Teitelbaum, Sabrina (Blondshell)

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    A Summer of Live Music, From Stadiums to Clubs

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    Hear songs from Beyoncé, Alvvays, Mdou Moctar and more.Beyoncé, a master of ballads and addition.The New York TimesDear listeners,I sincerely hope I am not the first person to break this news to you, but it’s true: Summer is almost over.Let us not mourn what is lost, though. Let us celebrate the summer that was. And what it was, for me at least, was a time to go to a lot of concerts. Most of them outdoors!While the post-lockdown summer concert has made its gradual, necessary return over the past two years, this season it felt back in full bloom. The news was, of course, dominated by a few extremely high-profile ones (Taylor Swift’s cultural juggernaut Eras Tour; Beyoncé’s first solo outing in seven years, the Renaissance World Tour) but there were plenty of simpler (and cheaper) pleasures to be had, too. I caught some incredible free shows over the past few months in New York City parks, from the likes of Mdou Moctar and John Cale. And in a smaller club environment, I was introduced to the up-and-coming singer-songwriter Blondshell.Today’s playlist is a kind of sonic scrapbook of my summer of shows. I’d encourage you to make your own, too; even as this season fades out (sob), it’s a great way to hold onto its most tuneful memories.Listen along on Spotify as you read.1. Alvvays: “Easy on Your Own?”Let’s start with the most recent one: Last Wednesday, I caught an excellent double bill in Prospect Park, as a part of BRIC Arts Media’s annual Celebrate Brooklyn! Festival. The Canadian dream-pop band Alvvays played first; its last album, “Blue Rev,” was one of my favorites of 2022, and I especially love this fuzzed out, gently melancholic second track. (Listen on YouTube)2. Alex G: “Gretel”And here’s the other half of that double bill, the Philadelphia indie musician Alex G, who also released one of my favorite albums of last year, the strange and poignant “God Save the Animals.” Alex’s live shows are always a bit louder and more raucous than his records would lead you to believe; I have actually seen mosh pits break out when he plays this seemingly subdued standout from his great 2019 album, “House of Sugar.” (Listen on YouTube)3. Taylor Swift: “The Archer”I have been known to refer to this one as “The Sagittarius National Anthem.” The more I think about Taylor Swift’s Eras Tour — and there are plenty of opportunities to do so; it’s still all anybody wants to talk about — the more I think my favorite stretch of the concert was the first one, when she finally got to play some songs from her 2019 album “Lover.” Here she is at her most minimalist, and her most antiheroic, as she punctures her own good-girl image on “The Archer”: “I see right through me, I see right through me.” (Listen on YouTube)4. Tanya Tucker: “Delta Dawn”When I traveled to the Gorge in Washington earlier this summer to catch Brandi Carlile’s Echoes Through the Canyon festival — and, you know, a certain very, very special headliner — I was lucky enough to catch an early evening set by the country icon Tanya Tucker. My second favorite part of the show was when she played “Delta Dawn,” which she recorded at age 13, and every single person there sang along at the top of their lungs. My first favorite part was when Tucker uncorked a bottle of her signature tequila and passed it around the front row. (Listen on YouTube)5. Amanda Shires & Bobbie Nelson: “Always on My Mind”The headliners that final night of Echoes Through the Canyon were the Highwomen, a country supergroup that features Carlile, Maren Morris, Natalie Hemby and the fiery fiddle player and singer-songwriter Amanda Shires. Each Highwoman played a solo cover during the set, and Shires wowed me with a poignant rendition of “Always on My Mind,” which she dedicated to Bobbie Nelson. Luckily, you didn’t just have to be there: The studio recording of the song, on which Nelson played piano shortly before she died last year, is gorgeous, and quite close to the version Shires played live. (Listen on YouTube)6. John Cale: “Heartbreak Hotel”Another brilliant show in Prospect Park: Earlier this month, 81-year-old John Cale treated Brooklyn to a spellbinding concert on one of the most temperate evenings of the whole summer. His set pulled from decades of his own material, but one of the most memorable moments was when he played an eerily deconstructed reimagining of “Heartbreak Hotel,” similar to this version that appeared on his 1992 live album “Fragments of a Rainy Season.” (Listen on YouTube)7. Blondshell: “Dangerous”I already knew, from listening to her 2023 self-titled debut as Blondshell, that Sabrina Teitelbaum was a sharp songwriter with a distinct take on the dark side of young adulthood and an easy way with minor-key melodies. What I didn’t realize until I saw her live this summer, though, is that she can really sing. She belted out “Blondshell” highlights like “Salad” and “Sepsis” (two great titles for songs), but the finely calibrated pathos she brought to the haunting “Dangerous” lingered with me long after the show. (Listen on YouTube)8. Mdou Moctar: “Tarhatazed”Mdou Moctar, the Tuareg guitar wizard whose last few albums have gained him much-deserved recognition in the West, leads what I believe to be one of the best rock bands in the world right now. I’ve seen them live a few times, and they’ve never sounded tighter than they did at the free — what a bargain! — show they played in July at Central Park’s SummerStage Festival. The new material was amazing and has me very excited for whatever the group decides to release next, but in the meantime, here’s an epic jam from the band’s 2019 album “Ilana the Creator.” (Listen on YouTube)9. Beyoncé: “1+1”As I pointed out in my review of the North American opening of her dazzling Renaissance World Tour, Beyoncé began a show that honors the vast history of dance music with, unexpectedly, a mini-set of slow, piano-driven torch songs. I confess I was getting a little impatient with the Queen — didn’t we come to dance?! — until she played a transcendent “1+1,” one of her greatest ballads. Then I had no choice but to bow down. (Listen on YouTube)I’ve got a hundred thrown-out speeches I almost said to you,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“A Summer of Live Music” track listTrack 1: Alvvays, “Easy on Your Own?”Track 2: Alex G, “Gretel”Track 3: Taylor Swift, “The Archer”Track 4: Tanya Tucker, “Delta Dawn”Track 5: Amanda Shires & Bobbie Nelson, “Always on My Mind”Track 6: John Cale, “Heartbreak Hotel”Track 7: Blondshell, “Dangerous”Track 8: Mdou Moctar, “Tarhatazed”Track 9: Beyoncé, “1+1”Bonus tracksI purposely left off the summer concerts to which I’d already devoted entire playlists, but in case you missed those, the Cure and the Pretenders were both amazing.Also, my beleaguered New York Mets are still giving me little to cheer about, but I continue to be amused by the special walk-up songs they choose for “Women’s Day” (which was March 8 everywhere else in the world but, for some reason, was Aug. 26 at Citi Field). Each player changed his walk-up song to one by a female artist, and for the second year in a row, Daniel Vogelbach’s pick was the one to beat. This year he chose Vanessa Carlton’s “A Thousand Miles,” and last year, he went with Kelis’s “Milkshake.” Daniel Vogelbach, I salute you. More

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      Drake Surprises With a Kim Kardashian Sample, and 11 More New Songs

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      Hear tracks by Kaytraminé, Blondshell, Yaeji and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage, and The Amplifier, a twice-weekly guide to new and old songs.Drake, ‘Search & Rescue’“I didn’t come this far, just to come this far and not be happy” — so said Kim Kardashian on the 2021 series finale of “Keeping Up With the Kardashians,” discussing why it was time to split from her husband, Kanye West. Two years later, their divorce is finalized, but the narrative persists. That line appears at a pivotal moment in Drake’s new song, “Search & Rescue.” Hovering above a morbid, anxious piano figure, Drake raps about the hollowness of being lonely, and after the chorus, uses Kardashian’s words but reframes them, making them sound like a lament about the single life. Here are two contrasting forms of despair, played off each other. Drake is pleading for connection: “Take me out the club, take me out the trap/Take me off the market, take me off the map.” Kardashian is yearning to be free. But Drake is also a sometime high-profile antagonist of West’s, and his leveraging of Kardashian’s words — an official sample, certainly approved by her — is unlikely to be understood as anything but a broadside from two seemingly unattached people, who would cause a whole lot of trouble were they to attach to each other. JON CARAMANICAKaytraminé featuring Pharrell Williams, ‘4EVA’“4EVA” is the winningly bubbly debut single from Kaytraminé, the duo of the rapper Aminé and the dance music producer Kaytranada. It pairs the irreverence of Leaders of the New School