Norah Jones and Queens of the Stone Age frontman Joshua Homme are not an obvious pairing on paper, which is exactly what makes their conversation on Season 2 Episode 18 of “Norah Jones Is Playing Along” so consistently surprising and engaging. The discussion wanders from the inherent creepiness of nursery rhymes to the human nature of music to the story behind Homme’s project Alive in the Catacombs, with a few songs performed along the way that fit the Valentine’s-ready mood Jones sets up around them. Homme is candid and genuinely funny, Jones is the ideal host for this kind of freeform musical conversation, and the chemistry between two artists who exist in completely different corners of the music world but share a deep seriousness about craft makes every tangent worth following.
Video: Tim Booth Reveals Morrissey Doesn’t Talk to James Anymore and Reflects on 45 Years of the Band
Tim Booth sat down with Virgin Radio UK as James embarked on a UK arena tour, and the conversation covers 45 years of one of British indie rock’s most enduring bands with the kind of candor you don’t always get. Booth touches on their early days touring with The Smiths, the memorable moment playing on the roof of Key 103 in Manchester, their unique approach to improvising new music in the studio, and the extraordinary emotional connection fans still have with “Sit Down” more than 3 decades after its release. The Morrissey revelation, that the former Smiths frontman no longer speaks to the band, lands as one of those offhand disclosures that says more than a full interview might, and Booth delivers it with the kind of ease that suggests it’s simply a fact of life at this point. For anyone who grew up with James or came to them through “Laid” or “Sit Down,” this is a genuinely warm and revealing conversation.
Video: Bill Frisell Talks Music, Guitars, and His Pedalboard and It’s a Conversation Worth Savoring
Bill Frisell stopped by That Pedal Show during a UK visit to play the Wiltshire Music Centre in Bradford on Avon, and the conversation that followed is one of the most quietly profound guitar interviews you’ll find anywhere. Frisell, whose catalog spans jazz, Americana, classical, and everything in between across more than 4 decades, talks through his approach to melody, harmony, and ensemble playing, his memories of New York in the 1980s, his relationship with Paul Motian, and yes, the gear: a JW Black custom guitar, a Fender ’65 Deluxe Reverb, and a pedalboard anchored by a Line 6 DL4 MkII, MXR Carbon Copy Mini, Strymon Flint, and Jam Pedals Tube Dreamer. Host Mick notes in the description that some conversations change you forever, and having spent time with Frisell’s music, that reads as completely credible. He also discusses his new record ‘In My Dreams’ toward the end of the interview, making this essential viewing for anyone who cares about the guitar as a vehicle for pure musical expression.
Video: Genesis ‘Three Sides Live’ Full Laserdisc Documents the Band’s Start To Their Commercial Era
By 1981, Genesis had completed one of the most successful reinventions in rock history. The progressive architecture of the Peter Gabriel years, ‘Selling England by the Pound,’ ‘The Lamb Lies Down on Broadway,’ ‘Foxtrot,’ had given way to a leaner, more accessible sound that was connecting with audiences on a scale the band had never previously reached. ‘Three Sides Live,’ recorded during the ‘Abacab’ tour and released in June 1982, documents that commercial peak with a setlist that bridges both worlds.
The full laserdisc runs 12 performances, including “In The Cage” from ‘The Lamb Lies Down on Broadway’ and “Afterglow” from ‘Wind & Wuthering’ sitting alongside newer material like “Abacab” and “Misunderstanding.” Chester Thompson on drums and Daryl Stuermer on guitar round out the live lineup, giving Phil Collins the freedom to front the band full time, a role he had grown into completely by this point. The recording reached number 2 on the UK Albums Chart and remains one of the definitive documents of this era of the band.
