Norah Jones Is Playing Along
Original podcast
Tune in as these two Texans talk about what keeps Annie moving forward, and share incredible duets live and in the moment.
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This episode is also available as video on YouTube. You can visit Norah Jones' channel and be sure to subscribe while you're there. Hey, I'm Norah Jones, and today I'm playing along with St. Vincent.
Hey, welcome to the show. I'm Nora, this is Sarah.
Welcome to our show.
Yay.
Today, we have singer-songwriter, guitarist, producer, a person whose work keeps evolving, but she always sounds like herself, Grammy-winning fellow Texan, St. Vincent.
Yes.
Also known as Annie Clark.
We had so much fun because this is our first live podcast.
That's right. We did it in front of an audience.
Yeah, which was, you know, I'm used to, we're all used to performing live, but somehow, talking live is hard for me.
Yeah, it was a whole new thing. I mean, it was, you know, unfolding in real time with people seeing all the false starts and the music stand malfunctions.
It was really fun.
It was actually really funny. Yeah, we taped this at the St. Cecilia Hotel in Austin, Texas during South by Southwest. And it was a blast.
It was great. I love Annie so much. She's, she is someone who's evolved and changed. And I'm always kind of curious to see what she's gonna do next because I know it's gonna be interesting and beautiful and heartfelt. And she's just one of those artists.
Yeah. And she talks about how that comes from her curiosities and those curiosities leading her down different paths to all these different projects that she pursues. I think that's super cool.
Yeah, and she's just a great musician and a great hang. And it was very fun.
Yeah. And as always, you'll hear beautiful duets. And one of them, surprisingly written by a children's author.
I was so surprised.
Yeah. Oh, yeah, you didn't know that?
I didn't.
Yeah. I've known that song since the Thumb and Louis soundtrack, but I never, anyway, I'm not gonna give it away. Go ahead.
Stay tuned.
Yes. Hope you enjoy the episode with St. Vincent.
Hi.
Thank you for joining me.
Thanks for having me, baby.
Thanks for joining us.
This is my first time doing this podcast live. I'm usually someone who doesn't like to talk a lot onstage, so this is hilarious. But yeah, this podcast is special because we play songs together during it. That's my party trick.
It's a really good trick.
Yeah, so thanks for joining me.
Thanks for having me.
Yeah, I think we should start with a song. What do you think?
OK. We're just taking requests, so just yell in. No, I'm just kidding. Do you want to do "Melting"?
OK, let's do it.
This is one of my favorites.
Thanks.
Yeah.
So sorry, missed the party. Hell on the dark side of the moon.
Jane lost it, crashed her COVID. Ran into the tide in Malibu.
The moon and I are the gone.
But I was a load of wrong.
It's just the melting of the sun.
It's just the sun.
I wanna watch you watch it burn.
So watch it burn.
Saint Joanie ain't no phony. Smoking reds with furries sang the blues.
And my Marilyn shot her heroin. Has she said it's better than abuse? So who am I trying to be?
Oh, Ben's a beauty queen.
It's just the melting of the sun. It's just the sun. I wanna watch you watch it burn. So watch it burn. We always knew this day would come. This day has come. It's just the melting of the sun.
Brave Tori told a story. Yeah, well, police said they couldn't catch the man.
Proud Nina, got a subpoena Singing Mississippi good goddamn But me, I never cried
To tell the truth, a lie
Girl, the world's spinning round Spinning down Out of time
Girl, you can't give it up When you're down Down and out
Girl, the world's spinning round Spinning down Out of time Girl, you can't give it up When you're down Down and out
Girl, the world's spinning round Out of time
Girl, the world's spinning down Spinning down Out of time Girl, you can't give it up When you're down Down and out
Girl, the world's spinning round. Spinning down. Out of town. Girl, you can't give it up. When you're down. Down and out.
Norah Jones, everybody!
Yeah! Annie Clark, St. Vincent!
