While every other artist on the planet is pulling back on the reigns and really trying to curate a specific image or brand, there are some artists that have owned their creative space for quite some time. People who are so naturally good at what they do and well-versed in who they are that sometimes their artistry is taken for granted. People who have never missed a note or a step on stage, developed an array of great relationships early in their careers and created collaborative opportunities for themselves and their colleagues.
One such performer? The jaw-dropping, intrinsically talented but somehow still infinitely humble Mýa.
I had the unique pleasure of seeing her in concert on February 15th in Kansas City at the R&B Remix Tour at T-Mobile Center. Troop and Hi-Five opened the show, that then welcomed Mýa on stage before rolling into classics and fan favorites from Ginuwine and Jagged Edge.
Mýa took the stage in a red bustier, gorgeous red suede heeled boots that came up above her knees, and coordinating collage-themed hot pants, jacket, and doo-rag. A touch of street style mixed with some classic dance garb allowed her to put her power on full display – both vocally and dance-wise. As someone who was classically trained in dance from childhood, she truly knows how to pull out all the stops when on stage. (I mean, have you SEEN her tap?)
Mya’s set was short and sweet, clocking in at under a half hour. But she left no room for curiosity or contempt while rolling through hits like “Case of the Ex,” “Ghetto Superstar (That Is What You Are)”, “Fallen,” and “My Love Is Like…Wo.” The entire arena was standing when “Lady Marmalade” hit the speakers, and the performer dazzled us with her insane vocal range.
She closed the set teasing us a little bit with the opening music from The Rugrats Movie, “Take Me There.” For those who are not millennials who lived and died by this orange VHS – or pop music on the radio at the time – this song was integral to the 90s in ways I cannot fully explain. And ever since, it has held my childhood like a bit of a time capsule. Rounding out her set with the instrumentals from this song was the right thing to do, as she reminded the crowd who she was and where they could find her.
After her performance, myself and my cohort had the unique ability of going backstage to see Mýa for a few moments. I have to say, Ginuwine performing Prince’s “Purple Rain” as we walked up to speak with her felt like a wild moment — the convergence of three musical greats in one space. And she couldn’t have been a more gracious and wonderful human.
I spoke with the guest services representative who was manning the elevator shortly after my interaction with the R&B great, and she asked me if she could see a photo. I showed her, and she exclaimed, “WOW! She’s just as beautiful as ever! The woman never ages! And her style!”
And she’s right.
When I exclaimed I was ready for a complete Mýa renaissance that evening, I wasn’t kidding. Luckily for us, it looks like she may be gearing up for new music here shortly. Keep up with her here.
Last night, the Philadelphia Eagles won The Big Game.
While there was so much about the game that gave me goosebumps, electrified, and, honestly, inspired, the most exciting part for me – and for many – was the halftime show. For fear of being too petty (re: my issues with the Chiefs organization being too financially and outwardly supportive of the color orange, their players and families openly supporting the current regime, Butker, Swift, etc.), I’m going to spare you most of my thoughts.
But not about the halftime show. I’ll spare you nothing there.
The halftime show was remarkable from the first lines out of Samuel L. Jackson’s mouth – aka the only Uncle Sam I’ll ever listen to – all the way through the impactful GAME OVER finale. If you were allowed to watch and listen closely in your party environment, you probably noticed a bit more.
To begin, there wasn’t a single white performer on that field and I was living for it. It’s Black History Month, and our joke of a government is trying to erase that. This was a massive, immediate message to many people – one, in particular, who was actually there in person instead of doing their jobs correctly to protect our country from a coup.
The stage performance was just over 13 minutes of spectacular set design and art, beginning with video game audio and squares lit up like tic-tac-toe. (I have seen references to Squid Games, a show I will not watch. I’m sorry.) Samuel L. Jackson is lit up in the middle square to introduce Kendrick, who starts on top of a 1987 GNX wearing red, white, and blue, decidedly. The car is the namesake of his surprise sixth studio album, which was released last November. He’s also kneeling, with a single spotlight on him, completely alone. This, alone, was a statement to the orange one in who led people in tearing down those who protested during NFL games not so many years ago. The short song Lamar begins with appeared on teasers for the album and there are lines from it that immediately pulled at fans when the album came out, but isn’t an official track on any current releases.
