Rolling Stone - India (January 2020)

“Anti Indian” to a beat bridges (“Hugulo”) and
that can set clubs aflame. punk-rock declarations
He’s almost holding back (“Keeping Me From Sleep
tears in his voice for In- Tonight.”) He mingles the
dia’s daughters (“Snowl- airy with the edgy, taking
in”) but remembers the to the ukelele on the vul-
power of irony (“Ok nerable “My Other Side,”
Sir,” “Middle Class”). introducing ambient
There’s club bangers drops and delving into the
and then there’s the romantic and adventurous
heartfelt EDM turn with on “Walk With Me” and
“Thamizhachi,” in which “Aao Chalein,” crooning
he and OfRO encourage and rocking in his husky
women to be as fearless bay Dreams is a record voice. Bombay Dreams is
and badass as possible in that’s not hard to listen to. an album that is authen-
their pursuits. — A.T. Chake’s guitaring is exper- tic, raw and intrepid,
imentative, mercurial and letting you into a space
9. Taba Chake intuitive as he flits from that feels like home
Bombay Dreams serene folk pop/rock bal- with Chake employing
arunachalese sing- lads (“In Waadiyon Mein,” Hindi, English and his
er-songwriter Taba “Meri Dastaan”) to Nyishi native Nyishi to take you
Chake’s folk/rock LP Bom- folk songs with electric there. — J.X.


Divine 7


Winit Tikoo
Kohinoor

THE DROP OF Divine’s debut LP was something of a land-
mark event in the Indian hip-hop scene with the anticipa- Tamasha
tion building over months, spanning the launch of his own
label and entertainment conglomerate Gully Gang Enter-
tainment, a semi-autobiographical film (Gully Boy), a docu-
mentary (Gully Life – The Story of Divine) and more. And it
was well worth the wait. The eight-track LP is scorching in 10
its veracity and Divine’s lyricism is uncompromising on the
groove of razorline beats that flirt with electronica, R&B,
even elements of jazz and more with bold horn variations
mixed in. There’s a compelling commercial tinge to the
sonic palette of the album that is offset by the raw force and
honesty of Divine’s bars and the rapper doesn’t hold back,
going all out to tell his story on the high-octane LP. The
album opener “Kohinoor,” “Wallah,” “Vibe Hai,” “Chal Bom-
bay” and the closer “Too Hype” especially stand out. Joined
by fellow Gully Gang rappers Aavrutti, Shah RuLe and
D’Evil, American rappers Nas and Dave East, Indo-Ameri-
can singer-songwriter Sid Sriram and Bangladeshi-Ameri-
can DJ/Producer Sanjoy, Divine truly gets his squad out to
deliver. – JESSICA XALXO






8. Arivu x OfRO
Therukural
after being the sharp-
tongued rapper of Tamil
group The Casteless KASHMIRI MUSICIAN Winit the powerful “Zindagi” and flows straight into a delight-
Collective in 2018, rap- Tikoo’s long-awaited debut the bluesy “Ajnabi.” Tikoo fully arranged section by
per Arivu and producer nine-track album Tamasha channels melodic rock on sarangi player Shahrukhh
OfRO arguably became includes all of the artist’s in- “GDS” and shakes things Khan. The record simmers
the voice of South Indian fluences from rock, grunge, up with ghazals on “Faiz.” down with the melancholic
hip-hop with Theruku- Hindustani classical music The album comes together “Chanab” before we hear
ral. Within seven tracks, ness (“Kalla Mouni,”) and more. There’s plenty beautifully midway through the aggression on the title
Arivu is acerbic in his but also squares up with for everyone on this record the rousing “Pagal,” punc- track which is a total head-
takedown of two-faced- so-called nationalists on from soaring guitar solos on tuated by a guitar solo that banger. – D.B.

January 2020 | Rolling Stone | 49

10 BEST INDIAN EPS



OF 2019




From experimental debuts to fusion offerings, this year was filled with
eclectic and promising releases
the sonic palette. Tran-
sitioning from the dark
trap and bass blends of
The F16s
1. MOSKO his first album to smooth
jazz hooks, melodic vocals,
Teeth eclectic basslines, guitar
riffs and groovy synth
with KING, the rapper
WKND FRNDS reinvented his sound with
the self-produced record.
Bringing bassist Harshit
Misra aka Hashbass and
3 keyboardist Archit Anand
on for the semi-autobi-
ographical “Maya,” the first
single from the EP, Prabh
Deep surprised listeners
if you’re looking for a with just how experimental
sonic delight, look no he could get. The rapper
further than New Delhi wasn’t a lone wolf either
dance-rock act MOSKO’s on KING, getting fellow
debut four-track EP Teeth. Punjabi rapper HRJS to
Helmed by vocalist Kavya CHENNAI lend vocals on the groovy
Trehan and guitarist Moses ALT-ROCKERS “Khat” and harmonization
Koul and accentuated by The F16s hit all by Tansolo on the melodic
bassists Abhinav Chaud- the right spots on “King.” The one thing that
hury and Amar Pandey as their beautifully didn’t change? The rappers
well as drummers Karan arranged new evocative socio-political
Malik and Suyash Gabriel, four-track EP commentary, proving once
the record includes a WKND FRNDS. again that Prabh Deep’s
belting opening track in A labor of love voice wouldn’t be lost in a
“Smooth” and moves to the that was in the sea of trends. — J.X.
jumpy breakdown-friendly works for a few
“Mosey Pants.” The EP also years, the record 5. Vaisakh Somanath
delivers a mellifluous listen is packed with Thevai
with “YDEK” and ends diversity, harmo-
with the euphoric glitch nies, synth-driv-
leaning “Drance 109.” en effervescence and dance-y elements up the entire EP well with a range of
Throughout Teeth, Trehan’s that sit well with slow-paced burners. musicality featured in it — from guitar
hooky vocals stand out Opening up with the moody “My Baby’s licks, groovy drum parts and claps, plus
while Koul’s intricate Beak,” the band space out on “Boudoir” a memorable vocal harmony when front-
guitar work creates quite before going all synth and melodic with man Josh Fernandez pleads “Why don’t
a treat for the ears. — DAVID “Amber.” The closing title track sums you stay.” – D.B.
BRITTO
2. Pacifist
Greyscale Dreams
sary introspection into (the simmering “Double section, but ultimately kochi-based Tamil
modern existence, Mumbai Down”) and lived up to settling down amongst the singer-songwriter Vaisakh
post-hardcore band Paci- the moshpit-provoking shards. — ANURAG TAGAT Somanath brought his
fist breathed into the music dissonance legacy of the much needed wide-eyed
circuit some much-needed subgenre. “Pedigreed” is 4. Prabh Deep worldview, measuring it
substance. Piecing together suitably wiry and peppered KING out in spoonfuls of groovy,
the best parts of American with calls for “jump!” but a follow-up to his 2017 saxophone-leaning soul
artists like At The Drive- the title track changes breakout debut LP Class- and R&B on his four-track
In, Fugazi and Converge, everything. Pacifist reach Sikh (produced by Sez debut. Somanath talks
Pacifist’s debut EP took on into a shattered part of On The Beat), New Delhi about changing society
keyboard warriors (on the 21st-century urban living, rapper Prabh Deep’s EP and oneself in his calming
Firing an opening salvo chaotic “Reactionary”), so- occasionally swinging and KING is a record that isn’t lilt, delving on alterna-
to seek the ever-neces- cietal and political apathy kicking with a punk bridge afraid to keep switching up tive living as though it’s

50 | Rolling Stone | January 2020

an option long ignored. book of greats like John Swadesi x Bandish Projekt
You’re rarely going to McLaughlin, but also carve
hear songs about homes- out their own voice in the
chooling (“Pattampoochi”) process. Anchoring the Khulle Naagde
and sustainable living sound on their five-track
(“Neelavaanam”) delivered EP Chango Tales are col- FOLLOWING UP their 2016 collab Katal Kalaa,
as succinctly and cinemat- laborations with seasoned bass music don Bandish Projekt and hip-hop
ically as Somanath has. German violinist Holger crew Swadesi returned with something even more
Environmental conserva- Jetter and Swiss instru- hard-hitting on Khulle Naagde. With Swadesi
tion might be the need of mental group Krond-Flast. now including MCs Maharya and the mercurial
the hour, but Somanath With wonderment and a 100RBH, the EP opens with a silver-tongued
isn’t going to shout about soul-seeking mind, Jatayu turn from MC Mawali on the seismic opener
it, rather offering a sweet go from flittering Carnatic “Antariksh.” To the call of “Aamhi Kon?” (Who are
song about living within guitar riffs (“Shringa- we?), “Khaari Baat” blends ethnotronica with
one’s needs and looking ra”) and dexterous jazz an acerbic takedown of the class divide.
at the world through the rhythms (“May I?”) to seri- Whether it’s Tod Fod calling out truths
eyes of love (“Thevai”). It’s ously sinister psychedelic (the bass-break heavy “Kathore Satya”) 9
layered, intelligent pop at jams (“Pazhi”) to emerge or 100RBH throwing down one of his
times, although Somanath out of a shell with euphoria most incendiary verses on “Jhand,”
does allow himself one (“Chango”), choosing tropi- Khulle Naagde proves just how unstop-
escape route on the upbeat, cal (read: South Indian) pable a pairing like this can be. – A.T.
jazz-leaning love song hues. — A.T.
“Mayapenne.” — A.T.
8. No Honey
7. Jatayu Future Like
Chango Tales new delhi alt/electronic
trio No Honey’s debut EP It’s followed by the bass 10. SkyEyes
Future Like is almost hyp- leaning, pop induced love SkyEyes
notic in its sonic potency. track “No Honey.” Percus- new delhi psychedelic/
Diving deep into synth sionist Suyash Gabriel re- blues outfit SkyEyes chan-
with its haunting opener ally comes into his element
about toxic relationships, on the EP closer “Courage,”
“Sit Back”, No Honey gets layering the drums to build
it right with immersive lyr- an uptempo, groovy dance
icism amidst melodic keys track with emotion. As
and the swell of vocalist electronic as Future Like is,
Abhilasha Sinha’s boomy it experiments with rock,
vocals. “Alone Tonight” Skyharbor) to talk about pop, ambient and more to
on their debut EP, Chen- leans on producer and gui- the pace of love, bringing in deliver a sound that makes
nai jazz-fusion band Jatayu tarist Keshav Dhar’s back- elements of prog rock and you anticipate the trio’s next
take a page from the ground (guitarist of rockers an emotive guitar bridge. offering. — J.X.
nel a mixture of American
rock bands Creedence
Clearwater Revival and
Meera debut four-track epon-
Lynyrd Skynyrd on their
ymous EP. The record
features strong vocal
sections by Diyatom Deb
I’ve Never Been Happier To Be and emotion-soaked instru-
Lost mentation from drummer
Akhil Kumar, bassist Barun
AHMEDABAD-BASED musician Meera Desai’s Sinha and guitarist Sushant
debut EP I’ve Never Been Happier To Be Lost 6 Thakur. The guitarist shines
is a saccharine, sonic probe into the questions across the EP with his
of life. The airy, upbeat opener “Divine” is an raging riffs and sweet solos.
inquiry into faith and feels as liberating as the The EP opens with the easy
stripped notion of belief itself. Featuring the listening and breezy “Mad
sound of waves, “Salt” comes next with its emotive Man’s Tale” before we hear
string section during the bridge, exploring the story of the emotional power ballad
the Indian-Tamil boy Pi from Yann Martel’s bestsell- “Betrayal” while “Last
ing book Life of Pi. The folksy “Homes” has elements Train” is a total jam song.
of jazz and the EP closer, “Distance,” dances on a bed The closing track, “Letter To
of pulled guitar strings, the melody rippling beneath My Father,” pairs the mel-
Meera’s vibrant, evocative vocals. There’s a haunting, ancholic lyrics with bashing
almost airy and crystalline sound to I’ve Never Been rock. SkyEyes have packed
Happier To Be Lost, strengthened by the gravity of a punch on their debut EP,
Meera’s lyricism which in its simplicity, is infinitely we await to see what they
profound. – JESSICA XALXO have in store next. — D.B.

