Category Archives: Pop and rock

Courtney Barnett on being forced to stop: ‘I felt myself opening up in a different way’

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A breakup, a pandemic and a homecoming left the singer with time to sit and think. Her new album radiates the calmness and kindness she sought

At the beginning of 2020, while her home country burned and the rest of the world was waking up to a global pandemic, Courtney Barnett was in Los Angeles. She’d just completed an American tour; her plan was to find herself an apartment and stick around a little longer to work on songs.

Then – after “it all got really wild” – she came home to Melbourne. For maybe the first time in six years – since her 2016 hit Avant Gardener turned her into the newest “New Dylan” – Barnett finally had time to sit and think.

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‘We had a fierce anger and suspicion’: Thom Yorke and Stanley Donwood on Radiohead’s Kid A and Amnesiac

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In this extract from a book compiling artworks made by Donwood and Yorke for Radiohead, the pair discuss how alienation with Cool Britannia saw them retreat into landscapes, labyrinths and inadvertently inventing Twitter

Stanley Donwood I can’t believe the innocent world we lived in when we were making this work. It was before 9/11, before the “war on terror”, before the conjoining of the police and the military – all of the social changes that have led towards the position we now find ourselves in. It wasn’t possible to know what was going on around the world in the same way that it is now, when news has become a sort of surrogate entertainment.

Thom Yorke Everybody involved felt like we’d been in some weird circus for quite a while, after OK Computer. Personally, I mentally completely crashed, as did Stan. We all did, in a way. Rather than immersing ourselves in this congratulatory atmosphere around us, we felt the total opposite. There was this fierce desire to be totally on the outside of everything that was going on, and a fierce anger, and suspicion. And that permeated everything. It was completely out of proportion, deeply unhealthy – but that’s where we were at.

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Diana Ross: Thank You review – an anaemic comeback that should have been great

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With disco enjoying one of its periodic moments in the sun, a supremely classy 21st-century reboot was possible. But this isn’t it

In 1982, Diana Ross was interviewed by Smash Hits magazine. Her presence in among the breathless coverage of Duran Duran and Haircut 100 was testament to her continued commercial success two decades on from the Supremes’ first hit. She talked a little about that band’s 60s heyday, but, as befitting an artist who had just enjoyed two platinum albums stuffed with Top 10 singles, insisted that the 80s were the real “golden age. There’s so much opportunity.”

But not, as it turned out, for Diana Ross, whose recording career stalled shortly afterwards. She had her last US Top 10 hit, a tribute to the recently murdered Marvin Gaye called Missing You, 37 years ago. Britain remained under her sway a little longer – Chain Reaction, a flop in the US, rightly reached No 1 in 1986 – but even so, it was all over bar the shouting by the early 90s.

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‘Oh my god, we can’t do this!’ Inside Levi’s sexy, hit-making ads of the 90s

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The musicians and execs share the pitches, punch-ups and phone calls behind the adverts that took Stiltskin, Babylon Zoo and Mr Oizo to No 1 – and flipped music and advertising’s relationship on its head

Amid black and white Ansel Adams-style cinematography, two Amish sisters spy on a topless man bathing in a Yosemite river. Suddenly, a peaceful choral soundtrack gave gives way to bone-shaking guitar: Inside, the debut single by Scottish grunge band Stiltskin.

Thus began one of the strangest cultural wrinkles of the 1990s: when Levi’s became a jeans company that could also score UK chart hits. Inside was built around an addictive riff that still sounds fresh, and the advert, entitled Creek, shot it to the top of the UK charts. Over the next few years, the likes of Babylon Zoo, Smoke City, Mr Oizo and Norman Cook’s pre-Fatboy Slim project Freak Power would also score major success off the back of a placement in Levi’s witty, often sexually provocative adverts.

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‘We have to fight for what is right’: Patti Smith on gender, Sally Rooney and Cop26

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In the run-up to the climate conference, the rock’n’roll poet reflects – with a little help from her daughter – on a life spent breaking barriers, hanging out with Dylan and learning to Instagram

More than two decades ago, Patti Smith and a group of other artists were sitting with the Dalai Lama when the late Adam Yauch of the Beastie Boys asked the Tibetan spiritual leader a question: what’s the number-one thing that young people can do to make a better world? Without missing a beat, the Dalai Lama replied: “Look after the environment.”

