The guitarist talks about influencing a new generation of pop crooners and the dream album he wants to make with Jay-Z.
‘I have six hours of music coming up tonight,” says John Mayer. In a little while, he’ll take the stage in Atlanta with Dead & Company – featuring Grateful Dead alum Bob Weir, Mickey Hart and Bill Kreutzmann. After that, Mayer will play a surprise midnight club gig with Dave Chappelle, one of several pop-up shows they’ve been doing since last spring. “I’m sort of the acoustic DJ,” Mayer says. “He’ll just be like, ‘John, hit me with this or that,’ and I’m pretty good at coming up with any song if I’ve heard it a couple of times. It’s like two guys taking over some little back room at a party.” Following the Dead run, Mayer will resume his solo tour, where he’s been debuting songs from his excellent LP The Search for Everything. Mayer is breaking those shows into “chapters,” including acoustic and full-band sets, and another one with his blues trio. “Four chapters makes four fresh starts,” he says. “I get offstage feeling like I could have gone another hour.”
It’s your second summer touring with the Dead. What have you learned?
I’ve never had inclusion before. I always created one-man clubs. When I was invited into this tribe, I promise you it was the exact opposite of anything you might think along the lines of having to reconcile ego or status. It’s like a basketball team – you are doing your best to help the team win. I am a pig in shit.
Bu hikaye RollingStone India dergisinin August 2017 sayısından alınmıştır.
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Bu hikaye RollingStone India dergisinin August 2017 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Giriş Yap
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 — 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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