Jill Scott LIVE.

Like most people, I was first introduced to Jill Scott via her hit single “A Long Walk,” in 2000. However, that was the extent of my Jill Scott knowledge until the release of 2007’s The Real Thing. I was a senior in high school and my best friend recommended that I listen to it, and I’ve been hooked on Ms. Scott ever since.

Over the years, Jill has released several live concert DVDs and accompanying albums. Truth be told, her live albums usually render their parent studio albums irrelevant. I mean… who wants to listen to the studio version when you can listen to Jill slay the same song live with a full band behind her?

However, my first time seeing her live, in person, was almost exactly two years ago, in July 2015, also at Kings Theatre. Wednesday night’s show was my third time seeing her live, and it was my favorite thus far. Let me tell you why.

Jill Scott Live: LOVE.

One of my favorite things about Jill Scott’s live shows is that will throw in random album tracks that were not hits, not specifically popular and that most casual fans probably won’t know. Yet, she’ll do it anyway. This time, she opened her set with “Be Ready,” a bonus track on her first live album.

From there, Jill bopped her way along through some of her big songs, like “Golden.” This brings me to one of my other favorite things about Jill Scott live: she will always bring you a fresh, new arrangement. This time, “Golden” had a whole lot more horns added. She made it a bit more funktified, and I got my life.

Jill Scott Live: SEX.

It wasn’t long before the show took a turn toward the naughty and nasty, set off by her 2004 classic “Whatever,” from Beautifully Human. She moved through a series of some of her most sensual songs, such as “Crown Royal” from The Real Thing, “Making You Wait” from 2011’s The Light of the Sun and “Can’t Wait” from 2015’s Woman. During “Making You Wait,” which is about making her potential boo wait until the fifth date, she joked, “you think you slick coming in here with them sweatpants on. I CAN SEE IT.” Jill ain’t never lied. We all know about eggplants and sweatpants.

Next, Jill spoke to the straight men (and, I suppose, the gay tops) in the crowd saying, “I can almost guarantee you gon’ get some tonight. You’re welcome! Maybe even on the way home, in the car… Just make sure that on the 5th stroke, you think of me, like ‘Thanks Jill!'” The crowd erupted into applause and laughter, but she wasn’t done. “Crown Royal,” understandably so, was the… well, climax, of the whole movement though.

Jill Scott Live: DICK.

After the lyric in “Crown Royal” where she so gleefully sings, “and you’re so thick, so thick…” she took a moment to pause the song for a quick shout out. She proceeded to shout out “all the big dicks,” giving an impassioned round of applause, yelling for everyone to give it up for all the big dicks. Y’all. I died. Like, actually died. How can you NOT love her? She has zero filter and is just so damn real. Like, yes, girl, let them know how you really feel. Jill has so much class, though, it still manages to somehow feel tactful. Well, almost. She went on to simulate giving oral sex to the microphone and it was hilariously raunchy… and that’s fine. It was glorious. I hope the ladies and the gays took note.

Jill Scott Live: POLITICS.

Jill also took some time to get political, with a performance of “My Petition,” a song from her 2004 album, Beautifully Human. The song is an allegory written to express her grievances to the government back in 2004… the George W. Bush years. Before performing it, she explained that she thought more people would listen if she wrote a love song to the government, and talked about reading the Constitution to add some of the very obvious allusions that exist in the song. While performing it, she played a slideshow of Black men and women who had been killed by police in America. It was emotional to see the faces of these men and women, such as Sandra Bland, Eric Garner and Philando Castile, as she sang this particular song.

Afterward, she launched into another politically charged song, where she sang, “Oh say can you see by the blood in the streets … this is not the land of the free, but the home of the slave.”  Finally, she went on to speak further about the topic, touching on immigration and the injustices against Black people in America. She encouraged the audience to work together to make a change, stressing the importance of unity.

Jill Scott Live: VOCALS.

