Here are The Current staff’s picks for the top concerts of 2022 — among those that we covered. Check out photos and excerpts of the reviews below.

Wet Leg at First Avenue, March 3

From the review:  Joy filled [Rhian] Teasdale and [Hester] Chambers’ faces. During “Angelica” their bent-over-backward poses had an indie rock star quality. The two effused charisma and had clear sonic attraction. 

Mitski at Palace Theatre, March 14

From the review: Throughout the set, if someone looked away for a few seconds, they’d miss a meaningful moment. Mitski’s movement was simultaneously chaotic and calculated — spontaneous yet controlled. During “Love Me More,” she began with her arms gracefully outstretched. 

Hippo Campus at the Armory, April 23

From the review: Although Hippo Campus’ style has fluctuated over the course of their career, the set progressed seamlessly through the eclectic mixes of synth-heavy psychedelic rock to guitar-led pop-rock. It didn’t feel jarring to hear the playful indie melodies from Landmark next to the more recent sonic experimentation.

Cornbread Harris with Jimmy Jam at Hook & Ladder, May 6

From the review: For the second set, Jimmy Jam joined the band from behind the Roland synth on center stage. Despite the obvious attention on him, he deferred solos to the other players until his father pointed at him at him and cheered, “Go. Play! Play!” The recently named Rock & Roll Hall of Famer grinned and took it away, earning a fist bump from his dad.

Dua Saleh at Fine Line Music Cafe, May 20

From the review: The moment Dua sang into the mic, the crowd erupted. In that moment, it felt that the roof might come down. As the crowd bopped, Dua hopped across the stage with their chains dangling with them. This scene would replay throughout the night, song after song, hit after hit. We were all in trance, glued to Dua’s mesmerizingly nonstop energy and vibe.

Turnstile at Varsity Theater, May 13

From the review: The band squeezed 18 songs into a 50-minute cardio workout. If just streaming their music feels intense, imagine how that sensation is amplified when the material is played live. Drummer Daniel Fang, bassist Franz Lyon, and guitarists Brady Evert and Pat McCrory joined forces to deliver thundering rhythms. With noticeably more earplugs than usual in the crowd, clearly many people were seasoned concertgoers. (It’s never too early to start wearing earplugs.) 

Orville Peck at First Avenue, June 4

From the review: One might think that the mask could create distance between himself and an audience, but it didn’t. Instead, there was true sincerity and connection in the room. Performing in that Zorro-style mask, Peck let loose in glamorous fashion. All the while, he was constantly wrangling the crowd: handing out roses, rewarding their energy, complimenting their outfits, and expressing gratitude for them being there.

Rock the Garden at Minneapolis Sculpture Garden (Nathaniel Rateliff & The Night Sweats, Sleater-Kinney, LOW, beabadoobee, DāM-FunK, Divide & Dissolve, Bombino), June 11

From the review: The evening proved a catharsis as [Nathaniel Rateliff & The Night Sweats] and audience engaged in a dialogue they hadn’t enjoyed in more than two years: the band giving their all — including keyboardist and bandleader Mark Shusterman appearing to direct both band and audience — as the audience bobbed their heads, danced, clapped and thrust their hands in the air in a glorious reunion that included several instances of call and response.

Joe Rainey at 7th St Entry, June 27

From the review: The vast influence of the two talented and genre-explorative artists onstage was present. At certain points of the night, it was hard to tell if attendees were at a powwow or techno show. Any initial incongruence was shrugged off as the sounds of mechanical drums and the organic were married together to create something, fresh and new.

Japanese Breakfast at First Avenue, July 11

From the review: Backlit by glowing golden circles, Zauner sang and struck the gong for “Paprika,” featuring anthemic drums beating like a parade. The effervescent “Be Sweet” followed, featuring ’80s-steeped synths and plucky guitars inviting dancing – and the crowd obliged. On “Kokomo, IN,” moony, longing-laden lyrics and nostalgic ache kicked off a block of heartbreakers. 