That was fun.
That's really fun.
I could do that all night.
I think we should. We'll just loop that one.
We'll just do it all night.
You guys don't have anything to do for the next couple hours, do you?
You don't have like 10 other things to see, right?
Nope.
Thank you.
Yeah, thank you.
Tell me about your guitar, please.
Oh, this little thing. Yeah, so, oh, that's bad. Is that bad?
I'm not gonna tell my piano teacher from 3rd grade.
No, I am curious, actually. Like, is it really, is it bad etiquette to set something on a piano? That it feels like bad, it's...
If it's liquid.
Oh.
But I mean, this isn't my piano.
Okay, so I shouldn't sit on it?
Jokes! Whoa! We can edit this out.
No, we're keeping that. That's a good zinger.
Thank you. No, this guitar. I designed this guitar and it's, yeah, thanks. It's with Ernie Ball and Music Man. It's a St. Vincent Signature Series guitar.
I love that you have your guitars. That's awesome.
I do, too. I never thought that...
I've never played one. One of yours.
Wait, do you...
No, I mean, one of your signature guitars. I've never got to play one.
Nora, I'll give you one, just ask.
Yeah, okay. This is me asking.
No, yeah. It's good. They're very ergonomic, which I think.
Really?
Okay.
But sexy.
Like?
For a woman.
If, I mean, if you have a bre- anyone who has breasts or a breast.
A breast.
That is gender non-specific.
Totally, totally. Yeah, it's a good cutout for a breast.
Yeah, I love that.
That, a song is on the Daddy's Home album.
Right? Yeah, I love that album.
And I love that song. And I love all the shout-outs in it. I mean, it just makes me, it made me a little weepy today.
Singing through it, yeah. And, yeah, love all those women.
I know, there's so many who came before us who just like, would just pave the way to make it easier for us.
Definitely. And I love that you have Tori with Nina in that verse. That makes me so happy.
Thanks. I was thinking about, you know Nina's version of "Everybody's Gone to the Moon."
Oh, yes.
That's where, I don't know, that was a reference to the first line of it. Not to get in the weeds, but yeah.
No, but I love it. There's a lot of little tricks in the lyrics in this out, this song, so it's beautiful.
Yeah, it's cool. And do you play any other instruments or mostly guitar?
Uh, well, yeah.
But you dabble, right?
I dabble. I'm, you know, the piano makes no sense to me, and I don't know why. I should have stuck with, to all the children in the audience, I'm sure, many. Like, just stick with piano lessons because it will help you out so much. I did, the amount of things I do to avoid having to play piano, it's like, I'll go to great lengths to avoid playing it because I'm not good at it.
Yeah, yeah, I know what you mean.
Tell my kids to keep with it.
I will call them right now.
Call them right now.
Let's FaceTime them.
Um, when did you start playing guitar?
I was 12.
And what did you, like, what started you? Did you, were you told to take guitar lessons or?
No, I was, I was, I took violin first, but then I was like, learning how to play like Pearl Jam and Peter Frampton.
On violin?
On violin. I was like, why don't I just play guitar?
That's fun.
And then my uncle's an amazing jazz guitar player named Tuck Andrus, so.
Oh, I didn't know that.
You do, yeah, Tuck and Pat, yeah, uncle, yeah, yeah.
I did not know that.
Yeah, dude.
Holy crap.
Yeah. Another, you know, kind of thing.
That's cool. Um, so it was like, it was possible to be a musician in my family and have that be like, oh, that's a thing you do and a, and a sort of path you could, could follow.
Not frowned upon.
No, it wasn't like you have to be a lawyer or whatever.
Did you grow up seeing them play a lot?
I did, yeah. I would go see them.
How fun.
My first gig, um, seeing them was when they opened for Bill Cosby.
Wow.
Yeah. Um, um, but I was asleep for most of it.
You're funny.
And, um, you grew up, my fellow Dallas girl.
