This is a woman who spit liquids on her audience, and got them to like it. I shouldn’t have underestimated Karen O as a performer. I arrived early on night three, and settled in for what I expected to be a relatively low energy affair - not necessarily a ding, but based on “Crush Songs” itself, its performance couldn’t be that intense… right? For her Los Angeles stop, she opted to take over Hollywood Forever Cemetery’s Masonic Lodge, an indoor-stage-cum-steam-room located on the venue grounds, for three nights. Gone were the blasting PAs and eye-searing costumes of YYY tours past - now, she was playing gigs in homey venues packed to the gills with people swaying back and forth together, or in some cases, in peoples’ living rooms.
And when “Crush Songs” finally dropped, preluded by the visual cotton candy video for “ Rapt,” it ended up being the kind of stripped down, scruffed up, painstakingly intimate (in both content and recording style) release that only an artist supremely confident in her musical offerings could put out to the world.įor her “Crush Songs” tour, O scaled back accordingly. When Karen O announced that she’d be doing an album exclusively in the vein of her “Her” Oscar-nominated ditty with Ezra Koenig of Vampire Weekend, “ Moon Song,” music fans were understandably excited - the viper behind the Yeah Yeah Yeahs’s snarling sound would be showing her soft side, in the form of an album she’d essentially written years ago but was finally letting see the light of day.
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