Solo performances are nerve-wracking. There is immense pressure to hit each note, a hope that they resonate with an audience—both musically and emotionally. Even after completion, one cannot help but reflect on all the intricacies that went right or wrong, continuing to fretfully reside in a moment that has already passed.
Reflecting on his Vassar Tiny Desk (VTD) performance in the Bike Shop, though, singer-songwriter Sam Hurwitz ’25 seemed entirely composed: “It was actually great,” noting that he is in his element when performing with just a guitar.
Hurwitz has released three albums in the past four years. “Horizon,” which dropped on streaming platforms this past March, is his most recent. Prior to its release, and following his VTD set in the Bike Shop, I sat down with Hurwitz in the Strong parlor to discuss his recent work and creative process.
I was surprised by his eagerness to interview right after recording. The environment seemed to put Hurwitz at ease. Describing a welcoming atmosphere, he opined, “The space was just beautiful. The decorations were great,” observing the collaborative cohesion. Chatting with the crew prior to our sit-down, Hurwitz joked about nerves, likening the lens to staring down the barrel. These seemed to melt away quickly; he later warmed up with an instrumental from “Spongebob.” On stage, Hurwitz was energetically at the ready, yet wholly comfortable.
After an initial, incomplete take, he performed two songs from “Horizon,” entitled “Cosmic Universe” and “Searching” respectively, as well as “Echo” from his 2023 album “The Optimist.” Whereas his previous project drew upon the orchestral flourishes of folk inspirations such as Sufjan Stevens, “Horizon” is often sparser, sprinkling occasional layers of instrumentation while being largely driven by Hurwitz and his guitar. The album’s release party was held at the Frances Lehman Loeb Art Center on March 27, featuring a concert performance from Hurwitz and friends organized by the Loeb Student Committee.
Inspired by the music of Joni Mitchell and Adrianne Lenker, Hurwitz asked himself while composing: How much can I do with an acoustic guitar? Björk’s “Vespertine” likewise encouraged him to create sounds with everyday objects. Describing this DIY venture, Hurwitz continued, “Every sound I created just with myself or with a guitar or a box of breadcrumbs, a shaker, you know, anything.” Traversing through his favorite musicians, we each spoke speedily about Sun Kil Moon and Modest Mouse. Hurwitz similarly came prepared for the interview: “I know you’ve written a lot about that too in The Misc, your favorite albums and stuff. I can see you being like a music critic.”
Surprisingly, the electronic musician Aphex Twin entered our conversation about musical influences. Hurwitz explained, “I find those [soundscapes] very inspiring, not just in the way of I wanted to sound like it, but it inspired me to dream. Like when I listen to that, I want to sit there and I want to create,” describing Aphex’s meditative ambience as a site for creativity.
Live performance for Hurwitz similarly involves an element of careful simplicity. Discussing the studio’s ample opportunity for refashioning works, Hurwitz stated, “I feel I’m very good at covering up.” His compositional approach for both VTD and “Horizon” sheds these layers away. Even with one instrument, an immense sense of scale was evoked during Hurwitz performance, fitting with his described interest in existential themes, nonsense lyrics and human consciousness. His voice similarly traversed a wide range of expressive modes, from near-whispered trembles to belted declarations.
Hurwitz detailed how a concert’s setting offers intangible value to musicians and audiences alike, providing new meaning by drawing together isolated individuals. “Seeing that is a different level of connection with the songs,” he added, later describing VTD as another vehicle for this experience. Recalling the expressive facial and bodily movements of his earlier set, I felt pretty convinced.
Beyond any specific artists, Vassar’s unique spatial characteristics have directly impacted Hurwitz’s own creative process. Highlighting the abundance of Steinway pianos across campus—while himself wearing piano earrings—Hurwitz noted that many of the songs he wrote at Vassar began on piano rather than guitar. “I wrote one song in the Cushing parlor, looking out at the snow melting. I wrote one song under the trees near Blodgett when it was changing colors.” Hurwitz has called the album an ode to the Hudson Valley in Frontrunner Magazine, recording portions in the outdoors.
Aside from the picturesque, Hurwitz expressed appreciation for Vassar’s musical circle, a type of community he hopes to find again after Commencement. “I think it’s a big question mark, which is what’s scary about not knowing where your music is going to go, but I really want to make music a priority in my post-grad life, trying to find a way where I can have time and energy to make music and have people hear it.”
People certainly will. Hurwitz’s Vassar Tiny Desk video is forthcoming on The Miscellany News’ YouTube channel.