Daily Archives: March 18, 2017

Mallen Release Video For "Jack Of Cards"

Mallen has released a new video for “Jack Of Cards”. Check it out HERE. http://www.nataliezworld.com/search/label/News


X Japan Shuts Down London For HMV Signing Event, Takes Top Spot On UK Rock Chart

On Saturday, March 4, X Japan performed their first major show of 2017 on #XDAY at SSE Arena, Wembley, following the release of their feature film documentary We Are X in theaters across the UK. …Read More


Chuck Berry's Son Remembers Rock Pioneer: 'He Was Inspirational'

Charles Berry Jr., Chuck Berry’s only son, joined his father’s band in the early 2000s and played guitar with him throughout his hard-touring Eighties. Rolling Stone spoke with Charles Jr. last week regarding an upcoming project, and he shared some remarkable memories about his father, who died Saturday at 90. Here, in excerpts from that interview, Berry Jr. shares memories of his father.

My only perspective is Chuck Berry being my father. I have no other frame of reference. My other friends have had doctors, lawyers, judges. When I was growing up as a kid, we lived on a street, Windermere Place, here in St. Louis. He’d be out of town for weeks on end at times. And all the kids knew when he would come home, because there would be bags and bags and bags of White Castle hamburgers. He would go to a White Castle and buy hundreds of these hamburgers and bring [them] back to the street, and of course we’d all just devour them. Everyone would say, “Your dad’s so cool!”

I joined my dad’s band about 15 years ago. I’m an I.T. guy. As a kid, I never played guitar with him other than a show at Six Flags in 1979. I’m out there with a couple of my friends and my dad sees me down out front in the press box and motions for me to come onstage. He takes his guitar off and puts it over my neck! I’d never played professionally. I’d never even been in a band. It was the ultimate version of Take Your Kid To Work Day.

Fast forward 20-some years. We come back from Kennedy Center Honors in 2000 and a couple weeks later, my sister Ingrid’s husband, who played in the band, passed away. We were devastated. He left a huge hole in the band. My dad said, “Hey man, anytime you want to get onstage!” I’m like, “That ain’t gonna happen.” Then about a month goes by and he says, “Junior, I need you as a guitarist.” So I agreed. I made so many mistakes.

But he kept me on. And he used us a lot. He used pickup bands at spot shows where there was an issue of the local promoters not bringing the right kind of bread – to use my dads term – but his habit of using local guys pretty much stopped. 

He was not a tough bandleader with us. Those shows were straight up, right on the spot, no rehearsals, nothing. James Brown ran a very tight ship. We didn’t know what my dad was going to do next. When we saw the guitar neck drop, everyone stop. When he slams his foot on the ground, stop. We never had any problems. He was an 80-year-old man, although my dad acted more like a 50-year-old. The one that I always go back to as the most grueling was January 2007. We did 17 shows in, like, 18 days. We started in Moscow, Russia. Getting to the show in Moscow, we were four hours late and the crowd was still there. We’re pulling up and I’m not kidding, there were 3,000 people outside. I was like, they’re gonna kill us. But those were the people that couldn’t get in. It was sold out at capacity. 

We do the show, we’re worn out. We go from Moscow and do all these shows end up on the Canary Islands – below zero to 80 degrees in two weeks. It would wear on him, but when it was time to do that show, he was rolling. He always gave 110 percent when he was onstage. To see a true professional – at that point, 80-something years old, and to have the energy of a 10 year old child – it was inspirational. I loved every minute of it, man, I really did.

My dad didn’t like to fly on small planes – that’s anything smaller than 737 – so there’s no private jet, no charter plane. It’s driving. A Mercedes in Europe; in the U.S., a Lincoln or a Cadillac. He wanted to put his guitar, luggage everything out of site in the car. Sometimes promoters would give us a full size van, so [sometimes] I was like “Hey dad, I’m tired man why don’t you let us ride in the van? “Ok, this time it’s OK.” 

Most of the time, though, it was him driving – I don’t care where we were. My dad didn’t like people driving him. He thought he was an expert driver. Theres a very short list of people who could drive him – myself, my sister, that’s about it. No tour bus. He has written countless songs about cars – “No Particular Place To Go,” “No Money Down.” The man loves cars. He is a true aficionado of the automobile. 