We're both from Texas. We're both from Dallas.
Dallas girls.
How many of y'all are Texans?
Oh, wow.
Anybody from Dallas? Nice.
What part of Dallas did you grow up in?
Um, a little place called Lake Highlands.
Yeah?
Cool.
Okay. Lake Highlands you're representing.
Nice.
And you're, but you went to the cool arts high school.
I did.
You went to the good one.
I did. I go, I went to Booker T. Washington, the, the performing arts high school. But I grew up in Grapevine, weirdly. I know.
Wait, what was Grapevine back then?
It was tiny. It was a little tiny town.
And then I, I, I think I grew up there till I was maybe fifth or sixth grade and then, anyway, yes.
Did you move closer into the, cause like, how did, I'm thinking of the commute and we're gonna talk highways real soon.
No, no, this is getting into the weeds, but yeah, we moved to Dallas just so I could go to that high school.
You did?
So wait, where did you live in Dallas?
Um, I lived like, close to the high school. So I lived kind of near downtown, but not downtown.
Like Oaklawn?
I lived in Oaklawn. Um, and, um, it was great, but like, I didn't have a lot of friends in my neighborhood, cause we really just lived there to go to the school.
And most kids were from all over the city. So.
I still think that's, there weren't that many kids in Oaklawn.
Yeah, exactly.
It was.
It was fun, but yeah. Dallas, representing.
Goddamn right.
When they asked me to do this podcast at South by, I said, yeah, but we have to have somebody from Texas, otherwise. I don't, I don't know. And then I was so excited when you said yes.
Oh my God, I would have, I have, would have said yes anytime.
I was just so stoked.
I'm glad it's here.
Yeah, I'm glad we're Texans.
Yeah, hello.
Together.
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Do you want to play another song?
Let's do it.
All right.
I would like to play another one of your songs from that album that I love so, so much.
I love the vaudeville of just like, ah! Full Charlie Chaplin.
This is a good one. This is "At the Holiday Party." Yeah. All right, you're gonna let me accompany you?
Hell, yeah.
Will you give me a tempo so I don't mess it up?
At the holiday party,
red wine left a little early.
Reminiscing got us laughing. And that's when I saw your face cracking.
Pills and jewels and speed. Your Gucci purse of pharmacy.
Pretend to want these things So no one sees you not getting, Not getting what you need.
You can't hide from me.
I love that voice, baby.
Baby.
Are you still working on your screenplay?
Did those lights go out on Broadway?
Think if you can just keep spinning,
You won't miss what you've been missing.
Pills and jewels and speed. Your little purse of pharmacy.
We hide behind these things So no one sees us not getting, Not getting what we need.
You can't hide You can't hide from me
Hey babe, you can't hide, you can't hide, no You can't hide from me You can't hide, you can't hide, no You can't hide from me You can't hide, you can't hide, no You can't hide from me You can't hide, you can't hide, no You can't hide from me You can't hide, you can't hide, no You can't hide from me You can't hide, you can't hide, no You can't hide from me You can't hide, you can't hide, no
You can't hide from me You can't hide, you can't hide, no
Love that one.
Here.
I'm gonna pop a squat.
Yeah, nice.
I'm so short, I can almost not see you over the piano.
I'm here.
I really admire you, and I'm really happy to know you. And I really, I just think it's so cool, you're always dabbling in different things. And I think, I think that's great. Do you have just like, ideas in the middle of the night, and you're like, I'm gonna do that? Or is it just a combination of stuff coming to you and you saying yes? Is it like, everything? I feel like you architect a lot of things that are very interesting. It feels like you're very much creatively thinking about big picture stuff. Not only music, but like, the surrounding creative... This is a run-on sentence, but you know what I'm saying.
I so appreciate it. Thank you, first of all.
