MUSIC PREMIERES
“We all came out to Montreux, on the Lake Geneva shoreline,” growls Deep Purple frontman Ian Gillan, erupting after what could arguably be the most iconic riff ever gets a bigger reaction than any guitar part could – not least because it marks a homecoming of sorts.
The rock legends hail from London, but ‘Smoke On The Water’ was born here. Written about the fire and destruction of the Montreux Casino at a Frank Zappa show in 1971, it’s as much a record of the history of rock as it is one of rock’s most historically important tracks.
You feel it tonight as the local mayor and dignitaries gather with the sold-out crowd to rock out and watch dry ice from smoke bombs crawl across the lake behind a background of mountains at the 58th Montreux Jazz Festival. The Guinness Book Of World Records crowned Deep Purple as “the globe’s loudest band” in their ‘70s heyday, and you’d be forgiven for thinking they were trying to reclaim their title tonight. Bones rattle and teeth shake as the band shred into the night, providing a worldie of a set for this “unbelievable, formidable, magnificent, superb” audience.
It takes a lot to follow Alice Cooper, who brings snakes, zombies, camp comedy and a whole lot of West End theatrics to his joyously OTT shock-rock spectacular. Even as he writhes in a straitjacket before being beheaded by guillotine and having his fake bonce paraded around by Marie Antoinette, he still performs with every single deep wrinkle on his wizened face.
That’s not to say that this is a nostalgia-fest by any means. This Swiss music mecca has been attracting the biggest names in rock, pop, and jazz since 1968 for shows that would be talked about for the rest of time, but you don’t make history by looking to the past; you do it by living in the moment.
Besides a frankly ludicrous two-and-a-half week programme that also boasts the likes of Kraftwerk, Massive Attack, Air, Smashing Pumpkins, Janelle Monáe, Raye and Michael Kiwanuka, the line-up of bona fide legends and rising stars is accompanied by a brilliant billing of jazz in the long-since-rebuilt Casino (we spent a beautiful evening there with French-Cameroonian soul wunderkind Yamè – check him out at all costs – and we’d gladly fly ourselves back to see D4VD, Laufey and André 3000) as well as free events, DJ sets and jam sessions along the lake (80 per cent of the stages here are free to the public).
One of our party met a young pianist from the UK while watching the England vs Switzerland Euros game at a nearby Irish bar. On a solo pilgrimage during his gap year, he was inspired by tales of his heroes performing at the free jam sessions at The Memphis. The next evening, that kid was up on that same stage, going hell-for-leather with other musicians. Afterwards, he’d breathlessly share his disbelief at playing the very same piano as his hero, Jacob Collier, who’d turned up for an impromptu performance the year before. That’s the beauty of Montreux – that love of music, sense of occasion, and expectation of a ‘moment’ hangs thick in the year.
We saw that manifest when we were invited to the chalet of the late festival founder Claude Nobs: a house absolutely chocka with trinkets, instruments, memorabilia and gifts from the countless legends he’d befriended. Highlights included a cheeky crotch-shot postcard from Freddie Mercury (who famously had a house and studio nearby) and a striking self-portrait from David Bowie. The latter pops up alongside Prince and Leonard Cohen when we’re shown footage from the vast archives of Montreux Jazz’s countless historic sets.
From his 2002 performance, Bowie tells us how he sat in these very seats for a similar showing of legendary sets gone by – only upping his and the band’s nerves and determination for their gig. It certainly seems that ‘Montreux expects’. During her show, Jessie Ware tells the crowd how she doesn’t usually take requests, but she will for this. We also catch PJ Harvey on the stunning lakeside Scène du Lac arena, where there’s such a wave of compulsion from the stage as this artist, who’s already achieved so much, plays to say: ‘This matters’. It’s a knock-out, especially from the gnarly ‘50 Ft Queenie’ onwards into the grunged-up rock closing of the show.
Even fresh from their immaculate closing set at Glastonbury 2024, The National still look to up their A game further. “It’s a terrifying dream come true to play with PJ Harvey,” offers frontman Matt Berninger, dedicating ‘I Need My Girl’ to her. “I was terrified in this dream… she didn’t give a fuck!” Ahead of the weekend’s Trump assassination, Berninger warns of impending doom (“America is in the middle of the toilet,” he offers, as well as calling on Biden to “wake up” for the good of the left).
From the explosive highs of ‘Abel’ and ‘Mr November’ to the gorgeously tender closing of ‘About Today’ and the acoustic ‘Vanderlyle Crybaby Geeks’ with vocal duties handed over to the audience, The National tapped into whatever that wormhole is that seems to travel through places like this, Glastonbury, The Grand Ole Opry, The Cavern Club, etc.