He was always recording at home. He would come upstairs and to my mom, “Listen to this.” And she would give a thumbs up thumbs down. Thumbs up, he was done. Thumbs down – “I got more work to do.” He was always looking for feedback. When he wasn’t working, he’d watch TV, with two six-foot projectors in front of him. News on one screen, and the Cardinals baseball on the other screen. Recently, he downsized to one big six-foot screen and a 50-some inch HD TV. He was disappointed the Cardinals didn’t get the pennant this year, but my mom grew up in Chicago, so they’re a pretty good second choice.

Last year, we were going to have a big shindig for his 90th birthday – we were going to invite the world. Then we realized we’d done that. So let’s just have family. We had it at the house, and it was a lot of fun. 

He hung it up in 2014. He’d been in the game for about 64 years. [Eventually] he said, “I’m ready to hang up my shoes.” He stopped recording that year too. After that, some of the family went into the studio to complete our parts for my dad’s final album. My son and I went to Nashville. It was the first time I’d recorded in a studio – same with my son, who had just played some high school get-togethers. It was very special. My son blew his solo out of the water. The grin on my face was obvious. The people in the control room just freaked out. It was excellent. And I think I understand how my dad may have felt when I started playing with him.

As told to Patrick Doyle

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Flashback: Chuck Berry, Bruce Springsteen Play Spirited 'Johnny B. Goode'

Chuck Berry was the first artist inducted into the Rock And Roll Hall of Fame when the institution launched in 1986. So when the museum finally opened nine years later with an enormous concert at Cleveland Municipal Stadium, it only made sense to have him open the show. Berry usually played with pickup bands to limit costs and hassles on the road. But on this night, Bruce Springsteen & The E Street Band were happy to take on the notoriously difficult task.

It was actually the second time they’d backed Berry. On April 28th, 1973, weeks after the release of Greetings From Asbury Park, they shared a bill with Jerry Lee Lewis and Berry at the University of Maryland. They jumped at the chance to back their idol, though sadly no audio or video captured the performance. 

Springsteen remembered it well, though. “About five minutes before the show was timed to start, the back door opens and he comes up and he’s got a guitar case and that was it,” Springsteen said in 1987. “He just pulled up in his own car and didn’t have anybody with him, or a band. We said, ‘What songs are we going to do?’ He goes, ‘We’re going to do some Chuck Berry songs.'”

Things weren’t nearly as chaotic 22 years later when they kicked off the Concert For The Rock and Roll Hall of Fame with “Johnny B. Goode,” But hours later, when it came time to wrap up the night with “Rock and Roll Music,” Berry threw them a curveball.

“Somehow, a minute or two [in], he shifts the song in gears and a key without talking to us,” E Street Band guitarist Nils Lofgren told Ultimate Classic Rock. “We are making these horrible sounds, collectively, in front of a stadium, sold out … At the height of it, when no one has any idea how to fix this, Chuck looks at us all and starts duckwalking off the stage, away from us. He leaves the stage, leaves us all out there playing in six different keys with no band leader, gets in the car and drives away. I don’t think we have ever participated in something that godawful musically since we were probably 13 or 14.”

It was the final time the E Street Band played until their reunion tour four years later. Berry continued to tour heavily until 2014 when health issues made it impossible. Until the end, he put his backing bands through the ringer, whether he was playing with Bruce Springsteen and the E Street Band in front of 90,000 people and a worldwide TV audience or a crowd of 300. To Chuck Berry, a gig was a gig and he was going to do things his way. 

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Flashback: Chuck Berry Performs at 1958 Newport Jazz Festival

In 1958, Chuck Berry played Rhode Island’s Newport Jazz Festival. He was a rare rock & roll act alongside acts like Thelonious Monk, Max Roach, Louis Armstrong and Dinah Washington. The festival was immortalized in Bert Stern’s remarkable documentary Jazz on a Summer’s Day. The most stunning moment of the film is Berry’s “Sweet Little Sixteen.” He begins his performance relatively reserved, playing a plodding version of the single with the house band. But soon, he loosens up, swinging his hips, hoisting his Gibson guitar up, duck-walking across the stage over a clarinet solo.

Keith Richards recalled seeing that moment as a kid to Rolling Stone in 2015: “When I saw Chuck in Jazz on a Summer’s Day as a teenager, what struck me was how he was playing against the grain with a bunch of jazz guys,” Richards said. “They were brilliant – guys like Jo Jones on drums and Jack Teagarden on trombone – but they had that jazz attitude cats put on sometimes: “Ooh… this rock & roll…” With ‘Sweet Little Sixteen,’ Chuck took them all by storm and played against their animosity. To me, that’s blues. That’s the attitude and the guts it takes. That’s what I wanted to be, except I was white.”