In the first big choreographed moment, the lights strobe, a good amount of dancers in red square up and sync up, and Kendrick says, loudly, “The revolution’s about to be televised. You picked the right time but the wrong guy.” This line is a direct reference to a satirical poem released in 1970 by Gil Scott-Heron, which reads, “The revolution will not be televised.” This piece is a response to the spoken-word art “When the Revolution Comes” by The Last Poets, and mentions famous figures and cultural linchpins that serve as a smokescreen for the actual revolutionaries.
Kendrick reciting these words with the American colors around him, was an obvious poke at several people in attendance. It was also the first time I screamed out of excitement.
He pivots fast into “Squabble Up,” dancers in red, white, and blue sweatsuits surrounding him in various formations. After lining up, they start to step and it is a powerful moment of rhythm and control. Which is when Samuel L. Jackson steps back in and says, “No, no, no, no, no! Too loud! Too reckless! Too ghetto! Mr. Lamar, do you really know how to play the game? Then tighten up!”
And that beautiful man is a smokescreen for the watching audience. Because as he is screaming the same shit conservative media uses against people of color to delegitimize their art and their lives, the dancers are forming an American flag on the steps. And now the camera is back on Kendrick, in the center of that flag.
And so begins “Humble.” The crowd is roaring at this point, while these incredible male athletes/dancers engage in sharp movements that would be hailed as 11/10 at a cheerleading competition. Their precision was admirable, poetry in motion. This is when I started noticing some dancers had their faces covered, some had their heads wrapped.** Some you could see fully, and others had dyed their hair to match their outfits. I can only imagine that this type of scene is what scared some viewers into saying the halftime show was “scary” and “militaristic.”
That’s ok, but it was by design. The performance was meant to make us question things, created as a living protest, and isn’t threatening to the viewing public at all. So you might have to sit in that discomfort for a while.
He quickly launches into “DNA,” which famously challenges a deplorably racist Fox anchor’s comments about hip-hop being damaging to black people. He runs across the field to dance in front of varying dancer formations, then gives us some “Euphoria” and slows down for a rendition of “Man at the Garden” with a slew of dancers seemingly hanging out by a lamp post behind him.
“Peekaboo” begins after another appearance by Samuel, who – in keeping with the gaming theme – tells the scorekeeper that Lamar only has one life. Kendrick and his dancers are now inside one of the X’s on the field, looking like a Nintendo controller. He rotates thorough the “X,” bouncing around and making for a really interactive time with the television audience.
Then, Kendrick pauses and asks a group of female dancers, “I wanna perform they favorite song but you know they love to sue.” The introductory instrumentals to THAT SONG begin, and the crowd goes WILD. But he’s teasing us, and you can hear Samuel yell, “You’ve lost your damn mind!” while Kendrick slows everything down.
Smooth R&B starts, and he rolls right into a sultry version of “Luther” featuring the indelible SZA. Our girl first appears sitting down casually, decided out fully in a gorgeous red that perfectly matches her hair and goes well with Kendrick’s mostly-blue getup. This slower tempo moment allows them to really connect with each other on stage. It also gives the pair the momentum they need to launch into the Black Panther anthem “All the Stars.” SZA was A-plus, no notes. What a powerful, beautiful presence to have joined him on stage, a moment that got us extra amped for their upcoming tour.
Samuel L. Jackson comes back in with similar commentary as before, noting that “nice and calm” is “what America wants.” The humor and the magic in these moments cannot be spoken about enough, he was making fun of us to our faces and I truly couldn’t get enough of it. He was about to wrap it up all “politically correct” when Kendrick decided it was time.
