‘It wasn’t meant to be Cavalcade of Stars,” says Sheryl Crow. “Hopefully it feels natural and cohesive.” She’s talking about her impressive mic-drop of a new album, Threads, which includes a Rock & Roll Hall of Fame induction ceremony’s worth of guests (among them: Bonnie Raitt, Chuck D, Eric Clapton, Sting, Kris Kristofferson, St. Vincent, James Taylor, Maren Morris, Gary Clark Jr., Emmylou Harris, and Neil Young). The album is intended as the final full LP from Crow, 57, as she plans to focus on singles and other quicker releases. Still, she says, “Never say never.”
This lineup is a real testament to how much your peers respect you. Is it also a bit of well- deserved muscle-flexing on your part?
My fear would be that anybody would think that. Honestly, I made a country record and promoted that, which felt like everything but having an authentic musical experience. So I wanted to just make music with people I love. And it did feel kind of like, “I don’t know how to follow this up, and I don’t really think I want to.”
How important were Emmylou Harris and Stevie Nicks in helping you dream of a place for yourself in music?
Oh, my gosh, so important. Emmylou, she made so many records I loved even before she worked with Daniel Lanois, and then she went on to a whole new way of writing amazing stuff. Red Dirt Girl is a desert-island record for me. I hold her up as a great template. And Stevie is a fully realized artist. She looks at life as one big cinematic moment, and all her songs spring from that. And she still brings it live.
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DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality â Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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