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In another, Johnston is riding in a small airplane piloted by his father when he decides to yank the key from the ignition and throw it out the window, sending the plane plummeting toward the ground.

Johnston and his father, the only people onboard, both survived. He fires his tireless manager for no good reason. In addition to the lack of an opening act, Johnston is touring without a fixed backing band, and even without instruments of his own.

For years, his national reputation has been boosted by the public attention of other musicians. In doing so, we always risk flattening the complexity of a life in service of a good story, or Johhnston our own sentimentalities.

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For as long as Daniel Johnston has been winning fans, there have also been people worrying aloud that Daniel Johnston fandom tends too much toward the romanticization of tortured minds, or toward paternalism of the mentally ill. The Curious Universe of Outsider Music.

As much as the audience may genuinely love his songs, I sense a lot of condescension. Peisner reported that Johnston had been forcibly hospitalized twice in the previous three months, for medication adjustments.

His father had just died. There was almost no preparatory communication happening. This setup brought to mind the run of mostly dissatisfying albums Johnston made Johnsto high-profile producers in the nineties, which often sound like two distinct musical visions pasted awkwardly together.

Informed by Peisner that the tour was being billed as his last, Johnston was intrigued. The day after the tour started, in New Orleans, I read online that Johnston had abruptly left od stage mid-performance, with no explanation, then left again during the closing number, when he accidentally knocked his lyric sheet off its stand.

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But he was clearly marshalling his entire self for his delivery, and the result was stirring:. And, yes, the performance was inseparable from sadness——inseparable from the story of the artist sitting onstage in front of us, grown old, arms shaking from his regimen of powerful medications.

But Johnston, through the force of his concentration, was also burrowing through the sadness to that temporary zone of freedom that is the goal or one goal of most music.

For the first few seconds, I was relieved. Then I was just listening.

To a degree rarely seen onstage outside the world of improvised music, all the backing musicians were intently watching each other, and Johnston, ready to switch gears if he lost his place or jumped ahead a bar or two. Three songs in, Johnston addressed the audience for the first time, asking if Johston was allowed to smoke onstage.

Everyone cheered, clearly grateful for the chance to vocalize their support. But did that necessarily make us condescending?

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An alternative perspective: Perhaps, showing up to see him perform, we feel drawn to beam goodwill and generosity toward the stage in a way that we might not for other entertainers. Inevitably, this desire is inseparable from what we know of his story. But is that really such a bad thing?

But he was clearly marshalling his entire self for his delivery, and the result was stirring: Recommended Stories. Sign in. Get the best of The New Yorker in your in-box every day.

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