I think, like, there's a part of me that sort of walks through life with a, like, a healthy disassociation, where I'm like, I don't know what, like, what happens if I try this thing? Like, it could be a terrible, like, not, not saying yes to life is like, a great thing, I think. You know, as an ethos, as an artist, sometimes. And then sometimes, you just have to be willing to like, fall on your face and for things to not, not totally land, but like, I don't know, even if it doesn't land, it's like, funny?
Yeah, it's so fun, right? And you always get somewhere.
You get somewhere, and you learn a lot in the process. So I think that, I think I have said yes to a lot of things. You know, one, one part is like, yes, I feel passionately that I, I really wanna do this. And then there's another side, I think that's like... I'm just curious, like, what's gonna happen if I just stand in that room and see, you know what I mean? Like, see what happens?
Yeah, I hope I answered your question.
Yeah, no, I think I kind of knew the answer, because you seem like an open musician. And so, but you also seem like you have a lot of really interesting conceptual ideas about things artistically. So I think the combination is kind of the perfect thing. And that's what it seems like to me. That's like a combo pack, right?
Thank you. Well, then the PR team has been really doing their job.
That's what I think.
The army of PR has been. But I was telling you when we were rehearsing, and I'm sure everyone in the crowd feels the same way, but like, there's something about the quality of your voice that when you sing, I just feel like I'm being held. No, I just feel like, that's just heaven. Like, and you've always, you've always had that. And you too have been like, you dabble in all kinds of genres and do all kinds of things. But at the end of the day, like, when anybody hears your voice, like, oh, that's Norah Jones.
And that's the biggest thing as an artist, I think, in the whole world is be like,
Well, it is an interesting thing to try different things, but try to stay true to your kind of core, what you are. And it's sometimes hard for people, I think, to stay true to that while they're trying other things. But I feel the same about you. I feel like it's always right.
Right on. And you're doing, you're doing so many things, and I'm like, holy crap, I want to do that. You're doing an orchestra tour.
Oh, yeah.
Yeah, it's so cool.
I am.
How did that come up?
Well, it came about because in London, there's this thing called the BBC Proms, and they have a, yeah, they have like a series where they will invite, I guess, more like pop artists or whatever to come in and do shows. So I did one of those shows in September, and I just, I loved it. I loved it. And there are like aspects of earlier work that I made that I had kind of forgotten about that were sort of like... You know, like whimsical.
Like it lent itself really well.
Yeah, it sort of lent it, yeah, lent it, lent or lent it itself well to that. And it, doing the show with like a 60-piece orchestra.
And these great arrangements and these great arrangers and these great players, it was like, oh, it, it almost, in a weird way, it felt like a, like I'm not dead. But like, it felt like a retrospective.
It was just sort of like, oh, God, I guess I, I wrote a bunch of music at some, you know, at some point.
Yeah, it's like, you've been doing this for a while now.
Yeah, it's been like a minute.
That's so cool. And so you're doing a little tour with it, right?
Yeah, we're doing like a summer tour.
So how does that work? You pick up an orchestra in every city, right? You can't travel with a 60-piece orchestra.
Oh, God, no, no, I'm not made of it. Um, no, no, it's, but it's, it's cool. I mean, I think like, um, it's one of the few like bastions of art funding, I think, in, in the States that's left. I probably, don't, don't air that because they'll cut it. But they have these seasons that you could, that they're curating. And so you can kind of slot in and be like, oh, you, you could, you're gonna get Mahler's Fifth, but then the next night you'll get, you know, so-and-so with, with the orchestra. So, um, and I'm traveling with, um, a little, a small little band and then Jules Buckley, who conducted the, um, London show. So it's kind, we have our, and then what's amazing to me.
You're traveling to Rome, yeah.
Yeah, we have our little team and then we just show up and give people charts. And what's miraculous to me, which is you're sitting there reading music, I'm like, the beat, you just, they just play it and they can read music and then it sounds good.
Do you have to rehearse everything with them?
You do, but it's really chill.