“Not Like Us” was incredible, an aerial shot catching more sharp, beautiful moments from the dancers. The freestyle coupled with very impactful choreographed moves made it such a celebration of community and diversity at the same time. No one had to sing to make a deliberate, profound statement.
But he did. And when Kendrick did, he looked right down the barrel of the camera as he said, “Say, Drake, I hear you like them young.” The pettiness was palpable, but it was also powerful. Especially when you take into account all of the hushed rumors that have swirled about Drake and his preferences and behavior over the years. While some might take Lamar’s diss tracks as pure petty for the sake of being that way, he’s using his platform to call out unacceptable behavior that has (for some reason) been normalized. He’s calling things out, and he’s doing it strategically.
If you want to fight me about the fact that there are no current official allegations against Drake, I would like to say one thing. The cameras panned the stage pretty quickly, but you caught it as well. The GOAT Serena Williams was c-walking on stage. They showed her twice, living in her joy and dancing her ass off. Which most people would think nothing of until you realize two facts.
One, that this incredible talent was policed for celebrating at the Olympics in 2012 with the same c-walk or “Crip Walk” dance. The media and fans ripped into how the champion celebrated, which was no better or worse than anyone else. Now, she gets to do the same walk on the most televised event, and she gets to do it with ferocity.
Two, that Serena was romantically linked with Drake from 2010-2016. Having her dance during this diss track about him is an extra dig for her, but it’s also a statement. If you weren’t fascinated by the entire stadium singing “a minor,” the fact that Lamar was wearing a lowercase “a” chain – literally “a minor” -, or the flags that some dancers were flying with kids on them, then I need you to know it all happened and it’s all connected. Serena’s participation seems to be a co-sign that the claims in the song aren’t just claims.
Which should worry you, if you weren’t already aware – and nervous – of Drake’s shifty behavior.
For those who didn’t recognize all of the Easter eggs, Lamar worked with a team to build out a gaming controller set, dancing within different buttons. By the end, he was rapping, “turn the tv off, turn the tv off,” smiled into the camera, and then the lights went down on the floor and the lights in the seats spelled GAME OVER.
**I do want to recognize that during the telecast, one of the dancers bravely waved Sudanese and Gazan flags. Having some of the dancers wear face and head wraps helped to make this possible. It allowed for people to make their own statements showing as much or as little of their bodies as possible.
CBS Mornings took the helm celebrating the performance. “Everything he did had power, had purpose,” exclaimed Vlad Duthiers. But while they took time to discuss America’s reaction and the controversy around it all, they didn’t mention the live genocide protest or several very important Easter eggs. For the most part, even for as liberal as their cast is, you could see how the media is being asked to speak about the performance overall.
If you take that halftime show and couple it with the incredible pre-show performances by musical legends Lady Gaga and Jon Batiste – and “America The Beautiful” performed by Lauren Daigle and Trombone Shorty – the game was a full win all around. Those involved were pumping diversity into the mix, bringing us not just a variety of people of all different backgrounds and affiliations, but celebrating it. Plus, multiple genres were represented with a noticeable majority black performers.
For the record…
I love that the first black female coach in the NFL, Autumn Lockwood, took home a championship victory.
Two people got booed and I’m not mad at it.
The HAIM sisters passively existing everywhere makes me laugh a lot.
I’m overjoyed for SZA’s mom, specifically.
Paul Rudd looked like he wanted to melt into the floor of embarrassment, that poor man.
Jon Hamm lost his voice before the game, which makes him the real winner.
I’d like Bradley Cooper’s food truck to make a pit stop here.
We loved getting to spend a night with Yola at her event for the Grammy Museum! Taking place at WNYC’s Greene Space, we spent a cold, bitter night being warmed by Yola’s presence. Performing songs off her new EP, My Way, Yola took time to open up about her life, her musical roots, and her personal journey to becoming the woman she is today. The audience was completely captivated, as was I.
Enjoy videos from her live performance – and a look into her breathtaking presence – at the videos linked below!