with the sumptuous physicality of A Tribe Called Quest, all delivered at a tempo that triggers a sense of freedom and release. CARAMANICAMahalia, ‘Terms and Conditions’The English R&B singer Mahalia sets out her own EULA — the page everyone clicks through on the way to a website or app — in “Terms and Conditions.” She specifies “the man you’re required to be” over a briskly ticking beat, vocal harmonies and bursts of strings; she wants honesty, attention and fidelity, which don’t seem that much to ask. Can she treat a relationship as a matter of cold internet metrics? The penalties are spelled out: “I’ll cut you off and I won’t regret it,” she sings. JON PARELESIndigo De Souza, ‘You Can Be Mean’With a proudly discordant yelp in her voice, Indigo De Souza vents every bit of her annoyance at her latest hookup in “You Can Be Mean,” a grungy stomp topped by a mock synthesizer. “I can’t believe I let you touch my body,” she snarls. “It makes me sick to think about that night.” She briefly considers extenuating factors, like a bad parent, but not for long. “I don’t see you trying that hard to be better than he was,” she notes. PARELESBlondshell, ‘Salad’The brooding “Salad” is a rock-song revenge fantasy cut through with the Blondshell singer-songwriter Sabrina Teitelbaum’s wry humor: “Look what you did,” she sings, “you’ll make a killer of a Jewish girl.” Still, a genuine sense of menace lurks just out of frame, in a crime Teitelbaum alludes to but can’t name outright when she wails, “God, tell me why did he hurt my girl.” Here, as on the rest of her self-titled debut album as Blondshell, which is out on Friday, Teitelbaum offers candid dispatches from the darker, often unsung corners of a young woman’s experiences. LINDSAY ZOLADZLucinda Williams, ‘New York Comeback’A characteristic grit and defiance courses through “New York Comeback,” a new single from the country-rock legend Lucinda Williams, which features Bruce Springsteen and his wife and bandmate, Patti Scialfa, on backing vocals. The song comes from “Stories from a Rock N Roll Heart,” Williams’s forthcoming album and her first release since suffering a stroke in 2020. That context adds a bit of weight to the song, but as ever, Williams is gimlet-eyed and unsentimental, singing in her signature growl, “No one’s brought the curtain down, maybe you should stick around.” ZOLADZYaeji, ‘Passed Me By’The D.J. and producer Yaeji, whose debut album “With a Hammer” comes out on Friday, pens a letter to her younger self on the booming but introspective “Passed Me By.” The song — on which Yaeji oscillates between English and Korean — begins as a kind of free-form incantation, but all at once a slow, echoing drum beat drops and gives it a loose pop structure. “Do you know that the person is still inside of you, waiting for you to notice?” she sings in the song’s final moments, a question that both lingers and haunts. ZOLADZUncle Waffles, ‘Asylum’Lungelihle Zwane, the D.J. and producer who calls herself Uncle Waffles, distills her new album, “Asylum,” into a five-minute megamix and dance extravaganza for her “Asylum” video. Uncle Waffle was born in Swaziland (now Eswatini) and is now based in South Africa. With a quick-changing array of singers and rappers — men, women, soloists, groups — she works countless variations on the midtempo beat, shaker percussion and gaping open spaces of South African amapiano. It’s still only a small sampling of what she concocts in the course of the album. PARELESArthur Moon, ‘7 O’Clock Clap’Lora-Faye Ashuvud, the songwriter, singer and producer behind Arthur Moon, finds joy in disorientation in “7 O’Clock Clap.” As speedy staccato blips and skittering percussion race above a languid bass line, the song has advice what to do when “you’re a foreigner in your own production/in your own bed, in your own body.” There’s a big grin in the vocal as Ashuvud sings, “Take your shoes off, get a move on/Pray to someone, break your cover!” PARELESLabrinth, ‘Never Felt So Alone’“Never Felt So Alone” first surfaced as part of Labrinth’s soundtrack for “Euphoria,” and snippets thrived on TikTok for years. The full-fledged version — a collaboration by Labrinth, Billie Eilish and Finneas — luxuriates in heartache. Labrinth intones the title as a falsetto plaint above hollow, puffing organ chords that hark back to Brian Wilson; the beat is slow, sporadic, almost stumbling. Midway through, the track stages a near-collapse, with fragmented lyrics and bits of dead air, then grandly reassembles itself. Eilish takes over to deliver her side of the story — “Who knew you were just out to get me?” — before