“I listened to every lick he played and picked it up. Chuck got it from T-Bone Walker, and I got it from Chuck, Muddy Waters, Elmore James and B.B. King . We’re all part of this family that goes back thousands of years. Really, we’re all passing it on.”

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Rolling Stones: Chuck Berry's Music 'Is Engraved Inside Us Forever'

The Rolling Stones paid tribute to rock & roll innovator Chuck Berry, both as a band and individually, in a series of statements following the music legend’s death Saturday at the age of 90.

“The Rolling Stones are deeply saddened to hear of the passing of Chuck Berry,” the band wrote in a statement. “He was a true pioneer of rock & roll and a massive influence on us. Chuck was not only a brilliant guitarist, singer and performer, but most importantly, he was a master craftsman as a songwriter. His songs will live forever.”

Over the course of their career, the Stones frequently covered Berry’s music; the band’s debut single in 1963 was a rendition of Berry’s “Come On.” The Stones also performed Berry’s “Around and Around,” “Carol,” “Little Queenie” and more.

In a separate statement, Mick Jagger added, “I am so sad to hear of Chuck Berry’s passing. I want to thank him for all the inspirational music he gave to us. He lit up our teenage years, and blew life into our dreams of being musicians and performers. His lyrics shone above others and threw a strange light on the American dream. Chuck, you were amazing, and your music is engraved inside us forever.”

Keith Richards, who performed alongside the rock & roll legend and even jovially admitted to being punched by Berry on one occasion – said in a statement, “One of my big lights has gone out!”

“So sad ~ with the passing of Chuck Berry comes the end of an era, He was one of the best and my inspiration, a true character indeed,” guitarist Ronnie Wood added.

Other members of rock royalty remembered Berry’s immeasurable impact on rock & roll. “I am so sad to hear about Chuck Berry passing – a big inspiration! He will be missed by everyone who loves Rock ‘n Roll,” tweeted Brian Wilson, while Bruce Springsteen wrote on Twitter“Chuck Berry was rock’s greatest practitioner, guitarist, and the greatest pure rock & roll writer who ever lived.”

The Beatles’ Ringo Starr, who covered Berry’s “Roll Over Beethoven” with the Fab Four on With the Beatles, tweeted, “R I P. And peace and love Chuck Berry Mr. rock ‘n’ roll music.”

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Drake Drops All-Star 'More Life' Project

As promised, Drake unveiled his new “playlist project” More Life on his OVO Radio on Saturday. The all-star 22-track collection is available to stream now on Tidal and Apple Music.

In addition to just one of the four tracks that Drake released in October (“Fake Love”), More Life also features appearances by Kanye West (“Glow,” which West has been teasing since 2016), Migos’ Quavo and Travis Scott (“Portland), 2 Chainz and Young Thug (“Sacrifices,” with the latter also on “Ice Melts”). British rapper Giggs and OVO signee PartyNextDoor also provide features to More Life.

“More Life. More time with family and friends. More Life. I’ve still got vibrations to send. More Life,” Drake wrote of the “playlist project” on Apple Music. “They say that we could live forever. At night I pray it’s true. I’ve done so much in my short time and still there’s more to do. But if someone come collecting, sooner than we’re all expecting, at least the life you lived was one for you.”


A post shared by champagnepapi (@champagnepapi) on Mar 18, 2017 at 2:40pm PDT

More Life Track List

1. “Free Smoke”
2. “No Long Talk” (featuring Giggs)
3. “Passionfruit”
4. “Jorja Interlude”
5. “Get It Together” (featuring Black Coffee and Jorja Smith)
6. “Madiba Riddim”
7. “Blem”
8. “4422”
9. “Gyalchester”
10. “Skepta Interlude”
11. “Portland” (featuring Quavo and Travis Scott)
12. “Sacrifices” (featuring 2 Chainz and Young Thug)
13. “Nothings Into Somethings”
14. “Teenage Fever”
15. “KMT” (featuring Giggs)
16. “Lose You”
17. “Can’t Have Everything”
18. “Glow” (featuring Kanye West)
19. “Since Way Back” (featuring PartyNextDoor)
20. “Fake Love”
21. “Ice Melts” (featuring Young Thug)
22. “Do Not Disturb”

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Flashback: John Lennon and Chuck Berry Jam on 'Johnny B. Goode'

In February of 1972, John Lennon and Yoko Ono took over The Mike Douglas Show for a week. The talk show was never particularly socially conscious, but with Lennon at the helm guests included Ralph Nader, Jerry Rubin and Surgeon General Dr. Jesse Steinfeld. The musical highlight was an appearance by Chuck Berry, who played “Johnny B. Goode” and “Memphis, Tennessee” with Lennon and Ono. “He was writing good lyrics and intelligent lyrics in the 1950s when people were singing ‘Oh baby I love you so,'” Lennon said during an interview on the show. “It was people like him that influenced our generation to try and make sense out of the songs rather than just sing ‘do wah diddy.'”