Dick Prall is a sentimental man. The Iowa-based indie rock singer-songwriter has been going by the nickname his mother affectionately knew him by, Dickie, for the last decade as he’s unraveled his genius on the world. His talents have led him in a variety of directions musically over the last few years, but the same heart is at the center of every piece.
Dickie’s latest offering, Head Full of Hiss, is an EP that is equal parts honest and beautiful. The first track “Shakes You” is the piece’s gorgeous new single, and we are absolutely enthralled by it. The almost five-minute song is soft and folksy in its presentation early on. This allows you to be humbled by the man’s incredible vocal range.
At 2 minutes and 40 seconds in, the instrumentation becomes bolder and more drawn out. The song is from an observer’s perspective, identifying strength in another person. Wanting to emulate someone is such a bold form of flattery, but it is also a self-acknowledgment that there is room for improvement. And while the lyrics are a bit vague at times, there is a strength to it all that give this song strength to the ever-present, supportive, affirmative line “No one ever shakes you.” It feels brought to life in this moment, a song cut in two, a journey with a definitive “before” and “after.”
Dickie’s thought-provoking music is heartfelt, layered with emotion and raw talent in a unique and, honestly, addictive way. The new EP feels like the right listen at the right time.
“Shakes You” is now streaming everywhere you listen to music!
Traveling can truly take its toll on a person. And when you’re a traveling musician, it throws you off your routine for weeks — sometimes years — at a time. Creating an environment that relaxes and nourishes you and your tourmates is paramount in maintaining professional working relationships and allowing the tour to run smoothly. Having some items on hand can really benefit a musician or, really, anyone planning to travel.
We’ve combed through a host of fun gift ideas for your friend or family member who is a touring musician. If you have clients who are going out on the road soon, consider gifting them some practical items from the list. Take advantage of it right now for seasonal discounts and offers, and to make sure they’re stocked up for the next leg of their life’s work!
Maely’s Too-Pouty
Maely’s Too-Pouty is a game-changer for chapped lips, which are common when you travel. (As always, hydration is key!) Apply this lip mask twice a day — once when you wake up, and once before you fall asleep — to moisturize and soothe your lips. Add it on during the day for a slight plump if you’re feeling frisky.
Gimme Seaweed Snacks
Gimme makes a variety of flavored dried seaweed snacks that are the perfect, nutritional snack for any texture and flavor nerd. If you aren’t a fan of more grassy flavors, you might not be a seaweed person. But with powder flavored like white cheddar, sesame, and te among others, this little crispy treat ends up tasting more like a flavorful cracker than anything else. Add them to your soup or wrap homemade sushi in them for other options on the tour bus.
Fun hack: If you have a pet, the Imperfect Fifth mascot Schmidt – a buff tabby cat – is a huge fan of these seaweed snacks.
Blobs
Do you like fruity candies, but not the havoc they can wreak on your teeth, gums, and intestines? Candy is often one of the first things to go when adjusting your diet as you age. But what if there was a candy that had just four grams of sugar per bag?
Blobs are a fruity, flavorful, vegan, no-sugar-added gummy candy with just seven grams of carbs and 50 calories per bag. They come in the delightful flavor varieties of orange-peach, pomegranate-apple, and passionfruit-pineapple. They’re great travel companions if you’re looking for airplane or train snacks.
Unrelated but related: I’m such a big fan of the taste of these guys that I put Blobs stickers on my laptop and mini fridge.
Manifest Beauty Big Pout Energy Lip Plumper
This non-toxic lip color uses the natural tingling and plumping properties of chili to help improve the look of your lips. I noticed a subtle plumping effect but, even if you don’t, the flavor and tingling sensation help to make you feel more awake. (I know this from personal experience.) Working it into your look on stage can help you catch a second wind after a long day of press, or can help you feel perked up for an early wakeup call.
The Manifest Beauty Big Pout Energy gloss comes in the five color options of crystal clear, gold, spicy rose, chocolate chili, and scarlet flame. The pigment stays on well, with limited application necessary throughout the day.
