Wendy Eisenberg – Wweennddyy Eeiisseennbbeerrgg

Back in April, vanguard guitarist and songwriter Wendy Eisenberg released their self-titled album, a collection of reflective, folk-oriented songs that has become one of the year’s most acclaimed records. Amid a cover feature in The Wire and Best New Music honors from Pitchfork, the album’s initial vinyl pressing sold out within a week of release and went on to claim spots on numerous year-to-date best-of lists from Aquarium Drunkard, Consequence, Paste, Pitchfork, Stereogum, The Guardian, The Quietus, and many others.

Six months after its release, Eisenberg returns to surprise-release Wweennddyy Eeiisseennbbeerrgg, a companion work that collects two expansive live renditions of album standouts “Meaning Business” and “The Walls,” recorded with bassist Trevor Dunn, violinist Mari Rubio (More Eaze), and drummer Ryan Sawyer. Running a combined 46 minutes, the two pieces stretch the original songs into new forms, allowing their melodies to unfold across radically expanded stretches of time. Rooted in songs that explore memory and personal transformation, the recordings offer a new way into the album’s intimate emotional world.

Reflecting on the impetus behind the new versions, titled “Mmeeaanniinngg Bbuussiinneessss” and “Tthhee Wwaallllss,” Eisenberg shares:

“I want to write songs that feel infinite. I want to write songs that transcend their production, that can weather the changes. It’s probably a holdover from my jazz training, the desire to hear my material in different contexts. A standard sounds different passed through time and hands. This band, Ryan, Mari and Trevor, can do anything- between them their practices span jazz, metal, country, ambient music, minimalism, and hyperpop, at least. Why not literally stretch them, and my songs, out? I want to feel when a slowed-down song becomes ambient music, becomes jazz, becomes something else. Experimental music; an experiment. Hopefully not chopped, but definitely a little screwed.

Subjecting these two songs, songs that are explicitly about memory, to a compositional process explicitly about length, lets me perceive the time in each song differently. In these versions, the form is maintained but sections elide, become solos, become worlds. Returning to the chorus feels different after fifteen minutes than it does after a minute and a half. Maybe it’s a Cagean imposition, making a pop song stay interesting after 20 minutes. I can justify it however, forever. I just want to hear the band play on.”

Since the release, Eisenberg has remained steadily on the road, including an extensive US tour over the summer of 2026, recent appearances in New York City, and select European dates including Unsound Festival in Warsaw. Later this month, Eisenberg returns to Europe and the United Kingdom, with appearances at C2C Festival in Turin and Berlin Jazz Festival, and a run across the UK culminating in two sold-out performances at Café OTO, before concluding the tour in Dublin, Ireland.

Looking ahead to the new year, Eisenberg recently announced a North American tour with indie duo @, spanning 15 dates across two legs. The run begins January 15 in Philadelphia and wraps up in New York at Bowery Ballroom on January 27, before the tour heads west for a series of dates in the Pacific Northwest and California through February 25 in Los Angeles.

Listen to Wweennddyy Eeiisseennbbeerrg above out now via Joyful Noise Recordings, and see below for Wendy Eisenberg’s tour dates.

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