Category Archives: Music

Eleanor Tomlinson to Release Debut Album

Eleanor Tomlinson, Demelza PoldarkEleanor Tomlinson is trying her hand at a music career, releasing an album of “folkish covers”.

“I want to do it in quite an original way,” Tomlinson said. She is working with Anne Dudley, the composer for Tomlinson’s period show, Poldark, where Tomlinson sang as her character Demelza in the first series. “It’s separate from the series. We are hoping to record it this year.”

Dudley, who won the Outstanding Contribution to British Music Award at the Ivor Novello Awards, praised the actress and her singing ability. Continue reading

Adam Clayton Talks to Rolling Stone About The Joshua Tree Tour

The complete article:
Adam Clayton, Rolling Stone, U2
Thirty years ago, the wild success of The Joshua Tree transformed U2 into the biggest band on the planet. Radio hits “With or Without You,” “I Still Haven’t Found What I’m Looking For” and “Where the Streets Have No Name” catapulted them from arenas into stadiums and found then hobnobbing with Frank Sinatra, appearing on the cover of Time magazine and sharing the stage with Bob Dylan, Bruce Springsteen and B.B. King. “Certainly looking back on playing the tour at that time, it should have been an extraordinarily, freeing, joyful opportunity,” says bassist Adam Clayton. “But it was actually quite a tough time trying to deliver those songs under the pressure of growing from an arena act to a stadium act. I, for one, don’t remember enjoying it very much.”

He’ll probably enjoy it more this summer when U2 take The Joshua Tree on a victory lap three decades down the line. “I think this summer run is almost an opportunity to take it back,” he says, “and look at those songs and look at what was going on then and see where we are now.” We spoke to Clayton about the impetus for the tour, how the show will be structured, if fans can expect to hear rarities and what’s happening with Songs of Experience.

Rolling Stone: I know that the Innocence + Experience Tour was originally slated to go into 2016. What happened?

Adam Clayton: Well, the idea was really that we wanted to make sure we focused on the [Songs of] Experience album. By the time we finished the Innocence tour and came full circle to focus on the album, it was clear we weren’t going to be able to flip it really quickly into the Experience side of the material and put it right back out on tour. As a challenge that was, “OK, we’re going to have to look at this differently.” Also, in the course of that year, some kind of strange political movements seemed to start happening. First of all, there was Brexit in the U.K., which was just a signal that things were changing. I’m not sure how people took it. Then, quite quickly on the back of it, was the rise of Trumpism. And that was like, “Oh, OK, there’s something going on here. There’s maybe something we missed and we need to start watching this.” That sort of encouraged us to go away from trying to finish the record too quickly without being able to factor in some of the things this is telling us. Continue reading

Edge Talks to Rolling Stone About the Upcoming Joshua Tree 30 Tour

The complete article:
Edge
Since their formation in 1976, U2 have aggressively avoided any move that even hints at nostalgia. But this year they’re going to finally look back by taking their 1987 masterpiece The Joshua Tree on tour in stadiums across America and Europe in honor of the album’s 30th anniversary. It’s a chance for the band to re-connect with fans after the rather disappointing reception to their 2014 LP Songs of Innocence, and it gives them a chance to hit the road while continuing to put the finishing touches on their upcoming album Songs of Experience. A couple of weeks before the shows were formally announced, U2 guitarist the Edge phoned up Rolling Stone to talk about the tour, reviving rare songs onstage, their next album, Donald Trump and much more.

Rolling Stone: Can you give me some background on how this tour came together?


Edge:
Well, when we came off the last tour, the Innocence and Experience indoor tour, we headed straight into finishing the second album of that set, Songs of Experience, which we were pretty much complete with after a couple of weeks of the final touches leading up to the end of the year. And then the election [happened] and suddenly the world changed. We just went, “Hold on a second – we’ve got to give ourselves a moment to think about this record and about how it relates to what’s going on in the world.” That’s because it was written mostly, I mean, 80 percent of it was started before 2016, but most of it was written in the early part of 2016, and now, as I think you’d agree, the world is a different place.

Rolling Stone: You’re talking about Trump and Brexit? Continue reading

John Legend Talks to PopSugar

The complete article:
John Legend, PopSugar
A lot has changed for John Legend in the past year. In April 2016, he welcomed Luna, his first child with Chrissy Teigen. In the months following, John released a new music video starring the two, spoiled the world with snaps of baby Luna, and executive produced and starred in La La Land, one of the biggest films of the year. In 2017, things are only heating up. With a fresh album and a new Super Bowl commercial partnership with LIFEWTR, John is already on his way to topping last year. Recently, we hopped on the phone to interview the music sensation about his Super Bowl venture, his new music, and his new life as a father.

