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"title": "Live Review: Feist Delivers 'Pleasure' and Then Some at The Fillmore",
"headTitle": "Live Review: Feist Delivers ‘Pleasure’ and Then Some at The Fillmore | KQED",
"content": "\u003cp>Leslie Feist can’t help how likable she is. I got the feeling last night, May 9, her first of three evenings at the Fillmore, that this is sometimes a cross to bear — that if she could be weirder, less digestible, smoke the fist-pumping bros in attendance out of their entitled, beery, request-yelling hole, she might.\u003c/p>\n\u003cp>Alas, the singer’s idiosyncratic voice and not-immediately-accessible new album do little when pitted against her charm. She is the same Feist whose biggest song is still mainly recognized in the pop culture zeitgeist as \u003ca href=\"https://www.youtube.com/watch?v=sijSh4tMPVg\" target=\"_blank\" rel=\"noopener noreferrer\">that song from an iPod commercial\u003c/a>. This, she cannot undo.\u003c/p>\n\u003cp>She can, however, hold an audience captive for a solid two and a half hour-long set, and this, she did: playing through the entirety of \u003cem>Pleasure\u003c/em>, the record released just two weeks ago, she balanced the album’s intimacy and minimalism with a playful and satisfyingly hard-rocking confidence.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=h66Lvzlj1Uk\u003c/p>\n\u003cp>Several critics have said they’ve found \u003cem>Pleasure\u003c/em> to be a grower, if you will. Feist does not care. At 41, she \u003ca href=\"http://www.npr.org/2017/05/07/527109174/feist-has-a-message-for-her-71-year-old-self\" target=\"_blank\" rel=\"noopener noreferrer\">recently told NPR that the record came from a place of wanting to get back to basics\u003c/a>, to make something “sustainable” she will feel fondly toward in her 70s. It follows, then, that her older songs still have value, containing “little embedded, codified messages” from “28-year-old Leslie.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It reminded me of Joan Didion’s \u003ca href=\"https://www.penusa.org/sites/default/files/didion.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">best-known essay\u003c/a>, \u003cem>On Keeping a Noteboo\u003c/em>k, in which the writer says we are “well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not.” And regardless of what Leslie Feist herself thinks of her earlier, more heavily produced successes, this live audience clearly found all versions of Feist the Recording Artist — including the most recent, introspective edition — to be more than decent company.\u003c/p>\n\u003cp>“Who came here tonight with someone they’re really into? ” she asked with a grin as she scanned the sold-out crowd. “I want you to look into their eyes for this song. But no pressure or anything.” That preceded “Any Party,” the album’s only true pop tune, built over a campfire guitar strum, an ode to being drunk off new love. (Shirts bearing its chorus, \u003cem>You know I’d leave any party for you,\u003c/em> were available at the merch table, natch.)\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/FullSizeRender-13.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13200739\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Feist takes old-fashioned breaks from releasing music and traditional touring, so it’s easy to think of her presence in a spotlight as something of a rarity: \u003cem>Pleasure\u003c/em> marks a six-year gap since 2011’s widely acclaimed, orchestral \u003cem>Metals\u003c/em>, which followed a four-year recovery period after 2007’s \u003cem>The Reminder\u003c/em>, the record that launched her into stardom, “Mushaboom,” “1234,” \u003ca href=\"https://www.youtube.com/watch?v=fZ9WiuJPnNA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sesame Street\u003c/em> fame and all\u003c/a>.\u003c/p>\n\u003cp>But live, one is immediately reminded she’s been performing since she was 15, whether at the helm of her first punk band, or as one of a dozen-plus voices contributing to the gorgeous cacophony of Broken Social Scene. (A fan yelled out “Lover’s Spit” at one point, to which she replied “Wrong band!” and then, “Give me a few months.” She did, in fact, contribute to \u003ca href=\"https://consequenceofsound.net/2017/05/new-broken-social-scene-album-hug-of-thunder-due-out-in-july/\" target=\"_blank\" rel=\"noopener noreferrer\">the new BSS record, due out in July\u003c/a>.)