It's quick.
Babe, it's like a, it's like a three-hour sound check.
You get ready.
That's a lot.
You're done by 9:00 PM.
Lights out, you could be watching Law and Order.
But you're doing the whole set, like, at sound check to practice it, basically?
Yeah, just to like, yeah, just to kind of dial it in. But otherwise, it's, it's easy.
Wait, you're done at 9:00? I'm in. Done at 9:00? I want this.
And the catering is like, good.
What?
Okay, sign me up for an orchestra tour, please.
Okay. We know who to talk to.
Yeah, that's true. That's really fun, though.
It's really fun.
I feel like doing different things just feeds it all and, you know, breaks it up in a nice way.
Yeah, I think you're right.
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If you're a music fan, I've got a new podcast you have to check out. It's called Before the Moment, a new series hosted by the legendary Nile Rodgers. You know him as the producer, songwriter, guitarist, and co-founder of Chic. But in this series, he's hitting the road to sit down with some of today's most fascinating artists. From hitmakers like Miguel to rising stars like Alex Warren, Nile explores the stories behind the careers, the songs, and the moments that changed everything. Because every artist can point to that turning point, the moment before the breakthrough, before the success, before everything changed. Through candid conversations and personal stories, you'll hear what happened before the moment that made them who they are today.
Listen to Before the Moment, a Lincoln Original Series, on the iHeartRadio app, YouTube, or wherever you get your podcasts.
Looking for a new way to take control of your health? If diet, exercise, and willpower alone haven't gotten you where you want to be, visit orderlymeds.com to learn about GLP-1 treatment options. With a convenient virtual process, you can connect with licensed medical providers from home and see if treatment may be appropriate for you. Visit orderlymeds.com today. That's orderlymeds.com. Compounded medications are not FDA-approved. Eligibility determined by a licensed provider. Individual results may vary. See website for details.
We're gonna do something different for us both. We're gonna do a cover song. I like to do a cover on these podcasts because it kind of levels us out a little and it's like, then we get to do something new together, you know? And we decided on this amazing song.
Mary Ann Faithfull recorded called "The Ballad of Lucy Jordan." And I love this song.
I love this song. It's so.
It's so good.
Shattering.
And I remember, so I actually just sang this at Sundance because my, one of my good friends produced the documentary on Mary Ann Faithfull, which you should all see because it's really very different and beautiful. And it honors her in a really nice way. But I had the soundtrack to Thelma and Louise and I, this was on it. And that's how I knew this song.
And thank you for introducing me to this song because I didn't know it.
Oh, I didn't know that you didn't know.
I mean, I don't, I'm not, that's not an apology for what's about to happen. I just mean, I just mean, thank you for introducing me to it because it's so, it's just, ugh, shattering.
Yeah, I mean, her stuff is not that well-known to everyone.
Which is crazy because I tend to think, like, if there was like a giant Mount Rushmore. I feel like she's on it.
She is, but I don't feel like, I don't know.
She just didn't get her due?
I don't think she got her due, but what a badass.
And did you know that Shel Silverstein actually wrote this song?
No.
I know, isn't that wild?
Yeah. I actually didn't know that until recently. But, so that's a fun, fun fact.
Fun fact.
And I just love her so much. And we're gonna do the song.
Let's do it, do it.
How you guys doing out there? Yeah?
Your hand is like going crazy. I don't know, maybe we could get some tech support. You got it? It looks like it's about to fall.
All right. In love. Let's go.
I got it. This is good. This is how I do my music scenes. It's just, just creative.
You sure?
Yeah, just creative. This is how I do my music scenes. Yes, that's how I do it.