POPSUGAR: What does it mean to you to be married to such a strong and outspoken feminist?

John Legend: Well, I’m a feminist myself! I believe in the message of feminism, that women have the right to an equal place at the table, an equal place in leadership. And I’m proud of my wife for standing up for that and being a fearless voice out there. I feel pretty lucky that I’ve found someone who . . . she and I are different, but in the ways that we’re alike, it works out really well. And in the ways that we’re different, it works out really well.

PS: Let’s talk about LIFEWTR. Can you tell me about the Super Bowl commercial and the creative process behind it?

JL: Well, the whole brand is about celebrating life, celebrating creativity, celebrating inspiration, and kind of appreciating all of that. Part of the way they manifest that is through the bottle itself, through featuring artists on the bottle, really embracing that idea of creativity and inspiration. We wanted to embrace that and incorporate it into the ad. And so we actually wrote a few lyrics to kind of fit with that theme: creativity, inspiration, and magic. And then we made a clip for the ad.

PS: You know, I’m actually curious about your creative process. How has it changed since you became a father?

JL: Well, I think I have new things to inspire me, obviously. On my new album Darkness to Light, I wrote about my daughter. I wrote about what it felt like becoming a new father. And obviously, I write about my wife and my relationship as well. I think, as I get older, as I have new life circumstances, I’m going to continue to be inspired by those things and write about them. When it comes to the process of writing, I still do it the same way. I still go to the studio, I focus and try to write a song within four or five hours. I start with the music, and then the lyrics usually come after. So that’s always been the same, but I think now I just have new things to think about, new things to write about, new inspiration.

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Adele Covers Vanity Fair

Adele, Vanity FairThe black Porsche Cayenne S.U.V. pulls up to the driveway of my hotel. Adele is behind the wheel and alone in the car. When I get in, she tells me she loves to drive on her own — although there is a discreet security detail in the vehicle in front of us. We’re on our way to Staples Center for the second of eight sold-out L.A. concerts on her current, 43-city world tour. She’s wearing a flouncy white cotton top over black leggings and beige flats. A Van Cleef & Arpels bracelet with colored round jewels is on her right arm. Her hair is pulled up off her face in a loose bun, her huge green eyes are covered by sunglasses, and, makeup-free, she is naturally gorgeous. She is gregarious and totally at ease, and we immediately start to talk about L.A. She recently purchased a house in Beverly Hills, because she spends so much time recording here and got tired of renting houses that weren’t properly baby-proofed, or private enough, or the pool was broken, and it was a waste of money. At the previous night’s concert she gave a shout-out to her new favorite L.A. supermarket — Bristol Farms. She raves about their balsamic cheese (“I ate the whole thing”), and we somehow segue into grooming. She shows me her long fake nails, which she says are coming off straight after the tour. She says she waited weeks to get her eyebrows shaped because the only woman she’ll let touch them lives in L.A. And how, after a month, she shaved her legs because she thought people in the front row at her concerts might notice them when she runs up the stairs to the stage. I ask if Simon Konecki (her boyfriend of five years and the father of their four-year-old son, Angelo) minded her unshaven legs. “He has no choice,” she says. “I’ll have no man telling me to shave my fuckin’ legs. Shave yours.” Continue reading

Edge Talks About His New Fender Strat With Guitar World

An excerpt:
U2, Edge
Back in 2005, Guitar World asked the Edge why he never endorsed a guitar.

“I’d really, really have to believe in the thing,” he said thoughtfully, then added, “I don’t want to be that guy on the posters: ‘Buy this guitar’ and all that crap. I’ve talked to a few companies over the years. Plus, I’ve had a lot of people do custom stuff for me — that’s different. Again, I don’t want to be a poster guy in music shops.”

This year, however, the U2 guitarist changed his tune, and he makes no apologies for saying, ‘Buy this guitar’ — or amp, for that matter. “I’m so proud of these two pieces,” he says of his recently unveiled Fender Edge Strat and its companion piece, the Edge Deluxe guitar amp. “Each design presents something very unique and updates the original item in some cool ways. Let’s put it this way: I know I’ll be using them quite a bit.”

Along with Bono, the Edge joined Fender’s board of directors in 2014, but he stresses that the idea of rolling out signature products essentially grew out of personal necessity. Some of his Seventies-era Stratocasters, which he relies on for live performances of songs such as “New Year’s Day,” “Pride,” “Sunday Bloody Sunday,” “Where the Streets Have No Name” and “Bullet the Blue Sky,” were failing from the wear and tear of year-long stretches on the road.