The interview came at a good time for Chuck Berry. Nostalgia for the Fifties was becoming big business on the road, and that summer he’d release “My Ding-a-Ling.” It’s an incredibly stupid novelty song; ironically, it became the single biggest hit of Berry’s long career. 

In a 1971 interview with Rolling Stone, Lennon spoke very highly of Chuck Berry. “He is one of the all-time great poets, a rock poet you could call him,” he said.  “He was well advanced of his time lyric-wise. We all owe a lot to him, including Dylan. I’ve loved everything he’s done, ever. He was in a different class from the other performers.”

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Chuck Berry, Rock & Roll Innovator, Dead at 90

Chuck Berry, whose rollicking songs, springy guitar riffs and onstage duck walk defined rock & roll during its early years and for decades to come, died on Saturday. The St. Charles County Police Department confirmed the news on Facebook. Berry was 90 years old.

“St. Charles County police responded to a medical emergency on Buckner Road at approximately 12:40 p.m. today (Saturday, March 18),” the police department wrote on Facebook. “Inside the home, first responders observed an unresponsive man and immediately administered lifesaving techniques. Unfortunately, the 90-year-old man could not be revived and was pronounced deceased at 1:26 p.m.”

“We are deeply saddened to announce that Chuck Berry – beloved husband, father, grandfather and great-grandfather – passed away at his home today at the age of 90,” the family said in a statement. “Though his health had deteriorated recently, he spent his last days at home surrounded by the love of his family and friends. The Berry family asks that you respect their privacy during this difficult time.”

While the exact cause of death is currently unknown, Berry’s son, Charles Jr., recently told Rolling Stone that he had suffered a bout of pneumonia. “Now what I can say is he’s a 90-year-old man,” he said. “And like most 90-year-old men, he has good days and he has bad days. In the not too distant past, he had a bout with pneumonia. He’s recovering, but it’s a much slower process for him to recover.”

Tributes to the musician from admirers came immediately. “The Rolling Stones are deeply saddened to hear of the passing of Chuck Berry,” the band wrote in a statement. “He was a true pioneer of rock & roll and a massive influence on us. Chuck was not only a brilliant guitarist, singer and performer, but most importantly, he was a master craftsman as a songwriter. His songs will live forever.”

“Chuck Berry was rock’s greatest practitioner, guitarist, and the greatest pure rock & roll writer who ever lived,” Bruce Springsteen wrote on Twitter, while Brian Wilson wrote, “I am so sad to hear about Chuck Berry passing – a big inspiration! He will be missed by everyone who loves Rock & Roll. Love & Mercy.” Kiss’ Paul Stanley called Berry ” a cornerstone of all that is, was and will be Rock and Roll,” with Lenny Kravitz noting that “none of us would have been here without you.” 

“It started with Chuck Berry,” Rod Stewart said in a statement. “The first album I ever bought was Chuck’s ‘Live at the Tivoli’ and I was never the same. He was more than a legend; he was a founding father. You can hear his influence in every rock & roll band from my generation on. I’ve been performing his ‘Sweet Little Rock & Roller’ since 1974 and tonight, when my band and I perform it at Caesars Palace’s Colosseum, it’ll be for Chuck Berry — your sound lives on.”

Starting with his first hit, 1955’s “Maybellene,” Berry penned a collection of songs that, in both groove and teen-life mindset, became essential parts of the rock canon: “Roll Over, Beethoven,” “Rock & Roll Music,” and especially “Johnny B. Goode” were witty, zesty odes to the then-new art form – songs so key to the music that they had to be mastered by every fledgling guitarist or band who followed Berry. As teenagers, Keith Richards and Mick Jagger first bonded over their love of Berry’s music, and over the last five decades Berry’s songs have been covered by an astounding array of artists: from the Rolling Stones, the Beach Boys, the Kinks, the Doors and the Grateful Dead to James Taylor, Peter Tosh, Judas Priest, Dwight Yoakam, Phish, and Sex Pistols. As Richards said when inducting Berry into the Rock & Roll Hall of Fame in 1987, “I’ve stolen every lick he ever played.”

