Now in its 38th year, the annual Tibet House Benefit at Carnegie Hall has become a cherished event not only for the audience, but for the musicians on-stage, as well. Every year, an eclectic mix of artists from around the world come together to collaborate and forge lasting friendships, all in support of a noble cause: protecting and preserving Tibetan culture.
As in years past, a large tapestry of the Drepung Monastery served as the backdrop for the evening’s events, a powerful reminder of Tibet’s home high in the mountains. The benefit began quietly with a group of Tibetan monks reciting a prayer and playing traditional percussion instruments. Tibet House co-founder Robert Thurman then welcomed the audience, acknowledging the presence of co-founder Philip Glass, who waved from the balcony. Thurman addressed the elephant in the room, acknowledging the global turmoil too large to ignore even for just a few hours. He reminded the audience that it’s not our world that’s broken, but some of its inhabitants who believe that everything should be rebuilt to fulfill their own greedy interests.
From there, a seemingly endless parade of artists, actors, and other icons took the stage. A near-constant presence in years past, Patti Smith returned after missing the 2024 show, opening with a reading from Allen Ginsberg’s “Howl.” Backed by members of her band and her daughter Jesse Paris Smith, Patti performed “Peaceable Kingdom,” a tribute to the late activist Rachel Corrie and to all children who’ve lost their lives to war. She ended with just a verse of “People Have the Power,” a poignant call to action and a reminder of a simple yet often-forgotten truth.
It wouldn’t be a Tibet House show without the Philip Glass Ensemble, who performed a selection from Koyaanisqatsi, gaining momentum note after note. From there, experimental jazz artist Arooj Aftab performed two beautiful songs, “Raat Ki Rani” and “Mohabbat,” accompanied by flute, harp, and cello. Tenzin Choegyal, a stalwart performer at Tibet House, was a highlight once again this year, surprising the audience with a group of local Tibetan children.
One of the most anticipated artists of the night was Michael Stipe, who’s been appearing on stage more frequently over the past year. The R.E.M. frontman took advantage of Tibet House’s love and respect for the spoken word, reading Max Ehrmann’s Desiderata. Accompanied by composer Peter Catalano on piano, Stipe also delivered a rendition of Bowie’s “The Man Who Sold the World” supported by Laurie Anderson, the Scorchio Quartet’s Martha Mooke, and a powerful vocal keening by Tenzin Choegyal. Stipe then performed his collaboration with Aaron Dessner, “No Time for Love Like Now.”
Tune-Yards took the stage next, with fans singing Merrill Garbus “Happy Birthday” as the crew set up their intricate arrangement (they have enough pedals to open their own Guitar Center). With the complicated setup completed, the band performed two new songs from their upcoming album Better Dreaming. During “Limelight,” the band was joined by the newly christened “Yardbirdies” (Gina Gershon, Laurie Anderson, Allison Russell, Ganessa James, and Abena Koomson-Davis), all of whom were clearly enjoying themselves. “How Big Is the Rainbow” featured looping vocals that brought the crowd to life.
Angelique Kidjo, who’d missed the prior day’s rehearsal, proved that she didn’t need one. She walked on stage, taught the audience a chant, and effortlessly sang over it as though they’d been touring together for years.
Orville Peck delivered a hauntingly beautiful performance of “Dead of Night,” followed by Leonard Cohen’s “Chelsea Hotel #2.” He then brought Allison Russell back out for their duet “Chemical Sunset,” marking only its second live performance. Russell followed with a set of her own, starting with her collaboration with Luther Dickinson, “Superlover”, and later adjusting the lyrics to call for love and understanding in the Israel-Palestinian region.
Artist/activist Jackson Browne gave a serene performance of “Don’t You Want to Be There” and “Far From the Arms of Hunger,” with his impeccable guitar playing and recognizable voice a perfect fit for the evening.
The event’s Artistic Director Laurie Anderson made multiple appearances throughout the evening, though her first performance was a tribute to the many past participants no longer with us, including David Bowie, Allen Ginsberg, Sharon Jones, and her late husband, Lou Reed. As she played violin, the voice of Reed read the lyrics to “Junior Dad” accompanied by Sex Mob and Martha Mooke. Anderson addressed the political climate, acknowledging the overwhelming pace of current events before sharing how she and Reed would turn to practices like tai chi in such moments, inviting the audience to join her in a set of movements designed for small spaces by a Chinese master. She also shared some invaluable advice for navigating these chaotic times: “Lou and I came up with three rules to live by when there’s just not enough time to think. Number one: Don’t be afraid of anyone. Number two: Get a really good bullshit detector and learn how to use it. Number three: Be really tender.”
Later, actor Ebon Moss-Bachrach demonstrated his deep connection to poetry with a reading of Ginsberg’s “Wales Visitation,” backed by the Scorchio Quartet. Gogol Bordello, as always, brought an element of chaos to Carnegie Hall. Their lively energy—especially in light of the President’s announcement to cut aid to their embattled home country—was a reminder that punk is about speaking truth to power. Frontman Eugene Hütz urged the audience to sing along for those suffering under fascism and violence. Soon, the entire audience was on its feet, joining the band for “We Mean It, Man” and “People Have the Power” as many of the night’s other performers took the stage to show solidarity. The stage was flooded with the lineup, many wearing white scarves—gifts from the Tibetans, a sign of love and the Tibetan New Year, the Year of the Snake.
As the performers gathered to sing along, the message was clear: In times like these, hearing a reminder that you’re not alone is vital. The Year of the Wood Snake is said to be a time of transformation. While that change can be painful and uncertain, the night’s performance reaffirmed that music can help guide us through these difficult times.
