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Live from New York
Saturday, July 24, 2004 Central Park Summerstage--Rumsey
Playfield--New York City
"I'm-a take my shoes off," the Atlanta-based vocalist
said, stepping down from her plexiglass, platform heels. She paused for
bass player Khari Simmons to address a broken string, and then the lights
dimmed to a soft red. Farris thanked the crowd for their cheers and shared that
it had taken her a while to get to the point of even wanting to sing again.
Another possible single, the good-feeling, island tune "Where You
Belong" (from Dionne Farris EP), cheered her up enough to
wear out the mic once again, just as she did on Arrested Development's
Grammy-winning smash "Tennessee." She introduced the band as
well as her daughter Sequoia who was with her. "This is the reason
for the season, y'all," she said.
Monday, June 14, 2004 Soul Cafe--New York City.
The crowd went up in a roar, screaming, whistling and making
whatever sound they could 2 earn the encore they expected. People lined
the guardrails on both balconies yelling, "We want Prince! We want
Prince!" 4 a couple of minutes. Finally, their cries received a response.
"Can y'all hear me?" Donnie asked after discovering his microphone was not working shortly after taking the stage. Performing selections from his debut album The Colored Section, he unabashedly tackled issues of racism, hatred, self-esteem, pride and love. "Everything it will be alright," he sang from "Our New National Anthem," pointing to people in the standing room-only audience, seemingly hoping to lift their spirits and speak to their emotions. "Heaven Sent" followed, as a now sweaty Donnie brightened up the stage with his pearly-white smile and vibrant tenor voice. Donnie is like a modern-day 70's activist and soul brother, with his trademark kinky afro, rainbow-colored crown hat, and tie-dyed t-shirt. He draws upon his own experiences to guide his musical flock. "I was going through it trying to get to the point where I could say, 'Donnie, I love you,'" the Atlanta native revealed before launching into the inspirational "You Got a Friend." His sound recalls 70's-era legends like Stevie Wonder, Donnie Hathaway and Curtis Mayfield, heavy on bass guitar and melodic chords from his 6-piece band. "Beautiful Me," a song which shatters society's notion that afrocentric features are not beautiful, sent Donnie's show to an energetic high. The crowd really came alive, singing along to chants like "I'm not a nigger/I'm a Neg-a-ro/When I become a nigger/I'll let you know." Donnie became noticeably emotional amidst these lyrics and vented further: "I am not a nigger! I am not a bitch! I am not a faggot!" The audience applauded ferociously, seemingly born again with his words. After singing his heart out on the Caribbean-influenced "Do You Know," Donnie introduced his band and background vocalists. A rousing, gospel-flavored rendition of "People Person" allowed Donnie to laugh with the crowd amidst the song's funny anecdotes on the ironic sins of the self-righteous. He stopped the song dead in the middle to preach to his followers: "If you are a racist, if you think women are beneath you, if you are a gay-basher, I want you to think about this and look at yourself--really!" He glared comically across the room. The audience laughed, but it was clear that his message was received. He spoke for so many--blacks, women, gays--anyone who has ever faced discrimination and been made to feel as though who they are is not good enough. Dedicated to his aunt who passed a few days before, "Cloud 9," his celebration of natural hair, ended the evening on a high note. As he sang the lines "Happy to be nappy/I'm black and I'm proud," people screamed and shook clenched fists in the air in solidarity. "I'm Donnie. Peace, y'all," he said as he left the stage, drenched in sweat and drained of all he was able to express in his 35-minute show. Nicely warmed up from Donnie's show, the audience received Amel Larrieux with cheers about a half hour later. "I have no [microphone]," Larrieux said after the crowd settled down. "I'm gonna let my beautiful background singers take it until I get a mic," she said before scatting mic-less to the music of her opening number, "Givin' Something Up." She even went over and shared a mic with one background vocalist before her own mic finally arrived. Starting the first verse over, the former Groove Theory lead singer poured lots of emotion into the upbeat, bouncy song about struggles and adversities. This song was the first of two new songs she said she was "fighting" with her record label, Epic Records, to include on her forthcoming album entitled Bravebird. It was also the beginning of what would be a highly emotional show for Larrieux, noticeably scarred but hopeful about her future relationship with her label. "That was a big rush of adrenaline," Larrieux exclaimed already sweating in her black sweater-dress with orange and purple trimming. She then introduced another new song, "For Real," a Prince-influenced ballad about the pleasant, peaceful security one feels with his or her mate. In traditional Larrieux style, she skipped up and down the high registers, hitting super-high soprano notes along the way. Before getting to more familiar material, she again alluded to her emotional state but made a promise to her fans: "I will separate the bitterness I may have from the