“I thought it was so beautiful,” Smith says in her trademark New York drawl. “That was his number-one preoccupation. Not to free Tibet, but to take in hand a global concern that was going to affect us all, on a scale we haven’t seen before.”

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Billy Bragg: ‘Boris was trolling me the whole time. We’ve got a wind-up merchant as PM’

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As the bard of Barking tours a new album, he reflects on modern politics, his scraps with the Daily Mail and why he could do with listening a bit more

In an Exeter pub on a wet Monday morning, Billy Bragg is talking about a day at the Glastonbury festival in 2000. The BBC had signed up an unusual guest for its coverage – Boris Johnson. In the footage (still online), Johnson – then a year from becoming an MP – forgets to get off the train, gets a comedy henna tattoo in Sanskrit, and growls the Clash’s Bankrobber to Bragg in the car: “It’s your philosophy, isn’t it?” he says. “Leftwing approval of theft from capitalists?”

“He was trolling me the whole time,” Bragg remembers. “That’s what his MO still is. A wind-up merchant who became prime minister! How the fuck did that happen?” He shrugs. “Modern politics needs things he doesn’t have: accountability and empathy.”

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Do the Saigon twist! Meet Phuong Tâm, Vietnam’s first rock’n’roll star

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Playing raucous American pop in 1960s Vietnam, Phuong Tâm became a sensation – but turned her back on singing after emigrating to the US. Now she’s 76 and her incredible music can finally be heard after her daughter tracked it down

In early 1960s Saigon, Nguyễn Thi Tâm would appear on stage in the city’s vibrant phòng trà (tearooms) and nightclubs. She embodied quintessential young womanhood, with long, straight black hair and wearing a white áo dài, an elegant Vietnamese dress. But instead of traditional songs, she would belt out music that recalled American hot rods, hip-swinging dance crazes and even teenage abandon: using the stage name Phuong Tâm, she was one of Vietnam’s first rock’n’roll singers. “Back then, everyone was singing Vietnamese, some French, but no one else was singing American music,” says Tâm, now 76. “Just me.”

Lost for decades, 25 of the brilliantly crafted songs she recorded – all rich in verve and atmosphere – can now be found on Magical Nights, a landmark compilation that required an international collective effort to recover a lost era of early Vietnamese rock. Tâm and I speak in Vietnamese, logging on from our homes in two of the world’s largest Vietnamese-diaspora communities: she is in San José, California; I am in Sydney, Australia. Given that we are talking about events from more than half a century ago, I’m astonished by her vivid recall. “Of course, these are precious memories. I was lucky. I sang every night.”

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‘You’ve got long hair, I’ve got long hair!’ The loud, joyful community of rock bars

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With strong drinks and stronger music, rock bars are fiercely independent havens for UK metalheads, who have been donating thousands to keep them alive after Covid

It’s Friday night in north London’s Black Heart, a rock and metal bar tucked away on a Camden side street. The walls and ceiling are – inevitably – painted black, the beer taps are furnished with antlers, and the speakers are blasting out Metallica’s Enter Sandman. As the chorus hits, the whole bar breaks into song, and the bartender turns down the volume so all that can be heard is a room full of joyous metalheads belting out: “We’re off to never-never land!”

As pints splash and voices echo, the scene feels poignant: pandemic lockdowns left rock fans wondering when they might have moments like this again, with the Black Heart nearly closing down until it was saved by a crowdfunding campaign with prize draws that raised more than £150,000 in seven weeks.

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The greatest songs about the climate crisis – ranked!

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As Cop26 opens in Glasgow, we provide the soundtrack, ranging from Gojira’s metal fury to gorgeous environmental paeans by Childish Gambino, Neil Young and Joni Mitchell

From its cover shot of a submerged bedroom down, 2019’s Titanic Rising feels like an album informed by the climate crisis, but the lyrics seldom address it explicitly. Something to Believe is the perfect example: a plea not to feel overwhelmed by or nihilistic about the challenges faced, beautifully steeped in the lush sound of early 70s Los Angeles.

