Behind the Setlist
In an era of infinite niches and personalized playlists, rock band Incubus is giving concertgoers the kind of shared experience they had while growing up together in Calabasas, Calif., on the outskirts of Los Angeles. The five-piece is currently on a 10-city arena tour, Morning View + The Hits, and playing its album Morning View in its entirety before tacking on eight or so favorites (such as “Drive” from 1999’s Make Yourself and a cover of The Beatles’ “Come Together”).
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Albums are “nostalgic sort of experiences,” guitarist Mike Einziger tells Billboard’s Behind the Setlist podcast. For the band’s older fans, the concert might take them back to buying the Morning View CD in 2001 and listening from start to finish. “But people don’t consume music that way anymore,” he says. For the band’s younger fans who are most comfortable streaming playlists, the Morning View tour could be a first time hearing the songs in their original sequence. “So, it’s like kind of, in my opinion, a really welcome now departure from the way that people listen to music,” says Einziger.
For all the familiarity built into playing an album in its entirety, the songs aren’t a carbon copy of the versions originally released in 2001. As the band was re-recording the songs of Morning View for its latest release, Morning View XXIII, it realized they no longer performed the songs as they did when recording the album decades ago. Parts of songs had “naturally evolved into sounding different,” says singer Brandon Boyd. “For example, ‘Echo’ has, like, a different ending that we kind of added to it. The song ‘Nice to Know You,’ which starts off the record, begins differently.”
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The band’s lineup has changed since Morning View was originally released, too. Boyd, Einziger and drummer José Pasillas founded the band in 1991. DJ/keyboardist/multi-purpose player Chris Kilmore has been with the band since 1998. Original bass player Alex Katinuch’s replacement, Ben Kenney, left in February. “We have a new bass player, Nicole Rowe, who’s kind of brought her own sort of new energy into the mix of what we’re doing,” says Einziger. “A new member of the band just changes a lot of the dynamics.”
The Morning View + The Hits tour stops Thursday (Aug. 29) at New York City’s Madison Square Garden, goes to Boston’s TD Garden on Aug. 31 and heads west before finishing at San Francisco’s Chase Center on Sept. 12.
Listen to the entire interview with Brandon Boyd and Mike Einziger via the embedded Spotify player below, or go to Spotify, Apple Podcasts, iHeart, Amazon Music or Everand.
“I treat Instagram like CVS,” Kristine Flaherty, better known by her stage name K.Flay, tells Billboard’s Behind the Setlist podcast. “Like, I buy my makeup remover cloths and I pick up my migraine prescription, and I’m out.”
Most artists see social media as a lifeline that connects them directly to the world. The reasons the “Blood in the Cut” singer treats social media like a trip to a drug store says a lot about the 38-year-old singer/songwriter.
Flaherty acknowledges the practical value of social channels for communicating with her fans and providing updates about her music career. “It’s part of my work,” she says, which also includes her latest album, Mono, released in September 2023, and her most recent single, “Carsick,” released in January. “It’s part of how I communicate with my fans, and how I publicize what I’m up to.”
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But Flaherty wants to set up a “healthy” boundary and is wary of getting trapped in a never-ending quest to gain attention. It’s all too common for an artist to think they’ll be happy getting to a certain number of followers, she says. Reaching 100 followers leads them to think they need 1,000 followers, then 10,000 and then 100,000.
“If you buy into this kind of if then thinking, there will never be enough,” she says. “And you’re kind of in the trap. You’ll never extricate yourself. So you just have to self-extricate from that type of thinking, in my opinion. So I try to just not engage with with that.”
Flaherty’s comments come at a time social media is under attack from a spectrum of critics. Professor Jonathan Haidt has recently been on a media tour supporting his book, The Anxious Generation, that details how smartphones and social media have re-wired adolescents’ brains and led to spikes in psychiatric problems. In the political sphere, President Biden signed a law a TikTok ban — inserted by the U.S. Congress into a $95 foreign aid package — that will force the company out of the hands of its Chinese owner, Bytedance. Old-school flip phones and so-called “dumb phones,” cell phones purposefully stripped of most capabilities, are becoming popular with people seeking refuge from distractions.
Still, social media can be necessary to bring Flaherty’s music and performances to some fans. Although she covered much of the U.S. supporting Mono, and traveled to Australia for a string of performances in February, Flaherty naturally doesn’t travel to every corner of the globe. Social media helps her connect with people in cities where she hasn’t performed. “That’s the only way they’re ever going to get to interact with my live shows,” she says, “seeing a video online. And so that stuff matters to me. But I try not to try not to put too much time and energy into the the vicissitudes of the internet.” Plus, Flaherty adds, “I don’t really read comments.”