January 2020 | Rolling Stone | 51

10 BEST INDIAN



SINGLES OF 2019




Protest, subversion and experimentation reigned strong this year





1. Three Oscillators hop, showcasing Prabh’s 5. Dopeadelicz
(feat. Karshni) skills in the producer’s “Aai Shapath Saheb Me
“Drowning” chair. The addition of Navtho” think about rapper Stony
bassist Harshit Misra aka when the beat kicks Psyko’s Snoop Dogg-in-
Hashbass and keyboard- in for Mumbai rap crew spired look. On this
ist Archit Anand on the Dopeadelicz’s track tell-all song, Stony Psyko
song along with Prabh “Aai Shapath Saheb Me spills the beans of being
Deep’s heavy delivery Navtho” you immediately caught by the Mumbai
makes for a fine listen. think of Nineties gangsta police and getting through
— DAVID BRITTO rap, much like how you’d to them with his dope
rhymes. While Stony
Tod Fod – along with Psyko spits bars about his
Warli tribal chieftain and real name, his religion
Adivasi activist Prakash and address, the track is
Bhoir – raise their fist on led by a smooth beat un-
mumbai electronica “The Warli Revolt.” To the derlined with slick treble
sample of a Maharashtri-
artists Three Oscillators an horn section that ush- Thermal and piano notes. — D. B.
and Pune/Mumbai sing-
er-songwriter Karshni’s ers in the song, Swadesi 6. Aarlon
announce a revolution to
“Drowning” was the early fight not just for forests, a Quarter “Vidroh”
summer track we did not
see coming. Accentuated but for human rights.
by warping and granular The rappers take turns “Leaders of Men”
glitches that flow with in condemning corrup-
the synth-bed of the song, tion and false promises,
going with the current, me- while highlighting the
lodically disrupting but not importance of roots and
fighting against it, “Drown- the strength of those very
ing” is meditative and an bonds. — ANURAG TAGAT
absolutely experimentative
winner. Earlier this year, 3. Prabh Deep
the artists told Rolling “Maya”
Stone India that the song with the right dashes
was about vulnerability and of Linkin Park, Archi-
navigating one’s way out of tects and Bring Me The
a horrible place, and both Horizon, Hindi metal
the lyrics and production band Aarlon perfect a
lend a palpable buoyancy verbose, emotive sound
to the desolation. Karsh- on their single “Vidroh.”
ni’s balmy vocals trickle Addressing the need to
seamlessly into the Three break away from India’s
Oscillators stream of fluid 4 heavy-handed middle
samples, and “Drowning” class expectations, Aarlon
emerges — tranquil, organ- eschew all the tired and
ic and clean. – JESSICA XALXO a track that featured BENGALURU’S ROCK worn-out tropes and dig
as one of our Editor’s veterans Thermal And A deeper into metaphors
2. Swadesi (feat. Pick of the month earlier Quarter’s second single and their lyrical arsenal.
Prakash Bhoir) this year is New Delhi “Leaders of Men” off their in our country but across The battering rhythm
“The Warli Revolt” rapper Prabh Deep’s upcoming album A World the globe. Sonically, the matches up just as well,
if Indian hip-hop truly “Maya.” Many months on Gone Mad is a well-pack- song gives you everything providing a precisive
came of age and became (and a few new singles aged blues offering that you want from a blues modern metal-edged
fully authentic in 2019, a later), we still can’t get you can listen to on loop. number; a booming bass riffs from Piyush Rana
lot of credit goes to Mum- enough of it. The mellow Vocalist-guitarist Bruce Lee line, a groove that hits all and Ritwik Shivam over
bai’s multilingual, socially and emotive song leans Mani’s coolly takes down the right spots and a spell- vocalist Pritam Goswa-
conscious crew Swadesi. almost towards experi- politicians and leaders in binding guitar solo. mi Adhikary’s unhinged
MC Mawali, 100 RBH, mental jazz meets hip- powerful positions not just – D.B. growls. — A. T.

52 | Rolling Stone | January 2020

7. Arogya
“Dark World” Ahmer x
Sez On


The Beat

(feat.


Prabh


Gangtok rockers Arog- Deep) 9
ya’s sublime track “Dark
World” was their first
English language track
after years of finding a “ELAAN”
base in the Nepali rock
circuit. Singer Rainjong 24-YEAR-OLD BREAKOUT Kashmi-
Lepcha’s vocal prowess ri rapper Ahmer Javed aka Ahmer
shines throughout the delivered one of the most hard-hit-
song as he goes from high ting debuts of the year. The fiery,
octane notes to chilling confrontational and resolute LP Little
screams that resonate Kid, Big Dreams (produced by Sez On
with the pumping riffs The Beat) fused dissent with a dark
and grooves across the soundscape to scream resistance. Set
shimmering synth-rock to an old school beat looped around
offering. The hooky chorus a detuned guitar line, Ahmer belts in
when Lepcha sings “You Koshur, Hindi and Urdu on “Elaan,”
turned my world/Dark and speaking out on his experience of the
bare” might just channel militarization of Kashmir, the identity
your inner goth to join in of its people and the complicity of In-
and belt out with the band. dian politics, citizens and the media.
— D. B. Joined by New Delhi rapper Prabh
Deep, the two addressed the country
8. Mood Station through their lenses on “Elaan,” de-
“Rawn Sapatal Rawh” livering a jolting call of awareness to
the masses with intuitive production
by Sez. – J.X.





a single bit that you may hai (You’re no gangster/
not understand the lyrics, Your ideology is flawed/
because “Rawn Sapatal I’m tomorrow’s truth/ My
Rawh” is a maniacal, ears are hooked on [the]
arena-rock sized stomper. Wu-Tang [Clan],)” the
Mizo rock/metal band — A. T. rapper spoke of his origins
Mood Station come across and neighborhood pride.
as a revelation of sorts for 10. MC Altaf (feat. Mumbai DJ/Producer DRJ
anyone following heavy DRJ Sohail) Sohail mirrored the style
music, possibly signaling “Code Mumbai 17” of Nineties hip-hop footed
that the North East has a Mumbai rapper MC with a glitchy groove,
sort of self-sufficient cir- Altaf’s old school hip-hop giving Altaf a beat to drop
cuit at times. On the lead track “Code Mumbai 17” some really incendiary
single off their self-titled is a dynamite ode to his verses that confront the
album, which went out neighborhood of Dharavi stereotypes the residents of
on streaming platforms (pincode 400017). Altaf Dharavi face. The 20-year-
midway through this year, really came through with old may have audiences
Mood Station show us the impeccable lyrical delivery, fooled with his swagger
power of just one riff that’s his bars hitting the nail but through his Hindi/
overdriven to frenzied with every line. Belting, Urdu free-flow on “Code
levels. Mixing electronic “Na tu gangster/ Teri Mumbai 17,” MC Altaf
elements with stretchy soch hi napak hai/ Main proved just how powerful
synth work and intricate hoon kal ka sach/ Kyunki and disruptive experiential
drum fills, it doesn’t matter kaanon mein Wu-Tang artistry can be. — J. X.

January 2020 | Rolling Stone | 53

11 BEST INDIAN MUSIC



VIDEOS OF 2019




Here’s a look at standout visual representations of songs which
included slick animation, storytelling, superb camera work and more
quil meditation on the
makings of love and life
itself. With science serv-
ing as a metaphor for
the thrill and discovery
of the everyday and the
passing of seasons, the
duo deliver a distinct vi-
sual experience that not
only makes you question
the purpose of time but
the strictures of it too.
It’s hard to look away
retro nostalgia through from the layered frames
a cult-classic couple and even though it takes
reunion. Directed by a while to catch on to a
Mumbai-based filmmak- reasonable conclusion,
1 er Pranav Bhasin, the you’ll definitely walk
cinematic five-minute cut
away with one. – J. X.
The Local Train begins with what seems 5. Smalltalk
like an abduction. Black
Letters vocalist Sharath
Narayan sings as he lays “Tired”
“Gustaakh” in the backseat, pierced
through the abdomen
IT UNDERSTANDABLY took a while for The Krish Makhija (with an able assist from with an arrow, while a
Local Train to release another music video associate producer Harshvir Oberai). A woman (Pranjal Asha)
off their 2018 album Vaaqif. The animat- fully digital age that’s also Orwellian, resembling yesteryears
ed, stop-motion incorporating clip for the there’s references to megalomaniac lead- Bollywood icon Madhub-
arena-rock staple “Gustaakh” comes across ers, building statues, new currency and a ala in her role as courte-
as a labor of love directed by Mumbai’s giant teddy bear gone rogue that makes for san Anarkali glances back
Vijesh Rajan and his team at Plexus and an action-packed, allegory-heavy viewing from the shotgun seat,
produced by Mosambi Juice Production’s experience. – ANURAG TAGAT torn. It’s only at the end
of the music video that
viewers realize the band mumbai alternative
is reuniting Anarkali with band Smalltalk’s accom-
her lover Salim (Satyajit panying music video for
Ravindra Varma) as she their single “Tired” is as
2. Vasu Dixit Poem’) by Bengaluru poet the in-between, even turn- gets out of the car and laidback as the song itself.
“Nadiyolage” Mamta Sagar, the video ing psychedelic at times. Akbar’s (Vishaal Ram) In the almost zen-like
bengaluru musician is a spiritual glimpse into In the music video direct- cold body is laid on the clip directed by Mum-
Vasu Dixit released the the universe through the ed by Bengaluru-based grass. The band’s late bai-based filmmaker and
music video for “Nadiy- eyes of a lone grasshop- filmmaker Rita Dhankani, night drive leads to a musician Jishnu Guha,
olage” under his epony- per. The acoustic-folk Dixit transitions in and historic, futuristic and the band is seen in a
mous folk project earlier track pairs well with the out of the frames, his bittersweet reunion range of relaxed activi-
this year on World Music immersive visuals which aura flickering to life and for the once separated ties from playing cards,
Day. Based on a Kannada traverse the celestial and dissipating to a world that historic lovers from Hindi doing a bit of meditating,
poem of the same name the earthly, exploring how has no end in the cycle of cinema while acting as a competing in a game of
(translating to ‘A River souls see the surreal and life. – JESSICA XALXO commentary on the trap- noughts and crosses, try-
pings (no pun intended) ing their hand at Jenga,
3.Black Letters of love. – J. X. plonked on a couch
“In My Senses” watching a movie,
kerala-bred, Benga- 4. Parekh & Singh sipping on illuminated
luru-based alternative “Summer Skin” drinks and more. If you’re
rock outfit Black Letters’ kolkata dream pop duo looking for something
music video for their Parekh & Singh’s music stress-free to watch,
song “In My Senses” video for “Summer Skin,” Smalltalk’s “Tired” cer-
(from their 2019 album off their 2019 album tainly ticks all the boxes.
Still As You) features Science City, is a tran- – DAVID BRITTO