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Gil Scott-Heron changed my life – and his humane message still resonates

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The ‘godfather of rap’ is being inducted into the Rock and Roll Hall of Fame this week alongside Jay Z and LL Cool J, and remains an inspiration for how he lifted up the downtrodden

In 1986, as the Rock and Roll Hall of Fame was being inaugurated in Cleveland, Ohio, I was touring Europe with the artist, poet, author and civil rights activist Gil Scott-Heron. At that time, you wouldn’t have readily associated someone like Gil with the term rock’n’roll. In fact, people were struggling to find any genre name that could encapsulate this urban griot’s unique and diverse repertoire. Gil would often joke that if you wanted to find his music in the record store, “look for a category that says miscellaneous”; true innovators don’t fit into established genres but create them.

Nevertheless, Gil is being inducted this year, a mark of how the Rock and Roll Hall of Fame has diversified and incorporated other musical forms, including hip-hop. Public Enemy were inducted in 2013 and this year Jay-Z and LL Cool J will join the ranks along with Gil.

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World exclusive: Super troupers! Abba on fame, stress, ageing backwards – and why they’ve returned to rescue 2021

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World exclusive: Here we go again! After nearly 40 years, Benny, Björn, Agnetha and Anni-Frid are back together. We get the inside story of the greatest reunion in pop

It started with a mysterious image on billboards all over the world (and the internet). The sun rising above four dark planets; the only words Abba: Voyage. By the time an announcement was made on 2 September, it had fair claim to call itself the most anticipated comeback in pop history.

And the details exceeded expectations. Not only was there a new album, Voyage, the first in 40 years: 10 new songs that brought the original band together in the studio for the first time since a split that had been precipitated by the couples in the band divorcing. Not only that, but there was to be a new “immersive live experience”, in a bespoke stadium in London – nobody seemed to have noticed the planning application being published online – featuring futuristic de-aged “Abbatars” playing a potentially never-ending series of gigs. In the depths of a miserable year, it seemed, Abba were coming to rescue 2021.

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Elton John: ‘I can still explode at any moment. I just have terrible feelings about myself’

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Despite a dodgy hip, the superstar remains youthful thanks to pop star friends like Dua Lipa – but is still struggling with anger and childhood trauma. He explains how fatherhood is making him a better man

A good illustration of Elton John in 2021 is how, last week, he scored the eighth UK No 1 single of his career and also had his right hip replaced. The 74-year-old certainly has his frailties – “my left hip is the hip of a two-year-old, and my right hip is the hip of a 92-year-old” – but is youthful in other ways. His enormously enjoyable and varied new album, The Lockdown Sessions, may feature a range of boomer-pleasing names, such as Eddie Vedder, Glen Campbell and two A-list Stevies (Wonder and Nicks), but there are also plenty of pop artists that could feasibly incite a TikTok dance craze: Dua Lipa, Lil Nas X, Rina Sawayama. One song pairs John with country singer Jimmie Allen over a drum’n’bass beat; another is interspersed with raps from Young Thug and Nicki Minaj.

“Watching Young Thug freestyle was just amazing!” he enthuses over a video call, self-isolating the day before his operation, dressed in collared, lapelled pyjamas over a rugby top. Oil paintings of 19th-century figures flank him in the background. “I hate it when people knock rap and hip-hop – when you actually go in the studio and watch Young Thug in front of a microphone, it’s an incredible thing.” He’d had dinner with Lipa, who duets with him on their No 1 single Cold Heart, a few nights before; he rings up Olly Alexander of Years & Years, who covered Pet Shop Boys’ It’s a Sin with him, “a couple of times a fortnight. I feel an empathy with these people. I’ve got the enthusiasm of an 18-year-old, and enthusiasm keeps me going.”

