Byrne: I don’t mind. I’ve learned the hard way that you do have to play some of the hits for the audience.
Lorde: Did you use to not play them?
Byrne: Just one tour [in 1989]. I started working with a very large Latin band, and there were a few older songs that I could work in there, but a lot of them didn’t fit that musical style, so I was doing 80 percent new stuff that the audience had never heard. That’s something in our business that always puzzles me. It’s not like a movie, where you’re not expected to do that scene that you did: “The one before that we really liked. Can you just repeat that again?”
Lorde: True, that’s a funny way of thinking about that.
Byrne: But it’s also true that music has a different thing. Music is repeatable that way and can move people again.
The most insufferable discourse awards of the year go to: “Solar Power sucks because Jack Antonoff produced it,” and “If I Can’t Have Love, I Want Power is only good because Halsey worked with Trent Reznor and Atticus Ross from Nine Inch Nails.” Not only are these statements over the top, but there’s also a level of sexism, albeit most of the time unconscious and these comments rob artists of their agency. I’ve seen various conversations like this, but never to this point where people everywhere undermine a songwriter’s prowess due to their relationship with a producer’s work. Let’s not forget, Lorde demonstrated storytelling beyond her years from her beginnings with The Love Club EP in 2013. Halsey, who uses she/they pronouns, hasn’t found the same critical acclaim thus far, but fans who have followed their career recognize their growth since they released the Room 93 EP in 2014.Read More “Lorde, Halsey, and the Infuriating Discussion Around Their Producers”