54 | Rolling Stone | January 2020

is trying to fit in with the
6. Parikrama 8. The F16s “hip” crowd but is not able
“Tears of the Wizard” “Amber” to and ends up struggling
for their first video chennai alt-rockers The to find her true self. Come
in 20 years, New Delhi F16s‘ first single, the dreamy for the animated versions of
rockers Parikrama have “Amber,” off their new EP the band (plus Indian indie
created quite a stir with WKND FRNDS came with a scene regulars like their
“Tears Of The Wizard.” In charmingly crafted animat- former managers Tej Brar 10. Aabha Hanjura Kochi-based produc-
the video directed by Sujit ed video by Deepti Sharma. and Kalidas Shenoy), stay “Roshewalla” Part 1 and tion house MadGenius
K. Jha, the band travels The filter-heavy imagery for the band’s signature dose Part 2 and directed by Vishak
in a van (their song “Am follows a young girl who of melancholic rock. – D. B. bengaluru-based Nair, there’s puppetry
I Dreaming” plays in the Kashmiri folk-fusion and visual effects
background as an Easter artist Aabha Hanjura blended together to
Egg of sorts). Soon after, has her own way of create gripping story-
the van breaks down and saying “sab kuch theek telling, much like the
Parikrama – dressed in an ho jayega (everything kiddie audience in the
all-black attire – step out will be alright in the two-part video. – A. T.
into the tranquil nature end)” about her home’s
of Mechuka in Arunachal ever-changing volatile 11. Uday Benegal
Pradesh. The band is then condition on the two- “Antigravity”
seen performing the track part “Roshewalla.”
against lush backdrops At a time when the
of mountains, rivers and 9. Your Chin with help from director M.G. territory of Kashmir
fields, even as subtle visual “Luv Important” Bopanna and actor Sautrik continues to be on
cues point towards an when you hear lyrics like “You Mukherji, the electro-synth lockdown for over
entirely different storyline. cannot leave me/I won’t walk offering “Luv Important” meets four months, the song
At the end of the video, out/I wiped your snot,” one its visual match.The video is and video perhaps
drummer Srijan Mahajan would probably think it’s tough trippy and mesmerizing at provide some hope to
is woken up from a dream to match up to Mumbai-based times with plenty of abstract optimists about how
and we see the rest of producer Your Chin aka Raxit imagery, including some which love will prevail, even
the band still in the van Tewari’s quirky, open-ended, could cause you to do a dou- through the harshest
traveling. – D. B. often outlandish lyricism. But ble-take. – D. B. of times. Produced by





AMONGST INDIA’S (and now
France’s) favorite indie bands
this year, Peter Cat Recording
Co. offered “Floated By” as
the first single off their album
Bismillah, featuring wedding as part of a release by
footage from vocalist and Nexa Music, Mumbai
guitarist Suryakant Sawhney’s musician Uday Benegal
marriage to video journalist stars in the video for
and filmmaker Surabhi Tandon. the pulsating rock rager
When he’s not on groom duty, “Antigravity.” Direct-
Sawhney got behind the camera ed by Dubai-based
himself, along with filmmaker- filmmaker Tejal Patni,
friends Sachin Pillai and Nitish we’re treated to a visual
Kanjilal. If the horn section- delight that ranges
aided “Floated By” gave everyone from abstract imagery
7 Peter Cat almost comes across as the free and expressing
to people breaking
fuzzy feelings, it’s because it
perfect Indian wedding song
themselves through art.
Recording Co. with Sawhney’s affectionate Benegal is seen as a sort
of museum installa-
lyrics set to somewhat surreal
tion held inside a glass
camera work. A video bonus:
drunk uncles dancing their structure filled with
“Floated By”
troubles away. – A.T. water. – D. B.
January 2020 | Rolling Stone | 55

Lucky Ali and Israeli Artist Eliezer Botzer


Collaborate on the Soulful ‘On My Way’



The Indo-Israeli collaboration has also led to a full-length album called ‘Lemalla’


N THE FOLKSY, musician, Ali was the best fit. three years, Lemalla began Botzer meeting and singing. musicians, there was already
cinematic song “On The Israeli artist adds over taking shape between Tel Botzer says of the track, “It’s a an understanding of the
OMy Way,” Indian an email interview, “Meeting Aviv and Bengaluru, aided traveler’s song, a song of dialog emotion behind the words.
singer and pop artist Lucky Lucky surpassed all my by supporting musicians and among friends and prayer “Even without knowing the
Ali and Israeli artist Eliezer expectations. I was amazed recording engineers in both within the journey. Distance text. It felt like an intuition
Cohen Botzer take on the by Lucky’s personality. He is countries. Ali recalls how makes me miss home, and becoming fruitful and true,”
idea of confluence and fusion. a rare artist, a teacher and Botzer’s team landed at his traveling with an open heart the artist says.
It was in 2017 that the two a true inspiration. Lucky farm in Bengaluru, “And then makes everywhere we go, With “On My Way”
artists met, introduced by has a wise perspective of life we became friends, that was home.” already chalking up
Botzer’s producer and friend that is expressed in his care the natural course of things. Through behind the scenes over 450,000 views on
Bob Stark. The EliAli project, of humanity. His beautiful And that’s how music happens, footage, listeners can get a YouTube, Lemalla will receive
who are now set to release an personality spreads simple you can only make music if glimpse of Lemalla, with a release in the coming
album called Lemalla, was love…” you’re friends and there is love tracks like “Amaraya, “In My months song by song with
born out of “trying to build A veteran voice in India and understanding… Angry Life” and “Virtuality.” They more videos. Botzer answers
the bridge of understanding,” for Bollywood as well as his people can’t be making music.” range from rock to fusion an obvious question about
as Ali puts it in a behind the own material, Lucky Ali says In the video directed by and folk, featuring lyrics in taking his collaboration with
scenes video. he “didn’t think too much” filmmakers Dvir Keren and English, Hindi and Hebrew. Ali to the stage, “Performing
Botzer says while he about accepting Botzer’s Chinkx Bug, “On My Way” Botzer adds that when lyrics together is on the cards. We
was actively seeking out a invitation to collaborate. features footage of Bengaluru were being discussed and are all very excited by this new revital topiol
collaboration with an Indian Over the course of nearly and Tel Aviv and both Ali and translated amongst the joint adventure.” ANURAG TAGAT


56 | Rolling Stone India | January 2020

The Mix




ong before she started How’d you get the idea
calling herself H.E.R., for your transparent Stra-
L Gabi Wilson was on tocaster?
an almost preordained path My stylist and I were talking,
to stardom. She appeared on because the outfit that I
the Today Show as a 10-year- wanted was really sparkly and
old prodigy, performing an we didn’t want to cover it up.
eerily accomplished cover of And we thought, “Oh, instead
Alicia Keys’ “If I Ain’t Got of making a glitter guitar,
You,” before signing a record why not make it transpar-
deal at age 14. She grew up ent?” It looks so much cooler.
to be a multi-instrumentalist And it matches whatever I’m
(lead-guitar chops very much wearing. Playing guitar is part
included) alt-R&B auteur of who I am, since I was a kid.
in the tradition of Keys and I remember watching a video
Prince, with exquisite control of Lenny Kravitz and Prince
of her powerhouse voice. With [from the Rave Un2 the Year
five Grammy nominations 2000 concert] when I was a
for 2019 and a new album kid. That video changed my
due early this year, H.E.R. is life — it made me want to play
well on the way to fulfilling guitar just because of how rock
her considerable potential at star it is.
age 22. “I’ve really put in the On your new song
time and work,” she says. “I’m “Anti,” you sing about
so happy that everything has “scrutiny on a tiny screen,”
been, you know, manifesting.” which whole generations
can relate to.
What was your journey It wasn’t a song for anybody
like from child prodigy to else so much as it was for me.
the fully formed artist we I sometimes have to remind
heard on the first H.E.R. myself not to feed into the
recordings, in 2016? pressure of what a female
It’s one thing to be able to artist should be. People are
sing well, but another to be saying, you know, “Why do you
an artist and find your own wear baggy clothes? You’re
voice within music. And that’s pretty, you should show your
what the goal was for me in face.” I had to remind myself
my teenage years. I had to find that I’m anti all those things.
myself. As a young woman, I On your great single
experienced high school and “Slide,” YG raps about
heartbreak, and the music I wanting a woman “in
started to write was a little Q&A an apron/Booty all out
bit more poetic, and more cookin’ bacon,” which is
inspired by spoken word. The amusingly contrary to the
real raw emotional things messages in the rest of
that sit in the back of our H.E.R. your music.
minds, that you were afraid I mean, that wasn’t my mes-
to say? That’s how I started sage. That was YG’s message!
to write my music. And that’s I just put him on the song.
how H.E.R. Volume One came The rising alt-R&B star on the blues, defying industry I’m not complaining, because
about. stereotypes, and meeting a fan who got pregnant to her music I would never say that on a
So you went to regular record, but he definitely was
high school as you were By BRIAN HIATT just being himself. I asked for
pursuing a musical career? YG and I got YG! It’s just a fun
Was it basically like Han- You’re a blues fan — describe. Music is healing. It’s Prince, Jimi Hendrix, and song — people hadn’t heard a
nah Montana? what artists do you like? something you can’t explain, Eric Clapton, the blues, James H.E.R. song like that, where I
Exactly! Yeah, some people Albert King. B.B. King. I went you just feel. And to me, blues Brown. As I got older, my was just chillin’.
would be like, “When are to a Buddy Guy concert when I does that. uncle played a lot of Nineties Your sultrier songs ap-
you gonna be famous?” Or, was, like, seven years old. B.B. You have a real mix of R&B — Jodeci, Boyz II Men. pear on a lot of bedroom
“Weren’t you on TV? Like, why King, with literally one note modern and vintage in- He’d pick me up from school, playlists. How do you feel
do you go here?” And some on the guitar, does something fluences. How did all that and he was playing Drake, about that?
adults would be like, “Your to everyone in the room — come together for you? the Weeknd, and Jhené Aiko. I did a meet-and-greet in OPPOSITE PAGE: CHRISTOPHER LEE/”THE NEW YORK T IMES”/REDUX
music’s never gonna come out.” and that’s what I’ve been When I was a little bitty kid, A few years later, Bryson France, and a woman came
I hated a routine life — I want- inspired by as far as playing: I was listening to the stuff my Tiller came out, and all those who was pregnant. And she
ed to be on tour. I was in class feeling instead of technique. parents were listening to. My influences went into Volume said, “This is your responsibili-
thinking, “I can’t wait to get Even Donny Hathaway, how mom was a huge Whitney One. With my music, it’s ty” [laughs]. I’m like, “Oh, boy,
in the studio.” I really prayed emotional his voice is, his tone Houston, Mariah Carey, Mary always me, because I am all I’m so sorry. But congratula-
for everything I have now, but is very bluesy, very gospel-y. J. Blige fan. My dad had a these influences, but you never tions!” I think it’s cool. Like,
I’m thankful I was able to be a That type of music gives you cover band that I sang with, necessarily know what sound you know, I make music for
regular kid. a feeling you can’t necessarily and he loved Parliament, you’re going to get. every occasion!

