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    Lauren Mayberry’s Lush Pop Ecstasy, and 13 More New Songs

    Hear tracks by Bartees Strange, the Smile, Ela Minus and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Lauren Mayberry, ‘Something in the Air’Lauren Mayberry, the frontwoman of the Scottish synth-pop band Chvrches, strikes a note of defiance on “Something in the Air,” a track from her upcoming debut solo album, “Vicious Creature.” “You come up with your stories, conspiracy theories of why we’re all here,” she sings on a soaring pop chorus, before flinging off all that paranoia with some crescendoing synths and a melody that escalates toward liberation. LINDSAY ZOLADZWaxahatchee, ‘Much Ado About Nothing’MJ Lenderman’s chiming guitar sparks off the warm tone of Katie Crutchfield’s voice on “Much Ado About Nothing,” a previously unreleased track she’s been playing live on the tour for Waxahatchee’s latest album, “Tiger’s Blood.” “Oh no, I’m down and out, I’m tragically amiss,” Crutchfield sings, reaching to her warbling falsetto. But in the face of her desperation, the song’s laid-back and lived-in arrangement offers a safe place to land. ZOLADZBartees Strange, ‘Sober’We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    10 Unforgettable Kris Kristofferson Covers

    Many of his songs are better known by other singers’ interpretations, like Janis Joplin’s “Me and Bobby McGee,” Johnny Cash’s “Sunday Morning Coming Down” and more.Laura Roberts/Invision, via Associated PressDear listeners,“You can look at Nashville pre-Kris and post-Kris,” Bob Dylan once said of Kris Kristofferson, who died on Saturday, “because he changed everything.”That’s high praise coming from Dylan, especially considering that when they first crossed paths in Nashville’s Columbia Recording Studios in 1966, Dylan was recording his opus “Blonde on Blonde” — and Kristofferson was the studio’s janitor, lingering in the halls with his own dreams of songwriting glory. A few years later, he’d finally achieve them, thanks to artists like Ray Price, Roger Miller and Johnny Cash, who all had hits with early Kristofferson compositions. Then came Janis Joplin’s rendition of “Me and Bobby McGee,” which posthumously topped the pop chart and gave Kristofferson, as he once put it, “the biggest shot of fame that I ever got at that time. It was never the same after that.”Though a household name thanks mostly to his acting career, Kristofferson never achieved more than modest success as a solo recording artist. I happen to love that gruff, mumbly Everyman quality of his voice, but I recognize that it’s an acquired taste. That’s probably why so many Kristofferson songs are better known by other singers’ interpretations, whether it’s Joplin’s “Bobby McGee,” Johnny Cash’s “Sunday Morning Coming Down” or a whole host of other musicians who have tackled his breakthrough breakup ballad “For the Good Times.”Today’s playlist is a compilation of some of the best of those covers, from artists as varied as Al Green, Waylon Jennings and Tom Verlaine. If you’d like to hear Kristofferson’s words in his own ragged drawl, consider this a companion piece to the excellent playlist that Jon Pareles put together, featuring 12 of Kristofferson’s essential songs.Lastly, a quick programming note: I’m going to be taking the next few weeks off from writing The Amplifier so I can get some work done on the book I’ve been trying to write. I have a few great guest playlisters lined up while I’m out, and they’ll be sending you an Amplifier once a week, each Tuesday. Enjoy their eclectic selections, and you’ll hear from me again soon!I ain’t saying I beat the devil, but I drank his beer for nothing,LindsayWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Orla Gartland Melds Honesty, Hooks and Noise

    On her second album, the internet-native Irish songwriter makes a complicated relationship sound “squonky.”The Irish songwriter Orla Gartland refuses to oversimplify romance on her new album, “Everybody Needs a Hero.”“Pop music for me can be a little too black-and-white sometimes,” she said in a video interview from her home studio in London. “Lyrically, a love song or a breakup song can be really straightforward. But that’s not my experience. The line is never that straight. You know, it’s sticky and meandering. It’s a lot of, like, ‘I love you … but.’”Gartland, 29, has been her own pop cottage industry for most of her life. Raised in Dublin, she started playing Irish traditional music on fiddle when she was 5 and moved on to learn guitar, keyboard and drums. She has also mastered the crucial 21st-century skill of video self-branding, creating a constant stream of content.Gartland started posting songs to YouTube — covers and then originals — in 2009, and she released her first official single in 2012. “There’s something so naïve in my early videos,” she said. “I get very nostalgic about that era of the internet, because I do think that no one had really made a career on the internet yet.”She called that moment “really pure and good-natured, like people were putting up things because they were so alive to a community. I remember putting songs up and being absolutely fascinated by the fact that I could play a song and upload it from my bedroom in Dublin, and then someone from the Philippines could comment five minutes later.”With her debut album, “Woman on the Internet” in 2021, Gartland finally claimed credit as a producer or co-producer on her songs.Hiroko Masuike/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Pras Sues Lauryn Hill Over Canceled Fugees Tour, Alleging Fraud

