TIME Music

Wilco Cancels Indiana Show to Protest State’s Religious Freedom Law

Jeff Tweedy of Wilco performs in 2012.
Mark Venema—Getty Images Jeff Tweedy of Wilco performs in 2012.

Other artists plan to continue with their shows and speak out against the law

The band Wilco announced Monday it has canceled an upcoming show in Indiana to protest the state’s newly signed and controversial religious objections measure, which was meant to protect certain freedoms but which critics say will allows businesses to deny services to LGBT customers.

“The Indiana Religious Freedom Restoration Act feels like thinly disguised legal discrimination to us,” the band said in a statement on Facebook, regarding its scheduled May 7 show in Indianapolis. “Hope to get back to the Hoosier State someday soon, when this odious measure is repealed.”

Other artists such as Cher and Miley Cyrus have spoken out against the law on social media. But not every musician who opposes the law is canceling their shows.

Singer and actress Audra McDonald tweeted that she will donate money she makes at her Indiana shows to organizations fighting the law. Jack Antonoff, the Bleachers mastermind and fun. guitarist, said he plans to use his shows as an opportunity to protest the law.

“I don’t believe in canceling shows in places where awful laws are being passed, I believe in going in SPEAKING OUT,” he tweeted. “The recent legislation in Indiana that Gov. Mike Pence signed is repulsive and I fully intend to make that known when I’m in the state.”

Read next: Uproar Over Religious Freedom Law Trips Up Indiana’s Governor

TIME Music

The 7 Most Underrated Pop Albums of 2014

Featuring Katy B, Yelle and Bleachers

Considering how many A-list pop stars crowded the last quarter of 2013 — Britney, Beyoncé, Katy Perry, Lady Gaga — 2014 felt a little light on pop releases by comparison. The stars releasing new material this year and recognizable by first name alone — Taylor, Lana, Mariah — were few and far between, and many of 2014’s biggest music stories belonged not to veterans, but to young upstarts like Ariana Grande and Meghan Trainor. (Sia may be the most obvious exception.)

But that doesn’t mean every pop record received equal attention. Below are 7 albums that either weren’t talked about enough, didn’t find much commercial success or didn’t get the year-end recognition they deserved.

  • Katy B, Little Red

    Sam Smith may have been heralded as the male Adele in his breakout year, but the closest anyone got to filling the void of the “Rolling in the Deep” singer this year was Katy B on the stellar “Crying for No Reason.” A graduate of the BRIT School — which, in addition to Adele, also counts Amy Winehouse, Leona Lewis and Jessie J as alumni — the singer born Kathleen Brien transformed herself from dubstep sweetheart to ‘90s dance diva on her sophomore album, Little Red. When she’s not pumping up listeners on high-octane club-thumpers like the “I Like You” or her spellbinding Jessie Ware duet “Aaliyah”, she’s showing off her pipes on songs like the soaring ballad “Still.” Even better is the album’s continuous mix, an hour-long re-sequenced version that lets the whole record become more than the mere sum of its parts.

    Next step: Read TIME’s original review of Little Red

  • Bleachers, Strange Desire

    The debut solo album from fun. guitarist Jack Antonoff isn’t shy about its 1980s influences: it features behind-the-scenes work from Vince Clarke of Yaz and Erasure, and its synthesizers sound straight out of Born in the U.S.A. (It’s no surprise, then, that Taylor Swift recruited Antonoff to recreate those vibes on her similarly inspired new album, 1989). But to call the record merely a pastiche is misleading, as there’s plenty that looks forward — like the jittery production and piano-smashing samples in lead single “I Wanna Get Better.” Strange Desire is light on its feet — the sounds aren’t as dense and heavy as those of Some Nights — but the tracks are still muscular and anthemic, making them a perfect match for Antonoff’s lyrics about pushing on in the face of trauma, heartbreak and profound loss.

    Next step: Watch behind-the-scenes footage of Jack Antonoff’s TIME photoshoot at Coney Island

  • Tove Lo, Queen of the Clouds

    Tove Lo has a genuine hit on her hands with “Habits (Stay High)” — she’s the highest-charting Swede on the Billboard charts since Ace of Base’s “The Sign” peaked in 1994 — but her debut album, Queen of the Clouds, didn’t get the widespread recognition it deserved. The 27-year-old has plenty of on-stage charisma, but she’s a songwriter first, having worked as top-line writer for Icona Pop, Girls and Cher Lloyd before embarking on a solo career. With a resume like that, the record is unsurprisingly full of searing melodies that burn their way into your brain. And while her topics — partying, heartbreak, sex — aren’t particularly novel for pop, Tove Lo’s sharp lyrics put her at the top of the class when it comes to capturing the pain and anguish she’s singing about.