person you see on stage by giving you positivity." The audience appreciated her statement, although the depth of her bitterness was yet to be revealed. Meanwhile, the crowd focused on singing along with her on an extended "Weather" from her 2000 solo debut Infinite Possibilities. The song's inspirational message of silver linings in every dark cloud set Larrieux off once again. "I'm blessed!" she shouted abruptly in the middle of the song. "Look at me! I'm tearin' up and sweatin' in this crazy wool dress!" A few more "na-na, na" choruses later, the song ended, and she took a moment to get herself together. "I'm not supposed to be a mess this early in the show. I feel like Whitney," Larrieux said garnering gasps and bewildered looks on some faces in the audience. She quickly clarified her statement as a reference to her sweating and not the "mess" she referred to. "Whitney is the original. Whitney is the best, and everyone is biting off of her," Larrieux added to set the record straight. Moving right along, she introduced her next song, a cover of Ella Fitzgerald and Duke Ellington's "I Like the Sunrise." She got choked up as she acknowledged her mother in the audience as the one who brought the song to her. Her remarkable performance was definitely a tear-jerker, and her ad libs intensified as the song reached a crescendo. She began flailing her arms about the air, caught up in the emotional lyrics. But, the idol chatter about the room was evidence that the audience was a little too young to appreciate such a classic. Her mother came on stage at the end, and they embraced. "You can't come to my show without emotional outbursts! It's just gonna happen," Larrieux said. She went on to thank her fans for hanging with her all these years. Switching gears, Larrieux got back into the groove with the body-moving "Get Up" from Infinite Possibilities. The crowd was grooving, rocking, swaying and singing along. Larrieux and her three background vocalists playfully scatted back and forth at one point, and then she dropped a bomb on the crowd. "Somebody at my record label told me I better start making music for the niggas," she revealed sending the crowd into a frenzy. "I didn't know there were any niggas." Some people shouted words of encouragement as Larrieux shook her head in perplexity. Bitter she may have been, but with reason. This is an entertainer who writes her own songs of spiritual uplift and inspiration--not the watered-down, cookie-cutter songs often found in mainstream music. She makes music that the masses do not buy by the millions, so it is to be expected that as the neo-soul fad fades she will encounter more resistance to her way of making music. Still, she continues making music her way while garnering buzz, press and more fans along the way. Later she would reveal, "My baby, my husband, my manager is the reason why I'm in the magazines and in the commercials, not no record label!" A beautiful new lullaby, "Still Be," was dedicated to her kids. Larrieux showcased her trademark, wailing ad libs and scatting. Vocally, she was amazing, singing as though she was giving birth to the music. The crowd agreed. Next was a medley of songs which included two new songs, the upbeat "You Will Rise" and the mid-tempo "Come Home," along with the Groove Theory track "10 Minute High." The show climaxed with a festive performance of the big Groove Theory hit, "Tell Me," which had folks waving hands in the air and singing along. "I was 19 when I wrote this!" Larrieux said in awe of the time that has passed since the song hit the top five in 1995. She is older now, with nicely-seasoned vocal chords fit for harmonizing acappella with her background singers right in the middle of "Tell Me." They ended their harmonies with a perfectly timed cue to bring the beat and other instruments back in, and the crowd went up in excitement. But Larrieux was only getting started. The band switched to a jerky remix of the song and even flavored it with a salsa beat a few bars later. The prolonged jam session ended with approving screams, cheers and whistles from the audience. The influence of Prince was heard in many of the arrangements and stylings of some of Larrieux's music, both new and old. She acknowledged her high regard for him, saying "I didn't give him enough props on my last album." But she made up for it by covering his 1986 song "Mountains." Yes. She performed a funkier version of the song which had true music lovers and Prince fans in the audience having spiritual moments. Even this writer had to stop writing to sing along as they jammed the song for at least six minutes. Unfortunately, it seemed that many in the crowd were either too young or were such shallow Prince fans that "Mountains" was not familiar enough to move them. Funk them! Larrieux engaged the crowd in a four-part, harmonious ad lib chant (she is, after all, the queen of ad libs). "Could you be the most beautiful girls in the world," she sang to her background vocalists before introducing them and the rest of the band. The hour and 35-minute set ended with Larrieux inviting a fan on stage to join her in an emotional rendition of "Make Me Whole" from her Infinite Possibilities album. She plugged her management company's web site before leaving the stage. "Hopefully, if I can put myself out, then that's where we can talk. I love you." For her sake, and for her fans' sake, let's hope she gets her way.