    Ms. Hill was accused of deceiving the other group members about tour finances. She called the lawsuit “baseless” and “full of false claims.”After three years of stops and starts, a troubled reunion tour by the hip-hop trio the Fugees — Lauryn Hill, Wyclef Jean and Pras — was finally canceled in August, leaving fans wondering what had happened behind the scenes. One version of that story emerged in a lawsuit filed Tuesday by Pras against Ms. Hill and her company, MLH Touring.In the lawsuit, Pras — whose real name is Prakazrel Michel — laid out a withering portrait of a group in private conflict. He accused Ms. Hill of deceiving the other Fugees about the tour’s finances, trying to “usurp control” by taking over the group’s business and trademark, and unilaterally rejecting a $5 million offer for the Fugees to perform at this year’s Coachella festival.The suit, filed in Federal District Court in Manhattan, includes claims of fraud, breach of fiduciary duty, breach of contract and refusing to permit an audit. It seeks unspecified damages.In a statement, Ms. Hill responded: “This baseless lawsuit by Pras is full of false claims and unwarranted attacks. It notably omits that he was advanced overpayment for the last tour and has failed to repay substantial loans extended by myself as an act of good will.”The Fugees, from New Jersey, became progressive standard-bearers for hip-hop in the 1990s with reggae-tinged hits like “Fu-Gee-La” and “Killing Me Softly,” and Ms. Hill broke out with her 1998 solo album “The Miseducation of Lauryn Hill,” which won the Grammy Award for album of the year.But the group’s history has long been tumultuous, and fans have been waiting decades for a proper tour. According to Mr. Michel’s suit, the latest troubles began as soon as their first batch of reunion dates was announced in 2021.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    6 of ‘The Greatest’ Songs

    Hear superlative tracks from Billie Eilish, Kenny Rogers and Alabama Shakes.Billie Eilish opened her “Hit Me Hard and Soft” tour in Quebec this week.Julia Spicer for The New York TimesDear listeners,I’m going to keep things brief today, since I just got back from a whirlwind trip to lovely Quebec City, where I reported on the opening night of Billie Eilish’s world tour. I was curious to see how the 22-year-old Eilish would stage and perform the songs from her latest album, the sonically adventurous “Hit Me Hard and Soft” — especially those that require the oft-whispery-voiced singer to belt to the rafters. One of those songs has a lofty but familiar title: “The Greatest.”I have long dreamed of compiling an Amplifier playlist of different songs with the same name. Watching Eilish perform “The Greatest,” probably the emotional apex of the whole show, I realized she was offering me the perfect opportunity. I started to think of the many other artists who have bestowed that imposing moniker on one of their tunes — Cat Power, Lana Del Rey and Kenny Rogers among them.Perhaps I just have majesty on the mind because as I made my way home from the airport yesterday, I listened to (and eventually watched) one of the greatest baseball games I can remember, an operatic battle for a postseason berth between the Atlanta Braves and my New York Mets, who came back from the brink of elimination (twice!) to win the game, 8-7. In that spirit, I dedicate all six of these songs to Francisco Lindor and his two-run, ninth-inning home run: a moment of true greatness.If this is it, I’m signing off,LindsayListen along while you read.1. Billie Eilish: “The Greatest”In its muted opening sequence, Eilish coats that titular lyric in sarcasm: “Man, am I the greatest,” she sighs, reflecting on a doomed relationship that seems to have suffered from some lopsided affection. As the song builds to its cathartic conclusion, though, a soaring melody allows her defenses to drop away. “I loved you, and I still do,” she sings. “Just wanted passion from you, just wanted what I gave to you.”▶ Listen on Spotify, Apple Music or YouTubeWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Kris Kristofferson Stood by Sinead O’Connor as the Boos Rained Down