\u003c/p>\n\u003cp>Alone, however, she plays with tension masterfully. Feist knows she has you in the palm of her hand. You are going to listen to each pregnant silence between very purposeful notes, you are going to like it, and then she is going to hit you over the head with some new contradiction.\u003c/p>\n\u003cp>That might mean layering her own voice over itself until a wavered question becomes an anthem, as on “Lost Dreams”; performing 15 seconds of guitar fireworks with a lighthearted headbang before ducking back behind the mic for a coy “You guys like that?”; or somehow managing to come off consistently humble — self-deprecating, even, dare I say \u003cem>Canadian?\u003c/em> — while wearing a neon pink dress in front of a sparse three-man backing band all in black, as an oversized decorative fan printed with roses unfolded dramatically behind them. (Basically the large-scale indie-rock version of the clamshell from \u003cem>The Little Mermaid\u003c/em>, as a friend noted.)\u003c/p>\n\u003cp>https://www.instagram.com/p/BT62pw7hhhL/\u003c/p>\n\u003cp>By the time she completed the new album and launched into the obligatory fan favorites — “My Moon My Man,” “I Feel It All,” et al — I had changed my mind about how she must feel toward her more fairweather, iPod commercial-oriented fans.\u003c/p>\n\u003cp>If a musician’s catalog is the sonic version of Didion’s notebooks, after all, then Feist’s notebooks, unlike most of ours, are available for purchase on iTunes and Amazon. And even at their least accessible — judging by the glowy-eyed couples floating toward the exits, Fillmore posters in hand — they can’t help it that they, along with their author, are exceedingly likable. In an industry where charm is money, there are, it turns out, worse burdens for an artist to bear.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Feist performs again Wednesday, May 10 and Thursday, May 11 at the Fillmore, \u003ca href=\"http://thefillmore.com/event/feist-2/\" target=\"_blank\" rel=\"noopener noreferrer\">the latter of which still has tickets ($39.50) available\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "After a six-year break, the indie pop artist returns with a record that's deceptively powerful in its minimalism -- and three packed nights at the Fillmore. ",
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"title": "Live Review: Feist Delivers 'Pleasure' and Then Some at The Fillmore | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leslie Feist can’t help how likable she is. I got the feeling last night, May 9, her first of three evenings at the Fillmore, that this is sometimes a cross to bear — that if she could be weirder, less digestible, smoke the fist-pumping bros in attendance out of their entitled, beery, request-yelling hole, she might.\u003c/p>\n\u003cp>Alas, the singer’s idiosyncratic voice and not-immediately-accessible new album do little when pitted against her charm. She is the same Feist whose biggest song is still mainly recognized in the pop culture zeitgeist as \u003ca href=\"https://www.youtube.com/watch?v=sijSh4tMPVg\" target=\"_blank\" rel=\"noopener noreferrer\">that song from an iPod commercial\u003c/a>. This, she cannot undo.\u003c/p>\n\u003cp>She can, however, hold an audience captive for a solid two and a half hour-long set, and this, she did: playing through the entirety of \u003cem>Pleasure\u003c/em>, the record released just two weeks ago, she balanced the album’s intimacy and minimalism with a playful and satisfyingly hard-rocking confidence.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/h66Lvzlj1Uk'\n title='//www.youtube.com/embed/h66Lvzlj1Uk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Several critics have said they’ve found \u003cem>Pleasure\u003c/em> to be a grower, if you will. Feist does not care. At 41, she \u003ca href=\"http://www.npr.org/2017/05/07/527109174/feist-has-a-message-for-her-71-year-old-self\" target=\"_blank\" rel=\"noopener noreferrer\">recently told NPR that the record came from a place of wanting to get back to basics\u003c/a>, to make something “sustainable” she will feel fondly toward in her 70s. It follows, then, that her older songs still have value, containing “little embedded, codified messages” from “28-year-old Leslie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It reminded me of Joan Didion’s \u003ca href=\"https://www.penusa.org/sites/default/files/didion.