January 2020 | Rolling Stone | 57

USTAD AMJAD ALI KHAN
LIVE AT CARNEGIE HALL,
NEW YORK CITY AS PART
OF HCL CONCERTS.



























































































58 | Rolling Stone | January 2020

REPORT:
TECH X INDIAN




CLASSICAL MUSIC:



HOW HCL








IS PUSHING








THE GENRE









GLOBALLY












A week after the performance in frigid
(but welcoming) New York City (at the
B y A n u r ag T ag a t hallowed Carnegie Hall, no less) sarod
and Indian classical music legend
Ustad Amjad Ali Khan found himself in San
Francisco performing at a much smaller United
Club, playing to about 300 people.
It was the third international edition of HCL
SAROD MAESTRO AMJAD ALI KHAN Concerts, which have been a mainstay in different
parts of India since 1998, as a means to bring
AND HIS SONS PERFORMED music lovers together, plus as a treat to their
employees, clients and customers. Over at San
SEPARATELY AND TOGETHER IN Francisco, they were testing the waters at a small
club housed within the massive Levi’s Stadium,
THE U.S. AT WHAT IS LIKELY THE which usually hosts National Football League
matches.
FIRST OF MANY INTERNATIONAL Dressed in suitably formal (and Indian
formal) attire, the technology company’s
SHOWS HOSTED BY THE INDIAN clients were treated to Khan and his sons
performing for over two hours. Whether it
TECH GIANT was jugalbandis or Rabindranath Tagore
compositions or arrangements in raag desh,
malkauns and rageshri, the trio’s separate and
collective performances were picked out to EVENTIQUE
showcase perhaps the more globally accessible



Rolling Stone | October 2019 | 59
Ro l li n g S t o n e | Ja nu a r y 2 0 2 0 | 59

sides of Indian classical music. As Amaan Ali
Bangash mentioned at the start of an interview
held a few hours before the performance, they only
consider themselves as messengers and vessels of
music. If that means changing their own form “so
that it goes through to the audience,” he’s more
than happy to do it.
Ayaan adds, “When you’re on stage, you have to
be a performer, you’re not there to educate people.
You’re there at the end of the day to owe them
something, because they’ve bought a ticket.”
Even as HCL Concerts has just announced a
debut Bengaluru edition, the executive team
mentioned that they are looking at more global
capitals to bring fusion, Indian classical and folk
performances. Perhaps, they may even aim for
New York’s Madison Square Garden, depending
on how they scale-up. As for Khan and Amaan and
Ayaan, they spoke about traveling and performing
together, their upcoming collaboration with the
likes of Eagles guitarist Joe Walsh and Grammy-
winning artist Sharon Isbin. Excerpts:
How was your New York concert?
Ustad Amjad Ali Khan: Carnegie Hall was the
first one. Thanks to HCL, it’s the first corporate
house that’s professionally, with conviction and
steadfastness presented a classical concert like
that. Everything depends on how you present
and where you perform. First, there were kings
who would patronize classical music, now there’s
corporate houses.
Amaan Ali Bangash: It was a good concert and
it’s presented in such a nice way, Indian classical
music. We had a warm house and a lot of people
there. It was received very well. You feel very
blessed that you get to play in Carnegie Hall, one
of the world’s best venues.
Ayaan Ali Bangash: There’s a joke that when
someone asked, ‘How do you get to Carnegie
Hall?’ the reply was, ‘Practice, practice, practice.’
(Laughs) But we’re very fortunate that because of LEFT AMAAN ALI BANGASH,
my father we get to perform at all these beautiful AMJAD ALI KHAN AND AYAAN
venues around the world. Amaan bhai and I have ALI KHAN AT HCL CONCERTS’
played there a few times. SAN FRANCISCO EDITION ON
Khan: The venue for music matters a lot in DECEMBER 9TH, 2019.
the western world. In our country, they seat us
down and ask us to play anywhere. One organizer
had asked us to perform by a water bank and we
didn’t ask about it beforehand and just knew all not worries. There are worries when you never field. Otherwise why would we talk about it? It’s
our requirements were in place and took the gig. finish your raags – that’s a national tragedy, all about conciseness, preciseness, that lacks in
There was so much sound of the water hitting the that someone is just looking at their watch and our system.
shore, that you can’t hear the sarod only. wondering when you’ll finish your performance. Amaan: The packaging has to change as per the
Is it a very 21st Century concern for Indian This sense of proportion is so important in every audiences’ likes and dislikes.
classical artists to think about engaging with Tell me about the all-night concerts you’ve
their audience? performed. Does it still happen even now?
Amaan: In the 1920s, when there were Rajas, Amaan: That still happens – when he (Khan)
you had to think about the Raja not beheading plays in Calcutta or Poona – my father will play
you for playing bad music. Today you have to think “I tell many younger for three hours also, because he’s been asked to
about the audience not getting up and walking play for three hours. In those three hours, his
out. We as musicians are a tool – we don’t produce classical musicians, presentation will be different, as is the case for any
music, it comes through us and goes through to of us. But when you’re given a slot of one hour, the
the audience. You have to keep changing yourself we’re born in this presentation has to be different. Playing in a college
so that it goes through the audience. is different than playing at Sawai Gandharva in
Ayaan: When you’re on stage, you have to be world to provide Poona. It’s different music. When that 10 o’ clock
a performer, you’re not there to educate people. ban came in, I think that changed some things for
You’re there at the end of the day to owe them happiness.” Indian classical music performances.
something, because they’ve bought a ticket. Khan: The time was different and the era
Khan: I tell many younger classical musicians, was different too. I was called to a festival by
we’re born in this world to provide happiness, - Amjad Ali Khan a zamindar, and it was 11 pm and I was offered



60 | Rolling Stone | January 2020

Amaan: Quite often we get Ayaan: We finished the recording in two
called for duet performances sessions. He’s been a great admirer of the sarod
only (laughs). and when he was in Bombay he reached out to
Khan: Then there’s times us and now owns a sarod. Amaan and I sat with
when all three of us perform, him through the day and he kind of picked it up,
which happens especially for whatever little bit we did. The first session of the
international concerts. To recording happened when we reached L.A. from
show the public the connect – Vancouver, from a festival. Our sarods didn’t arrive
the bonds seem to be breaking in time.
these days. The children are Khan: All three sarods didn’t turn up!
detached from parents, or Amaan: It went off somewhere else.
parents are detached from Ayaan: So the sarod we’d given him in Bombay
their children. I don’t travel came to the rescue, which was actually made by the
without these two, actually. I same maker who does ours.
don’t travel alone because I’m Khan: We recorded at this studio in Beverly
afraid. It’s a great joy when we Hills. The second time we went, though, we had
play together. our own sarods.
Amaan: So do you play Amaan: It should come out by February. He’s
as a guru, father or fellow a great musician, his whole team as well. They’re
musician? The last one not show-offs. The problem with our musicians
definitely not I’m sure (laughs). sometimes is, when they see you in the green room,
Khan: Basically, we’re friends. they’re looking at you and performing, they’re
Amaan: They (points to trying to prove a point. Over there, they’re so
Ayaan) have more conflicts subtle, you don’t know if he’s going to play or if he’s
Ayaan: We all have our even a musician until he holds an instrument. They
share of conflicts, but he respect each other so much and that’s something
(Amaan) is someone who we need to learn from them.
makes peace very quickly. Khan: We even met the famous drummer of the
Amaan: I’ve learned one Beatles, Ringo Starr. He was also there. He’s 79! I
thing from him (Amjad) – couldn’t tell. The way he plays drums, it feels like
that everyone is here for a very a god-given gift. I was singing something and he
short period of time, so let’s gave a beat, I was shocked. He was just playing on
have fun, let’s love everybody the table, that’s it.
but why have anything as Ayaan: Ringo is Joe Walsh’s brother-in-law. We
anyone? I always feel I’m a just met after one of the sessions.
very average student – because Amaan: Ringo has got the energy of a 25-year-
of that feeling, it keeps me old.
going with my riyaaz. Your father performed “Journeyman” on
Khan: Our gurus teach us your album Infinity, which you worked on with
to look at our weaknesses first. Karsh Kale. What was that like?
Our human nature, however, Ayaan: I think it was the first time people were
often leads us to look at the hearing my father in that light. I don’t think he’s
bad in others. Gharane ke ever played in this electronic space. The sarod’s
upar ladayi hota hai, there’s a tone is extremely different. We thought it was
lot of rivalry. I always admire something interesting that we could get our father
Tagore because he made his to do and he was very sporting.
songs and poetry based on Khan: It’s about communication through
classical raags, but always music. Our trio show, in Russia with the Moscow
tea. I thought it was time to go to sleep but I was added an additional note in the raag. I didn’t Symphony Orchestra. Nirmala Sitharaman was
told he’s only awoken now, and he sleeps in the day. like it at all first, Rabindra Sangeet, then when in the audience too. Russia might be viewed as
The all-night concerts that happened today, I’m I performed with a great Bengali singer named one whose government rules with an iron fist,
not in favor of those. I’ve played all alone through Suchitra Mitra – we have an album called Tribute but in their music tradition, they’re so different.
the night, I was 25 years old at the time and I to Tagore – it became very appealing. His music They’re such gifted artists. If you look at the good
played from 9 pm to 7 am once, in Calcutta. It was and literature was outstanding. Only a genius can in everything, then you can communicate more
a ticketed show, house full. take liberties. Mediocre people just follow in line. easily. People say so much about our music and
There’s one instance where all three of us What can you tell me about your collaboration things like ‘Fusion is confusion.’ Some fusion is not
have performed through the night. Bengal could with Joe Walsh? good and appealing, not everyone can do it.
absorb, they have so much capacity. It happened, Amaan: We just recorded a whole album with Amaan: It’s not an easy thing to do.
but it happened once in a while. The first time Joe Walsh. What else is coming up through 2020?
an audience sees and hears us, we want them to Khan: And also with Sharon Isbin, we all Ayaan: There’s this album with Sharon, Strings
come back a second time too. That’s a challenge played one piece each on her new album. It’s for Peace, coming up as well. She’s one of the finest
right now. called Strings for Peace. The interesting thing is classical musicians. She’s got an American music
When you perform with your sons, is it in that God has made the seven notes that we call honor that’s come to a guitarist after 57 years or
the capacity of a guru, a parent and as a fellow Sa Re Ga Ma, while the West calls it Do Re Mi so. We’re playing with the Chicago Philharmonic
musician. Which one are you first? And do they Fa. The sound is the same. It’s like a flower, which in April. Whole lot of things lined up. Every day
surprise you enough on stage? can be used for all occasions, whether it’s death is a new day. COURTESY OF HCL CONCERTS
Khan: We’re all solo musicians, we all get called or celebration or whatever else. People fight over Khan: That’s a new kind of fusion too – when
for solo performances, and these two get called for whether to call something a devotional song or you write for and with an orchestra. They’re so
duet performances too. not, but it’s using the same seven notes. brilliant.