The morning sun touched lightly on The eyes of Lucy Jordan In a white suburban bedroom In a white suburban town As she lay there beneath the covers Dreaming of a thousand lovers Till the world turned to orange And the room went spinning round
At the age of thirty-seven She realized she'd never ride Through Paris in a sports car With a warm wind in her hair
So she let the phone keep ringing And she sat there softly singing Little nursery rhyme she'd memorized In her daddy's easy chair
Her husband was off to work And the kids were off to school
And there were oh so many ways For her to spend the day She could clean the house for hours Or rearrange the flowers Or run naked through the shady street Screaming on the way At the age of thirty-seven She realized she'd never ride Through Paris in a sports car With a warm wind in her hair
So she let the phone keep ringing And she sat there softly singing A pretty nursery rhyme she'd memorized In daddy's easy chair
The evening sun touched gently on The eyes of Lucy Jordan On the rooftop where she climbed When all the laughter got too loud And she bowed and cut to the man Who reached and offered her his hand And he let her down to the long white car That waited past the crowd
At the age of thirty-seven She knew she'd found forever As she rode along through Paris With a warm wind in her hair
I love that.
I love that. It's such a great song.
That's a good one. I love how it ends on the five and it just doesn't resolve.
It doesn't resolve because she floats off into...
I mean, I think she jumps off the roof. That's my theory, but...
I'm like, I'm of two minds. I feel like jump off the roof or like ends up in an insane asylum.
But either way is great for women.
Thanks, Shell.
No, it is such a good portrait of like someone just losing it.
And the like, she could clean the house for hours and rearrange the flowers.
Or run naked through the shady street screaming all the way.
Ah, damn.
Yeah, it's so good. It's a good one. Thank you for joining me.
Thanks for having me, Nora.
This is a live podcast. I usually do this in my basement at home. And sometimes we do extra takes, so I just... Do you want to do anything again or are you feeling good?
I was in the moment and loving every minute of it.
Okay, good.
So...
I loved it.
Oh, great.
What do you think? All right.
Good? Sarah says great. Sarah's my beacon. Thank you, everyone, for joining us. Thanks.
Thanks, Nora.
You're the best.
Texas.
Texas forever.
That was so fun. Yeah. That was incredible. It was just fun to hang. Can we do them all live? Well, in a way, it's easier and harder. Yes, for sure. If you want to know what songs we played in this episode, the first song was called "Melting of the Sun" from the St. Vincent album Daddy's Home, released in 2021. The second song was "At the Holiday Party" from the same album. And the third song was "The Ballad of Lucy Jordan." It was written by Shell Silverstein and it was recorded by Mary Ann Faithfull from the album Broken English, which was released in 1979. It was also on the Thelma and Louise soundtrack. Special thanks to St. Vincent for joining us today, and we'll be back next week with Blake Mills and Pino Palladino.
Norah Jones is Playing Along is a production of iHeart Podcasts. Visit Norah Jones' channel and be sure to subscribe while you're there. I'm your host, Norah Jones. This episode was recorded at the St. Cecilia Hotel in Austin, Texas. Audio engineer, Lewis Calderon, mixed by Jamie Landry, edited by Marcus Rutledge. Additional recording by Matt Marinelli. Audio post-production and mastering by Greg Tobler. Artwork by Eliza Fry. Photography by Shirvan Lanaz and Ismail Cantone the Third. iHeart producers, Amir Copper, Sidney Davis, Ron Pineda, and Natalie Salidi. Produced by Norah Jones and Sarah Oda. Executive producers, Erin Wong Kaufman and Jordan Runtog. Marketing lead, Alison Cantor-Greber.
If you love music and great artist interviews, check out Before the Moment, hosted by Niall Rogers. This new series follows Niall as he travels across the country talking with some of today's most fascinating artists about the moments that shaped their lives and careers. From hitmakers like Miguel to rising stars like Alex Warren, Niall explores the stories behind the careers, the songs, and the moments that changed everything. Because every musician remembers the point where everything changed, and this podcast tells the stories that came before it. Listen to Before the Moment, a Lincoln Original Series on iHeart Radio app, YouTube, or wherever you get your podcasts.
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