Eight O’Clock Coffee
Since 1859, Eight O’Clock Coffee has been roasting beans and brewing up tasty trouble. They are currently the third largest seller of whole bean coffee in the United States, but are known for the bold flavors of every variety of coffee they sell. While the current name wasn’t created until 1919, this Landover, Maryland-produced coffee is absolutely a household name.
On the road, I’d suggest a bag or two of ground bean coffee. The Dark Italian Espresso roast can easily be flavored or enjoyed in a concentrated shot. It has a standout flavor and aroma that will get a musician out of bed quickly for an early bus call.
Eight O’Clock Coffee also makes K-Cup pods of their roasts. If your musician will have access to a Keurig on the trip, this could make things wildly easy for them.
ONLY Hydration
Are you in your thirties, and realizing you’ve suddenly taken an interest in being more hydrated? (Do our bodies just give up around then? I cannot retain water, it is my curse.) Staying hydrated is important no matter your age or your athletic ability, so finding ways to efficiently do so is key.
ONLY Hydrationis an electrolyte powder mix that centers ingredients you can pronounce, packed with nutrients like calcium, zinc, magnesium, and vitamins to protect your immune system.
These beverage powders come in really great, unique, natural fruit flavors. Enjoy them in Yuzu Citrus, Asian Pear, White Peach, or Lychee.
Steeped Coffee
If you don’t want to carry around a full coffee setup or rely on a K-cup on your bus or in the hotel, you may want to consider a steeped coffee option. These are a preferred option to concentrate or cold brew coffee, since refrigerated options have a shelf life. The single-serve bags are perfect to purchase because leftovers can be saved for camping trips, to take to the office, or cozy mornings at home curled up under a blanket.
As simple as tucking a teabag into your luggage, Steeped Coffee makes single-serve steeping bags of their delicious roasted coffee. They grind the coffee up and nitro seal it, serving it in an easy-to-tote bag that is so mindful of time and convenience. Just pour hot water over it, add whatever creamer you may need, and voila!
Steeped Coffee’s focus on environmental safety has, from the start, set them apart. Their fully compostable bags deliver ethically sourced, bold flavors every time.
Julien Baker Week descended on New York City with a flourish, the rush of which resembled the city itself. With three sold-out nights at Webster Hall, tickets were highly coveted. This was even reflected in the line prior to doors, as fans began to line up around 2-3pm, gunning for the first row.
On the second night, however, Baker suffered from a stomach bug and had to end the show after 40 minutes. Thankfully, she added a date to make up for the shorter set, this time at Brooklyn Steel, where she has played three times in the past. Unfortunately, due to the fact that the show was added last minute, Baker didn’t have a second opener. She then enlisted her Boygenius bandmate, Lucy Dacus, to do a short interlude after singer/songwriter Katie Malco’s set.
As Lucy Dacus took the stage, armed only with her acoustic guitar, the ear-piercing screams that greeted her would have had one convinced that she herself was the headliner as opposed to Baker. The crowd sang along, providing enthusiastic accompaniment. Dacus was smiley and chatty, joking around between songs and telling stories, even debuting a brand-new song. Ending with “Night Shift,” Baker and her band joined in to do it electric, mimicking the exact feeling of the night.
When Baker took the stage, the energy shifted to one of quiet reverence. After her band played the intro to her second LP, Turn Out the Lights, “Over,” Baker began to sing “Appointments,” the opening track. Performing songs from each of her records, 2015’s Sprained Ankle, 2017’s aforementioned Turn Out the Lights, and 2019’s Little Oblivions, the setlist covered the span of her career, including some of her EPs, such as tracks like “Tokyo” and “Red Door.” She also played two new songs, “Middle Children” and “High in the Basement.’ Further, Baker excitingly rearranged some of her songs, giving them a new emotional pull. She also had her band backing her up (which has only occurred on the Wild Hearts tour) as opposed to her earlier shows with only an acoustic guitar.
Baker next heads to San Francisco and LA, where she is playing a 3-show residency in each city. After, she will fly to London for a 4-show residency.