On the opening night of its 6-night stint at Iridium Jazz Club, the Garrett quartet entered the stage and took a few moments to tune. Seconds later, Garrett and his alto saxophone were racing up and down scales, delivering scintillating trills on "Third Quadrant," an upbeat, electrifying track from his 1999 Simply Said album. Laying out while the bassist took his solo, Garrett quelled his nervous itch to perform by miming the bassist's performance. Meanwhile, the drummer all but crushed his drums, keeping the song's high-speed tempo with awesome precision. Surprisingly, only one song from Standard of Language made it into the Detroit native's 6-song playlist for his first of two sets for the evening. "Kurita Sensei" is a laid-back, mid-tempo track with a melody inspired by Wayne Shorter's "Footprints." Sporting corn rows under his multi-colored kufi, Garrett used his soprano sax for this one, delving deep into the free-spirited playfulness of the song. It is clear that Garrett is not playing merely to perform for his almost capacity audience; he plays because he is a part of the music. In fact, he seems surprised at periodic applause but humbly acknowledges with a quick glance across the room. Speaking for the first time, Garrett introduces the rest of the quartet: Vernell Brown on piano; Kristopher Funn on bass; Ronald Burner on drums. He also shares the story of his Japanese language teacher Kurita, for whom this last song is named, and under whom he studied while on one of his many trips to the Far Eastern country. "Right now, we're gonna play a song for you entitled, 'Kenny, dat ain't nutttin' but the blues,'" Garrett announced--these the spoken first words of "Ain't Nothing But the Blues," a Miles Davis-inspired track from 2002's Happy People album. This soothing, feel-good neck-jerker showcased more of the quartet--giving Garrett a chance to breathe a little more for himself for a change. They delivered an impressive ending with a slow fade, until only breath gliding through Garrett's horn could be heard. The crowd responded with resounding applause. The remaining selections all came from Happy People. Next was a festive track, "A Hole in One," which Garrett said is inspired by golf pro Tiger Woods and acclaimed jazz trumpeter Woody Shaw. All four musical parts blended nicely, with Garrett back on alto and the drums and piano driving the song. A piano solo sparked positive responses from both the crowd and Garrett. When he hears something he likes, he smiles. When the music moves him, he moves with it. When he performs, his sax is like another body limb, another voice box with which he communicates in his second language. Moments later, Garrett and Burner joined forces for a thunderous sax-and-drum ending. Funn and Burner left the stage for the melancholic "Asian Medley," performed in three parts ("Akatonbo," "Arirang," "Tsubasawo Kudasai"). After a somber yet beautiful duet of soprano sax and piano, Garrett blew solo halfway through the second part in an almost freestyle series of crescendos and trills. Garrett is one with his instrument, displaying his signature style of rocking backward and forward seemingly at the command of the sax. The attentive yet mostly still crowd listened in tranquil admiration. So sobering was this performance that Garrett had to overcompensate to get the audience excited for the finale of this hour and 10-minute set. "Are you happy people?" Garrett asked halfway through an upbeat yet smoothed out rendition of the title cut from his 2002 album. "Well, put your hands together and sing 'happy people' on the count of three." The audience awkwardly sang along, giving what they felt was their best. "They're shy on Tuesdays!" Garrett sarcastically retorted to the audience's less than stellar collaboration. Returning to his alto sax, Garrett brought the song home explosively, blowing with all his might, rocking backward and forward again, to which the audience continuously applauded and cheered. When he was done, Garrett smirked at the now excited audience and launched into a reprise of the hook of "Happy People," sustaining the song's high emotions. In his freestyle second close, Garrett seemingly could not let go of his sax. A second reprise and another high-powered finish ultimately made him, and the audience, quite 'happy.'
Just one week into the nation's war with Iraq, Kindred's Fatin Dantzler and Aja Graydon made their war stance known, opening the show with a cover of Edwin Starr's "War" (also ironically one week before Starr's passing). It was no surprise coming from a duo that hails from Philadelphia, a city known for its peacemaking, love-spreading music-makers: Gamble & Huff, Teddy Pendergrass, Jill Scott, The Roots and Musiq. Tonight's show likely provided the mostly-standing crowd a needed escape from the world's troubles, with Kindred's "Surrender to Love" settting the tone: Surrender to love/It'll get you through these days and times/Let your love light shine/Come on! Wearing matching black t-shirts by Philadelphia-based designer Miskeen, Kindred performed for a crowd that was mostly unfamiliar with their music. (This show occurred just one day after their debut album was released.) But Dantzler and Graydon easily won them over with the funky "Don't Wanna Suffer (Carbon Copy)," and had them shaking fists in the air during a lengthy rendition of William DeVaughn's "Be Thankful For What You Got." By then, Dantzler had broken a sweat in a major way--his on-stage persona floundering between vocalist, band leader and hype man. Meanwhile, Graydon's makeup appeared unaffected under her fluffy afro. Indeed, these twentysomething singer-songwriters and parents of two are a study in yin and yang. Dantzler's youthful, excited on-stage energy complements Graydon's usually calm demeanor. Vocally in sync, Graydon's bird-like alto caresses Dantzler's rugged tenor. (His voice is a cross between Terence Trent D'Arby and Christopher Ballin of Incognito fame.) The kindred musical and romantic connection they shared on stage often found them holding hands or serenading one another, as in "Stars," their honest assessment of their work-in-progress relationship. "Are you ready to keep this thing flowing?" Dantzler asked the noticeably invigorated crowd. Kindred's 4-piece horn section blew up the spot for a rousing rendition of Maze Featuring Frankie Beverly's "We Are One." Next, Dantzler and Graydon danced together to a soul-meets-rock version of their current single, "Far Away," their plea for an escape from a world that has lost its soul. By the end of the song, the crowd had visibly released its own stresses amidst Kindred's highly emotional performance. Graydon