Other highlights of the show were a personal favorite of mine, “Cross My Mind,” which never fails to send me through my feelings, the classic “The Way,” the electrifying “Hate On Me,” and the iconic showcase that is “He Loves Me.” Jill never fails to deliver vocally, and these songs always deliver are some of her best moments.

She closed the show by showing off, as she always does, with her performance of “He Loves Me.” It’s always funny to see people leave early at shows when the artist does a fake-out. The blackout and silence before “He Loves Me” was the second fake-out Jill pulled in her set; but I knew very well that she would be back. Jill simply would not put on a show without slaying perhaps her signature song: “He Loves Me.” And slay she did, hitting operatic high notes, sliding through soulful runs and riffs.

In short, seeing Jill Scott live is wholistic experience. She will send you through all of the feels associated with love and life. She does it with class, brash realness and immense talent. Get your tickets, and get your life.

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It’s been one week since Beyoncé strutted out on stage in Philadelphia in that black “Formation” hat to snatch my life at The Formation World Tour, and I am still hungover.

I have been a Beyoncé fan since she was slinging her original, pre-Formation braids during 1999’s The Writing’s on the Wall era. Sure, I knew “No, No, No Part 2” when it dropped in the fall/winter of 1997, but I didn’t know who sang it. It came and went. I was seven years old; forgive me, DC, for not realizing your greatness then. A little over a year later, I came into the light with the release of “Bills, Bills, Bills” in the spring of 1999.

Fast-forward to 2001’s TRL Tour: my first time seeing Destiny’s Child live. Obviously, this was also my first time seeing Beyoncé live. I can’t even begin to explain what my 11 year old self was feeling on that night, but in short it was glorious. Since then, I have been to every tour Beyoncé brought to New York, solo or with Destiny’s Child…

1. The TRL Tour (2001)? 
2. The Ladies First Tour (2004)? 
3. The Destiny Fulfilled & Lovin’ It Tour (2005)?
4. The Beyoncé Experience (2007)?
5. The I Am World Tour (2009)? 
6. Live at Roseland (2011)?
7. The Mrs. Carter World Tour (2013)?
8. The On the Run Tour (2014)?  
9. Made In America (2015)?
10. The Formation World Tour (2016)?

Regrettably, the only (nearby) event I missed was her Revel mini-residency because, well, it was 2012, and when tickets went on sale I was a broke senior in college doing student-teaching by day, classes in the afternoons, and working part-time at night. My coins were not in formation… that, and, I hate Atlantic City. Oh, and 2013’s Made in America because I had to work ?. I regret both. I repent. Forgive me, Bey.

Anyway, for the Formation Tour I decided to go all out (well, within reason) for several reasons. First, because for once my coins were in Formation, it wasn’t that difficult to get tickets (Mrs. Carter was hell on earth) and I had a bunch of friends who wanted to go as well. Second, because she decided to add two extra shows in New York and I have no self-control. Third, and most importantly, because with “Formation” she made one of her most important statements to date and the fact that she was capping it off by being a fierce, independent, Black woman headlining her own stadium tour ALONE deserved to be seen multiple times. So, I bought tickets for Philly, both Queens shows, and the newly added New Jersey show in September. I was judged, but ask me if I give a fuck? Don’t hurt yourself…

Let me explain why: money can’t buy happiness, but Beyoncé concerts sure do provide it. Now, I am not about to give her all of my coins to stand in the Beyhive Pit. More power to those of you who can and have, but quite frankly, as much as I love her, that price downright offends me because it’s utterly unnecessary. I paid $383 in 2005 to meet Destiny’s Child, sit front row, and I got a t-shirt, lanyard, and signed photograph. I spent under $300 to stand in the front rows of the Roseland shows on two different nights. I’d have to spend probably $2000 to get all of that at this tour. Sorry, Beyoncé, but no. I hope in the future she just makes a regular GA pit at her shows, like at Roseland. I am happy to sit and wait 12 hours to get my desired place in the crowd, but I will not give you $2000 of my hard earned money. I could, if I wanted to, but it’s about principle. I want to be successful too, Beyoncé, and I know you didn’t drop $2000 to see Janet, Prince or MJ live when you were a common folk, sis. Please reconsider them prices. In the meantime, I’ll stick with going to 4 shows for less than the price of one Beyhive ticket and get my life four times over…

A point which brings me to The Formation Hangover. It. Is. Real. You might have read my girl Jordan’s post about her experience at the Chicago show, and all of the feels it sent her through after. Well, multiply that by three and then cube it for good measure and you’ll arrive at my current state of being.