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Self Esteem: Prioritise Pleasure review – Britain’s funniest, frankest pop star drums out her demons

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(Fiction)
The sound of an artist coming into her own, Rebecca Taylor’s remarkable second album as Self Esteem mixes the intimate and conversational with the unabashedly dramatic

Throughout Prioritise Pleasure, her second album as Self Esteem, Rebecca Taylor searches for a feeling she can rely on. Her stomach and heart seldom align. A callous lover makes her doubt herself. “Casual” texts from an ex evidently conceal ulterior motives. She has to check out emotionally in order to climax from a zipless fuck. Marriage and babies don’t appeal, yet other people’s still make her insecure. Even the nostalgia induced by a warm summer’s day can trick her into self-sabotage.

Pacing these shifting sands is exhausting. But simply by defining them, and acknowledging how normal it is for these contradictory states to coexist (especially in the lives of women, contorted by diet culture and dating), Taylor establishes a sturdy sense of common ground – one on which the makings of a stellar pop second act are taking shape.

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Dave Gahan of Depeche Mode: ‘Regret is a weird word. I don’t look back on my life like that’

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The Depeche Mode frontman answers your questions, on his new covers album, taking early dance lessons from Mick Jagger and the right way to load a dishwasher

Did you accomplish everything you set out to on [forthcoming album] Impostor? MrBeelzebub

I was really burned out after the last Depeche Mode tour, then Rich [Machin, long-time musical partner in Soulsavers] and I started talking about songs and artists who had influenced us. Before we knew it, we were making a Soulsavers record with me as frontman that paid homage to those songs, but was almost a new piece of work. I realised that the choices were songs that put me where I am, suggested where I have been and where I might be. They are songs [such as Dan Penn/James Carr’s Dark End of the Street or Bob Dylan’s Not Dark Yet] that reflect on lives lived. I would not have known how to sing these songs when I was 18.

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‘Our music charts are still kind of segregated’: critic Kelefa Sanneh on pop, fandom and race

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The New Yorker writer’s book Major Labels examines why we tag music with a genre, be it for commerce or community. He explains why people still argue over great songs – and why they can thrive on cultural appropriation

When Nik Cohn wrote Awopbopaloobop Alopbamboom: The Golden Age of Rock in 1969, he only had 15 years of the rock’n’roll era to process. Five decades later, telling the story so far is such a daunting prospect that, while writing Major Labels: A History of Popular Music in Seven Genres, New Yorker staff writer Kelefa Sanneh’s trick was denial.

“I figured if I thought too much about the span of it, I would go insane,” he says cheerfully. “The idea of sitting down to write the history of music is horrifying. It feels more fun if I’m telling seven overlapping stories.”

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‘I’m so glad you guys exist!’ Carrie Brownstein meets the Linda Lindas

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When teenage LA punks the Linda Lindas went viral, they caught the attention of Amy Poehler, Jimmy Kimmel and original riot grrrl, Carrie Brownstein of Sleater-Kinney, who joins them for a cross-generational chinwag

In May, the US punk band the Linda Lindas went viral with a performance of their no-holds-barred track Racist, Sexist Boy. Written in response to a real-life incident in which drummer Mila de la Garza was racially harassed by a classmate, the song alternates between sludgy punk and brisk, hardcore thrash, topped with cathartic, defiant lyrics: “You have racist, sexist joys / We rebuild what you destroy.” What made the performance even more striking was its setting among the usually hushed bookshelves of the Los Angeles Public Library.

On the back of that viral hit (currently at 4.3m views on Twitter), the teenage Los Angeles quartet – Mila and her sister Lucia (guitar), their cousin Eloise Wong (bass), and longtime friend Bela Salazar (guitar) – have signed to Epitaph Records, recorded their debut album, due in 2022, and released a snappy, and snappily titled, punk-pop single Oh!.

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Adele: Easy on Me review – reliably, relatably Adele-esque

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(Columbia)
The first single from her divorce-focused new album 30 is quintessential Adele: piano, romantic recrimination, and soaring vocal work

Adele’s statement announcing the release of her fourth album was published on social media earlier this week. In it, the singer doesn’t talk much about music, more about her emotional state during the album’s making, provoked, one assumes, by the breakdown of her marriage: “absolute mess and inner turmoil … consumed by grief”. She compared the album she made amid it to friends coming over with “a bottle of wine and a takeaway” and offering earthy, if astrologically based, advice: “It’s your Saturn return, babes, fuck it.”