acknowledged one of their home girls from Black Lily, a Philadelphia artist collective that helped give Kindred its start, before launching into the explosive "Spread the Word," which borrows elements from War's "River Niger." Kindred's 10-piece band engaged in an electrifying jam session, with a punchy bass line setting off Kindred's soulful attitude. Dantzler and Graydon had the crowd chanting with them: Spread the word/to one another/It's the latest thing/If you ain't heard it/Well, get up on this y'all 'cause/Kindred is about to bring it. Graydon took her first sip of water for the evening and slowed things down with the melodic "If I," in which she showcased her silky-strong abilities. In response, Dantzler wrapped his hand around Graydon's waist from behind and rested his head on her shoulder, feeling the vibe of her voice. The show ended on an extreme high with the King Britt Remix of "Rhythm of Life." Atop a slow groove, Graydon belted out the first verse, singing lovingly to Dantzler. They touched, they smiled, they laughed in embarrassment. Then, the music kicked in with a classic house sound, replete with resounding horns and a driving bass line. Everyone in the place was dancing with hands clapping in the air, riding the musical wave. Graydon even got the musical spirit and had to skip to the beat for a minute in her silver boots. Moments later, the audience was clapping and cheering as the performers left the stage, less than an hour after they first arrived. There were no encores for this performance; Kindred's musical statement was clear from the start. In the spirit of neo-soul pioneers like The Brand New Heavies and Incognito, Kindred is returning the genre to a time when the music celebrated life and fed the soul.
Wearing a white headwrap, a white off-one-shoulder loose-fitting top, and a yellow skirt, Arie humbly entered the stage alone and quietly took her place on a stool, acoustic guitar in hand. She set the tone for the evening, as she often does, with "Intro," the first track on her debut album Acoustic Soul which threads throughout the album, paying homage to entertainers and loved ones who have passed away. A beautiful rendition of Pharoah Sanders' "The Creator Has a Master Plan" followed as her sea of fans sat peacefully on the park lawn. Probably her most personal performance was "India's Song." This folk song was originally released on the 1998 Groovement EP, and it uses slavery and racist post-slavery references like lynchings as a backdrop to her journey to paradise. Throughout the night Arie's guitar was giving her problems. Her guitar technician had to make regular adjustments to the guitar, but it never seemed to perform to her satisfaction. Rising above this annoyance, she still managed to make beautiful music. "I have some new songs to share with you," Arie announced. Tonight's show was one of her first opportunities to showcase new material from Voyage to India. As her trademark hooped earring dangled about her jaw, Arie sang her new material like a woman who knows from whence she's come and knows where she needs to be. "This is my song right here," Arie admitted about "He Is the Truth" as the band entered the stage for the first time, playing only minimally as Arie sang softly. Minutes later she and the band launched into "I See the God in You" which she dedicated to "the beautiful men." "I need y'all to be my music," a determined Arie announced while an adjustment to her guitar had to be made midway through the song. But she didn't miss a beat and finished the song without her guitar. "I don't know what's wrong with my guitar, but we gon' keep on going. I feel kinda weird without it!" Arie confessed. But she trudged forward on her journey, performing warm, island-sounding versions of "Nature" and "Simple." The latter had Arie spinning around, her oversized sleeves flailing in the wind. She danced with a backup singer and even got crunk for a second--gyrating her body to the island rhythms. She was almost like a child with the stage as her playground. Arie performed the first single from Voyage to India, "Little Things," which she says is about a lesson she learned last year on her journey. Arie then beat-boxed an introduction to "Strength, Courage, & Wisdom" which she dedicated to New York. At one point she had the audience to recite the three words of the song's title. "Dang, that feels good!" Arie beamed from the energy of the crowd who responded with resounding applause when the song ended. Turning her back to the audience, Arie shook her hips back and forth as the beat of "Brown Skin" kicked in. The crowd cheered ferociously as Arie performed a very bluesy version of the song, sans her guitar. People sang along, some with their hands in the air. The song turned toward a gospel interlude before returning to a bluesy feel. Upon receiving her guitar back, Arie began playing the acoustic, original version of "Video." The more familiar version of the song followed shortly thereafter. "If you're a queen and you know it, clap your hands!" she shouted as ladies all over the park stood up, clapping their hands and singing 'their' song. Arie raised her fist in the air, snapping to the song's soulful, bass-heavy rhythm. By the end of the song, everybody in the audience was on their feet, dancing and singing along--faces of all colors. "Love yourself! No matter what they say!" she exclaimed. Then, a humble Arie curtsied and left the stage gracefully with her hands waving in the air. She returned for an encore performance of another new song, "Good Man," with only her keyboard player, acoustic guitar player and drummer, who merely snapped his fingers to keep the rhythm for her. "This is my first time playing this live. Let's see if I can make it through without crying," Arie said of the song in which a man laments his death to his wife and children. Her journey's end was a very emotional and heartfelt "Ready For Love" which had folks witnessing in the audience. "This song is my petition for love to come into my life," Arie revealed. When she sang the words, "a man who loves art, respects the spirit world, and thinks with his heart," the crowd went up in cheers as she held the note of the last word. Before leaving, she introduced the band members and even plugged a project that bassist Khari Simmons and drummer Forrest Robinson recently released: The Love EP by Jiva (Giant Step Records). "Peace New York! We love y'all! Thank you so much!" Arie bid her final farewell, and the crowd responded with cheers and ovations as they stood in awe of this magical night, an awesome musical journey. Arie tours the United States and Canada through the beginning of next year.