“[Longtime guitar tech] Dallas [Schoo] started to look for replacements, and things kind of grew from there,” Edge says. “Fender remade some pieces that were totally amazing. Having tried the guitar, I just realized this is a great instrument and I’d be very proud to put my name to it. When something is so good, you just have to share it.”

Below, we present a portion of our interview with the Edge. For the entire feature and more, be sure to check out the October 2016 issue of Guitar World.

Guitar World: You first started using a Strat when you were a teenager, but your interest in the guitar stemmed more from Rory Gallagher than, say, somebody like Jimi Hendrix.

Edge: Yeah, I knew of Hendrix, and I loved his work, but Rory was the local hero, so it was a different kind of experience. When I was in my teens, I got to see him play, and there were some of his records around, so I kind of cut my teeth learning to play guitar by learning some of his licks and songs. He was really part of a power trio originally, and I think he inspired me to look at the guitar as something that could supply quite a lot in terms of dynamics and textures. There seemed to be so much sound that could come from a guitar, a Strat. That really impressed me.

GW: Tell me about your first Strat. It was a sunburst model, right?

Edge: That’s right. That was the first guitar I owned that you could say was kind of a professional-grade instrument. Actually, in those days I only owned 50 percent of it. My brother, Richard, and I used to pool our meager resources to acquire equipment. We had that Strat and we also invested in an amp and a couple of pedals, and that took care of us for a couple of years. Then I think we might have kept a pretty rough, beat-up traditional guitar that we used if we happened to be playing at the same time. That’s how things went for a while. After a while, it felt like we really had to invest in two complete sets of equipment, so we split things up. I took the amp and he took the Strat. He still has it, actually.

GW: The black ’73 Strat you bought in ’81, what was it that impressed you about it?

Edge: It’s funny, sometimes it’s very hard to define quality when you pick up an instrument. I just call it “musicality,” where you pick it up and you’re immediately inspired by what you’re playing. I always talk about finding the songs in the guitar, the riffs and parts. So for that Strat, I just remember that it was the one. I was in New York at one of those stores on 48th Street. I tried a couple guitars — they were all used; they were in the second-hand part of the store — and this one just had it. It was an inspiring instrument and it sounded musically good, and suddenly I was playing parts and ideas. I knew this was the guitar for me.

GW: The Explorer you used on the first album started to make way for the Strat.

Edge: Yeah, around that time. Like it is with most musicians, you get a new guitar and you want to really use it. So on the second album, I got the Strat and started to use it fairly heavily, particularly on something like “Gloria.” Then on subsequent records it became an important go-to guitar for me.

GW: When did you decide to put DiMarzio pickups in it?

Edge: I kept it stock for a few weeks, but I kept noticing that every time I went to the bridge pickup, it sounded too biting, too…piercing. So I went back to the same shop and told them about it, and they said, “Oh, there’s a guy next door who works on guitars.” I talked to him and he recommended changing the pickup. I think he might have modified the pickup slightly; I don’t think it was straight stock DiMarzio. Later on, we looked to see how it was modified, but we couldn’t figure it out, so it could have been a bit of a sales pitch. Whatever it was, it fit my needs perfectly.

GW: What did you get out of that Strat that you weren’t getting from the Explorer?

Edge: The Explorer was great in so many ways, but there are just certain things the Strat can do that the Explorer can’t just by virtue of the whammy bar. Beyond that, there’s a sound difference that’s different musically. It has something to do with the single-coil pickups. When I would use the out-of-phase position between the bridge and second pickup, there was a sustain in the tone, a feeling in the attack — the transience. It just had this really great quality, and then when you add distortion and overdrive, you can really bring it out.

GW: On some of the songs you’ve played a Strat on, would you sometimes try a different guitar first?

Edge: That would happen, but 80 to 90 percent of the time the guitar I’m playing in real time with a particular sound would inspire parts and ideas. It’s very much a creative process that starts with the sound and the instrument, and the parts come from that rather than choosing to see if some other guitar suits it best. It’s rare that I would go for another guitar, unless there’s some real sonic deficiency of some kind. Occasionally you might go for something else from a production standpoint — you want to bolster the sound. But it pretty much starts with the sound and the part.

GW: Your signature Strat is a Frankenstein based on few of the models. What were your main considerations when coming up with this design?