Video: Martin Short’s Jiminy Glick Interviews Catherine O’Hara and It’s Absolute Comedy Gold
2 SCTV legends, 1 gloriously unhinged interview. Martin Short’s Jiminy Glick, the pompous, clueless, completely fictional entertainment journalist, sits down with Catherine O’Hara in a clip that holds up completely more than a decade after it was recorded. Short’s commitment to the character is total, O’Hara’s ability to play it completely straight while barely holding it together is a masterclass in comic timing, and the chemistry between 2 performers who have known each other since their SCTV days makes every exchange land harder than it should. If you’ve never seen Jiminy Glick in action, this is the perfect introduction. If you have, you already know exactly why this keeps circulating.
Denny Seiwell Shares His Paul McCartney Story and It’s Everything You’d Hope It Would Be
Denny Seiwell was the drummer for Wings during one of the most creatively fertile periods of Paul McCartney’s post-Beatles career, and his conversation with The Sessions Panel delivers exactly the kind of firsthand insight that only someone who was actually in the room can provide. The Sessions, a not-for-profit organization dedicated to educating musicians on the business side of the industry, has built its Artist Series around exactly these kinds of conversations, pairing legendary musicians with interviewers who understand the craft and the context. Seiwell’s McCartney story is candid, warm, and specific in ways that remind you how much of music history happened in ordinary moments between extraordinary people.
Rick Beato Sits Down With 28-Year-Old Polish Bass Phenom Kinga Głyk and the Result Is Unmissable
Rick Beato has a gift for finding the musicians that serious players are already whispering about and putting them in front of a wider audience, and his interview with 28-year-old Polish bassist Kinga Głyk is one of his best. The conversation, which has already pulled nearly 667,000 views, covers her technique, what she actually practices, and the specific challenges of being a working musician in the age of social media. Głyk, who has performed with the Frankfurt Radio Big Band and appeared at Jazz in Marciac and Leverkusener Jazztage among many other prestigious stages, brings a fluency and musicality to the bass that genuinely stops people in their tracks, and Beato gives her the space to explain exactly how she got there and what keeps her developing. For anyone who plays bass, loves jazz, or simply appreciates watching someone operate at the highest level of their craft, this one demands your full attention.
Rick Beato Gets The Darkness’ Justin Hawkins to Break Down How “I Believe in a Thing Called Love” Got Made
Justin Hawkins is one of the most entertaining talkers in rock music, and his conversation with Rick Beato about the making of “I Believe in a Thing Called Love” is exactly the kind of inside look that reminds you how much craft and luck goes into a song becoming a classic. The clip covers the realities of getting a record deal in the early 2000s alongside the specific creative decisions that made the song land the way it did. Hawkins is candid, funny, and completely unguarded in a way that makes the whole conversation genuinely entertaining regardless of how well you know The Darkness or the song itself.
Video: Walk Off The Earth Bring Their Signature Magic to Massey Hall in a Full Concert for CBC Music
Walk Off The Earth’s Live at Massey Hall performance for CBC Music is exactly what this band does better than almost anyone working in Canadian music right now. The concert opens with a thumping drum sequence that mimics a racing heartbeat before launching into “Red Hands,” and the energy never really lets up from there. Across 9 songs the Burlington-born multi-instrumentalists move through a catalog that has built one of the most devoted followings in Canadian indie-pop, pulling from across their discography with the kind of live arrangement creativity that has always set them apart.
Video: Howard Jones Still Gets Excited by His Roland Jupiter-8, and He’s Had It Since 1983
Howard Jones has owned his Roland Jupiter-8 since 1983, and 43 years later it still excites him. The British synth-pop legend shared a short clip revisiting the iconic synthesizer, complete with a snippet from a Dick Clark interview on American Bandstand and artwork by Daniel Arteaga on the back wall. The video serves as a reminder that the Jupiter-8, one of the most celebrated analog synthesizers ever built, remains as inspiring in 2026 as it was when Jones first got his hands on it during the peak of his career. For anyone who grew up on “What Is Love?” and “Things Can Only Get Better,” watching him return to the instrument that helped define that sound is a genuinely warm moment.