Rhythm of Love Tour Will Downing, Gerald Albright, and Patti Austin
Sunday, July 21, 2002 Westbury Music Fair--Westbury,
New York Albright always gives fun, energetic shows, and this one was no exception. "The last time I was here, we had one big party, and tonight we're gonna repeat history," Albright announced. On his 1989 hit "Bermuda Nights" (back when he had a few more strands of hair, he said), Albright had the audience snapping on the 2 and 4, as opposed to the rhythm-less 1 and 3--even the White people! Amazing! Austin graced the stage next for the first of two unforgettable sets. Not only does she sing like a bird, but she is a hilarious, brash, saucy jokester and storyteller! The audience probably wasn't expecting to hear Austin curse, clown White and Black folks alike, and turn around and sing her lungs out! She busted into her set with her famous contribution to Quincy Jones' The Dude album, "Razzamatazz." On her Grammy-nominated remake of Thomas Dolby's "Ability to Swing," Austin scatted ever so eloquently and then, she whistled. I mean, she whistled to the music as if she were singing, hitting notes and everything. The impressed crowd responded with thunderous applause. Before singing her self-penned song "So Good," she told the story of coming into her own as an almost 52 year-old: "It's all about me!" Austin declared sporting her new slimmer figure, "When I'm not near the one I love, I love the one I'm near." Somehow she got on the subject of male genitalia: "A dick looks like a turkey neck and giblets." Yes, she said it--at least twice before making way for her male singing counterpart. Will Downing is one of the most underrated and under-recognized vocalists in the music industry. Sigh... that having been stated, Downing's first set was simply amazing as he showcased the highs and lows of his range. He opened with two songs from his new album: his remake of Michael Jackson's "I Can't Help It;" and the beautiful "Don't Talk To Me Like That," a bomb-ass song co-written by Brenda Russell and jazz percussionist and vocalist Vinx. Downing excited the crowd with an edited version of "Sorry, I" before strolling through a couple of oldies. Before Downing left the stage, Albright joined him on rousing performance of "Wishing On a Star." One of the great things about Albright is his on-stage energy. When he plays, he puts his back into it, his hips into it, not to mention his lungs into his horn. "Ain't no party like an east coast party 'cause an east coast party don't stop!" Gerald exclaimed as he launched into his customary jam session. He made the audience get up out of their seats and jam with him and the band through loose musical variations on James Brown's "Get On the Good Foot" and Kool & the Gang's "Funky Stuff." At one point he even performed by simply blowing air through the horn--just enough to make an air sound--and the crowd was loving it. Following Albright's sweaty jam session, Austin reemerged on stage. "We're going to maintain the old school flavor," she announced before taking the crowd back to her teenage years in the 1960s with "I Only Have Eyes for You." Austin's only performance from her Ella Fitzgerald tribute album was "You'll Have to Swing It (Mr. Paganini)," which got her a standing ovation from both the audience AND the band. She spoke very highly of Fitzgerald: "She was the baddest heifer alive!" Austin then told a funny, fictional story about how her 'musical husband' James Ingram won't let her sing 'their' songs with anyone else but him. But since this night's performance was "all about her," she performed an uptempo "Baby, Come to Me" and had the audience wailing in laughter as she impersonated Ingram's vocal parts. Austin had James' deep crooning voice and everything! She wore out another Ingram collaboration, the Oscar-nominated "How Do You Keep the Music Playing," this time singing the melody in one-part. Apparently still miffed that the song lost the Oscar, she grabbed her crotch to get back at that year's winner ("Up Where We Belong"). Yes, she did--just like a diva. Then Austin announced, "Ladies, hold on to your drawers because it's time for some sexual chocolate! Will Downing!" Downing opened his final set with an upbeat version from his latest single "Cool Water." His classic hit "Nothing Has Ever Felt Like This" was performed along with his background vocalist Bridgette Bryant. They performed it with the same intimate touching and caressing which the song normally calls for. At one point they both sang into the same mic, as Bryant caressed Downing's chocolate skin and his bald head. It was like they were fighting back a musical orgasm. If you've seen this song performed before, you know what I mean. Albright joined Downing on stage for "Stop, Look, Listen to Your Heart" from their 1998 album Pleasures of the Night. The finale was a rousing, inspiring performance of "We Fall Down," Albright's new jazz instrumental version of Donnie McClurkin's gospel hit from two years ago. Downing and Austin provided vocals and induced a musical high for the standing audience. What a better way to end a magical evening! The crowd was feeling every note, every sound. And folks surely made some good love when they got home! If you've seen the show before, you know how nice it is. These guys give a mind-blowing show and they have some serious fun on stage. They perform hard and they play hard.