Brandi Carlile at Xcel Energy Center, July 30

From the review: On this tour and new album, she is in command of her stories, showing up as an imperfect messenger of encouragement and hard lessons learned. She directly dedicated a few songs to her young daughters, who were both in attendance. “The Mother,” a single from 2018’s By The Way, I Forgive You, is a tribute to her firstborn and to the tribulations of motherhood in general. “This Time Tomorrow,” touches on the proximity of grief and love, and “Mama Werewolf” finds Carlile witnessing herself passing along generational dysfunction and attempting to stem the flow.

Wild Hearts Tour (Sharon Van Etten, Julien Baker, and Angel Olsen), Aug. 9

From the review: The show climaxed during the encore when Olsen returned onstage, giving a cheek-kiss and rose to Van Etten. They teamed up to play their collaborative single, “Like I Used To” and bask in sweet memories.

Kendrick Lamar at Xcel Energy Center, Aug. 20

From the review: It seems everything Kendrick Lamar puts out for fans to enjoy is with much thought and intention, and the Big Steppers tour attested to this, from the dancers and the lights, to the voiceover of Helen Mirren acting as his subconscious, narrator, ego-checker, or all of the above, to even his outfit.

Water Is Life Festival (Ani DiFranco, Indigo Girls, Tia Wood, Low, Dessa, Joe Rainey Sr., Keith Secola, Annie Humphrey, David Huckfelt & the Unarmed Forces, Corey Medina, Gaelynn Lea, and Emcee Thomas X) at Bayfront Festival Park, Sept. 4

From the review: The [Indigo Girls’] uplifting and timeless 1989 hit “Closer to Fine'' ended the set with a stage full of musicians singing the chorus and dancing with the band. As the lights went down and the crowd began to filter out over a grassy hill, the stage became home to an evening-ending drum circle featuring all Native performers.

Jason Isbell and the 400 Unit at First Avenue, Sept. 24

From the review: Isbell’s First Avenue edition Nike Dunks carried him to the mic, where he addressed the crowd in his charming drawl: “Howdy folks, it’s so good to see you all tonight. I’m Jason Isbell, and this is the 400 Unit. We got a star on the wall outside today, so we’re here to celebrate. There’s nowhere else we’d rather be tonight than right here.”

Lizzo at Xcel Energy Center, Oct. 11

From the review: Lizzo’s encouraging voice saying “I love you. You are beautiful. And you can do anything. In case no one told you today, you are special!” was still ringing in everyone’s ears while she performed. The last few lines being sung a cappella was a goosebumps moment.

Alvvays at First Avenue, Oct. 15

From the review: The Alvvays catalog is loaded with consistently mesmerizing hooks, so there was almost never a moment when Rankin's words or Sheridan Riley’s drum beats didn't hit just right to create a cozy atmosphere. Even though the world has significantly changed since the last time they graced stages, the group delighted long-time listeners while testing out their new material. 

Plains at First Avenue, Nov. 18

From the review: From the moment Jess Williamson and Katie Crutchfield of Plains walked onstage at First Avenue, the classic blustery November evening in Minneapolis became a world of vast prairies, country sunsets, and open highways. On a stage draped with velvet curtains and backed by band members in embroidered Western shirts, the duo embraced the sounds and aesthetics of past country music eras in a way that was both nostalgic, yet uniquely their own. 

Trampled by Turtles at the Armory, Nov. 26

From the review: In an emotional end to its main set, the band welcomed Alan Sparhawk to the stage to perform the Low song “When I Go Deaf.” Making his first stage appearance since the cancer death of his wife and Low bandmate Mimi Parker three weeks ago, Sparhawk took lead vocals and produced a loud, climactic electric guitar send-off that shook the heavens.

The 1975 at the Armory, Dec. 14

From the review: [Matty] Healy doesn’t have strict boundaries when it comes to performing in front of thousands of people. A bottle of wine stayed with him throughout the night, like a prop meant to communicate something. He appeared unsteady when walking on stage and said a few unintelligible things between songs. It was difficult to discern how much of his demeanor was actual intoxication versus an intentional act for fans to lust after.

The Current's Top 89 Songs of 2022 will air on Sunday, Jan. 1. At 10 a.m. CT, we'll look back on past Top 89 winners. Then, around 12 p.m., we'll start this year's countdown, which wraps at 6 p.m. Hear it again starting at 8 a.m. on Jan. 2.