Edge: I’d say 90 percent sound. I wasn’t slavishly trying to recreate a Seventies instrument. I just knew the aspects that I loved and wanted to preserve, and then I wanted to see if I could improve them. I experimented a lot. We had nine or 10 prototype instruments made, because I really wanted them to hear the impact the different body weights would have on them.

I tried to make one with an alder body with a rosewood neck, but we ended up with the maple neck on the alder body. Fender also made some ash bodies, trying out both rosewood and maple necks. I was really kind of delving into the nuance of why a guitar sounds the way it does. I tried a couple of them on the road, thinking that the ash body and rosewood neck might deliver more of a classic Strat sound, but I reverted back to the heavy alder body and the maple neck. That’s what works for me as a songsmith.

To put it simply, the maple neck is brighter, and the alder body is deeper and has more sustain. They kind of balance each other out. The guitar has more top end but more weight to it. Compared to the ash body and the rosewood neck, which is a little softer and not as wide in terms of frequency response.

Edge Talks to Billboard About Performing In Paris & the New Album

U2’s The Edge and His Decade Long Fight to Build on a Pristine Malibu Hillside from the LA Times

Edge Performs In the Sistine Chapel

Edge Visits Belfast Center for Disabled Children

U2 on TFI

U2 Visit Bataclan Theatre To Pay Respects [VIDEO]

Gifts For U2 Fans

Follow @Music_IntheDark on Twitter

Edge Talks to Billboard About Performing In Paris & the New Album

U2, EdgeU2 guitarist The Edge talks about the Paris concert broadcast on HBO, security concerns, and the new album

The complete article:

On Dec. 7, U2 took the stage at Paris’ Accorhotels Arena to make good for the second of its two shows originally postponed in the wake of the Nov. 13 terrorist attacks in the city that left 130 dead, including 89 at the Bataclan concert venue where Eagles of Death Metal were playing.

The concert, U2: iNNOCENCE + eXPERIENCE Live in Paris, captured live for HBO by director Hamish Hamilton, was a breathing testament to the healing power of music, not only for the audience, but for U2 as well. “It sort of felt like it was part of a process of reclaiming live rock and roll in the city of Paris,” says U2 guitarist The Edge in an exclusive interview. “We were by no means the first event post the Paris attacks, but for us it was very symbolic and very significant. We tried to get back as quickly as we could.”

U2 invited the Eagles of Death Metal to join them on stage, marking the first time the California band had played since the attacks. “They were robbed of their stage, so we would like to offer them ours,” U2 frontman Bono told the audience.

Calling from the studio where U2 is working on the follow-up to 2014’s Songs of Innocence, The Edge talked to Billboard about that Paris night, increasing security following recent events such as the Christina Grimmie murder and the Orlando club massacre, as well as the new album and a possible new tour.

The Edge Says U2 Is Working on ‘Zooropa’-Like New Album For 2016

Billboard: What is your best memory of that night in Paris?

Edge: That moment when the Eagles of Death Metal came on stage and we handed to them one of our guitars, [bassist] Adam [Clayton] and myself, and Larry [Mullen Jr.] handed them drumsticks. We then grabbed guitars ourselves and we joined in with them. There was that moment of handing over our stage and our instruments that was just really moving after everything that they’d been through. Continue reading

Tom Hiddleston Talks to the LA Times About ‘I Saw the Light’

Tom Hiddleston, LA TimesThe complete article:

Finding that broken feeling took a while, but when it came, just before midnight on the Louisiana set of I Saw the Light, Tom Hiddleston’s voice crawled into Hank Williams’ words as the blues played out slow and mournful to the hushed tune of a single guitar.

Hiddleston’s rendition of “Your Cheatin’ Heart” comes toward the end of writer-director Marc Abraham’s biopic, which opens Friday. A troubled man and a music legend, Williams, who died at 29 in 1953 after recording 30 Top 10 country music hits, left an indelible mark on American culture. Hiddleston, a British actor best known for his villain Loki in Marvel movies, said he felt the sting of torment and the weight of legacy in each song.

“It’s the hardest thing I’ve ever done,” said Hiddleston, who had to reinvent his inner musical rhythms and raise the pitch of his baritone to embody Williams’ tenor. “The moment I signed on I understood my duty to him and his family. You’ve got no choice but to throw your whole soul at it.” Continue reading

Bono Releases Film About the Psalms

Bono, Eugene PetersonU2 lead singer Bono will release a short film about the Psalms that was made in collaboration with Eugene Peterson, a retired Presbyterian pastor and author of The Message.