Listen to Behind the Setlist’s entire interview with K.Flay in the embedded player below or at Spotify, Apple Podcasts, iHeart or Amazon Music.
Andy Summers’ love for photography started in New York in 1979. He was three years into his career as the guitarist for The Police, the British trio that quickly became a sensation with its 1978 debut album, Outlandos d’Amour (“Roxanne,” “Can’t Stand Losing You”) and 1979’s Regatta de Blanc (“Message in a Bottle,” “Walking on the Moon”). The band was constantly surrounded by photographers, and Summers began to get interested in their equipment.
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“Suddenly it occurred to me: I should get a really good camera,” he tells Billboard’s Behind the Setlist podcast. “I’m on the road. I’ve got all this time. I mean, the only real commitment I have is getting to the gig and playing a couple of hours however many nights a week. Then there’s all this downtime, particularly in the U.S.” Summers bought a Nikon camera at a B&H Photo Video store in New York City and quickly began studying photography books and talking to people about the craft. “Immediately it became a complete obsession,” he says.
It turned out that playing the guitar wasn’t the only thing Summers was good at. “I seemed to have a natural aptitude [for photography],” he says, ”a knack for it.” Summers released his first book of photography, Throb, in 1983 and documented his time in The Police with 2007’s I’ll Be Watching You: Inside the Police. 1980-83. His latest book of photography, A Series of Glances, was released in May by German publisher teNeues Verlag.
Now Summers is combining his two passions on his North American tour, A Cracked Lens + A Missing String, that runs through the East Coast, West Coast and Canada before culminating in four dates in Florida in December. The show — Summers performing solo while his photography is displayed behind him — spans The Police (“Roxanne,” “Tea in the Sahara” and “Spirits in the Material World” are regularly played), original solo works (such as “Triboluminescence” and “The Bones of Twang Zu”), covers of Brazilian influences (“A Felicidade” by Antônio Carlos Jobim and Vinícius de Moraes, and “Manhã de carnaval” by Luis Bonfá) and a jazz classic (Thelonious Monk’s “Round Midnight”).
The mixed-media shows are an outgrowth of his photography exhibitions and performances at museums. “I think we’ve actually developed it into quite a sophisticated place from that early start,” says Summers. “And the way you learn you, the way you do it is by actually doing it in front of an audience. Of course, I practice in my studio, and we project onto a big white wall and I play and then you know, so that’s your normal practice — sequencing playing, getting used to it — then you do it once in front of your audience and realize you’ve got everything wrong. And so you revise it. It’s always a work in progress.”
Listen to the entire interview with Andy Summers at Spotify, Apple Podcasts, iHeart, Amazon Music or Audible.
“We would tend to start off with a bang,” says Kim Thayil, guitarist for Soundgarden, a pillar of the Seattle grunge scene in the late ‘80s and a 2023 nominee for the Rock & Roll Hall of Fame. Often, the first song of a set was “Searching With My Good Eye Closed” from the band’s 1992 album Badmotorfinger. At the Detroit’s Fox Theatre on May 17, 2017, the band reached back farther into its catalog for “Ugly Truth” from its 1989 major label debut, Louder Than Love.
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Whichever song began a Soundgarden concert, the intent was the same. “Let’s hit them with something energetic and fast and aggressive,” Thayil tells Billboard‘s Behind the Setlist podcast.
As far as the music, the Detroit show was just another gig on a U.S. tour that snaked through the Southeast and Midwest. The band delved deep into its catalog, playing its biggest hits from the ’90s (“Black Hole Sun,” “Spoonman” and “Blow Up the Outside World”), a highlight from its early catalog (“Hunted Down” from its 1987 EP, Screaming Life) and deep cuts from a six-times platinum album (“Mailman” and “Kickstand” from Superunknown). It was anything but a typical show, however. The Fox Theatre show would be the band’s final performance. Singer Chris Cornell tragically died early the following morning.
Looking back at the career-spanning set from that final show, Thayil believes the four songs from the band’s final studio album, 2012’s King Animal, hold up well next to its more celebrated, earlier catalog. “Certainly a different time in the lives of many of our fan base who may have followed us for 30 years,” he says. “A different time in our lives. But I think those those songs were all fairly strong and fun to play live.”
