Video: The Strokes Perform Live For The First Time In 3 Years, Debut “One Way Trigger” Live

The Strokes returned to the stage last night in Port Chester, New York and debuted material from 2013’s Comedown Machine live. The band’s last live performance was in November 2011. See the setlist and watch video below.

Setlist:
Barely Legal
Welcome to Japan
(Live debut)
Automatic Stop
Machu Picchu
Reptilia
Razorblade
Take It or Leave It
One Way Trigger
(Live debut)
Under Control
Heart in a Cage
Hard to Explain
12:51
Someday
Mama Love Her Baby Blues/ Happy Ending
(Live debut)
The End Has No End
You Only Live Once
Last Nite

Encore:
New York City Cops




Krist Novoselic Responds To Criticism Of Nirvana Reunion, Defends Use Of Name

Krist Novoselic responded to criticism of Nirvana’s April 2014 reunion and the use of the band’s name for their Rock & Roll Hall of Fame and St. Vitus performances. Novoselic said he thinks its appropriate to use the name for ‘this once in a lifetime reunion’ as it was meant to honor Kurt Cobain. See Novoselic’s full tweet below::

Trent Reznor Reportedly Leaves Beats Music

USA Today reports that Beats Music’s chief creative officer Trent Reznor has reportedly left the company. Also, one of Beats’ principal technology executives, Fredric Vinna, has recently gone to Spotify, and its co-founder, Ola Sars, to a Spotify-backed venture. Apple purhcased Beats Electronics on Wednesday for $3 billion, after meeting with co-founders Jimmy Iovine and Dr. Dre. Watch a commercial for Beats featuring Trent Reznor below.

Nirvana’s Dave Grohl Says Courtney Love ‘Is Family’

Nirvana drummer Dave Grohl discussed reconciling with Courtney Love at the Rock & Roll Hall of Fame in a new intervew with The Hollywood Reporter.

“You know, the wonderful thing about that night was the personal side of it. It was the Hall of Fame ceremony, but it meant so much to all of us personally that sometimes you forgot about the other stuff — like the arena and the trophy — and focused on real, personal things. I saw Courtney walking past [earlier in the night], and I just tapped her on the shoulder and we looked at each other in the eyes and that was it — we’re just family. We’ve had a rocky road. We’ve had a bumpy past, but at the end of the day we’re a big family and when we hugged each other it was a real hug.”

He added, “And then I swear to God, after we walked off stage we just walked down the hallway together. It was almost like no time had passed at all. Those things are real and no matter what it looks like in a magazine or on a website, that’s real shit and I was very, very happy that we had those moments. It was beautiful.”

Dave Grohl On Nirvana Reunion Performance: ‘We Wanted To Emphasize The Future’

Dave Grohl discussed Nirvana’s Rock & Roll Hall of Fame reunion performance in a new interview with The Hollywood Reporter.

When we started thinking about how we were going to choose performers, that was heavy. It was tricky. It was more complicated than just jumping up onstage and playing music. It was emotional, there’s a legacy to preserve, there’s so much to take into consideration. And Joan Jett was the first name to come up and there was no question that she should be there. I mean she is the queen of rock and roll.

Kurt and Nirvana had always tried to promote women in music. And I think we just felt like this is perfect. Then a few names bounced around that didn’t seem to pan out and we finally decided that we wanted all of our performers to be these incredibly talented and powerful women.

We had fashioned the sequence of songs in chronological order. So we had Joan Jett first, because she’s the queen, then we had Kim Gordon, who is an iconic hero to us, and then Annie St. Vincent. We didn’t only want to focus on the past. We wanted to emphasize the future and that music is moving forward. Because Annie is surely doing that. And Ella [Lorde] is a great example of what we have to look forward to. She is able to have the biggest song of the year be something deep and meaningful and real — that’s what I hear when I listen to that song. So once we had that locked we knew that it was gonna be something special and it was just a matter of rehearsing and getting it together. And it’s still hard to believe that it happened but it did and I loved it.

Jack White

Jack White Apologizes To The Black Keys, Meg White & Adele

Jack White posted a long apology on his website for trashing The Black Keys, Adele, and Meg White:

It seems like it’s becoming obvious that to continue the activities I have planned for the rest of my year as a musician, and not be hounded by nonsense throughout those experiences, I should make a statement to clear up a lot of the negativity surrounding things I’ve said or written, despite the fact that I loathe to bring more attention to these things.

