The Go-Go's "Club Zero"
Jorja Smith has one that speaks to Black Lives Matter, Neil Young addresses the upcoming election and the Go-Go's are all about a #MeToo moment that (guess what?) still hasn't passed, amid these supposedly supplanting concerns. Meanwhile, the lovelorn new song from country-pop stars Dan + Shay may not seem that socially conscious on the surface — but we know it's about the current lockdown, whether they did or not when they recorded it. The rest of the songs in this week's Fri 5 — Variety's roundup of five of the best or most notable new songs — are more topical in addressing the times.
"Someone told me that you were comin'/So I should probably go to bed." Dan + Shay, wittingly or un-, have come up with the great quarantine anthem of summer 2020.” /> "All of my friends finally convinced me to get out of the house / To help me forget, to help me move on / Then I heard you're back in town," they sing, as if suddenly reminded about the curve being unflattened. The lyrics, on the surface, describe a familiar country music scenario: man goes to bar, man sees ex, man doesn't know how to deal. But what if the woman Dan and/or Shay encounter down at the local tavern is… But there's something deeper that meets in the ear in this new piano-based ballad from the next-generation country-pop stars. the off-again, on-again coronavirus itself? A golden age for pajamas demands its theme songs, too. "I should quit while I'm ahead," they add, like every American who's unsure whether to play it safe or resume the Old Normal. This would be all the anthem anyone needs in the quarantine era even if it were literally just about hitting the hay, right?
When Billie Eilish announced she had new music coming right around the time that Taylor Swift was unexpectedly delivering "Folklore," there was a split-second's worth of "quarantine be damned: this is going to be the best July ever" pop sentiment before everyone realized that Eilish would be dropping a mere single, not a full made-in-lockdown album. But we take our Eilishian pleasures as they are dribbled out, and "My Future" certainly counts as one — about as subdued in its way as this year's earlier "No Time to Die," but with uncharacteristically upbeat lyrics that make 2020 sound like a fine time for her to live.
Dan + Shay, "I Should Probably Go to Bed"
Neil Young, "Lookin' for a Leader 2020"
nor, if you're on his side, do you probably want or expect him to. "Lookin' for a Leader" originally appeared with then-topical lyrics on his 2006 album "Living With War," but it's a different kind of war — a civil one — that the now-American citizen consumes himself with in this rewrite. Eight-ball says: Sure, why not? The new version was first presented as a casual one-off in one of his web "Fireside Sessions," but he's broken the acoustic performance out on its own (although you can still only see it on his Neil Young Archives, you can listen to it on other streaming services). The lyrics are blunt and up to the moment: "America has a leader building walls around our house / He don’t know black lives matter and we got to vote him out." He wants a landslide, too: "We got our election, but corruption has a chance / We got to have a big win to regain confidence." Will the Trump campaign still blithely program "Rockin' in the Free World" into the playlist at rallies — should there be such a thing again this year — after Young has savaged him this relentlessly? Young does not wield his bludgeon with any particular subtlety in this anti-Trump broadside…
Smith doesn't need any outside excuse or encouragement to write about the Black Lives Matter movement… "Go ahead and fix your crown, and watch it all burn in smoke," she sing at the outset, alluding to the more literally incendiary side of this year's protests. While finding "redemption in the steps we take," Smith never quite completely settles on a tone of either righteousness or indignation. "See all this pain in the headlines / But I have cried for the last time / But know what happens, see / You would be blind if it was just an eye for an eye," she warns those who wield society's upper hand. or Black lives, generally. Hers is a smoothly coiled fighting spirit. But she got some anyway in the form of an assignment to contribute to an upcoming Roc Nation compilation, "Reprise," that is designed to speak to current social justice issues and benefit organizations that deal with victims of police brutality and other civil rights violations. As such, it's very much in the tradition of earlier songs from the British singer like "Blue Lights" and "Rose Rogue." The title alludes to Malcolm X, of course, and there's plenty of the fiery defiance that would suggest to go around, as well as pride.
Jorja Smith, "By Any Means"
And knowing that she seems personally in a good place accounts for why it's easy to leap ahead and imagine her pop "Future" as something measured in multiple decades, not just years. possibly the first time that's happened in the history of show business. And there may have been limited competition for that in her earlier LP and EP, but we're faced with a still-adolescent megastar who seemed to have come out of the gate as a tortured soul and then actually had success make her more level-headed… Probably. Lyrically, though, it's nothing but acting her age. So here's to awaiting a potentially sunnier second album— the avoidance of angst becomes her just as much as its presence did. Is this the happiest song Eilish has ever recorded? Obviously Eilish has a great family support system around her, starting with brother Finneas, who of course contributed to this new track. Another thing that makes that an easy proposition is the easy-going sophistication of this track, which, musically, sounds like something a seasoned torch singer might deliver at the Rainbow Room, before the gentle beat kicks in.