The King Animal cut “By Crooked Steps” was one of those newer songs Thayil enjoyed playing live. Like “My Wave” from 1994’s Superunknown, “By Crooked Steps” is an energetic, physical and compelling song that departs from the standard 4/4 time signature. “That was a song that [drummer] Matt [Cameron] brought in,” he says. “It was his initial groove and riff. And then [bass player] Ben [Shepherd] and I wrote a few things around that groove to add to it. That was certainly dear to us because it’s one of the first things that that we had written. And all of us were collaborating on that, which was definitely the most fun in working on a song.”
An encore would typically end with “Slaves & Bulldozers” from Badmotorfinger “because it was it was kind of a jam song,” says Thayil. “There was a basic framework that we play in order to support the vocals and the lyrics. But then certain sections are just that could meander and go on — the jam sections with guitars. And the bass would jam. Matt would jam. It would meander. Sometimes we’d go off in different directions and Matt would have to play a gatekeeper and bring everyone back in to the yard. Like, OK, we’re we’ve lost this one, let’s come back in. Sometimes we’d all be on the same page and it’d be trippy, transcendent jam. And we just let that happen.”
The band would leave the crowd with a sustained blast of noise and feedback, “a sort of ritualistic ending” that began before original bass player Hiro Yamamoto left the band in 1990, says Thayil. The cacophony was turned into a separate, four-minute track at the end of the 2019 live album, Live from the Artists Den, and given the title “Feedbacchanal.” “It had always been part of our set as a set feedback jam like some kind of weird noise-jazz-improv trip-out with delays and squealing and humming,” says Thayil, “and ‘Slaves & Bulldozers’ feeds into that pretty well.
Listen to the interview with Thayil at Spotify, Apple Podcasts, Stitcher, Amazon Music, Audible or iHeart.
Chris Isaak doesn’t just dabble in holiday music — he’s loved it since growing up in Stockton, in California’s Central Valley, listening to Bing Crosby, Dean Martin, Vince Guaraldi, Gene Autrey’s “Rudolph the Red Nosed Reindeer” and Roy Orbison’s version of the Willie Nelson song “Pretty Paper.” Those influences come through on his latest album, Everybody Knows It’s Christmas, released Oct. 14 through Sun Label Group.
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“I guess whatever you listen to when you’re a kid, that’s in your head and that’s really Christmas — because you’re never going to beat that excitement,” the singer tells Billboard’s Behind the Setlist podcast.
Everybody Knows It’s Christmas is Isaak’s second studio album of holiday music. Ever since the first, 2004’s Christmas, Isaak has donned a red custom suit and gone on a brief holiday tour that mixes Christmas music with songs from his four-decade career, including “Wicked Game,” a No. 6 Hot 100 hit in 1991, and “Somebody’s Crying” from the 1995 album Forever Blue. “I’m terrible on dates, but it’s been a long time,” jokes Isaak about his holiday touring. “I’m on my second or third red suit.”
Isaak does justice to some beloved holiday standards. His cover of Chuck Berry’s “Run Run Rudolph” (titled “Run Rudolph Run” on the album) remains faithful to the original, hard-rocking version. His take on the normally upbeat “Winter Wonderland” creates a slow, shimmering ode to winter romance. The album closes with a moving rendition of “O Holy Night,” a suggestion by the album’s producer, Dave Cobb, who worked with Isaak in Nashville’s RCA Studio.
But Isaak bucked the tradition of covering someone else’s holiday songs and wrote eight out of the album’s 13 tracks. “When I’m writing [holiday songs] I’m thinking about — now, this doesn’t sound like me, but it’s me — I actually picture a family sitting around and listening to the thing. I hope that it’ll be something they can all listen to. And it’s kind of enough upbeat energy that they can put it in the background while they’re eating dinner and they can have their argument at the table and say, ‘Turn up the music,’ you know?”
Isaak’s sense of humor comes out in “Help Me, Baby Jesus,” one of the standout tracks on Everybody Knows It’s Christmas. In the song, thieves took off with a camera, the three wise men, Mary, the manger, floodlights and an extension cord. “Where I grew up, everybody would steal everything off your front yard,” he explains. “People had to watch the baby Jesus.
“That song will not be a hit,” Isaak continues. “But somewhere in America, there will be somebody who gets a nativity scene stolen, and their friend will go, ‘Hey, there’s a song for you.’”
Listen to the entire conversation with Chris Isaak in the Behind the Setlist podcast at Spotify, Apple Podcasts, iHeart, Stitcher, Amazon Music or Audible.
It was 1985 and Simple Minds were in the recording studio with famed producer Jimmy Iovine trying to follow an unexpected hit after finally breaking through in the U.S. “Don’t You (Forget About Me)” was featured in the movie and soundtrack to The Breakfast Club and hit No. 1 on the Billboard Hot 100 chart in May of that year.