I felt in a way forced into talking about very private opinions of mine that are very much in the realm of “behind the curtain” show business conversations, and things to do with my own family and friends. These are things I never talked about publicly, but through the actions of lawyers trying to villainize me in a private legal scenario, my private letters were made public for reasons I still don’t understand. They contained comments that were part of a much bigger scenario that is difficult to elaborate on, and also one that I really shouldn’t have to explain as it was personal and private in nature.

There are a lot of things that only people around me can know about or understand, but despite all of that I want to say this: I wish the band the Black Keys all the success that they can get. I hope the best for their record label Nonesuch who has such a proud history in music, and in their efforts to bring the Black Keys songs to the world. I hope for massive success also for their producer and songwriter Danger Mouse and for the other musicians that their band employs. Lord knows that I can tell you myself how hard it is to get people to pay attention to a two piece band with a plastic guitar, so any attention that the Black Keys can get in this world I wish it for them, and I hope their record stays in the top ten for many months and they have many more successful albums in their career.

Remarks I’ve made about the state of the music business and about how certain acts create new markets in the minds of music lovers are also very difficult to clarify without exacerbating the issue. In an attempt to not give the music magazine Rolling Stone a “no comment,” because I thought they would use that to convey some sort of pettiness on my part, I decided to try to explain a tiny portion of what they were asking. But, they are the type of comments that are to be made to producers, engineers, and managers who thoroughly understand the behind-the-scenes of what we do all day long. I should’ve been smarter to know that it would be pointless to use comparisons like I did to readers who most likely don’t understand the scenario and that my words would seem very negative in nature. That’s not me trying to sound like I’m above anyone, it was just “shop talk” and it sounded a lot more negative than it was meant to.

I wish no slight to the talents of Winehouse, Duffy, Lana del Rey, and Adele. All of whom are wonderful performers with amazing voices. I have their records and I hope for more success for them all as the years go on. They deserve all they’ve gotten. And, I also would love to state that I personally find it inspiring to have powerful, positive female voices speaking out and creating at all times in the mainstream, and all of those singers do just that, so I thank them.

Meg White, who I also talked about to Rolling Stone about our working conversations, or lack thereof, is, of course, a musician I’ve personally championed for 15 years. She is a strong female presence in rock and roll, and I was not intending to slight her either, only to explain how hard it was for us to communicate with our very different personalities. This got blown out of proportion and made into headlines, and somehow I looked like I was picking on her. I would never publicly do that to someone I love so dearly. And, there are mountains of interviews where my words are very clear on how important I think she is to me and to music.

We live in a sound bite, sensationalized age. The “non apology” has become a lawyer’s dodge for celebrities themselves, given to a public that usually doesn’t want to hear it as it disrupts the tabloid “dirt” that we all want to occur. Because the conversations I’ve had that have been made public and recontextualized are difficult to clarify without making it seem even more petty and strange, this is an apology to anyone I’ve offended with my comments about my creativity, their creativity, and the music business in general. I wish for a long, fruitful, healthy family of creative people to continue to grow around me and the musicians I work with, the city of Nashville, America and the world of listeners that this music can reach.

Anyone who can get people to pay attention for more than a second with musical notes in this age, or any age for that matter, deserves credit and applause. Thank you for reading all of this and I hope that the nonsense started by lawyers and strangers to me and perpetuated by tabloid journalism can be left behind, and all of the musicians can move forward in positivity. So, God bless the Black Keys, Danger Mouse, Adele, Meg White, and anyone else I’ve spoken about, and thank you for understanding. Good fortune to all of them, and I’m sorry for my statements hurting anyone.

Jack White

The Black Keys Respond To Jack White Diss

Black Keys drummer Patrick Carney responded to Jack White recently calling his band ‘watered down ripoffs’ in a new interview with The Tennessean:

“I’ve learned over the last year, especially the last couple months, sometimes it’s best to shut the (expletive) up and let someone else dig the hole for once,” Carney said with a smile. “That’s my stance on life right now. I’m chillin’. My mouth can get me in so much trouble, I know it.”

He added that Kings of Leon are very supportive of him, and that he has a very good relationship with Nathan Followill.