Rolling Stone | January 2020 | 61

Australian singer-composer
and multi-instrumentalist Nick
Murphy fka Chet Faker at his
India debut at Bacardi NH7
Weekender in Pune.




































10 Years of Happy?






Bacardi NH7 Weekender

Remains Uninterrupted





The Pune edition t the start of the halakshmi Lawns (which was small minority perhaps grap- to encourage safe spaces
of the three-day decade, Mum- expectedly mixed up with pled with. Artists, stand-up and support for any and all
music festival Abai event/artist Laxmi Lawns). But given the comics, management agen- festival-goers, with a bent
banked on more management company Only recent public image beating cies, promoters, influencers towards the LGBTQIA+
community. Weekender
Much Louder teamed up
that Only Much Louder’s
and fans made their way on
Indian artists with beverage brand Bacardi personalities have taken for to the three-day festival. By also included a separate
than ever before to start NH7 Weekender, accusations of sexual miscon- the end of day one, tickets gender-fluid security check
and made some initiating a music festival duct and sometimes enabling for the entire festival edition queue. In terms of advanc-
efforts to move culture for fans of independ- a sexist work environment, were announced to be sold ing as an eco-sustainable
past parent ent and alternative artists maybe the music festival was out. We’d estimate the music festival, reusable
happy just rolling on. Were
numbers anywhere between
bottles were sold with plenty
– both Indian and interna-
company Only tional – where there was they indifferent to the past 20,000 to 30,000 coming in more water filling stations,
Much Louder’s barely any before. (even as more news of OML to catch acts across six stages in a bid to reduce waste
dented reputation 10 years, many mem- founder and former Week- for six hours of music and generation, something they
ories and a few impor- ender festival director Vijay comedy. already partner with waste
By ANURAG TAGAT
tant #MeToo-related Nair’s work with New Delhi’s While the 5 Star Ke management company
exposés later, one would have Aam Aadmi Party came up)? Lolstars comedy stage was Skrap to enforce. As far
perhaps expected the biggest Or were they all right to slap a separate area that drew a as safety goes, security
blowout yet for their Pune on a band-aid over what was full crowd most times, the remained tight, with CCTV
edition, which took place at the least a stab wound? other visible installment cameras placed at the left VIKRAM CHANDRASHEKHAR
between November 29th At the festival, these were was a booth that simply and right of the stage, to
and December 1st at Ma- clearly questions that a very said, “Wanna Talk?” in a bid regularly scan the crowd.


62 | Rolling Stone | January 2020

DAY 1: one of the most unconven- from Kerala band Cut A they had no issues drawing
AN EVEN FLOW tional live sets we’ve seen – Vibe, electronic music fave a crowd with pop-informed
jumping from film songs like
and Pune artist Ritviz closed
rock songs like “Love Will
OF GENRES “Adiye” to lo-fi R&B/hip-hop the Breezer Vivid stage, that Set You Free,” their cover of
from his album Entropy and blasted bass and low-end to Kygo’s “Raging” and staples
A total capital takeover bai’s Azamaan Hoyvoy at the earlier heart-wrenching a seismic amount. that set plenty of phone
at the Casa Bacardi and Gaana stage and a perfect compositions like “Broth- Irish rock band Kod- cameras in the air, including
Bacardi Arena stages took sundowner set by Bengaluru er.” While the Gaana stage aline were competing for “High Hopes,” “ All I Want”
place in the first half of day alternative act Black Letters, closed with feel-good rock space with Ritviz, although and “Follow Your Fire.”
one – featuring wavy yet who had just released their
meandering dream-pop from sparkling, electronic-leaning Irish rock band
Dee En, while prog/jazz band album Still As You a few Kodaline live
at Bacardi NH7
Shorthand (joined by prolific days prior. While Swarath- Weekender, Pune.
drummer Suyash Gabri- ma entertained at the Doers
el) amped up proceedings Club, their Bengaluru coun-
with songs like “Midnight terparts in psychedelic rock
Traffic.” Over at The Doers band Parvaaz also promot-
Club stage, seasoned rockers ed their recently released
Faridkot brought out dark album Kun, although they
prog vibes as well, while also did have a few live mix
dipping into favorites like issues to clear up before they
“Laila” and “Subah.” Back at got on their way through
the Bacardi Arena, instru- songs like “Marika” at the
mental band Submarine Casa Bacardi stage.
In Space were delivering a Their performance was
stand-out performance that preceded by Chennai/Los
shifted moods and sounds Angeles artist Sid Sriram,
with ace dexterity. while not in the best form
The easygoing vibes vocally, was certainly
were also supplied by Mum- hellbent on raging through
































FROM TOP: JISHNU CHAKRABORTY; AGNIPRAVA NATH Chennai/Los Angeles artist











Sid Sriram live at Bacardi
NH7 Weekender, Pune.


January 2020 | Rolling Stone | 63

DAY 2:
ALL THINGS HEAVY


It was after at least four years brutal death metallers Gutslit) recent years to raise hell at brought forth a barrage of draw remained Opeth, arriv-
that Bacardi NH7 Weekender and Sunneith Revankar (from Weekender, their brand of bass and electro-punk for ing in India on the back of
was putting its faith back in Undying Inc. and The Silent brutal death metal heightened their international debut, their latest album In Cauda
metal in a big way, program- Offensive), Devoid launched by not just Kaushal L.S. on which was something of a Venenum. While it wasn’t
ming the most number of a great comeback, mobilizing vocals, but also a cameo from transitory slot before headlin- the best sequenced setlist,
heavy acts in a day. While pop the moshpits for the rest of the Barve on songs like “Eviscer- ers, Swedish prog band Opeth fans were clearly overjoyed
crooner Arunaja warmed up day. Nepal’s Underside proved ating The Stillborn,” amidst closed day two. for the Swedish songs on
the Casa Bacardi stage with they were one of the most party poppers, snow spray Besides the heavy stuff, their new record as well as
ballads and The Koniac Net important bands in South East and toilet paper rolls flying hip-hop titan J. Cole’s label can’t-fail early hits like the
more or less played it safe Asia right now by performing around. Dreamville showcased rap ballad “Hope Leaves” and the
with easygoing indie material unflinchingly modern metal at Also following a new it- acts like Cozz and Earthgang prog death-exploring “De-
from their 2019 album They the Bacardi Arena, including eration of sorts were Mumbai at the Breezer Vivid stage, liverance.” Frontman Mikael
Finally Herd Us (only bring- songs like “Disconnect,” “Sky metallers Bhayanak Maut, de- which had a sizable number Akerfeldt was at his comedic
ing the heavy for the last two Burial” and a cover of Slip- buting live with vocalist Aman of people in disbelief, perhaps best between songs, playing
songs) at the Bacardi Arena, knot’s “Surfacing.” Virdi (from Pune metallers thinking that J. Cole himself up banter about Indian food
things picked up around 4:30 Gutslit were about to Noiseware). It was business was going to show up. Appear and his bowel moments,
pm when Mumbai thrash/ level up as well, even though as usual for BM, who ran he did not, but Dreamville’s completing 30 years as a
death metallers Devoid played their lineup had changed once through songs like “All Glory buoyant set perhaps sets the band and how he doesn’t like
their first show in nearly four again. With Venkatraman to the Beard,” “Ranti Nasha,” bar for a future performance. hip-hop much, but he did
years. taking over from Prateek “Pindakaas” and “Ungentle” Afrobeat band Kokoroko have a rap project with fellow
Aided by guest spots from Rajagopal, the band became with total intensity. London brought the feel-good vibes Swedes Katatonia frontman
Aditya Barve (formerly of the most extreme band in grime/punk trio Pengshui at the Doers Club, but the big Jonas Renkse.



















































Swedish prog JISHNU CHAKRABORTY
band Opeth live
at Bacardi NH7
Weekender, Pune.


64 | Rolling Stone | January 2020

Bengaluru hip-hop artist
HanuMankind at Bacardi
NH7 Weekender, Pune.
DAY 3:
THE PARTY ROLLS ON



With most of the heavy there was nearly a club-vibe It was a one-man show
music out of the way, the cutting through the festival, for Nick Murphy fka Chet
final day of Weekender heavy on four-on-the-floor Faker at the Bacardi Arena,
opened with carefree and beats, sparkling synth and who came out with little
laidback sets from Mumbai high energy buildups. This announcement, clad in a
band Water and Rum at the was juxtaposed with the yellow kurta, tikka on his
Gaana stage, plus New Delhi well-crafted, somewhat forehead and a garland
artist Ditty at the Doers Club low-key set from producer, around his neck. It’s one of
and Chennai artist JBabe pianist and keyboardist those things you might see
at the Casa Bacardi stage. Sandunes, who performed with an airport greeting,
Singer-producer duo Kavya her piano-centric set Hand but the platinum selling
x Chaz picked up the tempo of Thought, that leaned on Aussie singer-songwriter
over at the Bacardi Arena, electronic, classical and was clearly in the process
but it was Bengaluru artist everything in between to a of becoming an Indophile.
HanuMankind and his live patient audience. Running through a concise
band who impressed most Attendees were certainly set of songs like “Gold,”
with his indefatigable flow more hyped to catch fu- “1998” and “Talk Is Cheap,”
and songs off his upcoming sion-leaning rock artists like the one-man show only
EP Kalari. Mumbai crew Anand Bhaskar Collective briefly broke into a duo
Swadesi took over from and Job Kurian at the Gaana thanks to tabla artist Dr.
thereon, also performing a stage. It was a fitting segue Aneesh Pradhan stepping
live set of material from their for the veteran voice of A. in for an impromptu jam
upcoming album Chetavani. Hariharan to take over at the of sorts, one that cemented
It was a mood-changer Doers Club with his sublime Murphy’s newfound love
of sorts with their brand repertoire of pop, film music for India.
of socially-conscious, playback and even devotion- While there are several
take-no-prisoners style of al songs. music festivals up and
hip-hop, while New Delhi act Over at the Breezer running successful, few
Fopchu were joined by vocal- Vivid stage, live bands were have the legacy status that
ist-guitarist Sanchal Malhar the staple for rappers like Bacardi NH7 Weekender
(from rock band Superfuzz) Kaam Bhaari and Brodha V, has attained. A go-to
to bring the dance-y mood who had everyone mov- destination of good times
back at the Doers Club. ing, followed by a more despite all the murkiness
Between Israeli trio arena-size presentation of that has reportedly
Garden City Movement, New choreographed movements transpired behind the
Delhi’s hypnotic produc- and confetti shots during scenes, the popularity of THE CLIQUE PHOTOGRAPHY
er-singer Lifafa and sea- hip-hop artist Raja Kumari’s the festival remains largely
soned DJ-producer BLOT!, closing set. unhindered.