Evolution 8701 Tour Usher, Nas, Faith Evans, 3rd Storee, and Da Professor
Saturday, June 29, 2002 PNC Bank Arts Center -
Holmdel, New Jersey Backed by a 4-piece band and a DJ, urban diva Faith Evans danced and sang her way through a 30-minute set of music from her three albums. Evans strutted onstage as the bassline from her dance hit "All Night Long" resonated throughout the venue. Fans got a taste of her emotion-filled ballads "You Used to Love Me" and "I Love You," and her new single "Burnin'Up." The mostly seated crowd responded favorably to hits like "Love Like This" and "Never Gonna Let You Go," which had people on their feet waving hands in approval. "I think my folks in the back are ready to get ghetto," Evans announced. But when she launched into her recent hit "You Gets No Love," Evans received virtually 'no love' from the largely adolescent audience, many just arriving the venue. Evans has always walked the thin line between Hip-Hop and R&B, between young and old audiences in her music. It seems that with three albums under her belt, maybe she should be headlining her own tour, reaching a broader audience who would give her the love she deserves. But, Evans took it in stride, giving fans her all in every song, in every note she sang. Even performing on the soil of her home state did not help Evans win over this audience who, despite their love and respect for Evans, made it clear that they were here to see Usher and Nas. Nas emerged from his castle-like set, greeting a standing and shouting crowd who raised their hands in the air like gats (at Nas's urging) to the thumping beat of his hit "Got Ur Self A..." Throughout the show Nas's good-and-bad persona shined through his brilliant lyricism ("One Mic") and his vicious verbal attacks ("Ether"). All in all, Nas kept his show simple, with just a hype man and a DJ, and no unexpected lyrical warfare. He did not address the ongoing verbal war between him and Def Jam rapper Cam'ron, who lashes out at Nas on a newly recorded 10-minute track which was sent to radio stations days earlier. Also, days earlier at the HOT 97 show at New York's Jones Beach, radio station executives refused to let Nas include a newly-created segment in his show wherein a Jay-Z lynching would take place. Apparently afraid of backlash from Jay-Z and his label Def Jam, HOT 97 kindly asked Nas not to perform at all. Tonight, Nas nonchalantly performed an abbreviated version of "Ether," his verbal beat-down of Jay-Z. "I need more competition now," he explained. Like Evans, Nas had to cram five albums of material into his 30-minute set, which included the hits "If I Ruled the World (Imagine That)," "You Owe Me," and "Hate Me Now." The Queensbridge, New York native brought out R&B newcomer and label mate Amerie to sing the hook on his latest single, "Rule," his iconoclastic call for peace which he dedicated to President George Bush. Amerie followed that performance with a brief rendition of her latest single "Why Don't We Fall in Love." By the end of the set, positivity reigned in this Hip-Hop kingdom as Nas encouraged fans to pursue their dreams relentlessly. "The mic is mightier than the sword," Nas bellowed as he left the stage, "no more guns!" A half-hour later, the man of the evening arrived. The Grammy Award-winning Usher leaped over a massive, curved ramp-centerpiece on the stage to greet his screaming fans as the band cranked up "I Don't Know." The show was impressive at the very least, as the Chattanooga, Tennessee-born entertainer showcased the evolution of a teen sensation to soul crooner. The consummate performer and showman, Usher danced and leapt and sang (no lip syncing here) through an hour and a half of songs, mainly from his albums "My Way" and "8701." The first half of the show showcased both old and new material with the catchy "If I Wanted," the raging "I Can't Let U Go," and the urban ballad "Nice & Slow." Usher delivered a powerful rendition of "Bedtime," using a matured, more powerful voice than on his previous tour. He invited a young lady on stage and serenaded her with "Twork It Out" gentleman-style, giving the fans a lesson on romance. The latter half of the show was packed mostly with hits, including "U Got It Bad," "You Make Me Wanna...," and "U Don't Have to Call." As sweat trickled down Usher's face, "U Remind Me" brought him to his knees, singing his heart out to a crowd that could not get enough. Usher used seven dancers, a jumbotron in the back of the stage, and a good amount of pyrotechnics and fireworks to dazzle the crowd and keep them on their feet. As expected, dancing was second nature for Usher, who commanded the stage and executed choreographed and freestyle moves effortlessly. Young girls' mouths dropped as he created magic on stage, followed with his trademark boyish grin. In Usher tradition, he paid homage to his idol Michael Jackson in his many of his movements (especially the jerking snap of the arm a la the "Beat It" video). For his finale Usher belted out a cover of Marvin Gaye's "What's Goin' On," which featured an on-screen tribute to deceased entertainers in the music business, including Lisa "Left-Eye" Lopes. Ironically, in the audience was TLC's Rozonda "Chilli" Thomas, Usher's girlfriend of the past year. He told her he loved her before leaving his fans with four words: "peace, equality, unity and love." As Usher danced offstage for the last time, young girls jumped up and down, smiled back at him, and feverishly waved goodbye. The Evolution 8701 Tour was a solid performance package, an urban music spectacular that young fans will remember for years to come. This leg of the tour wound down in Usher's hometown of Atlanta in mid-July, and there is talk in Usher's camp of adding another leg of the tour later in the year. If that happens, it will be interesting to see what kind of tour package emerges and what artists will join him.