I’m not going to walk y’all through the show, because, again, Jordan already did that and you should really go experience it for yourself if you haven’t already. If she already came and went from your city, girl, now would be the time to take a road trip or hop on the next plane. JetBlue is probably having a sale. Hell, perch on Spirit Airlines. It might be basic but once you are in Bey’s presence you’ll feel glorious. Go. Just go. I swear to you, you will not regret it – but you might regret missing it once you watch the inevitable DVD.

Though, I don’t think any recording of it will give justice to the wonders of The Formation World Tour. It was truly the best production Beyoncé has ever put on for one of her solo tours (DF&LI still is my favorite, if we include DC tours). Stadium shows are a challenge, and while the On The Run tour handled the challenge well enough, The Formation World Tour and its giant box was on a whole other level. That box might look basic but it’s like a giant box of tricks. You never know what’s going to pop out of that thing. It was such a genius way to handle the immensity that is a stadium concert. It made the show accessible to the entire audience, no matter your seat. Quite frankly, if you weren’t on the floor, she was too far to really gaze upon her with your own eyes anyway. I might as well have been up in the sky for $60, in hindsight.

Not only was the production flawless, but the setlist was pure perfection. The way she weaved the songs together flowed seamlessly both musically and thematically. It was one showstopper after the other. Each song was a downright slay and they just kept on coming. Through each Act of the show, she took us through the ups and downs of her catalogue, but it always ended on a positive note; with love. The vocals were powerful, the choreography was electrifying and the costumes were fierce. However, for sure, the highlight of the night, and rightfully so, was the conclusion with “Freedom,” “End of Time (Grown Woman Remix)” and “Survivor” being performed in a pool of water before she brought the house down with “Halo.” It was purely mesmerizing to watch Beyoncé and her fleet of female dancers perform in the water while she belted out “Freedom.” Then, when she flipped into “End of Time,” it went from being emotionally moving to a commanding slayage. King B stomped her feet and the music rose out of the speakers like some sort of Creole voodoo. Praise her.

The Formation World Tour is like an outer body-experience that fucks up your entire physical and mental being. I went to three shows over the span of four days, and spent about 12 hours in the car to achieve all of it. That, combined with the amount of dancing, “singing” and stanning I did… exhausted my mind and body …and left me perpetually starving. Beyoncé took all my energy and recovery has been a challenge. I still haven’t been able to have a proper rest. Hopefully, I can get some much needed sleep and go back to normal… until September 7th, when I go through it all over again at MetLife Stadium.

As a long time fan, I am so proud of Beyoncé. She went from singing at her mom’s hair salon, to selling out multiple dates in stadiums. She is on her way to having one of the most successful tours in music history, and, if she wanted to, could sell out even more dates. The show she created is perhaps the most intricate spectacle I have ever witnessed. I was telling everyone that they must see this show – even my friends who only casually like her. It proves that she is unparalleled and deserves all of the praise she receives as the best entertainer of our generation. Without question, none of her peers come close. The Formation World Tour cements that fact. I applaud Beyoncé for her growth and success. I never knew 17 years ago, that the 18 year old girl who was the lead singer of my favorite group would become the powerhouse that she is today, but I am so glad to have witnessed her stratospheric rise to the top. So, yes, if I could, I would do it all over again. The hangover is well worth it.

The post The Post-Formation Hangover: How Beyoncé snatched my life appeared first on THE 97.