January 2020 | Rolling Stone | 65

66 | Rolling Stone | January 2020

They bicker. They record without ever being in the

same room. But the Who can still conjure that old magic

B Y S T E P H E N RO D R I C K







Who











By











Fire
















oger daltrey and pete townshend have known each
other for 60 years. They love each other. “I used to say
that I love him, but with my fingers crossed,” says Town-
R shend of Daltrey. Townshend, gangly and hunched, his
angular face having grown into his long nose, sits in a Dallas Ritz-Carl-
ton suite wearing gray clothes on a white-hot day. “Now, I like him too.
I like all his eccentricities, his foibles, his self-obsession, and his sing-
er thing. Everything about him.” Daltrey feels the same. He sits in a
comfy chair later the same afternoon. “I’ve always kind of known Pete
cares for me,” says Daltrey, crossing his legs in blue cargo shorts. He’s a
little impatient because my time with Townshend ran long. “I hope he
realizes I care about him. I think my actions through our career have
shown that.” Roger








Townshend
and Daltrey in
September
P H OT O G R A P H S B Y D E V I N Y A L K I N

Rolling Stone | January 2020 | 67

WHO BY FIRE


Daltrey and Pete Townshend have known each Daltrey and Townshend grew up in the same Townshend took on his bass player first. “John’s
other for 60 years. They tolerate each other. West London area, but Daltrey claims he’s hard- bass sound was like a Messiaen organ,” he says,
Daltrey and Townshend have a new album, sim- scrabble while Townshend is a poseur. “Well, I’m waving his angular limbs. “Every note, every har-
ply called Who. It’s only the second album from the Shepherd’s Bush, and he’s Ealing middle class,” monic in the sky. When he passed away and I did
band in 37 years. Through the magic of modern says Daltrey. (Their homes were about 300 yards the first few shows without him, with Pino [Pal-
technology, Daltrey and Townshend recorded it apart.) Sure, but what about Townshend’s solo ladino] on bass, he was playing without all that
earlier this year in London and Los Angeles with- song “White City Fighting,” talking about all the stuff.... I said, ‘Wow, I have a job.’”
out ever being in the same room. (Townshend says scrapes and bloodshed he got into as a kid? Dal- He was not finished. Moon is an easier target;
they were once in the same building. Daltrey isn’t trey smiles. “Well, he likes to think he did.” he once passed out during a 1970s show in San
so sure.) Townshend wrote and recorded demos On it goes. Francisco, forcing the band to pull a drummer
and sent them to the singer. During recording, “We ended up living parallel lives,” says Town- out of the crowd. “With Keith, my job was keep-
they communicated through their individual per- shend. It’s true. Today, Roger Daltrey, for reasons ing time, because he didn’t do that,” says Town-
sonal producers, both with the first name David, unknown, has checked out of the Ritz-Carlton and shend. “So when he passed away, it was like, ‘Oh,
which must have been confusing. moved to another five-star place 100 yards away. I don’t have to keep time anymore.’”
Separately, Daltrey and Townshend express ex- Now, a traffic light and a Shake Shack separate the The word “happy” doesn’t really apply to some-
citement for the new songs. (Daltrey told me it’s two men. one as complex as Townshend. Yet there seems
the Who’s best work since Quadrophenia.) They’re to be a sense of contentment brought on by his
back on the road, playing with a 48-piece orches- traveled to london, Dallas, and the Hol- 20-year relationship with the composer Rachel
tra. The refrain I heard from multiple learned at- lywood Bowl to see and talk with the Who. Fuller. Still, he is fragile, and the death in July
tendants of the tour was “Wow, that show was way It gave me plenty of time to think about of his guitar tech of 40 years, Alan Rogan, left
better than it had any right to be.” ITownshend and Daltrey. One concept kept him in a bad place. (He described Rogan as “my
The same can be said for the record. Daltrey’s coming back to me in Economy Plus: They give guitar tech, friend, savior, and good buddy.”) “I
weary vocals, particularly on the back half, are zero fucks. This should not be mistaken for not was a fucking mess,” says Townshend. “Usually,
marvelous, and Townshend’s ability to write an giving a shit. They still share a devotion to their I’m so unaffected by death. My mother, father,
anthemic earworm remains intact. It’s enough to music and a caring for their careers that some Keith Moon. Maybe because he was in a hospi-
make you regret all the music the two have not rock-veterans-turned-Vegas-acts long ago aban- tal bed and fighting back so hard. When he final-
made together over the past 30 years. doned. ly passed, I just thought, ‘Fuck.’”
But there is a reason for the long breaks. The But you have to be realistic. If you view He is alternately defiant and cheeky. I ask if he
two remain detached, if not estranged, from each their new album and tour as Daltrey & Town- had left instructions on how to handle his volu-
other. Townshend, 74, is engaged in modern music shend Play the Hits & a Couple of New Ones, minous archives and unfinished projects after he
and still capable of jackjawing a listener into sub- their shows can be seen as a fuck-you to musi- is gone. He leaned in close and quipped, “I’d real-
mission about any subject from climate crisis to cal fashion and Father Time. If you see this as a ly like to finish them.”
the shelf life of teen idols. Daltrey? At 75, he’s continuation of the Who the way your teen self Townshend is a man
happy to churn out low-key solo albums and live or your father knew them, you’re going to be dis- who has suffered and has
offline on his country estate. appointed. “There’s turned that suffering into
At a show in L.A., Daltrey chatted with a sound Keith Moon, the band’s original drummer, died a lot of great art. He was left by
guy about his vocals while Townshend joked with in 1978, and in the succeeding years the Who be- people who his mum to live with a
bassist Jon Button. Whenever one of them hit the came less a creative enterprise and more a carni- mentally deteriorating
other’s magnetic field, they bounced away. They val of commerce, only accentuated after bassist don’t like grandma for two years.
never made eye contact. It reminded me of when John Entwistle’s death in a Vegas hotel room in it when As a young boy, and then
an ex-girlfriend and I worked together and made 2002. There have been more farewell tours than I say it,” at around age 11, he was
ostentatious attempts to avoid each other at holi- new records. sexually abused. Seventy
day parties. Townshend says it best: “We’re not a band Townshend years later, he is still star-
Things don’t change that much when the anymore. There’s a lot of people who don’t like it says, “but ing at the scars. His awak-
lights go up. “If you watch Roger onstage, he goes when I say it, but we’re just not a fucking band. the Who ening has been incremen-
through a lot of visual phases,” says Townshend. Even when we were, I used to sit there think- tal. During a rambling
“Sometimes, he can’t stop himself looking over at ing, ‘This is a fucking waste of time. Take 26 be- are just intro for the 1970 Live at
me. It’s irritation.” He arches his eyebrows. “It’s ir- cause Keith Moon has had one glass of brandy too not a band Leeds version of “A Quick
ritation that I’m even there.” many.’” You shouldn’t be sentimental. God knows anymore.” One, While He’s Away,” a
Daltrey is also unsatisfied. He wants to change Townshend is not. song about a young girl
the set list, maybe add some lesser-known songs, Well, sometimes he is. Over the years, Town- molested by a train engi-
but says it is a no-go. “Pete doesn’t remember shend has lamented the long-gone Moon, and neer, Townshend said, “John Entwistle plays the
words much,” says Daltrey, “and he doesn’t remem- after Entwistle’s death, Townshend said, “With- engine driver, and I play the Girl Guide.” It wasn’t
ber chord shapes, and he finds it hard to change out him, I wouldn’t be here.... When I did look a joke. Years later, Townshend admitted similar
the show on the road.” over and he wasn’t there, I wanted to die.” activities happened to him while in his grand-
Later, Daltrey talks about the role he has played Today, he’s feeling less charitable. The Who’s mother’s care. “I’m not angry about it,” he says.
in Townshend’s songwriting. Since 1964, Townshend current shows feature two video screens full of “But I can’t process it. I did three years of serious
has been the band’s primary songwriter, and his cre- vintage shots of mad, mad Moon and Entwistle therapy, and I’ve done loads of counseling and
ative dominance has tended to overshadow Daltrey’s in his bemused and haunting solitude. I asked therapeutic work since.” It has helped, but not
contributions. Townshend might have been an edi- Townshend if he ever got nostalgic looking up at enough.
tor at Faber & Faber, but Daltrey has been his edi- the pictures of his fallen bandmates. He snorted That ache has been processed through heart-
tor. Well, according to Daltrey. On the new record, like an old horse. breaking songs about maladjusted characters; PREVIOUS SPREAD: GROOMING BY TODD HARRIS FOR SALLY HARLOR
Daltrey toned down what he saw as irresponsible “It’s not going to make Who fans very happy, namely the title character in Tommy and the
political rhetoric, deleted a rap, and changed pro- but thank God they’re gone.” Mod boy Jimmy in Quadrophenia. Still, Town-
nouns. Now, I ask if he thinks he should have gotten Because? shend’s ability to turn horror into magic doesn’t
more songwriting credits over the band’s half-centu- “Because they were fucking difficult to play change his reality. He tells me about a friend who
ry history. “I wrote all the ad-libs,” says Daltrey with with. They never, ever managed to create bands was kidnapped and sexually abused as a boy. A
a smile. “I should have, but I can’t be bothered to for themselves. I think my musical discipline, my few years ago, the Who were doing a Tommy
make a fuss about it now. It’s fucking bollocks.” Dal- musical efficiency as a rhythm player, held the fundraiser show at London’s Royal Albert Hall.
trey trails off. “If he needs the money...” band together.” Townshend could see his friend in the front rows.