By fusing blues and country, Berry also invented a signature guitar style – like “ringing a bell,” as he put it in “Johnny G. Goode” – that was imitated by bands from the Stones and the Beach Boys to punk rockers. His lyrics – largely about sex, cars, music and trouble – introduced an entirely new vocabulary into popular music in the Fifties. In his songs, Berry captured America’s newfound post-war prosperity – a world, as he sang in “Back in the U.S.A.,” where “hamburgers sizzle on an open grill night and day.” ”I made records for people who would buy them,” Berry once said. “No color, no ethnic, no political – I don’t want that, never did.”

Yet Berry, in his role as rock & roll pioneer, also dealt with racism and bigotry, particularly when he was accused in 1961 of violating the Mann Act (transporting a woman or girl across state lines for purposes of prostitution). Berry claimed he had met Janice Norine Escalanti, a 14-year-old Native American, during a show in Texas and hired her to work at his St. Louis club, Club Bandstand. Imprisoned after a second trial (the first conviction was overturned due to the judge repeatedly using the word “nigra”), Berry, who pleaded not guilty, wound up serving nearly two years in prison and emerged a noticeably changed, bitter man. In recent years, he had mellowed somewhat, thanks in part to receiving a Lifetime Achievement Award at the Grammys in 1986 and being inducted into the Rock and Roll Hall of Fame.

Born in St. Louis on October 18th, 1926, Charles Edward Anderson Berry learned to play blues guitar as a teenager and first performed at his high school talent show. Music was his first love, but not necessarily his first career choice. The son of a carpenter, Berry worked on a General Motors assembly line and studied to be a hairdresser. With pianist Johnnie Johnson (a regular part of his band for years to come), Berry formed a band in 1952. After meeting blues legend Muddy Waters, Berry was introduced to Chess Records founder Leonard Chess in 1955. Berry brought along a song based on the country tune “Ida Red.” With a new title and lyrics – and an immediately grabby, grinding opening guitar lick — the song was transformed into “Maybellene.” On a return trip, Berry brought his recording of the song and was immediately signed to the label. “[Chess] couldn’t believe that a country tune (he called it a ‘hillbilly song’) could be written and sung by a black guy,” Berry later wrote in his 1987 memoir Chuck Berry: The Autobiography.

“Maybellene” hit Number Five in 1955 and established Berry’s career and sound. By the end of the 1950s, he had logged seven more top 40 hits: “Roll Over Beethoven” (Number 29), “School Day” (Number Three), “Rock & Roll Music” (Number Eight), “Sweet Little Sixteen” (Number Two), “Johnny B. Goode” (Number Eight), “Carol” (Number 28) and “Back in the U.S.A.” (Number 37). Although he was already in his early thirties by the time he scored those hits, Berry was unabashed about why he wrote for a younger audience. “Whatever would sell was what I thought I should concentrate on,” he wrote in his memoir, “so from ‘Maybellene’ on, I mainly improvised my lyrics toward the young adult and some even for the teeny boppers, as they called the tots then.”

Each song was defined by the Berry trademarks: that blend of propulsive beat, rueful charm, and ringing guitar. “The beautiful thing about Chuck Berry’s playing was it had such an effortless swing,” Keith Richards wrote in his memoir, Life. “None of this sweating and grinding away or grimacing, just pure, effortless swing like a lion.” During a 1956 concert, Berry was so self-conscious about only having brought one suit that he invented a new stage move “to hide the wrinkles,” as he told RS in 1969. That move, the duck walk, also became part of the rock & roll lexicon.

Intentionally or not, Berry also set the template for the rock & roll bad boy beyond his Mann Act conviction. Early in his life, Berry spent three years in reform school for an armed robbery attempt. In 1979, he was indicted for tax evasion and filing false income tax returns and spent three months in jail. (At his sentencing, he burst into tears.) In 1990, he was sued by several women who claimed Berry had videotaped them in the ladies’ room in his restaurant in St. Louis. (Berry reached an out-of-court settlement.)

When he was released from a Missouri prison in October 1963 after his Mann Act conviction, Berry was embittered, but he also saw his footprint all over a new generation of bands. The Beach Boys had released their first single, the Berry-influenced “Surfin’ Safari,” while a new band from England, the Rolling Stones, released Berry’s “Come On” as their first single in 1963. At first, Berry picked up where he left off, writing fine new songs like “You Never Can Tell” and “No Particular Place to Go” that held onto his devil-may-care attitude.