This writer has seen The National more than most and this performance was up there because they couldn’t have been more in this moment. Tears were shed, magic was made, and that’s why we’re here. That’s why we headed out to Montreux and will definitely return – come with us.
MUSIC PREMIERES
“I’m looking for an answer in between the lines/ Lying to yourself if you think we’re fine,” Sabrina Carpenter sings while seated gracefully on a toilet.
It is the opening night of her “Short n’ Sweet” tour at what she proudly described as “five fucking sold-out shows at Madison Square Garden.” The toilet appears within the bathroom section of her expansive stage design, which resembles a cross between a 1970s television set and a Barbie-inspired dream house from the same decade.
More importantly, Carpenter performs a heartfelt ballad, one of her signature songs blending humor and honesty in her storytelling about relationships. The track, “Sharpest Tool,” reflects on being in love with someone lacking awareness, serving as a thematic successor to her recent hit “Please Please Please.”
The toilet itself is an elegant prop with a heart-shaped lid, while the “bathroom” area is surrounded by sheer screens that display close-up video projections of her performance. Few major female pop artists today would likely deliver a serious song in such a setting. It highlights Carpenter’s willingness to approach familiar ideas with originality and confidence.
With her classic American glamour, Carpenter maintains a striking image while writing songs that address relationships and intimacy with unfiltered honesty. Those themes are presented within polished, radio-ready pop production that still holds musical depth. The pre-show playlist included ABBA’s 1979 track “If It Wasn’t for the Nights” and Diana Ross’ 1980 hit “I’m Coming Out,” acknowledging both her stylistic influences and her strong LGBTQ following.
Her audience consists largely of young girls who may not yet relate directly to the personal experiences behind her lyrics but view her as a relatable, older-sister figure. Many of their parents, especially mothers accompanying them, also appeared to be fans. One of the night’s more unexpected moments came when Carpenter led thousands of middle-school-aged fans in singing the explicit lyric “I’m so fucking horny!” during “Juno.”
The show, mostly following the same structure as her previous tour, featured the full production scale of a modern arena concert. The visual theme of vintage television carried through as Carpenter performed across multiple areas of the set, including a balcony, staircase, walk-in closet, and in front of a vanity and fireplace, supported by 11 dancers and a live four-piece band.
She changed outfits four times throughout the concert, each one sparkling and styled to highlight her signature stage presence. The setlist focused mainly on her latest albums, “Short n’ Sweet” and “Man’s Best Friend,” while including several tracks from her 2022 record “Emails I Can’t Send,” which marked her transition into a mature artistic phase. The show opened with “Taste,” included highlights such as “Manchild,” “Feather,” and “Bed Chem,” and concluded with “Espresso” during a colorful confetti finale.
Between songs, the screens played comedic 1970s-inspired mock commercials, including a parody tool advertisement using the line “The Sharpest Tool, trusted by carpenters everywhere.” The presentation also featured a fabricated “Technical Difficulties” interruption and an excerpt from a Leonard Cohen interview in which he compared writing poetry to “shining the shoes of one’s soul.” The concept was imaginative and visually engaging, though much of the nostalgia predates her audience’s generation. Still, it reflected Carpenter’s ability to merge vintage aesthetics with contemporary performance.
The most memorable parts of the concert came from her natural connection with the crowd. Familiar interactive moments filled the show, including audience singalongs, call-and-response sections, and a “surprise song” feature in which Carpenter spun a bottle to select a number, leading to a live debut of “Go-Go Juice” from her new album. She also spoke candidly with the audience, remarking that she had “been one of you” during her years living in New York, before adding, “Actually, I’ve tried to be one of you.”
Her awareness of the audience’s enthusiasm was evident throughout. She acknowledged fans directly, often gesturing toward specific sections and offering warm appreciation. Near the end, she took time to praise their creativity, saying, “I want to take a second to commend all of the amazing outfits I see.” She expressed gratitude for the crowd’s effort and enthusiasm, recognizing the fans who mirrored her signature style with platform heels, glitter, and lipstick marks on their shoulders.
From artists such as Cher, Donna Summer, and Deborah Harry to Madonna, Beyoncé, and others, many women in pop music have explored the boundaries of expression and sexuality in their art. Sabrina Carpenter continues that tradition with confidence, balancing playfulness and self-awareness while maintaining authenticity and respect for her audience.
