A good rule of thumb: anytime Liam Gallagher shows up on television, it’s worth watching, for better or for worse. (Remember when he told Carson Daly he was feeling “godlike” on TRL?) Last night’s Beady Eye performance on The Late Show with David Letterman was no exception. The band made their American television debut last night, but they’re no new-jacks?Beady Eye is Oasis minus that band’s primary songwriter (and Liam’s brother) Noel Gallagher?hence their debut album’s title, Different Gear, Still Speeding.
The band was immediately a big draw in the UK (co-headlining the Isle of Wight festival), but had to adjust to their American fanbase when they played The Metro in Chicago on Tuesday prior to their Letterman engagement. Blair R. Fischerreported for Spin that they did so just fine. Anyway, in the same February Rolling Stone interview, Gallagher remarked that New York is his favorite city, and the Late Show afforded the band the opportunity not just to appear last night, but to record an entire 45-minute Live from Letterman set. So all the pieces were in place for the band to sound as good as they could, which, ultimately, wasn’t that far off from Oasis, despite the Gallaghers’ continuing fraternal rancor. (Noel even scheduled his wedding during the same period Beady Eye would be across the Atlantic.)
KATY PERRY‘S NEXT RECORD, THE BALLAD OF BROOKSLEY BORN, SET TO BE A ROCK OPERA ABOUT OTC DERIVATIVES
We kid, we kid. However, in the new issue of Rolling Stone, which hit newsstands today, the California Gurl talks at length about her newfound awareness of what makes this great land of ours tick. “It just feels like the thing running our country is a bank, money,” she tells RS contributing editor Erik Hedegaard. “I know it sounds like an intense viewpoint, but I’m only slowly but surely getting the wool taken off my eyes. When I was a kid, I asked questions about my faith. Now I’m asking questions about the world.” Lest you think she’s totally lost her way and turned into a stuffy economics obsessive, she then goes on to talk about her boobs. [Rolling Stone]
BEYONCÉ RUMOR MILL CONTINUES TO CHURN
Hot on the heels of last week’s rumors that Beyoncé‘s new album, 4, was going to be pushed back to September, this morning’s New York Post contained a juicy item planted by someone who clearly isn’t on Team Bey. According to the snitch source, Columbia Records execs are “very nervous about Beyonc?’s new record” because “it doesn’t have the hit songs that her fans are used to. They asked her to make changes, but she said no.” The last time we remember this much behind-the-scenes drama playing out in the gossip rags before a record came out was when Kelly Clarkson and Clive Davis got into a very public beef before My December hit shelves. [Page Six]
After the massive worldwide success of Viva La Vida Or Death And All His Friends and its ensuing 21-month world tour, Coldplay had clearly earned the right to take a little time off. However, the band did exactly the opposite of that: While they were in the midst of the Viva La Vida tour, they began writing and recording a brand new album, one that Chris Martin described to BBC’s Radio 1 as dealing with universal themes like “love, addiction, OCD, escape and working for someone you don’t like.”
While this album, Coldplay’s fifth, does not yet have a name nor a release date, the band is already out on the road and debuting new tracks. The first single from the album, “Every Teardrop Is A Waterfall,” is in contention for the Song Of The Summer crown, and this weekend, the band will be headlining the Glastonbury Music Festival in England.
If you’re bummed that you can’t make it to England, we’ve got some great news to share: On Saturday night, June 25, at 10 p.m. ET/PT, VH1 and our sister station Palladia will be broadcasting Coldplay – Live From Glastonbury in its entirety, marking the first time in the festival?s 41-year history that a full concert will be broadcast to television audiences in the United States.
Ted Dwane, the bassist in Mumford & Sons, was looking a little worse for wear at the recording of the band’s VH1 Unplugged special, which airs this Friday at 11PM ET/PT. The taping was the band’s first American appearance since the Grammys, and they’d all flown over from the UK the day before?except Dwane, who’d been stranded for hours on the tarmac in London and hadn?t slept since his 3:30 AM arrival in New York City.
He certainly didn’t let his exhaustion show in the performances themselves, and if not for the introductions the band recorded, no one would ever know. Luckily for us, the introductions will be part of the special, as you can see above. Ted tries and fails to introduce the band’s second single “The Cave,” as the other band members poke and prod him, and generally give him a hard time. The performance itself is joyous and infectious. You can even see a few shots of the audience singing, tapping, and stomping along to lead singer Marcus Mumford?s lyrics and kickdrum stomp. The band talked before they played about feeling more at home gigging than in the studio recording, but they proved it when they started to perform.
VH1 Unplugged: Mumford & Sons airs Friday, June 24, at 11 p.m. ET/PT?but if you can’t wait that long, hit up VH1.com tomorrow night at 8 p.m. ET for an online viewing party before the premiere!