    At a moment when the Irish singer had few people defending her, the country music veteran showed strong support. It created a bond that remained throughout their lives.On Oct. 16, 1992, Columbia Records threw its longtime artist Bob Dylan an event at Madison Square Garden to celebrate the 30th anniversary of his first album with the label. The concert, available on pay-per-view, featured performances by Dylan along with some of the biggest stars of his era, among them Stevie Wonder, George Harrison, Johnny Cash and Eric Clapton.But it was the performance by the comparative newcomer Sinead O’Connor and the assist lent her by the country veteran Kris Kristofferson, who died Saturday at 88, that proved most memorable.O’Connor, then just 25, was at the center of a firestorm. Just two weeks earlier, the Irish singer was the musical guest on “Saturday Night Live” when, at the conclusion of her second and final performance of the evening, she ripped up a picture of Pope John Paul II and exhorted, “Fight the real enemy,” a defiant act of protest against sexual abuse in the Catholic Church (and also, she later revealed, a deeply personal statement — the photograph had belonged to her mother, who had physically abused her). The incident drew widespread outrage and turned O’Connor into a cultural pariah.Now, in the wake of that polarizing moment, it was Kristofferson who was tasked with bringing O’Connor to the stage.“I’m real proud to introduce this next artist, whose name’s become synonymous with courage and integrity,” Kristofferson said, in obvious reference to the “S.N.L.” incident. (As he would later sing of O’Connor, “She told them her truth just as hard as she could/Her message profoundly was misunderstood.”)O’Connor took the stage to a cascade of applause and boos, which did not let up as O’Connor stood silently at the microphone with her hands behind her back. A minute passed, and Kristofferson re-emerged from stage left, put his arm around O’Connor and whispered something in her ear.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Kris Kristofferson: A Life in Pictures

    Kris Kristofferson, who died on Saturday at 88, was most revered for his songwriting, favoring an aphoristic style that surveyed the many detours a life could take. By the time he broke through, at nearly 34 years old, Kristofferson had swerved off prescribed courses a number of times. The son of an Air Force major general and a socially conscious mother, he’d been a Rhodes Scholar, an Army helicopter pilot and a family man before going all in on music in 1965, a decision that splintered his family and left him scuffling for money.“I was working the Gulf of Mexico on oil rigs. I’d lost my family to my years of failing as a songwriter. All I had were bills, child support, and grief,” Kristofferson once said of writing “Me and Bobby McGee” in the late 1960s. “I was about to get fired for not letting 24 hours go between the throttle and the bottle. It looked like I’d trashed my act. But there was something liberating about it. By not having to live up to people’s expectations, I was somehow free.”By the time success came in 1970 — as Ray Price’s cover of his song “For the Good Times” reached the Top 40 on the pop chart, and Johnny Cash’s version of “Sunday Morning Coming Down” became a No. 1 country hit — Kristofferson had experienced love, loss and hard times, all of which gave his career a hard-earned sagacity as it expanded over the next 50 years.Here are some snapshots from his life and career.Kris Kristofferson, an Oxford-educated Army helicopter pilot, turned down a teaching job at West Point to pursue songwriting in Nashville.Al Clayton/Getty ImagesKristofferson, in 1970 or 1971, in a Nashville hotel room listening to a reel-to-reel tape recorder after his appearance on “The Johnny Cash Show.”Al Clayton/Getty ImagesKristofferson in 1970, the year two songs he wrote — “For the Good Times” and “Sunday Morning Coming Down” — became hits for other artists.Al Clayton/Getty ImagesIn the liner notes of his 1971 album, “The Silver Tongued Devil and I,” Kristofferson described his music as “echoes of the going ups and coming downs, walking pneumonia and run-of-the-mill madness, colored with guilt, pride, and a vague sense of despair.”Don Paulsen/Michael Ochs Archives, via Getty ImagesKristofferson with Janis Joplin in the summer of 1970, shortly before her death in October of that year. Her version of “Me and Bobby McGee,” penned by Kristofferson, went to No. 1 on the Billboard Hot 100 chart in 1971.John Byrne Cooke Estate/Getty ImagesKristofferson starred opposite Barbra Streisand in Frank Pierson’s 1976 remake of “A Star Is Born.”Max B. Miller/Fotos International and Archive Photos, via Getty ImagesKristofferson and Streisand in a publicity photo from “A Star Is Born.” He won a Golden Globe Award for his performance.Screen Archives/Getty ImagesStreisand and Kristofferson at a preview of “A Star Is Born” in New York City in December 1976. She cast Kristofferson as the male lead in the film after seeing him onstage at the Troubadour in West Hollywood, Calif.Suzanne Vlamis/Associated PressKristofferson performing with Olivia Newton-John and Rod Stewart at a UNICEF benefit in New York City in 1979. His work in the 1980s and ’90s would venture into social justice and human rights.Ron Galella/Ron Galella Collection, via Getty ImagesKristofferson, center, with from left, Candice Bergen, Rita Coolidge, Willie Nelson and Burt Reynolds after a performance at the Bottom Line in New York City in 1979. Kristofferson and Coolidge, who were married for much of the 1970s, released three duet albums before divorcing in 1980.Associated Press/Associated PressKristofferson and Isabelle Huppert, with whom he appeared in the film “Heaven’s Gate” (1980), at the Cannes Film Festival in 1981.Associated PressKristofferson with Don King, commentating during a fight between Larry Holmes and Muhammad Ali in 1980. Kristofferson, a Golden Gloves boxer in college, was a lifelong fan of the sport.Randy Rasmussen/Associated PressKris Kristofferson and Jane Fonda at the premiere of the film “Rollover” in Los Angeles in 1981.Nick Ut/Associated PressWith Willie Nelson on the set of the film “Songwriter” in 1983.John Bryson/Getty ImagesFrom left, Nelson, Waylon Jennings, Johnny Cash and Kristofferson performing as the Highwaymen in 1985 at Nelson’s Fourth of July picnic in Austin, Texas.Beth Gwinn/Getty ImagesKristofferson, left, with Jackson Browne and Bonnie Raitt in San Francisco in 1989, performing in protest of the war in El Salvador. Tim Mosenfelder/Getty ImagesKristofferson comforted Sinead O’Connor after she was booed at Madison Square Garden in New York in 1992. “It seemed to me very wrong, booing that little girl,” he later said. “But she was always courageous.”Ron Frehm/Associated PressFrom left, Kristofferson, Victoria Williams, Suzanne Vega, Vin Scelsa and Lou Reed backstage at the Bottom Line in New York City in 1994.Ebet Roberts/Redferns, via Getty ImagesKristofferson joined Streisand onstage in London in 2019 for their duet “Lost Inside of You.” “He was as charming as ever, and the audience showered him with applause,” she wrote on social media after his death.Dave J Hogan/Getty ImagesKristofferson with Charlie McDermott in Vermont in 2005, during a break in the filming of “Disappearances.”Toby Talbot/Associated PressKristofferson performing with Nelson at a concert for Nelson’s 70th birthday in 2003. James Estrin/The New York TimesKristofferson performing at the Stagecoach Festival in Indio, Calif., in 2007. He retired from performing during the Covid-19 pandemic.Heidi Schumann for The New York Times More

