About two months ago, I was scrolling through Instagram late at night, when I stumbled upon a reel about an artist, whose rise to fame felt like something out of a movie.
It was about David Kushner, a guy who’d only recently started singing, but who had a voice so stunning it could stop you in your tracks. The song "Daylight" played in the background, and within seconds, I was hooked. I must’ve replayed it ten times before frantically Googling to see if he was coming to Phoenix.
Lucky for me, he was. I snagged a ticket and submitted a credential request – although I didn’t think much would come of it.
Fast forward to the morning of Sunday, Nov. 17: the day of the concert. I pulled up my ticket to go to the concert and then out of nowhere I got a text from my editor: "We got approved for credentials." Talk about timing – it felt like it was meant to be.
I had never been to The Van Buren before, but stepping inside, I fell in love with its vintage and intimate vibe. The floor and balcony setup created the perfect connection between the artist and the crowd.
Kushner didn’t disappoint. He’s one of those rare artists who sounds just as good live as he does recorded. Between songs he cracked jokes, adding another layer of authenticity to the experience. The crowd was pure peace and joy – a place where strangers became friends.
The encore was unforgettable. Kushner walked off stage after his "last" song, and fans started heading for the exits. But when someone yelled, "Wait! He hasn’t played 'Daylight!'" everyone froze. The crowd chanted for it, growing louder until Kushner reappeared. The moment he started singing, the energy was electric. Every voice sang with him word for word.
It was more than a song – it was a shared moment. "Daylight" hit me on such a personal level, and looking around, I could tell I wasn’t alone. Kushner has a voice and a story that’s rare, and I can’t wait to see where he goes next.
Editor's note: The insights presented in this column are the author's and do not imply any endorsement from The State Press or its editors.
Edited by Morgan Kubasko and Alexis Heichman.
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