Dear Las Vegas, et. al,

Before fellow Mother/Divas Britney Spears, Mariah Carey, Jennifer Lopez and others perched themselves in Las Vegas to earn some coin and build their legacies, Toni Braxton was there – in 2006. Unfortunately, her stint was cut short due to medical issues and being incapable of performing. Since then, Toni has released two albums and performed countless concerts around the world, cementing her status as one of R&B’s iconic figures.

Last night, I was fortunate enough to attend my fourth Toni Braxton concert. I’m going to keep it short and sweet (like her set’s run time, honeyyyy…) and say simply that Toni never fails to put on an entertaining show; packed with hits and great vocals. However, the reason that I say Las Vegas should be begging Toni to do another residency is because she is such a humble and engaging performer – and that is perhaps something she picked up in Vegas. I have never been to a more interactive show than one of Toni’s – and she’s done this every time.

She invited a man on stage to sing with her for the Babyface duet “Hurt You,” invited two moms and a hipster up for a sing-a-long to “Another Sad Love Song,” brought an adorable elderly man on stage and sat on his lap for giggles, and then closed the show with “You’re Makin’ Me High” joined by 12 moms from the audience, dancing and singing along. Not only that, but for “Breathe Again,” she spent a good four minutes walking through the crowd and taking photos with fans. She even sat in their seats for the photo ops. It was hilariously adorable. This is the perfect sort of show for Las Vegas and would be sure to attract concertgoers there.

Or hell, why does it have to be Las Vegas? Other venues elsewhere have started doing residencies, too. The Beacon Theatre in New York hosts Mariah Carey for a Christmas residency, and Madison Square Garden has a long running Billy Joel residency going on. Surely, it might be happening elsewhere, too. Someone, for crying out loud, give Toni a residency SOMEWHERE. You are missing out on a prime opportunity.

If not, I hope Toni embarks on a proper tour and soon. I was wishing so badly to be down in the orchestra for a chance to take a photo or run on stage with Toni.

All of that aside, it was a wonderful show musically, too. Toni pulled out the classics (and slayed them) and even a rarity like “Shadowless,” which she dedicated to a fan she met in her “favorite store” HomeGoods. Said fan told Toni that the song helped her cope with her husband being away in the military. A touching sentiment, Toni dedicated the song to that fan and all men and women in the service. As well, perhaps to show some love to Brooklyn’s own Biggie, she busted out a few bars of “Big Poppa” after faking us out with a “Between the Sheets” cover. For videos of that, “Shadowless,” and more, hop over to our Facebook page (and make sure you Like us!). Check out the concert setlist below:

1. How Many Ways*
2. Seven Whole Days*
3. You Mean the World to Me
4. Another Sad Love Song*
5. Just Be a Man About It*
6. How Could an Angel Break My Heart
7. Shadowless*
8. Spanish Guitar
9. Un-break My Heart*
10. He Wasn’t Man Enough*
11. Between the Sheets/Big Poppa*
12. I Love Me Some Him (I think; I can’t remember where it went, it was super short)
13. Hurt You
14. Let It Flow*
15. Breathe Again
16. You’re Makin’ Me High*

*Denotes a video on our Facebook page!

The post Concert Review: Toni Braxton dazzles at GRAMMY Park appeared first on THE 97.

In the 21 years since the release of her 1994 original, and now classic, holiday anthem “All I Want For Christmas Is You,” Mariah Carey has slowly but surely made herself a ubiquitous part of the Christmas season. Or, shall we say, we have made her such. Most prominently since the song’s ten year anniversary in 2004, she has begun to pop up each holiday season to celebrate the festivities and remind us of her timeless classic. About since the same year, “All I Want For Christmas Is You” has danced around the top spot of Billboard’s Holiday charts.

So, it is only fitting that, in 2014, she kicked off an annual Christmas residency at perhaps the most festive city in the world: New York. The spectacular residency calls the Beacon Theater home, and last night, its reigning holiday diva made her glorious return to its prestigious stage.