Thursday, June 27, 2002 S.O.B.'s - New York City Church eased onto the stage like a regular joe, with his vintage chic Member's Only jacket, jeans, and youthful face. Moments later, he shattered this image, ripping into the guitar-heavy "Fine Line," Church's only collaboration with Furtado on his album. His soulless backup vocalist filled in Furtado's parts, as Church sang for life, every chord, every word pulsating through his spasmodic body. On the island-groove "So Amazing," Church tried out his strong vocal stylings, remniscent of George Michael. The last song to be added to "Shake It Off" is also the oldest song on the album. "Last Night Ever" is an emotionally-charged, 'seize-the-day' song Church wrote four years ago and dug up for this album. After the events of September 11, he searched for a song that could convey his feelings; "Last Night Ever" was just what he needed. Tonight, when he performed the song, the audience seemed to feel Church's every word. You could even see a little Marvin Gaye in his emotional facial expressions as he sang. Church even sounded a little like Marvin Gaye on the album's title track and first single as he crooned and belted his emotions from his lungs. By then, the standing room-only crowd was moving and getting a feel for this Jamaican-born, Canadian-raised musician. "I'm working up a sweat," Church admitted with pride, "let's see if we can't get you folks to sweat a little bit." With these words Church removed his jacket and launched into "Run For Your Life," a dancehall ditty bemoaning stalking groupies. Once again, the 'too-glad-to-be-here' backup vocalist sang the lines of a fictional groupie sung by Esthero on the album track. "This [last] song," Church announced in his Jamaican-Canadian accent, "answers the eternal question: Can Jarvis Church rock?" The answer came as a resounding 'hell, yeah!' with the 1960s Soul-meets-Ska "All I Ever Wanted." He serenaded a blonde girl in front of the stage, emoting from the depths of his soul. Meanwhile, the 5-piece band rocked effortlessly and capped it off with a roaring electric guitar finale. Church was all over the stage, rocking steady and hard. Moments later, a cooled off Church commented on his high-energy performance. "I feel most comfortable when I'm giving [my] everything on stage," Church explained. Fans of The Philosopher Kings will be pleased to know that his onstage energy is no less than what he gives on The Philosopher Kings' live album "One Night Only." Jarvis Church's debut solo album "Shake It Off" is in stores August 6. Church says many of his new songs are autobiographical, while others address issues he knows "quite intimately." He's definitely worth a listen.
