The Dead Weather did “Blue Blood Blues” for Letterman last night. Jack White played drums, and Alison Mosshart — or at least Mosshart’s hair — helped on guitar.
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The Dead Weather did “Blue Blood Blues” for Letterman last night. Jack White played drums, and Alison Mosshart — or at least Mosshart’s hair — helped on guitar.
Last night Interpol did “Barricade” on Letterman, which was a good opportunity to check out new bassist Dave Pajo and the band’s new live keyboard player, Secret Machines’ Brandon Curtis. Both did well, though, Pajo’s a bit more low-key than Carlos D, in terms of dress and facial hair. Curtis sang the high notes on the chorus, then got flustered when Letterman walked over to thank the band (watch until the end to catch their awkward non-handshake):
The Flaming Lips brought “See The Leaves” to Letterman, and the hard psychedelic track from Embryonic freaked him out a little but — or at least I hope that’s why he could only come up with “… it’s like my lips are burning” at the end. He’s better than that. Watch:
This past weekend Jessica and I visited our friends at Pitchfork.com and a sizable cadre of its critics — past, present, and, presumably, future — in Union Park, taking in a lineup that seemed to perfectly capture everything that’s on all of our iTunes “Recently Added” smart playlists, and tended to lull us into a daytime doze anyway. In the case of Beach House, the nocturnal emissions suffered none in the sun, their swooning set of Teen Dreams quickly reminding the park that said LP should be a lot higher on people’s year-end lists. (Everyone in that park makes a year-end list, trust.) But otherwise, the fest’s cross-section of the sort of indie we’re all celebrating these days blended with the humidity for a soporific cocktail. Unless your name was Lightning Bolt, or Local Natives, or Major Lazer, or a handful of others. That goes triple for Robyn. Her set ruled. Scott and I had seen her once before, but she was somehow ruling even harder now. There was a lot of Body Talk Pt. 1 (one reason for the excess ruling), and rearranged Robyns (I prefer the originally arranged Robyns, but so it goes). During the set, “Dancing On My Own” led directly into its prior-album analogue, “With Every Heartbeat,” and it was highly unfair to anyone making pop music not named Robyn.
Pitchfork streamed much of the festival; I’m not sure they did her set. If not, it would be your loss, except that she was on Letterman last night and YouTube loves you. Yes, there are some backing track harmonies. There’s also Robyn being a rare and transcendent sort of pop star, one you can love without a trace of irony because she’s lyrically smart, stylistically experimental, and committed to making streamlined and heartfelt electropop with fat hooks resilient to the homogenizing vapidity and formulaic gloss infecting all that dominates the radio, whatever that is.
So, here she is doing one of the songs of the year, “Dancing On My Own,” for Letterman. While you watch, add dancing to the list of things Robyn can do better than you. I think she wants Dave to know more about Sweden than he does.
M.I.A. was on Letterman last night to perform “Born Free.” She brought along a lot of friends — nine lookalikes dressed in sunglasses and outfits to match her own. It was still easy to tell who she was. But it was a clever way to bring up some of the things people have implied — that’s she’s inauthentic, an impostor, a fake, etc., without judging or answering. Just acknowledging. Suicide’s Martin Rev played with M.I.A. to do the song’s sample live, which was a nice co-sign. I’m not sure Letterman could — he was fairly speechless after the noisy performance, though he did say, “Seriously, happy Halloween.”
The New Pornographers have been regular guests on Late Night — they’d previously done “My Rights Versus Yours” and “The Laws Have Changed” on the show — so David Letterman warmly welcomed the band back for “Sweet Talk, Sweet Talk.” Neko Case was on hand for this performance (she traded verses with Kathryn Calder) as well as a four-person clapping section. This brings their live lineup to 132 people, I think.
TPC’s Champ standout “Wait Up (Boots Of Danger)” has a remix by DOM, and one by Passion Pit, and to complete the set, a relatively enthusiastic “how about these guys” from Letterman last night. If you missed it:
Last night Band Of Horses were on Letterman along with Katherine Heigl and magician Steve Cohen — it’s magic week on Letterman, so it’s not too late to DVR tonight’s magician Michael Ammar (you should visit his Men’s Hut). Band Of Horses brought standout “Laredo” to the show. And while the album overall hasn’t hit the same way as their debut, this track sounds good live, with less gloss on both the song and singer Ben Bridwell’s voice. You can see him pushing himself on those high notes, it’s kind of welcome. Dave agrees: “That’s all you’re looking for right there.”
“The Weekenders” has the awesome Craig Finn snap, “The theme of this party’s the industrial age’ / You came in dressed as a train wreck,” among other memorable lines. Finn himself looked like he was continually impressed with his lyrics during their Friday appearance on Letterman:
Here’s the small army that is Broken Social Scene, hitting the Ed Sullivan Theatre last night for a take on the Forgiveness Rock Record single “Forced To Love.” Only Lisa Lobsinger represents from the female side of the Scene, though the ranks were fleshed out by ex-DFA1979 and present And The Mountains man Sebastien Grainger, whose finger-work must go acknowledged (and has rubbed off on Andrew Whiteman). Dave begins shaking all the hands as the surging song winds up, until he realizes there are too many hands to shake.
