When CBS ended “The Late Show With Stephen Colbert” earlier this year, it also shuttered the program’s robust music offerings — a major blow for artists whose television platform was already dwindling.
Performing on late-night has historically been a unique avenue for musicians hoping to access new audiences — think of a rising Chappell Roan on “The Late Show” or even The Beatles on “The Ed Sullivan Show.” But when James Corden left CBS’ “The Late Late Show” in 2023, his program — and its coveted performance space — was never revived. NBC’s “Late Night With Seth Meyers” has cut back on live music, while ABC’s “Jimmy Kimmel Live!” reduced performances to twice a week. As it stands, only NBC’s “The Tonight Show Starring Jimmy Fallon” consistently books live performances.
Emerging artists still see incredible value in these performances — and are hopeful that nascent online programming will offer a new alternative.
Breaking through on late-night
March 3, 2014, was the day that changed everything for rock band Future Islands. The synth-pop group was a stalwart of America’s underground music scene due in no small part to charismatic frontman Samuel T. Herring and his idiosyncratic voice, somewhere between Tom Waits and Rammstein’s Till Lindemann. That day, they performed on “Late Show with David Letterman,” and the host was transfixed. “I’ll take all of that you got!” Letterman cheered, and the DIY band was cast into true virality.
“At the time that we played Letterman, we were in a transitory period for the band,” said bassist William Cashion. They’d signed to the larger indie label 4AD Records, hired management and were promised a late-night TV spot but never thought it would pan out. “Our team, they told us, ‘It’ll be good for your fans and your friends and family, but it’s not really going to move the needle. These things don’t really do what they used to,’” he recalls.
But that wasn’t the case.
“All the festivals that initially turned us down all of a sudden wanted us to come play. Everything kind of shifted after that moment,” he said. “It was definitely a huge turning point and gave the band much greater exposure.”
A dearth of late-night spots particularly affects independent acts — the kind that could really benefit from the exposure, just like Future Islands. Representatives for CBS, NBC and ABC did not return The Associated Press’ requests for comment.
Chloë Walsh, co-founder of publicity firm The Oriel, points to the music bookers behind the scenes. “Of course, they have to book all the biggest things in the world, but they also have things that they want to champion,” she says. Fewer slots means developing artists are competing with big names for dwindling opportunities.
But there are other avenues to discovery.
“We’re kind of an anomaly in the way that our song and that performance took off,” says Cashion. “But we’ve seen other bands have TikTok viral hits and stuff like that.”
There are many examples of artists cracking the code online: Singer-songwriter Gigi Perez’s career was launched with the TikTok smash “Sailor Song,” as was Malcolm Todd’s with a few viral hits, landing him a major label deal with Columbia Records. Indie band Beach Bunny saw their punky-pop go viral with “Prom Queen” just ahead of the pandemic, leading to performances on Kimmel and Fallon.
Even legacy artists are experiencing second winds of music discovery: Weezer’s 2010s power-pop track “Go Away,” featuring Best Coast’s Bethany Cosentino, recently made the rounds on TikTok and became a top song for both on Spotify.
“It seems like a lot of different aspects of the album cycle have kind of been replaced with short-form content,” Beach Bunny singer Lili Trifilio explained. “And it is a bummer because late-night is a service to musicians in such a major way. You are helping people reach new fans.”
“And I think now a lot of the responsibility of advertising is falling on the artists to be their own late-night special on TikTok or whatever,” she continued. “I don’t think that these 30-second, one-minute self-made clips hold the same value.”
“The media landscape is always changing. Sometimes that’s good for music and sometimes it’s bad for music,” says Walsh. “There’s a whole breed of young creators at the moment doing really interesting stuff. … Hopefully there will be more opportunities out there and we don’t have to rely on the networks.”
She points to “Track Star(asterisk),” the online music trivia series, which has begun hosting live performances, and to Julian Shapiro-Barnum of “Recess Therapy,” who has launched a late-night YouTube show, “Outside Tonight,” that features live performances.
Shapiro-Barnum says “Outside Tonight” was born out of necessity. “We know that the entertainment industry is hard to break into. And so, what’s been so cool about digital media is that it’s circumvented that,” he says.
“How can we do late night, but different?” was his approach. The show takes place outdoors, bypassing a traditional studio. The musical bookings also lean independent. Recent performers include rapper Erick the Architect, indie rock soloist Annie DiRusso and the multi-instrumentalist and experimentalist L’Rain.
“There was no version of the show that didn’t have music,” he says. “To me, it feels like a staple.”
Beach Bunny performed during the first “Outside Tonight” episode.
“It’s so cool to see people that are like movers and makers be like, ‘Hey, this is a gap I’m seeing. Late-night is being placed on the back burner. We need to revive this; I’m gonna figure it out,’” Trifilio said. “I hope that it inspires other people to step up.”
She sees it as part of a larger YouTube renaissance, shifting away from prioritizing short-form content.
“I think that people are yearning for some longer-format stuff,” she says.
In traditional late-night TV spots, artists benefit from exposure — but that doesn’t necessarily mean a jump in sales. Ideally, that will also translate to these new media spaces.
“It’s a showcase for touring. And that’s really where artists make their money,” says Walsh. “People say, ‘It doesn’t really give you a bump if you’re on a late-night TV show.’ They’re looking at the sales, they’re not looking at a promoter in Minneapolis going, ‘Oh my god, I want that,’ or a radio playlist director saying, ‘Oh that was fantastic, we should add that.’”
“Every musical guest who’s come on ‘Outside Tonight,’ everyone in the crew, everyone in the audience, has not stopped listening,” says Shapiro-Barnum. “In real time, it spreads and creates all these fans. So, I have to imagine that happens online as well.”
But for many, landing a late-night TV performance is still the north star of a press run.
“For a lot of people — especially international artists that are coming to slog it out across the U.S. in some club shows they may not even be headlining — if you could get on ‘Jimmy Kimmel,’ it’s like we’ve cracked it,” says Walsh. “The whole thing was worth it. And that’s huge.”
Sherman writes for the Associated Press.