68 | Rolling Stone | January 2020

worrying too much about things that we can’t
control.”
The endless whirring of Townshend’s brain has
only gotten louder in the 25 years since he got
sober. “What I know is that when I drank, I won’t
say I was happy, but I certainly was unaware of
the darkness that I was carrying,” he says.
Now he’s fully aware of the things that made
him reach for the bottle. They could be incidents
of abuse. They could be slights from his adoles-
cence. “Living stone-cold sober, there’s no es-
cape,” says Townshend.
Today, Townshend looks for nonalcoholic es-
capes. “It could be shopping. It could be time
with my wife. We work together and have lots of
fun.” Townshend pauses, and it seems like he wor-
ries that his “escapes” sound banal. He mentions
an escape might happen when a beautiful woman
mentions she liked a show.
“There’s that moment when you just think
you’re young again,” he says. “That fantasy.” He
becomes more animated, and his blue eyes light
up. “Or embracing darkness. Thinking, ‘God, it
would be such fun if I just fucking killed myself
now. We’ve got Wembley Stadium tomorrow —
God, it would just be so fucking great.’”
He pauses for a moment as if startled he said
that last thought aloud. He wondered later, “I
find sometimes I’ll be saying things and I think,
‘Do I really feel that, or is my mouth just fuck-
ing with me?’”
oger daltrey doesn’t dwell in the
darkness. Well, except if you bring up
Brexit. He then will rhapsodize about
Rthe gangsters in Europe ruining mer-
rie olde England and how the Germans have an
ironclad grip on the Euro.
Daltrey insists he’s been misunderstood all
these years. This is sort of his fault for project-
ing an image of a West London bantam tough
who once knocked Townshend out in the early
1970s with a single punch (Townshend started
it). “I come across as kind of a hard nut,” says Dal-
trey, near a whisper. “But people got it backwards.
I’m not. I’m a softy. I’m the softest person in the
world.”
Daltrey was the only member of the Who to
not abuse drugs, and that left him the grown-up
in the band, drawing up set lists and making sure
the trains ran on time. I ask if he ever grew tired
of being chaperone to three very naughty boys. “I
still am!” he says. “It always has been ‘Pete does
the album, but don’t expect him to put the tour
together,’ right? That’s always on my lap. It has
all worked out very well. So I’m happy to shoul-
der that. I’m good at it.”
Daltrey has also had something that either
When it came time for him to sing Tom- Onstage, was troubled: “I worry that little Greta eluded or did not appeal to the other Who mem-
my’s “The Acid Queen,” told from the September. The — I don’t want to patronize her, be- bers: a domestic life. (Townshend didn’t settle
viewpoint of a female abuser, he lost it. Who’s current tour cause she’s so fucking great — will be down until he approached 60.) Daltrey has been
“I just blew the whole show,” remembers includes a 48-piece pretty pissed off.” with his wife, Heather, for 50 years, pledging fi-
orchestra.
Townshend. “It’s on TV, you can see it. I Townshend relates her work to his delity, when the band was off the road, at least.
look like I’m in pain.” involvement in the 1960s Ban the It’s worked for them while providing more heirs.
He’s hardly sung “Acid Queen” since. The lin- Bomb movement and how the Cuban missile cri- (Daltrey has three children with Heather; one
gering wounds have left Townshend a volatile sis came and went and London was still there. with his first wife, Jackie; and four out of wed-
It left Townshend wondering what the point
mixture of empathy and cynicism. “Won’t Get
lock, three of whom he fathered in the Sixties
DEVIN YALKIN Fooled Again” is an anthem against idealism that was. “She says, ‘You stole my childhood.’ Actual- but didn’t learn about until middle age.) Almost
50 years ago, they bought Holmhurst Manor, a
still drives him. Teen activist Greta Thunberg had
ly, she’s stealing her childhood. That’s the thing,
whether or not we steal our own childhoods by
400-year-old Jacobean mansion in East Sussex.
been making the rounds when we talked, and he
Rolling Stone | January 2020 | 69

THE WHO the internet coming. I knew music was going down And then Townshend laughs.
the tubes, and they didn’t.”
Daltrey has done a lot of work on the house, and it go to say hello to Daltrey at the end of the
has kept him sane. he typical combination of hope and disgust Hollywood Bowl rehearsal where the two
“It saved me,” says Daltrey. While he enjoyed the is present in Daltrey and Townshend’s new I of them avoided acknowledging each other’s
rock lifestyle for a while, he was ready to get out be- Twork. There was a period when Townshend existence. He’s wearing the same blue cargo shorts
fore he was 30. “When you’re young, it was part of a wondered if the record would happen at all; after he as in Dallas. The band had recently canceled
movement. It felt really good, but I couldn’t wait to sent Daltrey the demos, it was months before Daltrey some gigs after Daltrey’s voice gave out in
get out of it.” relayed his thoughts. Daltrey says there was a good Houston. I ask how his voice was holding up. He
Daltrey got into film. (He starred in Tommy and reason for the radio silence: “These are really great stops short.
some other less-notable movies.) But he found that songs, but what do I tell him? It sounds to me like a “It wasn’t my voice,” Daltrey says coldly. “It was
to be just a different type of nightmare. “I felt like a really great Pete Townshend solo album. What can I allergies.” After I apologize for the misunderstand-
drowning penguin. I didn’t like being fawned over. do in these to make them better?” ing, he smiles. He points at the orchestra, which in-
I didn’t like being pulled at. We’d been pulled at all Townshend rolls his eyes about this. Apparent- cludes a golden harp and a cymbals guy. He gestures
our lives.” ly, Daltrey had told a version of the story from the with his hands: “You can have all this.” He then
He tries to set a good example for the young folks. stage earlier in the tour. “He hadn’t actually real- touches his throat. “But without this, you have
A few years ago, he did a charity gig with Babysham- ly listened to it, I don’t think,” says Townshend with nothing.” He then disappears stage-right with a cup
bles’ Pete Doherty, a puckish songwriter in the Town- a chuckle. of tea.
shend tradition and a longtime heroin addict. Daltrey The album dares you to push “stop” in the first The show that night was a blast if you took to
tried to share a few stories of friends lost and lives ru- 10 seconds. “All This Music Must Fade” begins with heart Townshend’s words that they were no longer a
ined by hard drugs. Doherty was not receptive. Daltrey growling, “I don’t care/I know you’re gonna band. Middle-aged couples ate picnic baskets full of
“You might as well talk to the wall,” says Daltrey hate this song.” “I hated it at first,” says Daltrey. “But carb-free meals and drank champagne that retailed
with a shrug. And then he thought again. Doherty is it’s such a catchy song.” He’s clearly proud of his ed- for nearly $200 in the Hollywood Bowl concession
still with us. “You only need a few words to go in that iting job. “On the demo, he had some rapping on stand. We were half a century and a few tax brack-
get thought about later on. You just start the key in it. Well, no fucking way I’m going to rap. No way. ets removed from 1970 and the Leeds University
the lock.” Let the youngsters wear those clothes.” When I men- Refectory. The set flowed beautifully, with Town-
tion to Townshend that the song was a tough entry shend’s brother Simon on guitar and drummer Zak
hile daltrey is happily living the undis- into the album, he tartly replies, “It’s not a song for Starkey maintaining a controlled-frenzy version of
covered life, Townshend continues to pick the listener, it’s a song for another songwriter.” He the Moon style. Still, there was never any chance
Wover the bones of his past. And it no lon- mentions a current song goddess’s battles to copy- that your ears would bleed.
ger is only in verse. He has just published an operatic right words and album titles. “Watching Taylor Swift Some decisions were questionable: Did “Emi-
novel, called The Age of Anxiety, after years of delays. go through what she’s putting herself through at nence Front” really need a giant harp? Liam Galla-
(Like Townshend’s never-completed and now mid- the moment is heartbreaking. She doesn’t own the gher, the ex-Oasis frontman and the show’s opening
dle-aged Lifehouse project, the book is intended to be fucking music. She doesn’t own the words. I think act, watched from the side of the stage. He had his
part of a larger multimedia project.) she has a financial right to it, but she shouldn’t arm around his son Gene, a young musician. They
There’s a character in the novel named Louis. He screw herself up about this stuff. It’s just songs, for both wore parkas despite the October heat. Galla-
is an art dealer who happens to be the exact age as fuck’s sake.” gher was coaching his boy, pointing out things he
Townshend. He is accused of a ghastly sex crime on The best track is “Street Song,” about the Grenfell could learn from his dad’s idols. They shook their
a drugged-out teenager that he may or may not have Tower fire in London that killed 72 people in 2017. heads in unison like Wayne and Garth and grinned
committed. It’s a stark echo of a deeply painful mo- Daltrey wouldn’t sing the original words: “It had a lot like kids on Christmas Day as Daltrey pulled off his
ment. In 2003, Townshend was arrested for paying of political lyrics that kind of pointed fingers, and I millionth mic toss.
to access a child-pornography site. He has always thought, ‘This is not the time to point fingers until the And our two friends? It was as advertised.
claimed that he was compiling evidence to go after inquiry is over and you can make a judgment along Townshend barked at some overzealous
child-sex-ring runners and the banks that processed what really, really happened.’ ” Townshend conced- security guards manhandling fans who had
their transactions. Daltrey valiantly came to his de- ed, and Daltrey’s anguished vocal is among the more already qualified for their AARP cards. “Usually, I’m
fense, and eventually Townshend wasn’t charged with moving performances of his career. the one Pete is mad at,” joked Daltrey. Townshend
any crime. Rather than leave that alone, Townshend “I was thinking, ‘Well, this is great, because I’m shot him a look. “Uh-oh,” said Daltrey. “I’m in the
has published a novel in which he dares readers to singing this,’ ” says Townshend with a hint of envy. doghouse.”
connect the dots. “And suddenly he delivered this killer vocal for it.” At times, Townshend’s duck walk and windmill-
“It made it feel real to me,” says Townshend in a Townshend offers a historical anecdote as explana- ing threatened to collide with Daltrey’s theatrics,
quiet voice. He then re-enters his prideful zone: “But tion for why he and Daltrey have been such a mag- but at the end of each song they returned to their
the interesting thing about that was I anticipated the nificent if excruciating pairing. “When we recorded own corners. Finally, the orchestra left the stage,
MeToo movement. Louis is not based really on me, Quadrophenia...this is brutal, but I didn’t care what as did the rest of the band. It was just Daltrey and
but there will be me in there somewhere.” Roger thought,” says Townshend. “And he did a ver- Townshend to perform “Won’t Get Fooled Again,”
The novel also features a rock star who sells his sion of ‘Love Reign O’er Me,’ which was like a wail- still the best argument against idealism in the an-
catalog to a truck company, allowing him to retire ing banshee scream. I turned to my engineer Ron Ne- nals of Western civilization. As the only two hu-
and regroup his life. This one is easy: Townshend vison and said, ‘This is a kid on a rock. He’s wet, he’s mans on the stage, they had to actually look at each
has taken crap for years for licensing Who songs cold. He’s had the most awful day of his life. Every- other.
to CSI, truck manufacturers, and other companies. thing’s gone. The last thing he’s going to do is scream Townshend had his doubts about the acoustic ap-
(Baseball is playing in the background while we talk, out. He’s going to whimper.’” proach. “It feels like we’re throwing away one of the
and the synth opening of “Baba O’Riley” is pushing Nevison urged him to give it another listen. great, great pinions of anthemic rock,” he told me
T-Mobile between innings.) He points out how the “Roger was in a booth, I couldn’t see him,” says before the show. “It’s a song that, on its own, if we
band was ripped off for its first 20 years and he had Townshend. “I was hearing it from the mixing desk. both just stood there like vegetables, would fill the
to make up for lost time. Today, he can’t be bothered. And I listened back, and I thought, ‘Fuck. He’s room and do the job.”
“I never gave a shit,” says Townshend. “I’ve always nailed it. He’s nailed it, because this is an inter- Daltrey started it stomping out a beat. Town-
said the composer is king. It’s my music, not yours.” nal voice.’ ” shend chimed in with some sublime strumming.
He doesn’t care if some musicians think he’s a sell- Townshend smiles and throws up his hands. The song still rose to a crescendo even if it was one
out. “I knew that in the end they would be doing the “He becomes an actor. It’s almost like he’s a late-Fif- that the crowd had heard a thousand times already.
same thing,” says Townshend. “One other difference ties, early-Sixties Method actor, who when you say, Then Daltrey growled.
between me and the Lou Reed and Iggy Pop smart- ‘Here’s the script,’ he goes, ‘Oh, uh...’ and the directors Meet the new boss, same as the old boss.
alecks of the New York art scene is that I fucking saw go, ‘For fuck’s sake, just say the words.’” At that moment, no one cared who loved who.

