The ninth installment of Live from Abbey Road (Sundance Channel, Thursday, August 7th at 10 p.m. Eastern and Pacific) is quite possibly the most dynamic yet. The Kills kick things off with “Getting Down” and “Last Day of Magic” from Midnight Boom. These are those fantastic, kinetic types of tunes that can only come from two people feeding off of each other and inspiring ever-escalating bursts of brilliance. It’s clear watching VV and Hotel facing off for these performances that they are locked into each other on every level, musically, and that’s what makes the songs so compelling. Of course, good songwriting is important too, and the Kills have that locked in as well. “Goodnight Bad Morning”, also from Midnight Boom, is a languid, churning and obvious ode to the Velvet Underground, but it feels very in-the-moment, rather than sounding like a Lou Reed rip-off, which imparts an even greater sense of depth within the song.
Sara Bareilles begins her segment by discussing—and then demonstrating—the depth of her relationship to music. She talks about not being taken seriously as a musician, because she’s a young girl playing “pop” music, but concludes that it ultimately doesn’t matter, because she knows who she is. Who is she? Well, to judge from these performances, she is a remarkably assured songwriter with an equally strong voice. If you’re unfamiliar with Bareilles’ piano-based songs and no-frills style, you’re going to be pleasantly surprised with this segment. She performs “Gravity” and her big hit, “Love Song”, from her debut disc, Little Voice, and then she pulls out all the stops for a stripped-down version of The Beatles’ “Oh Darling” in honor of the “sacred” atmosphere of the environs.
Live from Abbey Road
Matchbox 20, The Script, Def Leppard
Regular airtime: Thursdays 10 pm
The Fratellis were one of my favorite finds of the past two years, and this set of songs doesn’t disappoint. Tales are told of coming up to St. John’s Wood for a weekend at 18, only to wander up and down Abbey Road all day (because you can’t just walk into the studios, you know!), and a bit of a warm up with some Pink Floyd is played to get the band ready for its set. First up is “Flathead” from the band’s incredible debut album, Costello Music, and in case you were wondering, yeah, neighbors will look at you funny if you funny if you’re dancing in front of the television and singing along to the chorus. But that doesn’t mean you shouldn’t do it anyway, this performance practically demands it.
“Milk and Money”, off the sophomore release Here We Stand starts as a piano ballad featuring, dare I say it, a Harrison-esque guitar sound and a sad and lovely refrain questioning what happens when the last song has been played. Then it erupts into a frantic, all out rocker before briefly returning to the mournful piano melody as it ends. Finally, “Mistress Mabel”, which had its lyrical genesis in Cream’s “Badge” (yet another George Harrison connection!), closes out the Fratellis segment, and does so with possibly more energy than all the songs in all the segments preceding it!
So if last week’s episode was about being happy and letting it come through in the music, this week is all about relentless, high energy coupled with an anchoring, unshakable depth. And remembering to close the curtains when we dance!
Episode 10 - August 21
The Subways, Gnarls Barkley, Herbie Hancock w/ Sonya Kitchell
Episode 11 - August 28
Bryan Adams, Ben Harper, Justin Currie
Episode 12 - September 4
Teddy Thompson, Martha Wainwright, Brian Wilson
// Moving Pixels
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