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Iovine, whose resume at the time already included Tom Petty’s Damn the Torpedos and Stevie Nicks’ debut solo album, Bella Donna, was brought aboard for the sessions for the band’s eighth and most successful album, Once Upon a Time. He was pushing the band hard to create something special, singer Jim Kerr tells Billboard’s Behind the Setlist podcast from his home in Sicily while the band was on break from touring following the release of its 21st studio album, Direction of the Heart, on Oct. 21 through BMG.
“We were already feeling the pressure,” remembers Kerr, “but Jimmy was relentless. ‘You’ve got to come up with something special,’” Iovine told the band. “’You have to come up with something. We have to have something special.’
One result from those sessions with Iovine was the song “Alive and Kicking,” which became the group’s second-biggest U.S. hit and peaked at No. 3 on the Hot 100 in Dec. 1985. Like its predecessor, “Alive and Kicking” ends in a sing-along Kerr says was borrowed from The Beatles’ “Hey Jude.” “It’s almost like a hymn at the beginning. And just when you think you’ve heard it all, the ‘la la la’ comes in at the end — which, coincidentally, ‘Don’t You’ had, too.”
In recent concerts, Simple Minds strategically paired “Don’t You” with “Alive and Kicking” in the encore. Not only are the songs the band’s biggest hits and from the same era, “they’re the sing-along moments,” says Kerr, an opportunity for the audience to participate. “That’s when the whole place sings in tune and where we just stand back and the night belongs to them. It’s a wonderful thing to behold.”
In fact, says Kerr, the genius of those songs is their lyrical simplicity. “The great thing about those choruses is anyone in the world can sing ‘la la la.’ You can sing it in Japan, you can sing it in Oslo. That’s the most intelligent lyric we ever wrote,” says Kerr with a chuckle. “Think about it. The whole world can sing that.”
Listen to the entire interview with Simple Minds’ Jim Kerr at Spotify, Apple Podcasts, Stitcher, Amazon Music, iHeart or Audible.
Through three albums of guitar-driven, melodic ear candy, Soccer Mommy has reveled in the sounds of ‘90s indie rock. So it was no surprise the band was chosen to perform at Pavements 1933 to 2022, the indie rock legend Pavement‘s pop-up museum in New York City that ran from Sept. 29 to Oct. 2 and will be displayed permanently in the band’s hometown of Stockton, California.
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“It was really fun,” Sophie Allison, a.k.a. Soccer Mommy, tells Billboard’s Behind the Setlist podcast. “I mean, it was it was something that we were dying to do, honestly, because me and all the people in my live band love Pavement.” Allison and her band covered three songs at the Oct. 1 performance: “Here,” “Gold Soundz” and “Spit on a Stranger.”
Although many Soccer Mommy fans weren’t born when Pavement broke up in 1999, the song “Here,” from Pavement’s 1992 album Slanted and Enchanted, got a good reaction at the Glasgow, Scotland, concert that concluded the European tour in support of Soccer Mommy’s latest album, the critically acclaimed Sometimes, Forever. “I said I was gonna play a Pavement song and everyone was really excited,” says Allison of the audience’s reaction. The band reunited in 2010 and again in 2022 for U.S. and European tours. “I think that people from my audience do really like [Pavement]. I think they’re specifically really a band that has had this huge renaissance like 20 years after [breaking up]. Even when I was in high school, everybody loved Pavement.”
Earlier this year, Allison branched out into podcasts when Soccer Mommy scored the music for We Were Three, a podcast series by the New York Times and Serial Productions. “I’ve always been really interested in in the idea of getting to score something but I’m usually so focused either with touring or, you know, writing new songs for a record and recording,” says Allison. Finding herself with free time this summer, Allison says she enjoyed the process of writing music intended for background accompaniment – featuring guitar, bass, drums and synthesizer – to the spoken word rather than her own lyrics. “It was really fun getting to write music that I didn’t then have to write a chorus for and lyrics and a hook.”
Now home in Nashville after performing more than 50 concerts in 2022, Allison is working on material for the follow-up to Sometimes, Forever. “I don’t have anything done. But I just want to keep keep working on new songs. If anything else comes up that’s exciting, I’ll definitely try to do it. But in the meantime, [I’m focused on] just touring and working on writing new songs.”
You can listen to the entire interview with Soccer Mommy at Spotify, Apple Podcasts, iHeart, Amazon Music, Audible or Stitcher.
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