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    Billie Eilish Brings a Master Class in Intimacy to the Arena Stage

    Hit Me Hard and Soft: The Tour opened in Canada on Sunday night, showcasing the 22-year-old pop star’s gift for dynamics, dramatics and audience engagement.A few songs into the first night of Hit Me Hard and Soft: The Tour at the Videotron Center in Quebec City, Billie Eilish challenged the sold-out crowd of 18,000 to play the quiet game. “It’s literally the only time in the entire show I’m going to say this,” assured the superstar, 22, who sat cross-legged on the floor at center stage, “because I don’t want silence, ever.”But there was a practical reason for the request: Eilish was about to record looped layers of her voice, so she could harmonize with herself while singing her hushed early hit “When the Party’s Over.” “I love doing my own vocal production,” she told the obliging audience, “and I thought I would bring that to the stage.”“I love you!” cried an ecstatic fan, who was promptly shushed by the entire arena.As Eilish built a lush bed of backing oohs and ahhs layer by layer, this hypnotic moment served a few purposes. It was a casual way to prove that she was singing live, and a clever means of bringing the intimacy of the bedroom recording studio — a fabled setting in the mythology of Eilish and her brother, the producer Finneas — to a massive, buzzing arena.After ascending from a luminescent cube in the center of the venue, Eilish spent most of the show bopping around a rectangular stage on the center of the floor. Julia Spicer for The New York TimesBut it was also a canny way to replicate a quintessential element of Eilish’s recordings — a whispery, ASMR-inducing hush — that can be difficult to evoke on an arena stage, where impassioned fans obscure the nuances of her voice by screaming every lyric back to her.Both ends of the dynamic spectrum are important to Eilish’s sound, a fact she underscores in the title of her adventurous third album, “Hit Me Hard and Soft.” In this accompanying live show, she modulated them expertly, suddenly transforming acoustic numbers into arena-rocking power ballads and playing the adoring audience like a well-tuned instrument.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More