Perhaps feeling the pressure of tradition during this most traditional time of the year, Mariah stuck to the old sentiment of “if it ain’t broke, don’t fix it,” and kept the setlist exactly the same as the year prior. Aside from minor changes in arrangements and new vocal ad-lib moments (it’s all about the moments, dahhhling, after all), the show is indeed a repeat of 2014. Would we have enjoyed some new songs added to the set? Of course. However, the repetition gave that certain sort of warm and fuzzy familial feeling that comes with other holiday traditions. Like with our favorite old songs and favorite old movies, we know what to expect and we like what we get. Imagine, you heard she performed “Hark! The Herald Angels Sing” in 2014, and came to see it in 2015, and she didn’t do it? You’d be upset, I am sure. So, in that way, Mariah’s unchanged show aims to be yet another irreplaceable Christmas tradition. So, please, Mariah, don’t take anything away… but feel free to add more.

1. Hark! The Herald Angels Sing
2. Charlie Brown Christmas
3. Oh Santa!
4. Christmas (Baby Please Come Home)
5. Silent Night
6. Joy to the World
7. When Christmas Comes
8. Here Comes Santa Claus
9. Christmas Time Is In the Air Again
10. O Holy Night
11. Emotions
12. We Belong Together
13. Hero
14. All I Want for Christmas Is You

Of course, then, there is the question of her many naysayers: how did she sound? Well, first, let me say that if you are going to walk into the show expecting to hear 20 year old 1994 vocals performed in a studio by a 24 year old, you will, of course, be disappointed. However, if you are a realistic person with any semblance of sense and humanity, you will go into it expecting to hear what is the reality: it’s 20 years later, she’s 45, and no, she doesn’t sound the same. Guess what, though? She still sounds great and better than 95% of anyone who could be considered her “competition.” Did she avoid attempting some challenging moments written into her originals? Sure, but such instances were few and far between. Aside from these few instances, Mariah went for it, gave it her all, and delivered a great vocal performance that will only improve as the residency goes on and she becomes more comfortable. By the eight night, undoubtedly she’ll be prancing around the stage, sleighing in the name of the “One Child” himself.

She began with “Hark! The Herald Angels Sing” for an understated, and eventually bombastic, impressive opening number. Flawlessly transitioning from that more traditional religious moment, she moved into “Charlie Brown Christmas,” which begins with the classic Peanuts piano tune and a celebratory moment on stage. The uptempo fun continued on the energetic “Oh Santa!” followed by “Christmas (Baby Please Come Home),” a cover that many now attribute to be her own. “Silent Night,” which isn’t one of my favorites on CD, makes for another beautifully impressive performance.

“Joy to the World” is the first standout moment of the night, as she kicks it off with its famous piano-and-vocal intro where she really just goes for it vocally. Following “Joy,” is her new, should-be classic “When Christmas Comes” from her second Christmas album. Personally, it’s one of my favorites and I was really excited to hear it again – so much so that Mariah took note and pointed at me, saying something to the effect of “I see you know this one, huh?!” and proceeded to sing the entire first verse to me. At least, you know, that’s how it felt to me (she was definitely looking in my direction after pointing me out – all I’m saying).

After “Christmas Comes,” then Santa comes to town for her hip-hop inspired “Here Comes Santa Claus/Up on the Housetop” groove. Santa came to stage carrying presents, because, after all… Mariah and Santa are old pals. Last year, Santa twerked, though… this year, he didn’t, however he was a much more legit in appearance this year.

Another favorite from Merry Christmas II You, “Christmastime is in the Air Again,” came next and Mariah effortlessly sang her way through this jazzy number. The night seemingly came to a close with the ever-appropriately show-stopping “O’ Holy Night.” Following the traditional classic, she took the stage to perform a few of her non-Christmas classics: “Emotions,” “We Belong Together,” and “Hero.” Of these, “Emotions” is the standout for its fun energy and effortless vocals. “Hero” was, as usual, a touching moment and Mimi teared up herself.