The 20-minute film, Bono and Eugene Peterson: The Psalms, is set in Peterson’s Montana home and in New York’s gallery for the International Arts Movement and follows a conversation about the book of Psalms as the foundation of their friendship.

Bono became friends with Peterson after they met in 2010 during U2’s 360 Tour.

The documentary is produced by Fourth Line Films and directed by Fourth Line’s Nate Clarke. The NBP notes that the film is the first production to be released by the Pasadena school’s new website, Fuller Studio, a resource from Fuller, a seminary founded by a 1940s preacher who reached the masses through radio broadcasts.

“Our hope is that as a result of watching the film, people will be curious or inspired to read the Psalms themselves and to discover this remarkable book of poetry in Holy Scripture that has captured Bono and Eugene’s imaginations,” David Taylor, the film’s producer and director of Brehm Texas, which is an initiative of Fuller Seminary’s Brehm Center for Worship, Theology and the Arts told the New Boston Post. “Their conversation at the Peterson’s home in April 2015 represented their second time to meet and it proved to be a very lovely afternoon together.” The film will “connect with fans of U2, fans of Eugene’s writing, church and lay leaders, artists, worship leaders, and folks involved in the intersection between faith and culture.”

The Message, which was published in segments from 1993 to 2002, seeks to capture the tone of the text and the original conversational feel of the Greek, in contemporary English.

“While I was teaching a class on Galatians, I began to realize that the adults in my class weren’t feeling the vitality and directness that I sensed as I read and studied the New Testament in its original Greek,” Peterson said of why he wrote The Message. “Writing straight from the original text, I began to attempt to bring into English the rhythms and idioms of the original language. I knew that the early readers of the New Testament were captured and engaged by these writings and I wanted my congregation to be impacted in the same way. I hoped to bring the New Testament to life for two different types of people: those who hadn’t read the Bible because it seemed too distant and irrelevant and those who had read the Bible so much that it had become ‘old hat.'”

In a 2002 interview, Bono revealed that he read parts of the Psalms from The Message to his dying father.

Bono often talks about the importance of his Christian faith and includes spiritual themes in many of his songs. He has also suggested that Billy Graham played a significant role in his coming to faith, even giving tribute to the world-famous evangelist in the introduction to a song, “Thank you Billy Graham.”

In a 2013 interview with Irish news channel RTE, Bono expressed a belief in the divinity of Jesus Christ: “[Who is Christ] is a defining question for a Christian…you’re not let off easily by saying a great thinker or philosopher…he went around saying he was the Messiah…he was crucified…because he said he was the son of God. He either was the son of God…or nuts…[and] I find it hard to accept that millions of lives… have felt their lives touched and inspired by some nut. I don’t believe it.”

Bono and Eugene Peterson: The Psalms is out now.

Trailer

Bono Testifies Before Congress: “Aid in 2016 is not charity-it is national security’

U2 & the Ireland Fund Donate 3 Million Euros to Music Program

U2 on TFI

U2 Visit Bataclan Theatre To Pay Respects [VIDEO]

Gifts For U2 Fans

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Adam Clayton Talks About Alcoholism & Mental Health

Adam ClaytonU2 bassist Adam Clayton has spoken about getting through problems with alcohol “and other things”, as well as his experiences with improving his mental health.

The U2 star talked about getting help for feeling “wonky” in an interview with an Irish radio station yesterday (April 7).

“I relied too much on alcohol and other things to get me through,” Clayton said. “I pretty much had a eureka moment. I was fed up of the way I felt constantly. In my particular case, it was difficult for me not to go ‘you’ve got a great life, what’s wrong with you’. Eventually I got fed up with feeling fed up. Eventually a few friends who’d been through alcohol and drug treatment said ‘you can get over this, you can feel better’. At the root of addiction, certainly in my case, was a mental issue. It’s how I approached the day. I was able to get help and revise my thinking and turn that around. I’m a much happier bunny now.”

Clayton also discussed the difficulty people face in seeking help, particularly men.

“Any kind of medical issue, particularly men, we don’t like going to doctors for anything,” Clayton said. “Particularly with mental health, you don’t have to say you’re depressed, you just have to say I’m feeling a bit wonky, I feel a little broken. It’s a very complicated world we live in with all kinds of pressures, and we get it wrong sometimes. A big part of it is demystifying it.”

Listen to the interview below:

Read more at http://www.nme.com/news/u2/92841#Y4mM2hXRcIKtvYqk.99

Adam Clayton Visits Students From Music Generation

Gifts For U2 Fans

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