each moves on, resigned to loneliness. PARELESPeter Gabriel, ‘I/O’The title of Peter Gabriel’s first new album in 21 years, “I/O,” stands for input/output, a metaphor he earnestly spells out in its title track, preaching the oneness of humanity and nature over solemn keyboards; “Stuff coming out, and stuff going in/I’m just a part of everything.” But the song takes off in the nonverbal moments of the chorus, when electric guitars surge and the Soweto Gospel Choir backs him in the exultant vowel sounds of “i, o, i, o.” PARELESThis Is the Kit, ‘Inside/Outside’Calm on the outside but bustling within, “Inside Outside” ponders fate, physics and free will. “All the molecules were focused on your next move,” Kate Stables sings, as complex counterpoint gathers around her. The sparse acoustic guitar at the beginning is deceptive; soon she’s in a polytonal tangle of horns, guitars and cross-rhythms, living up to her admonishment: “Bite off as much as you can chew.” PARELES More

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      Popcast Live! The New Faces of 2022

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherFor the first live taping of Popcast, held at Gertie in Brooklyn, members of The New York Times pop music team explored the ways music is evolving today by highlighting some of this year’s breakout stars. The conversation touched on the British rapper Central Cee, the Bronx drill rapper Ice Spice, the country-folk singer Zach Bryan, the alt-rock revivalist Blondshell, the haunted pop crooner Ethel Cain and more.The conversation included debate about what makes for innovation in the crowded and confusing pop music marketplace in 2022, and an audience Q. and A. session touching on Taylor Swift, the persistence of physical media and much more.Guests:Joe Coscarelli, The New York Times’s pop music reporterCaryn Ganz, The New York Times’s pop music editorConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Billie Eilish Contemplates Distraction, and 10 More New Songs

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      Hear tracks by Flo Milli, Jessie Ware, Montell Fish and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Billie Eilish, ‘TV’“TV” — from a pair of modestly strummed but richly produced “guitar songs” Billie Eilish has just released — starts out like one of her hushed, breathy ballads about estrangement, self-doubt and a longing for numbness, this time using TV; she considers putting on “‘Survivor’ just to watch somebody suffer.” But she’s onto something larger — the ways entertainment nurtures distraction, alienation and apathy — and she turns pointedly 2022 topical: “The internet’s gone wild watching movie stars on trial/While they’re overturning Roe v. Wade,” she sings. But Eilish hasn’t forgotten she’s an entertainer herself; as she ponders her isolation in a closing refrain — “Maybe I’m the problem” — she dials in an arena audience, singing and clapping along. JON PARELESJessie Ware, ‘Free Yourself’Jessie Ware reaches for time-tested disco tools in “Free Yourself,” abetted by the stalwart producer Stuart Price (Madonna, Pet Shop Boys, Dua Lipa). There’s a bouncing-octave piano riff, a solidly thumping beat and eventually the sounds of a swooping, hovering string section, as Ware promises that freedom will feel good: “Keep on moving up that mountaintop,” she urges. “Why don’t you please yourself?” The breakdowns and buildups assemble with a sense of glittery inevitability, strutting toward a big finish that, startlingly, never arrives: “Don’t stop!,” Ware sings, “Baby don’t you …” Suddenly, she’s left hanging. PARELESFlo Milli featuring BabyFace Ray, ‘Hottie’A Flo Milli song is like a Blingee filter: loud, flashy, and confrontationally femme. This week the Alabama rapper put out her major-label debut album, “You Still Here, Ho?,” a kind of spiritual sequel to her irresistible 2020 mixtape “Ho, Why Is You Here?” Following an introductory invocation of the muse, which in this case is the reality TV legend Tiffany “New York” Pollard, the album is a showcase for Flo Milli’s braggadocious humor and the chatty ease of her signature flow. Plenty of other rappers would slow their tempo when given a beat as dreamy as the one on “Hottie,” but Milli is relentless as ever, antically flirty while still taking a breath to set some boundaries (“I don’t text back if I’m cranky”). Here, as on other highlights from the record, she spits like a cartoon character gleefully gliding across a rainbow. LINDSAY ZOLADZTyler ICU featuring Nkosazana Daughter, Kabza De Small and DJ Maphorisa, ‘Inhliziyo’Three notable South African producers — Tyler ICU, Kabza De Small and DJ Maphorisa — worked on “Inhliziyo” (“Heart”), a spacious amapiano track built from shakers, sustained keyboard chords, sparsely tapping percussion and shadowy, nearly subterranean bass lines. What makes it even more haunting than most amapiano songs are the vocals by its songwriter, Nkosazana Daughter: quiet and nearly private, hinting at non-Western inflections and suffused with the inconsolable heartbreak of her Zulu lyrics. PARELESSun Ra Arkestra, ‘Somebody Else’s Idea’The Sun Ra Arkestra conjures a loose communality, the feeling of mavericks gathering for a shared purpose. When the Arkestra recorded “Somebody Else’s Idea” during Sun Ra’s lifetime, June Tyson sang lyrics like “Somebody else’s idea of things to come/Need not be the only way.” The current Arkestra, led by the saxophonist Marshall Allen, reclaims the song without words, as a leisurely bolero with saxophones or wordless voices carrying the succinct melody over Afro-Caribbean percussion. They’re joined at times by Farid Barron’s floridly dissonant piano, by brass interjections, by flute trills, and by wavery strings, each adding its own contribution until, like a caravan at sunset, the tune settles into a resting place. PARELESJulianna Riolino, ‘You’“You,” from the Canadian singer-songwriter Julianna Riolino’s forthcoming debut album, “All Blue,” is a twangy, deliriously catchy blast of power-pop. Riolino’s impassioned delivery and boot-stomping energy will appeal to fans of the more upbeat songs on Angel Olsen’s “My Woman,” but Riolino also blends the sounds of vintage country and jangly garage rock in a way that’s uniquely her own. “Everyone is fine until they are drowning in someone,” Riolino sings on this ode to devotion, with the intensity of someone hanging on for dear life. ZOLADZMamalarky, ‘Mythical Bonds’The indie-rock band Mamalarky, formed in Austin and now based in Atlanta, celebrates a deep, joyous friendship in “Mythical Bonds,” the first single from an album due in September, “Pocket Fantasy.” With a teasing smile in her voice, the guitarist Livvy Benneett sings, “I don’t care what I do so long as I do it with you.” The complications — and there are plenty of them — are in the music: stop-start meter changes, peculiar chords, gnarled counterpoint, all packed into two playful minutes. Mamalarky makes math-rock sound like fun. PARELESBlondshell, ‘Kiss City’“Mama, I’m adjacent to a lot of love,” the Los Angeles singer-songwriter Sabrina Teitelbaum sings, in one of several highly quotable lines from her second single as Blondshell. (Also: “I think my kink is when you tell me that you think I’m pretty.”) During the first half of “Kiss City,” Teitelbaum delivers these lines in an arch, somewhat self-deprecating croon, accompanied by an understated arrangement of piano and guitar. But around the midway point, “Kiss City” rips open and becomes a towering rock song, giving Teitelbaum the space to shout those same lines with all of her heart, as if she’s suddenly in a dream, confessing the sorts of things she’d be terrified to admit in waking life. ZOLADZKelsey Waldon, ‘Simple as Love’Sometimes, amazingly, romances actually work out. With a pedal steel guitar sighing affirmations behind her, the plain-spoken country singer Kelsey Waldon rolls out images and similes — “like a monarch to a mimosa tree,” “simple as a cotton dress,” “patient as the moon” — to marvel at a reliable, nurturing love: no drama, just comfort and gratitude. PARELESMontell Fish, ‘Darling’Recorded in Montell Fish’s bedroom in Brooklyn, “Darling” — from his new album, “Jamie” — is a love song infused with fragility, delivered as a serenely undulating waltz. “Did you fall out of love, my darling?” he wonders in an otherworldly falsetto, over acoustic guitar picking and low-fi string squeaks. A big, bedroom-grunge chorus arises as he begs, “Please don’t run away,” but the beat falls away and ghostly piano chords are his only accompaniment as he resigns himself: “I’m finally letting you go,” he decides. PARELESObjekt, ‘Bad Apples’TJ Hertz, the electronic musician who records as Objekt, uses the proudly unnatural tones of techno to generate constantly escalating tension in “Bad Apples.” He undermines the methodical predictability of most dance music. Even as the beat stays foursquare and danceable, sounds and silences keep arriving, accreting, suddenly vanishing or fracturing themselves. Buzzes, chimes, nagging nasal tones, deep bass cross-rhythms, slides and crackles, blips that turn into swarms: in the next two bars, anything might appear, from any direction. PARELES More