It all sounds thoroughly grim, but it also has a hint of reassurance about it for her fans, who come to Adele in record-breaking numbers for relatable heartbreak – the musical equivalent of an old friend in the pub, tearfully relating the latest chapter in their reliably disastrous love life as they demolish a third glass of pinot grigio. For one thing, it underlines that she has fresh heartbreak to write about, which had been an issue with her last album, 25, on which she was forced to rake over the same relationship that had inspired its predecessor for material. For another, her fans might have cause to be alarmed by what the cover of Vogue refers to as “a new look, a new love, a new sound”. How reliably relatable can Adele now be, with her home in LA, her squad of Hollywood A-list pals, her three-times-a-day exercise regime and, the Vogue profile suggests, an employee on hand with a different pair of shoes should the singer want to change out of her heels? It’s a statement that, consciously or otherwise, sends out a message: “Business as usual babes, fuck it.”

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60s hitmakers Manfred Mann: ‘I’ve sung this 10,000 times and never liked it!’

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They had screaming fans and transatlantic hits as part of the 60s’ British invasion – an unlikely result for a band of jazz and blues heads. Still touring as the Manfreds, they look back on one of the strangest catalogues in UK pop

In an office in the middle of Pinewood Studios, former members of Manfred Mann are discussing their EP The One in the Middle. It was recorded in 1964, at the height of their first flush of fame – between the first and second sessions for the EP, their single Do Wah Diddy Diddy had gone to No 1 in the UK and the US. But, in spite of that success, it is perfect evidence of how different Manfred Mann were from their contemporaries in what was then called the beat boom.

The EP features a version of Herbie Hancock’s Watermelon Man. With the greatest respect to peers like the Swingin’ Blue Jeans, you didn’t get a lot of repurposed hard bop from them. It also features a Bob Dylan cover, six months before the Byrds released Mr Tambourine Man and sparked a trend for taking Dylan songs in new directions. Manfred Mann, for their part, retooled With God on Our Side as a kind of epic southern soul-influenced piano ballad. And then there’s the title track, an extraordinarily early example of pop music in self-referential, meta mode.

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K-boom! How the unstoppable stars of K-pop went gunning for the art world

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First came K-cinema, then K-pop and K-TV. Now South Korea’s young stars are conquering the world with K-art. But what do their dark visions say about their nation’s psyche – and ours?

Ohnim is having a blue period, just like Picasso. Over Zoom from a gallery in Seoul, the Korean rapper Song Min-ho, better known as Mino to K-pop fans but Ohnim in the art world, shows me a painting he finished the previous evening in collaboration with artist Choi Na-ri. It depicts a blue crouched figure, like a depressed version of Rodin’s Thinker. It may be still wet but will soon be shipped to London’s Saatchi Gallery for an art fair that showcases work by three of Korea’s biggest K-pop stars.

The meeting of K-pop and K-art is making the art world lick its lips. Businessman David Ciclitira, who set up the StART Art Fair at the Saatchi, says: “K-pop stars have immense reach through their social media. Guys like Mino, Henry Lau and Kang Seung-yoon, whose work will be in the show, have six to seven million followers each on Instagram. In Seoul, fans queue round the block just to see a work of art by any of them. Then they fight each other to buy. I don’t suppose it’ll be quite like that at the Saatchi Gallery, but you never know.”

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‘My God, we were mobbed so much!’ – how we made Overload, by Sugababes

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‘Some people thought our vocals sounded sarcastic. I felt like I was just being a normal teenager, moody as hell’

We made Overload at Mayfair Studios in Primrose Hill. We were running between two rooms, recording the poppier stuff for our debut album, One Touch, with Matt Rowe, who was famous for his work with the Spice Girls. And then, in the other room, working on Overload with [co-producer/writer] Cameron McVey and his team. The writing process was pretty organic, everyone adding lyrics and melodies. But for me, Cameron was instrumental in Overload. He has a way of pulling the best out of you, and he loved to ask us what was going on with our schooling, our mates, going out.

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