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">best-known essay\u003c/a>, \u003cem>On Keeping a Noteboo\u003c/em>k, in which the writer says we are “well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not.” And regardless of what Leslie Feist herself thinks of her earlier, more heavily produced successes, this live audience clearly found all versions of Feist the Recording Artist — including the most recent, introspective edition — to be more than decent company.\u003c/p>\n\u003cp>“Who came here tonight with someone they’re really into? ” she asked with a grin as she scanned the sold-out crowd. “I want you to look into their eyes for this song. But no pressure or anything.” That preceded “Any Party,” the album’s only true pop tune, built over a campfire guitar strum, an ode to being drunk off new love. (Shirts bearing its chorus, \u003cem>You know I’d leave any party for you,\u003c/em> were available at the merch table, natch.)\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/FullSizeRender-13.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13200739\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Feist takes old-fashioned breaks from releasing music and traditional touring, so it’s easy to think of her presence in a spotlight as something of a rarity: \u003cem>Pleasure\u003c/em> marks a six-year gap since 2011’s widely acclaimed, orchestral \u003cem>Metals\u003c/em>, which followed a four-year recovery period after 2007’s \u003cem>The Reminder\u003c/em>, the record that launched her into stardom, “Mushaboom,” “1234,” \u003ca href=\"https://www.youtube.com/watch?v=fZ9WiuJPnNA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sesame Street\u003c/em> fame and all\u003c/a>.\u003c/p>\n\u003cp>But live, one is immediately reminded she’s been performing since she was 15, whether at the helm of her first punk band, or as one of a dozen-plus voices contributing to the gorgeous cacophony of Broken Social Scene. (A fan yelled out “Lover’s Spit” at one point, to which she replied “Wrong band!” and then, “Give me a few months.” She did, in fact, contribute to \u003ca href=\"https://consequenceofsound.net/2017/05/new-broken-social-scene-album-hug-of-thunder-due-out-in-july/\" target=\"_blank\" rel=\"noopener noreferrer\">the new BSS record, due out in July\u003c/a>.)\u003c/p>\n\u003cp>Alone, however, she plays with tension masterfully. Feist knows she has you in the palm of her hand. You are going to listen to each pregnant silence between very purposeful notes, you are going to like it, and then she is going to hit you over the head with some new contradiction.\u003c/p>\n\u003cp>That might mean layering her own voice over itself until a wavered question becomes an anthem, as on “Lost Dreams”; performing 15 seconds of guitar fireworks with a lighthearted headbang before ducking back behind the mic for a coy “You guys like that?”; or somehow managing to come off consistently humble — self-deprecating, even, dare I say \u003cem>Canadian?\u003c/em> — while wearing a neon pink dress in front of a sparse three-man backing band all in black, as an oversized decorative fan printed with roses unfolded dramatically behind them. (Basically the large-scale indie-rock version of the clamshell from \u003cem>The Little Mermaid\u003c/em>, as a friend noted.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the time she completed the new album and launched into the obligatory fan favorites — “My Moon My Man,” “I Feel It All,” et al — I had changed my mind about how she must feel toward her more fairweather, iPod commercial-oriented fans.\u003c/p>\n\u003cp>If a musician’s catalog is the sonic version of Didion’s notebooks, after all, then Feist’s notebooks, unlike most of ours, are available for purchase on iTunes and Amazon. And even at their least accessible — judging by the glowy-eyed couples floating toward the exits, Fillmore posters in hand — they can’t help it that they, along with their author, are exceedingly likable. In an industry where charm is money, there are, it turns out, worse burdens for an artist to bear.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Feist performs again Wednesday, May 10 and Thursday, May 11 at the Fillmore, \u003ca href=\"http://thefillmore.com/event/feist-2/\" target=\"_blank\" rel=\"noopener noreferrer\">the latter of which still has tickets ($39.50) available\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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