70 | Rolling Stone | January 2020

The Mix

PLAYLIST




OUR FAVORITE
SONGS AND VIDEOS
RIGHT NOW
ASK
CROZ
4 Real-life advice


from a guy who’s
seen, done, and
survived just about
everything

1 point: I’m curious to try
I’ll cut right to the
heroin. The government
says it’s evil, but why
should I believe them?
And I won’t become an
addict. I just want to try
it once and see what it’s
like. Is that so wrong?
—Stewart Baker, OH
Nobody ever managed
to try it just once. If you
try it once, you’ll want
to do it again. Don’t
5 experiment with it. It’s
like experimenting with
a nightmare. The feeling
3 momentary cessation of
you get from heroin
isn’t worth it. You get a
pain. That’s why I did it.
It stopped the pain. The
pain was in my heart,
and it slowed it down

brought its own pain,
1. Grimes 8 for a minute and then
which was even bigger.
“My Name Is Dark” I’ve been in a number
Every Grimes song is its of Bay Area bands, but I
own mystery. On her latest, don’t know how to man-
she follows a jagged guitar 6. Koffee age the relationships
into an electro-pop hall with other band mem-
of mirrors, as her helium feat. Gunna bers. I know you’ve had
vocals evoke death, drugs, 4. Billie Eilish “W” bit of sunburned stoner- experiences along those
and a girl who plays with “Everything I Wanted” Koffee, a Jamaican singer psych. lines. Any advice?
fire. Somehow, it comes Music’s biggest break- who is nominated for a Best —Curt Olsen, CA
out hum-along catchy — through pop artist caps off Reggae Album Grammy, 9. PartyNextDoor
her own flavor of black her massive year with one rides a modern digital beat feat. Drake You’re asking the wrong
bubblegum. of her most somberly lovely on the bubbly “W,” while “Loyal” guy! But the key is to be
careful to pick who you
songs, a soft-goth piano radiating a positivity that Mumbly Canadian crooner
2. The Weeknd ballad that creeps along at recalls the Bob Marley-es- PartyNextDoor is like play with. There’s two
kinds of relationships:
“Blinding Lights” an elegant slink, hungering que optimism of reggae’s Drake, if he was 50 competitive and
Abel Tesfaye emerges from for love and connection golden age. times more Drake. collaborative. I’ve been
his sepulchral R&B pain cave amid the Usually his stuff is darkly in both. CSNY was
for some sleek, sinewy New gilded aloneness of fame. 7. Cornershop horny, but PND’s new very competitive, and
Wave kicks, like he topped “No Rock: Save in Roll” one is friendly and fun, collaborative is what I
off a recent late night zoning 5. Khruangbin In the Nineties, Cornershop’s swimming in tropical have now with my band.
out to Human League and and Leon Tjinder Singh linked Brit pop vibes, elegiac Auto-Tune, Either way, you have to
Berlin in the Uber home. Bridges to his South Asian roots. He’s and a crush work at it. You can’t let
he doesn’t want to end.
3. Ozuna “Texas Sun” back for the age of Brexit, your ego get in the way. FROM TOP, LEFT TO RIGHT: KENNETH CAPPELLO; MEDIAPUNCH/SHUTTERSTOCK; MATT BARON/
That’s what I did over
laying claim to English iden-
feat. Willy Texas retro-soulman Leon tity over a stanky Stones riff. 10. Emily Yacina and over again. Treat the
Bridges got together
“Temporal” with funky Houston trio “Arcades & Highways” relationship like
it’s precious.
Puerto Rican crooner Ozuna Khruangbin for a great new 8. Hinds A sweet secret-spilling
specializes in Latin trap EP titled Texas Sun; its title “Riding Solo” bedroom-pop tune about a SHUTTERSTOCK; POONEH GHANA; ALBERTO VAN STOKKUM
and reggaeton. So this track is this dusty, medita- Spanish garage band Hinds brand-new love. It’s GOT A QUESTION
genre-stretching collab with tive jam. Bridges’ singing spiked low-fi naiveté with a the cute details (like the FOR CROZ?
singer Willy is a real treat — suggests Sam Cooke shot of sassy girl- gang way Yacina stops midsong Email AskCroz@
a sunny wandering into a spaghetti toughness on their first two just to call her dad) Rollingstone.com
detour into Jamaican Western as his guitar LPs. “Riding Solo” goes that make this such
lovers rock, perfect for shimmers like a mirage on a hard on their sad-bored a wonderful couple of
nicing up winter nights. desert road. side, making for a delicious minutes to live in.
Rolling Stone | January 2020 | 71

Music

HARRY’S BIG


BREAKUP


ADVENTURE



The English pop
star makes retro-
rock with a
sensitive touch on
his second LP

BY NICK CATUCCI














Harry Styles
Fine Line
COLUMBIA
★★★★★


f you’re listening for
evidence of the many
I psychedelic mushrooms
Harry Styles says he ate
while making his outstand-
ing second album, you will
have to wait until Fine Line’s
second-to-last song. But when
“Treat People With Kindness”
arrives, it trips balls. Musing
about “floating up and dream-
ing, dropping into the deep
end” over a feverish groove
of congas, hand claps, and
Mellotron, Styles calls upon
a gospel chorus to take him
even higher: “Maaaaybe, we
can find a place to feeeel good,”
they thunder. “To feel good!”
On his 2017 debut, Harry
Styles, the breakout One Di-
rection heartthrob believably
staked his claim to Seventies
rock-star tradition. But Fine
Line is not exactly the


ILLUSTRATION BY
Bijou Karman

Reviews Music

Quick Hits

HARRY ST YLES
magical mystery tour one
might have assumed he’d set Ten new albums you need to know about now
his sights on this time out. Like
his brilliant uniform of flowing,
high-waisted trousers and
shagadelic chest-baring shirts, Beach Slang PUNK FUN Beach Slang’s James Alex re-
ups the Replacements’ underdog thrash
it’s a streamlined, party-ready, The Deadbeat Bang for a new generation, and he’s so on ★★★★★
primary-colors take on the of Heartbreak City point, the ‘Mats’ Tommy Stinson plays
enduring concept of the rock & Bridge 9 bass on “Tommy in the 80’s.”
roll starman. With short-story
lyrics about a family man’s
life of quiet desperation and Tinashe R&B TREAT Whether she’s singing like a
a six-minute build to wailing- soulful thrush, rapping in a Migos flow, ★★★ ★
or chanting over a house beat, the risk-
guitar drama, “She” might be Songs for You taking singer masterfully draws you into
the closest thing here to a “Sign Tinashe Music her romantic pleasures and anxieties.
of the Times”-style homage to
Bowie and the Beatles. Usually,
the Sixties and Seventies signi- Marcus King SUBTLE JAMS This breakout South Caro-
fiers sprinkled throughout the linian is a guitar firebrand and an able soul
album — a little organ, some El Dorado shouter who cares about rhythmic intrica- ★★★ ★
cy more than big solos, at times suggest-
clav, and even George Harrison Fantasy ing an Allmans session at Hi Records.
specials like electric sitar and
sarangi — are Vitamixed into
pop-rock smoothies you can Pinegrove DOWN-HOME EMO Evan Stephens Hall
dance to, like the strutting writes poetic, diary-ish lyrics, and the ★★★ ★
“Adore You” and soulful “Lights Marigold rest of the band burnishes them in a
sound that’s like the Promise Ring gone
Up.” Rough Trade country, and heartwarmingly so.
Aided by genre-fluid
songwriters like Jeff Bhasker,
Amy Allen, and Greg Kurstin, Algiers BASEMENT SOUL The Atlanta band’s
Styles is also now mining some retro R&B can feel a little murky, sub-
rich millennial veins as well. There Is No Year merging singer Franklin James Fisher in ★★★ ★
sonic shadow — but when Algiers crank
Busy and beachy, “Sunflower, Matador it up, their third album can be a blast.
Vol. 6” could sit next to Vam-
pire Weekend on any playlist.
The title track emerges from Harry Nilsson TALKIN’ AGAIN A posthumous LP from the
a darkly beautiful, Bon Iver-like brilliant Seventies pop oddball, recorded
haze into a big, semi-hopeful, Losst and Founnd in the Eighties, and before his death in ★★★★★
brass-and-martial-drums Omnivore 1994; his once-golden voice is gravelly
and weathered, but the genius still flashes.
finish; with a measure of un-
certainty fitting the close of this
chaotic decade, Styles promises REGGAETON IN SPACE Puerto Rican star
“We’ll be all right.” Ozuna Ozuna’s latest has a so-so sci-fi concept
That “we,” as his fans will Nibiru and cameos from Rae Sremmurd’s Swae ★★★★★
surely speculate, may be Styles Aura Music Lee and Diddy. Its best moments see him
deliver emotional dancer-floor thrills.
and his ex, the French model
Camille Rowe. On “Cherry,” he
sings, “I just miss your accent SERIOUS COUNTRY The closest thing
and your friends.” But Styles Little Big Town Nashville has to a Fleetwood Mac tango
sets himself apart from earlier Nightfall through a dark night of the soul on a so- ★★★★★
rock gods with the gentlemanly Capitol phisticated, personal set. Highlight: “The
way he delivers his broken- Daughters,” about sexist double standards.
hearted blues. “I’m just an
arrogant son of a bitch who ...And You Will Know Us NINETIES NOISE Trail of Dead formed in
can’t admit when he’s sorry,” he By Our Trail of Dead 1994; their 10th album sounds as though
confesses in the syncopated X: The Godless Void they had been sitting on it since then, ★★★★★
slow burner “To Be So Lonely.” and Other Stories showing off a total mastery of their big
In the otherwise forgettable Dine Alone Texan fusion of grunge and emo.
ballad “Falling,” he channels FROM TOP, LEFT TO RIGHT: ADRIÁN MONROY/MEDIOS Y MEDIA/GETTY IMAGES;
every woman hounded by a Blake Shelton SAME OL’ VOICE The brooding title track JOHN SHEARER/ACMA2019/GETTY IMAGES; R. DIAMOND/GETTY IMAGES; EARL GIBSON III/GETTY IMAGES; MELANIE LEMAHIEU/SHUTTERSTOCK
needy guy (or worse), asking, on this mix of recent hits and new material
“What if I’m someone I don’t Fully Loaded: is one of Shelton’s best. But a lot of the ★★ ★★
want around?” If there’s a God’s Country set (including the Trace Adkins collab “Hell
nontoxic masculinity, Styles Warner Bros. Right”) is by-the-numbers party country.
just might’ve found it. And
that’s the kind of magic CONTRIBUTORS: JON DOLAN, JON FREEMAN, KORY GROW, WILL HERMES, ANGIE MARTOCCIO, GARY SUAREZ
mushrooms can’t buy.



January 2020 | Rolling Stone | 73
★★★★★ Classic | ★★★★ Excellent | ★★★ Good | ★★ Fair | ★ Poor RATINGS ARE SUPERVISED BY THE EDITORS OF ROLLING STONE.