved. But as is usually the case, it was guitarist-singer Gary Louris, and the treasure trove of should-be American classics he wrote by himself and with former partner Mark Olson, that carried the night. Those songs ranged from lovely stripped-down versions of “Settled Down Like Rain” and “Broken Harpoon” to the boisterous power-pop of “I’m Going to Make You Love Me” and rock like “Tailspin” and “Waiting for the Sun.” It shows that even 35 years in, The Jayhawks continue to grow and diversify.

I was fortunate enough to see Lucy Dacus on her Home Video tour, where the crowd was worshipful, if that’s not too ironic to say. It was a full house and it seemed like everyone was there specifically to see her, rather than just to go out and be seen (which is rare for L.A.). Her set was heavy on the new material, which was note-perfect. Particular standouts were “VBS” and “Brando.” When Dacus sang the emotionally intense “Thumbs,” the audience was so quiet and respectful that you could have heard a pin drop. She followed it with the light, campfire-singalong-esque “Going Going Gone” and closed out the show with “Night Shift,” which fans sang along with loudly and cathartically.

The Black Angels – The Fillmore – Nov. 11 — Rachel Goodman

If I had forgotten how loud concerts can be, it didn’t take me long to remember. The droning guitar playing of neo-psychedelic Austin quintet The Black Angels reminded me.

The band played shrouded in shadow and created a wall of sound like no other. Their guitars must have been turned up to 11. With just the addition of some background lights, you could feel the sound passing through you. Tying the band together was drummer Stephanie Bailey, who led the band from her hit and tore it up.

Vocalist Alex Maas hid in a hoodie and didn’t say much during this performance. The Black Angels were all about the music. The reverb-laden and fuzzy “Entrance Song” sounded even better live than I imagined. The music was gritty and dark, with a haunting feel as Maas’ vocals came in and out of the fray. This music is easy to get lost in, and their show provided the maze.

Fred Armisen – Largo at the Coronet (Los Angeles) – various dates — Rachel Alm

Fred Armisen played a few “…and Friends” benefit shows for Largo this year. His friends who’ve supported him onstage have included Beck and Aimee Mann, as well as comedians Mitra Jouhari, Seth Herzog and Maggie Maye. The likes of Zach Galifinakis and Tim Heidecker (both of whom seemed genuinely surprised to find themselves onstage) also made appearances. The stage was set up with a guitar and drum kit for Armisen, who is, in addition to being a gifted mimic, an unfairly good multi-instrumentalist.

“Is anyone here a musician?” Armisen asked at the beginning of his act at these shows. If not, he benevolently conceded, you could still stay, but he warned that most of the humor would be music-related. He riffed on the history of punk drumming, how guitar-strumming styles vary by country, and did some hilarious bits about specific songs. After seeing this act, which he’s recreated at SF Sketchfest on numerous occasions, you’ll never hear the drumming on Diana Ross’ “I’m Coming Up” the same way again. The shows were always sold out, and in the no-photo, no-video Largo, I always felt like I was seeing something truly special and one-of-a-kind.