Record of the Week—>Sam Wilkes “Public Records Performance” (Wilkes) Following up on his triumphant trio release for International Anthem, the 2025 highlight Uhlmann Johnson Wilkes, Sam Wilkes dips into the archives for his newest, a live recording from 2022 at NYC’s Public Records. Removed from the languid ambi-jazz and inward-facing fourth world he’d been on a run with via releases like The Doober, iiyo iiyo iiyo and his trio with Craig Wienrib and Dylan Day, it comes closest to his pop-forward Driving album, not coincidentally released shortly after this was recorded. Far from a one-off live stint, Public Performance is a snapshot of the prolific collaborator in a particularly fertile zone, settling into band leader mode with a notable comfort after years of mutual collabs and contributions to dozens of others’ albums. Definitely don’t let the live aspect fool you, not only are most Wilkes albums recorded live one way or another, Public Performance’s mostly original pieces are fully fleshed out with this five-piece band, veering away from the casual improvs and psychedelic detours of recent. Led by the fluid tone of Wilkes’ instantly recognizable bass and its many malleable forms, the group wind through vapourwave funk on “I Said Yes”, time-fluxing fusion on “Return Home”, the fourth-world soul-pop of “Just Married’s” two versions, and, coming closest to the beloved collabs with Sam Gendel, there’s the psychedelic chamber pop of “Stay Awake”. Even though it’s a few years old at this point, Public Performance finally feels like Wilkes arriving at the crossroads of his varied interests. One of his best. Edition of 500, hand-stamped labels. Copies ordered direct from the artist. Swipe—>for samples Link in bio to purchase