A press conference turns into a wild daydream rampage in “I Wanna Go,” the fan-freakin’-tastic new Britney Spears video directed by Chris Marrs Piliero. Piliero’s recent work includes Ke$ha’sVan Der Beek unicorn laser battle “Blow,” and a handful of recent Black Keys videos (including MTV’s 2010 Breakthrough Video “Tighten Up”), so he knows how to make a video humorous and memorable. Ke$ha went as far as to compare him to Spike Jonzein an interview with MTV, which might be a little hyperbolic this early in Piliero’s career, but he’s got plenty of time?and goodwill?because “I Wanna Go” is another success. All of that said, let’s talk about what the video looks like!
We’re nearing the end of the first season of NBC’s The Voice, the show that has revitalized the entire genre of glorified karaoke singing competition programming. The show has been a massive ratings success for the struggling Peacock Network; so much so, in fact, that NBC has the confidence to air a 1-hour special of The Voice in the plum post-Super Bowl slot come February (that is, if an NFL season actually happens) and program it against the reigning champ of the genre, American Idol.
While it remains to be seen whether or not American audiences will be able to stomach two high-profile singing competitions on network television at the same time, The Voice has proven itself to be just what the doctor ordered for the summer network TV viewing season, which is ordinarily filled with either reruns or new shows that network execs have very little faith in. Big name talent like Christina Aguilera, Cee Lo Green and Maroon 5‘s Adam Levine have all upped their profile considerably, Carson Daly seems to be having the most fun he’s had since his TRL heyday, and heck, the competitors themselves have turned out to be fairly engaging, too.
Take Javier Colon, for example. The amiable 34 year-old father of two (and former Capitol records signee) seems to be the consensus favorite at this stage of the competition, and his performance of Coldplay‘s “Fix You” last night was such a knockout that it briefly clawed its way into the iTunes Top 10 singles chart. Not to take anything away from Colon, but everyone knows that it’s the majestic, shimmery guitar crescendo that gives “Fix You” its rousing power, not its lyrics or Colon’s (or, for that matter, Chris Martin‘s) voice. That said, Colon made sure to seize the moment by tossing his trademark cap into the audience and showing America his gleaming pate for the first time. Now, if we were coaching Colon, we would have advised him to save that move for the finals but, as such, it looks like his path to the next round is secure.
When it comes to embracing new artists, The Big Apple is notorious for being standoffish. Countless acts come through this town feeling intense pressure to perform, and like a picky suitor at a speed-dating event, New York and its sometimes-jaded tastemaker underbelly can often?discard a group within minutes. This premature blow to the ego, however, did not happen at the Lower East Side’s Bowery Ballroom last night. Performing their second sold out show in the concrete jungle in as many nights?—the first of which was held Monday night in Brooklyn— indie pop rockers Foster The People managed to create an atmosphere that was full of wild, supportive energy, and not a heckler was in sight.
When Pitbull and Ne-Yo teamed to perform their single “Give Me Everything” at the 2011 Billboard Music Awards last month, we didn’t even think it worth a mention in our roundup of the show’s highlights; the slightly out-of-breath Pitbull and a seemingly off-his-game Ne-Yo turned out a solidly mediocre performance. Their appearance last night on Jimmy Kimmel Live!, though, was an entirely different story.
Sure, the backing tracks didn’t exactly sound stellar through the booming outdoor soundsystem, but it didn’t matter, because both performers brought their best to a performance of what in the last month has climbed the charts to top out at #2 (just beneath the ever-present “Rolling In the Deep”). Sometimes, victory-lap performances like this one can be marked by indolence, but being as near the top of the charts as Adele will allow is apparently no reason for either performer to slack off. Pitbull, in particular, is all over our Song of the Summer charts, and he was similarly dominating onstage last night (so much so that Ne-Yo was not even announced beforehand as a musical guest). The Miami rapper has quietly become a chart monster over the last few years, and it’s great to see him enjoy the heck out of it.
Earlier this month, Drake released a new song called “Marvin’s Room” on his blog, October’s Very Own. If you haven’t heard it yet, the track consists of an intoxicated Drizzy vulnerably addressing an ex-girlfriend, trying to convince her that she can “do better” than the boo with whom she’s currently in a relationship. Coaxing her with his evocative fairy dust, the still-smitten singing rapper can seemingly not let go. Now considered a contemporary drunk-dialing anthem, “Marvin’s Room” is Wheelchair Jimmy’s Drake’s personal adjusting-to-celebrity confession session, yet still relatable enough to potentially rouse emotional baggage from our own civilian relationships past. Lucky us!
Striking similar chords with female vocalists, pop/R&B singer JoJo decided to remake the song last week, delivering her own version from a female’s point of view, and snagging quite a bit of buzz off her naughty lyrics. Teyana Taylor, too, just transformed “Marvin’s Room” into “My Room,” proving that she clearly didn’t give a damn about the poor guy in the original song’s title. And speaking of this “Marvin,” you probably noticed that Drake doesn’t mention him at all on the track, triggering a head-scratcher we found ourselves dealing with: If he’s important enough to garnish the song’s title, why the EFF don’t we know who Marvin is?