    Next step: Read TIME’s original review of Queen of the Clouds

  • Cher Lloyd, Sorry I’m Late

    Hailing from the world of reality talent competitions, the X Factor alumna has all the resources of the pop music machine behind her, and it shows her on her sophomore outing: the songs are concise, punchy and jam-packed with hooks from start to finish. That kind of Top 40 bait (or at least Top 40-aspiring) isn’t a fit for everyone, but Sorry I’m Late deserves extra consideration from skeptics for its self-aware spunk, cheeky humor and some distinguishing influences — album highlight “Dirty Love” draws on the jungle sounds of her home country’s electronic music scene. The album didn’t make much of a splash across the pond or stateside — which is a shame, because tracks like “Human” are as a bulletproof as anything else up there.

    Next step: Read TIME’s interview with Lloyd about writing more personal material

  • Yelle, Complètement Fou

    The French electro-pop band, led by frontwoman Julie Budet, has had a small presence on U.S. dance charts since breaking out with the saucy, tongue-in-cheek “Je Veux te Voir.” That could change in the near future: their latest album, Complètement Fou, came out on Kemosabe Records, the label founded by superstar producer Dr. Luke (Britney Spears, Kesha, Katy Perry). The album title is French for “completely crazy,” which is both an apt description of their sound and perhaps an explanation for why it may not have founded a bigger audience: Complètement Fou has all the energy of a Dr. Luke creation but feels far from cookie-cutter thanks to its production quirks (the band wrote most of the material themselves, with Luke credited on a handful of tracks). Oh, yeah, and it’s all in French — but with melodies as good as Budet’s, who needs to understand what she’s saying?

    Next step: Read TIME’s guide to the international artists you need to know

  • Nick Jonas, Nick Jonas

    Former Disney kids trying to enter adult pop stardom are like pendulums held back for too long: when they swing the other way, they swing hard. Miley Cyrus warned Hannah Montana fans that she couldn’t be tamed, but audiences still had trouble adjusting when she twerked against Robin Thicke and embarked on a hip-hop transformation. Nick Jonas’ transition hasn’t been any smoother— one-third of the Jonas Brothers has bulked up and posed in jarring sexed-up photoshoots — but what gives him a fighting chance at legitimacy is surprisingly good music with all the right endorsements (like a remix from “2 On” siren Tinashe). This self-titled record isn’t without its flaws, of course — some tracks fall flat, and the uncensored version of “Jealous” is trying a little too hard to be bad — but the electro-R&B direction (Justin Timberlake’s FutureSex/LoveSounds isn’t a far-off reference) should have shed any hang-ups about his past.

    Next step: Read TIME’s interview with Jonas about why he wants a career like Elvis Presley

  • Mary J. Blige, The London Sessions

    The quality of an record’s origin story doesn’t always match the quality of the record, but the 13th studio album from the queen of hip-hop soul is an exception. The story goes like this: after misstepping with this year’s Think Like a Man Too soundtrack, which received mixed reviews and sold poorly in January, Blige got a second wind in 2014 when a one-off Disclosure collaboration took off on the U.K. dance charts. What began as an idea to record a follow-up EP with the British duo soon turned into a month-long visit to London, where Blige cranked out songs with not only Disclosure, but also Sam Smith and Emeli Sandé. The move was unexpected, but the music was nothing but inspired. New collaborators sent a bolt of electricity through Blige’s more on-brand soul, and the cutting-edge dance tunes proved the diva doesn’t need “Family Affair” to get a party started. Considering how reinvigorated Blige sounds — to say nothing of Smith’s 2014 takeover — that the record flew relatively under the radar is more surprising than its genesis.

    Next step: Read TIME’s original review of The London Sessions

TIME Music

Watch Jack Antonoff’s Cable Access Television Takeover

The man behind Bleachers adds "telethon host" to his resume

TIME took over Coney Island with Jack Antonoff last month, and now the Bleachers mastermind is taking over cable access television channels across the country in support of his new album, Strange Desire, out today. As the above trailer teases, the show, Thank You Very Much, is an old-school telethon full of musical performances as well as guest-appearances from Antonoff’s friends, like Arrested Development‘s Alia Shawkat. You can watch the full, half-hour show on YouTube or — and here’s a phrase you probably haven’t heard in a long time — check your local listings.