In 1966, Berry left Chess, his longtime home, for another label, Mercury, but the result was a series of sub-par albums and weak re-recordings of his hits. (One notable exception: a jam with the Steve Miller Band captured on the 1967 album, Live at the Fillmore Auditorium). In 1969, he returned to Chess – and returned to form – on harder-edged songs like “Tulane,” a drug-dealer romp that showed his newfound relevance. In 1972, he scored his first and only Number One pop hit with the novelty song, “My Ding-a-Ling.” His last album of original songs, Rock It, was released in 1979.

Berry was a notoriously tough and irascible character offstage. On tour, he long traveled alone, using backup bands hired by the promoters. He demanded payment in advance, a specific kind of amplifier and a limousine (with no driver) for his shows. In 1986, Richards assembled an all-star backup band (including Eric Clapton, Robert Cray, and sax player Bobby Keys) to play behind Berry in the documentary Hail! Hail! Rock ‘n’ Roll. Even then, Berry intimidated Richards onstage and off and only showed up on the first day of filming after he demanded an extra cash payment of $25,000. Despite those difficulties, the 1987 movie, directed by Taylor Hackford, became one of rock’s most acclaimed concert films.

In 2012, while visiting Cleveland to accept the Rock and Roll Hall of Fame’s American Music Masters Award, the then-86-year-old musician told Rolling Stone that he was slowing down with age. “I am hearing very little,” he said. “I’m wondering about my future. That’s news!

“Well, I’ll give you a little piece of poetry,” he added, when asked to expand. “Give you a song? I can’t do that. My singing days have passed. My voice is gone. My throat is worn. And my lungs are going fast. I think that explains it.”

Up until 2014, Berry continued to perform at clubs and casinos. Once a month, he played at Blueberry Hill, a restaurant and bar in St. Louis, where his October 2014 show marked his 209th consecutive show at the venue, according to Riverfront Times.

Berry lived in St. Louis but often spent time at Berry Park, a 155-acre property in nearby Wentzville, Missouri. (As he told Rolling Stone in 2010, he even still mowed the lawn there.) Asked by RS in 1969 about rock’s role, Berry said, “Like any music, it brings you together, because if two people like the same music, they can be standing beside each other shaking and they wind up dancing, and that’s a matter of communication … so I say it’s a means of communication, more so than other music, to the kids.”

He is survived by his wife Themetta “Toddy” Suggs, whom he married in 1948, and four children.

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Watch Lana Del Rey Perform New Single 'Love' at SXSW

For a short, sweet set at last night’s Apple Music showcase, Lana Del Rey performed to a roomful of fans whose shouts of devotion could verge on creepy (“I wanna party with yoooooou!” was among the more polite invitations). In a white dress and wide leather belt more Sunday morning church than Saturday night speakeasy, Del Rey struggled with sound problems that weren’t always apparent – “Can we talk about the front of house bass?” she said to the soundperson, patiently – interrupting the show at points to step off stage and disappear into the crowd in a light-blaze of cell-phone-camera-selfie-snapping.

Backed with guitar, bass, keyboards and drums, she convincingly sold her back catalog (“Ultraviolence,” “Born to Die,” “Shades of Cool”), inhabiting her 21st century pop-noir characters with captivating poise. With her slightly narcotized vibe, Del Rey functions as a blank slate for her roles and, no doubt, her fans’ fantasies. She’s dialed back her delivery a bit over the years and gained better control of her voice, which sounded fetching, as she worked upper-register ornamentations like drawing curlicues on a diary page.

The highlights were a ghostly solo reading of “Yayo,” for which she strapped on a Gibson Flying V and the live debut of her new single “Love,” a lyrical muddle directed to “you kids with your vintage music” that still manages to make its Cocteau Twins appropriations into compellingly moody pop.

Del Rey is a likable star – you might imagine her as Katy Perry’s problem-child sibling, getting high with gangsters and doing weird things with her mascara while sis does photo-ops with Hillary Clinton. And the fact that Del Rey doesn’t always seem so into her job, but feels compelled to do it anyway, it is part of the charm. After inviting the crowd to sing along on “Video Games,” which they laid into, she tells the song’s screen-addict lover “this is my idea of fun.” You don’t know that she entirely means it in the context of the song, or the show – though she may want to believe it – and the tension made the music linger after the crowd’s encore pleas went unanswered, and the lights went up.

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