As the chords from "Plantation Lullabies" rang through the halls of room, souls were transported out of their hot and sweaty bodies to take a closer look at themselves, each other. (For many of us, a mirror just ain't enough!) Ndegeocello humbly stepped up to the mic and calmly let loose. From the top of the evening, fans got a preview of Ndegeocello's fourth album "Cookie: The Anthropological Mixtape," due in stores just two days after this sold-out show. She gave up the funk with her single "Pocketbook," shed some light on the devil's work in "GOD.FEAR.MONEY," and showed fans a tree-top view of the stars with her remake of Funkadelic's "Better By the Pound." (Think about it.) It was evident that Ndegeocello was in control, the maestro of her 5-piece band. She took her time, making sure her messages sank in slowly but deeply. Once the conscious poet-singer had the crowd under her spell, she took them back to the time when love, not material wealth, satisfied their souls. The crowd went up when she belted out "Soul Searchin' (I Wanna Know If It's Mine)" from the Higher Learning soundtrack. (Don't nobody want me/don't nobody kiss me/the way you do.) "It's a magical night. I am just trying to feel the magic," she humbly responded to the roaring crowd. But that was just the beginning. Ndegeocello ripped the place wide open with a fiery performance of 1996's "Stay," with its hypnotic harmonica solo and electric guitar finale that sent hot flashes through the crowd. Returning to her new material, she broke down what she calls "Priorities 1-6"-just a few of the urban myths and customs perpetuated by unmentionable iced-out, doped up, hood-shoutin'-out hip-hoppers. After jokingly contemplating a guest spot on MTV's "Cribs," Ndegeocello offered a musical alternative for the new hip-hop generation: Go-Go with a little extra bounce. The former session musican took the crowd back once again-this time to her days in the epicenter of Go-Go music, her native Washington, D.C. The band cranked up the bounce-heavy "Barry Farms," a song about a girl who likes to creep behind her boyfriend's back on the DL-with another girl. Why does she creep? Ndegeocello whispered into the mic, "Can't nobody eat my pussy the way that you do!" Enough said? As shouts swelled in the room and folks started high-fiving, Ndegeocello brought them back to earth: "But you should teach your boy to do that." As the lights faded to a dim blue, Ndegeocello reminded the crowd what true love is with the ethereal "Earth," but she also warned them not to be blinded by love in "Deuteronomy: Niggerman." With the fans' attention on a musical high, Ndegeocello shared a poignant story of her experiences in New York City on September 11. As the band grooved to a Caribbean bassline, Ndegeocello let fans feel what she felt that day in a new, unreleased song entitled "Fellowship." Fans stood swaying in silence, some with their hands in the air. "God bless America-why just America? And who's god are you talking about?" Ndegeocello philosophized as the crowd cheered in agreement. When Ndegeocello and her band made an unexpected departure, the newly-liberated crowd roared, hungrily begging the funky soul sista to come back and feed them more. Ndegeocello obliged with "Dead Nigga Blvd. (Pt. 1)," her lyrics hitting hard and the bassline sinking it all in. (No longer do I blame white folks for the way that we be/'cause niggas need to redefine what it means to be free.) The band then kicked in the finale, an electric "Pt. 2" reprise of the same song, as Ndegeocello gave the fans her last words. "Can't gain the world and lose your soul," she bellowed. When it was all sung and done, souls reclaimed their bodies, enriched and rejuvenated, and headed home... reborn. In just and hour and 45 minutes, Ndegeocello gave her fans more than they ever dreamed of, and just what they needed. If you missed Meshell Ndegeocello on tour this summer, you must own a copy of her latest album "Cookie: The Anthropological Mixtape." For more information, go to www.meshell.com or www.freemyheart.com.
Riding the wave of the success of his latest single "Take a Message," neo-classic soul crooner Remy Shand is bringing his 'messages' of soul-inspired love and liberation right to the hearts of his fans. The Canadian-born musician became a disciple of soul music's royalty-Marvin Gaye, The Isley Brothers, and Stevie Wonder-as a young child. But at his recent S.O.B.'s show in New York, he proved that he's not just another white boy who overdosed on classic soul music and lived to sing about it. The 40-minute set showcased the superior musicianship and emotive songs from Shand's Motown debut album "The Way I Feel." He kicked off the set with the title cut from the album, setting the tone for the evening and dispelling any doubts that he couldn't really bring it. Launching into a New Orleans-style second line, he left the soul-shocked audience convinced and hungry for more. Shand led the crowd through the Smokey Robinson-inspired "Everlasting" and the loping "Rocksteady," the latter evoking Al Green with an intense ending breakdown remniscent of Stevie's "Isn't She Lovely." He poured his soul right into his Rhodes electric piano in a new, funkier arrangement of "Liberate," scatting and shaking off his past. "I've been living with the song for a long time," admitted Shand whose sound is a combination of D'Angelo's bellow and Maxwell's falsetto. After slowing it down with a bluesy "The Colour of Day," Shand gave the anxious audience an upbeat rendition of his hit single "Take a Message." Dedicating the song to his parents for preventing him from scrapping the song, Shand had the audience vibing off the song's signature bass line and his own fiery piano solo. Having played 15+ instruments on his debut album, Shand gave a sample of his ardent musicianship with a crowd-rousing finale in "The Mind's Eye." He began the number on the piano with his electric guitar strapped on. Halfway though the song, he got up from the piano and ripped into an emotional guitar solo. The crowd danced and gazed in awe at Shand's lean 6'4" frame as he scatted into an out-of-body experience: "Gon' get happy now! Gon' get happy now!" But he kept it cool and mellowed the tune out back at the piano, before bidding his audience a quiet and humble farewell. In the spirit of Jimi Hendrix, Shand's performances are musical creations with characteristics all their own. He says he intended it that way. "I wanna give people more than the [album]... something more organic." Find out more information on Remy Shand and his debut album "The Way I Feel" at www.remyshand.com.
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N'Dea
Davenport 
Dionne
Farris 
Trina
Broussard 
Vanessa
Williams
Prince
Amel
Larrieux & Donnie
