Were listening when it was on the charts in 1969) to understand that young adults of Eilish’s Pointed out that having Eilish sing the song was a way for older fans (and maybe even those who – as if Lee’s song was the conduit bridging generations. In her heyday, Harry was every bit the innovative pop icon that Eilish is now, soīeyond simply their artful vocal deliveries, the tune had a whimsical, passing the torch vibe to it Was the perfect way to wrap the mostly compelling, often fascinating yet slightly uneven show Prelude to Eilish’s intuitive, transcendent old soul approach to the legendary singer’s iconicįollowing that otherworldly magic with a dreamy spoken and sung duet with the equally sultryĪnd emotionally inviting Debbie Harry on Lee’s other best known song “Is That All There Is?” If the previous two hours, with all their highs (The Count Basie Orchestra, pianist John Beasley,Ĭarmen Bradford, Dianne Reeves, Brian Stokes Mitchell, Seth MacFarlane) and lows were mere Saved for the next to last numberof the night, it was as Night, needs to do a standards album stat. Musical Director on Lee’s iconic “Fever” was the intimately intoxicating highlight of the busy Pop icon Billie Eilish, whose sly, playful and sensuous duet with upright bassist, host and event Sweep of music history, the decades long mutual admiration society between the two and the oneĬlassic album that brought their talents together in a unique way some 65 years ago.

A key takeaway from the Hollywood Bowl’s star-studded, foundationally jazzy but stylisticallyĮclectic Tribute to Peggy Lee and Frank Sinatra must be shared even before we discuss the

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