/ I had to go." But by the end of the song, it's the entire world of relationship entanglements that she seems to be kissing off, as she sends a wave to all prospective suitors with the sign-off: "I'll see you in a couple years." There's a bit of the flavor of Ariana Grande's "Thank U, Next" in here, with the slight twist that it's not herself Eilish needs to learn to love so much as the Eilish she can become if she maintains her singular, single-woman focus. She probably didn't always subsequently live up to that ideal — what man, in history, has ever been as interesting as Taylor Swift's career? She would turn to a boyfriend, she said then, when she found someone who interested her as much as her career. And it's the one Eilish seems to be setting for herself at that same age in "My Future." It starts off as a bit of a diss track: She's speaking to someone who is only using her as "a mirror / You check your complexion… I can remember interviewing Taylor Swift when she was a teenager, shortly before she crossed over from country star to pop superstar, and the subject of her apparently then-non-existent dating life came up. — but it was a good, high bar to be setting at 18.
Its real punkiness, anyway, occurs in the lyrics, in which the Go-Go's finally overtly claim the feminism that wasn't worn on their sleeves in the '80s. As it turns out, all these decades later, we will like them when they're angry. But the new Alison Ellwood-directed documentary about the group, which premieres on Showtime this weekend, benefitted from a sign that the quartet could still work together creatively as well as retrospectively, even if they're unlikely to jump back into the albums game as a full-time gig. The Go-Go's have been no one's idea of prolific as recording artists in recent years or decades, despite their intermittent reunion tours; the group's last album, "God Bless the Go-Go's," came out in 2001, and that came 17 years after their previous full-length. "Club Zero," their first new song in 19 years, hits the spot, first of all just on a stylistic level — it has some of the early punk spirit that the movie devotes so much time to, while not trying to pretend that the polish that shortly made them big never happened. Jane Wiedlin has described it as being about "zero f—s given" about what men have to say on women's issues and/or their legacy. Clearly there are many f—s given, for the band to be able to reconvene for any purpose 40-plus years on from their beginnings.
Billie Eilish, "My Future"

We’ve seen artists ranging from The Weeknd and Robyn to James Blake and even Tei Shi performing at the Museum of Modern Art; Interpol rocked the 2,000-year-old Egyptian Temple of Dendur at the Met, and last year the Guggenheim — you know, the one where Will Smith chases down the cephalopod in “Men in Black” — hosted "An Ode To…," a stunning, unique performance from Solange based around her “Seat at the Table” album. In recent years some of New York’s most unusual concerts have taken place at its most prestigious museums, either as special events or as entertainment at benefit parties for donors and members.
She also left the crowd wanting more, leaving the stage after a 35-odd-minute set, ceding to the DJ (who was seen rocking hard to Smith’s set) and the free-champagne-and-vodka-fueled revelry that ensued.” /> Not surprisingly, her songs — which recall Amy Winehouse, Sade and early Erykah Badu — work well in a small jazzy-combo setting, although her between-song comments were often lost in the museum’s cavernous acoustics.
With that context, the look on the face of 21-year-old British soul singer Jorja Smith — whose debut album was chosen as one of Variety’s mid-year Best Albums of 2018 (so far) — as she took the stage at the center of the Guggenheim’s circular floor on Wednesday night was one of priceless incredulity, although it’s not as if she hasn’t already seen enough surreal moments in a brief career that has already seen her guesting with Drake and Kendrick Lamar and opening an arena tour for Bruno Mars. While stripped down in format, this show, a “Pre-Party” the evening before the museum’s International Gala benefit dinner, was essentially the opening night of her first American tour since the album’s release, and she delivered torch-esque renditions of songs from the album, accompanied by just a keyboardist and electric guitarist.
The combination of Smith, clad in a black sparkly dress, with the rotunda, the Hilma af Klint exhibit hanging on the walls and the spectacularly dressed audience was irresistible. While the musicians can sometimes feel like background entertainment at such shows, happily the Guggenheim’s circular structure meant that all attention was focused on Smith, and a dazzling light show illuminated both the stage and the upward-spiraling rotunda that reaches five stories above the ground floor.
While the special events are largely staged for fans and feel more like regular concerts in a wildly exotic setting, the donor and member parties, which are not always open to the general public, attract a more affluent society/arts-foundation-type clientele and/or their often extremely well-dressed offspring, along with resourceful fans who’ve managed to find a way in. As such, they can make for a disorienting reversal for anyone expecting a traditional concert: the entertainment is sometimes secondary to the audience, and the press and photographers in attendance are focused accordingly.