TIME Music

Go Behind the Scenes of TIME’s Coney Island Photo Shoot With Jack Antonoff

The guitarist talks about the inspiration behind his latest musical project, Bleachers

Jack Antonoff isn’t timid when it comes to his wardrobe.

“I like to feel like a 7-year-old who’s allowed to dress themselves for the first time or something,” says the musician, who is profiled in the new issue of TIME.

It seems like a pretty spot-on description for the 30-year-old musician behind Bleachers — who rose to popularity as the lead guitarist of Fun. — as he nonchalantly played games and buckled himself into rides at Coney Island’s Luna Park during a recent photo shoot for TIME.

Though there’s a palpable nostalgia in Bleachers’ debut album Strange Desire, Antonoff explains that the record isn’t all about lingering in the past — it’s about looking toward the future.

“I feel like I think about that all the time — how to push on, how to not leave too many of the pieces in the past, how to not take too many of them with you and become strange,” Antonoff says, chuckling.

In the video above, take a behind-the-scenes look at Antonoff’s shoot with photographer Geordie Wood and hear more about the inspiration behind the album.

TIME Music

Why Jack Antonoff of Bleachers Loves Writing Pop Songs

Jack Antonoff of Bleachers
Geordie Wood for TIME Jack Antonoff of Bleachers at Coney Island's Luna Park.

"The only way to get back to the golden age of music isn't to make a f-ck-you record that 11 people hear."

In TIME’s new profile of Jack Antonoff, the Bleachers mastermind spoke about recruiting some of his biggest influences — like Vince Clarke, a founding member of Depeche Mode and Erasure — to give his new album, Strange Desire (out July 15), a sound that was both nostalgic and futuristic at the same time.

But the 30-year-old says his biggest influence wasn’t the sound of the 1980s, but actually the attitudes toward music in the 1990s — an era when it wasn’t uncool to want to write big, unapologetic anthems for the whole world.

“In the 90s, you had Nirvana and Pearl Jam, and these bands were amazing and changing culture and music but weren’t on this, ‘F-ck you, we don’t want to be big’ kick that happened in indie music in the early 2000s, which I hate,” he says. “The only way to get back to the golden age of music isn’t to make a f-ck-you record that 11 people hear, [a record] that’s brilliant and makes the most underrated albums list on every website. It’s to get in there.”

Antonoff says a horrible bout with pneumonia two and a half years ago taught him a lot about the power of pop music. After spending six days in the hospital without hearing any music (“You probably can’t remember the last time you didn’t hear music for six days,” he says), his mom brought him an iPod, and he put on “Hang With Me,” a song by Swedish pop star Robyn that instantly brought him to tears.

“The lyrics were so beautiful,” he says. “I’m listening to this song right now that people are probably f-cking to in Ibiza and raging to in Brooklyn, and I’m in a hospital after a near-death expereince crying to it. That’s music. That’s pop. You could cry. You could dance. It services all these emotions.”

TIME Music

Hear an Acoustic Version of Bleachers’ Strange Desire Track “Shadow”

Jack Antonoff of Bleachers
Geordie Wood for TIME Jack Antonoff of Bleachers

"Anytime I write a song, I want it to play on loudspeakers all over the entire world."

In the new issue of TIME, Jack Antonoff tells us all about the making of Strange Desire, his new album under the name Bleachers, out July 15. Below, you can hear an acoustic version of the album track “Shadow,” recorded live at SiriusXM and premiering exclusively at TIME.

“Anytime I write a song, I want it to play on loudspeakers all over the entire world—that’s what everyone is secretly thinking when working on songs and albums, so why not go for it?” he says. “The songs are meant to be played in a big setting. They’re meant for a lot of people. They weren’t meant for me and my friends.”

TIME Music

Lena Dunham Directs Bleachers’ “I Wanna Get Better” Video: Watch

Lena and Jack get better together

After three seasons’ of experience as the mastermind behind Girls, Lena Dunham has more than proven her mettle as a talented auteur — and she put her directorial skills to work in helping the music video for her boyfriend Jack Antonoff’s new band Bleachers’ debut single “I Wanna Get Better.” Soundtracking the song’s jaggedly anthemic pop-rock are Parks and Recreation comedienne Retta, some abortion dogs and Antonoff as a therapist.

Why? Better question: Why not?

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