Finally, she of course closed the night with her signature Christmas classic that started it all: “All I Want For Christmas Is You.” Complete with a snowman, teddy bear and a slew of other holiday characters, she took the stage to reaffirm her status as the Empress of Christmas. And, since Elsa was nowhere to be found… Mariah took it upon herself to “Let It” Snow. Confetti was not enough, dahhhlings, it’s Christmas, and Mariah had to make it snow! She did promise, after all.

So, indeed, if you like Mariah’s Christmas music, or just Mariah in general… you must go see this show. If you love Christmas, go see this show. Not only does it feature great vocals and some great songs, but it also is wonderfully festive and entertaining… without a doubt, it will put you in the holiday spirit.

The Queen of Christmas even freestyled a new Christmas song live on stage, “Christmas in New York”:

The post Mariah Carey sleighs her Christmas Residency at NYC’s Beacon Theater appeared first on THE 97.

Last Monday, September 21st, Michael Mott held yet another showcase of his latest Pop and R&B songs at New York City’s Rockwood Music Hall. Once again, the composer was accompanied by a versatile band, a trio of talented background singers, and show-stopping group of lead vocalists including Brad Greer, Heather Little, Natalie Weiss and Loren Allred of The Voice fame.

Several months ago, Mott and Allred came into acquaintance and Mott very wisely selected her to sing at one of his showcases back in June. You might remember our Spotlight of the show then. The songstress brought the house down with her performance of Michael Mott original, “So Relentless,” which she performed again last week:

https://www.youtube.com/watch?v=yzQIwVqfiuA&feature=youtu.be

Since then, the pair seem to have built a mutually beneficial working relationship and thus found themselves together once again, on the same exact stage, at last week’s show at Rockwood Music Hall, Stage 2. When Loren performed “So Relentless” yet again,- however, she improved her rendition vastly in comparison to June’s. The real breakout moment, though, was a performance of a previously unheard Mott original, “Single City.”

A clip from last night. “Single City” written by @michael_mott !

A video posted by Loren Allred (@lorenallred) on Sep 22, 2015 at 1:48pm PDT

The impassioned ballad is metaphorical with its double meaning, highlighting New York City as a “single city” that offers one so much opportunity, yet at the same time it’s a very “single city” – home to lots of lonely people; loneliness is a product of it’s vastness. The clever and beautifully written lyric was expertly executed by the immensely talented Loren Allred in its debut performance. It was a perfect pairing of beautiful song, and phenomenal voice. She stole the stage, the night, even, with her flawless performance of the track. A consummate professional, despite the small setting, she made it seem as though you were watching a superstar in a big arena, yet somehow still keeping the intimacy of the venue, and song, intact. Allred evoked the presence of divas like Ms. Carey, know for such thoughtful lyrics like Mott’s, and a voice as captivating and engrossing as Beyoncé’s. Due to a tremendous demand post-show, the pair plans to hit the studio to record the track for release.

A video posted by Michael Mott (@michael_mott) on Sep 22, 2015 at 5:05pm PDT

Via one single song, on one single night, in one “Single City,” it seems as though a perfectly promising pairing has been realized in Loren Allred and Michael Mott. Every songwriter needs a muse; a coalescing compliment… and every diva needs a super songwriter who can write songs that will masterfully showcase her superstar voice. Mariah Carey’s career blossomed from such a pairing with her first long-time cowriter Walter Afanasieff, and continued to find such bonds with collaborators like Jermaine Dupri, and James “Big Jim” Wright later in her career. Janet Jackson flourished via her partnership with Jimmy Jam and Terry Lewis, beginning with 1986’s Control, and always remaining loyal to the writing/production duo.

Needless to say, we anxiously await the release of “Single City,” and any future collaborations between the two. It may very well be that Loren Allred found her own Walter Afanasieff in Michael Mott. On the same token, perhaps Mott has finally found his own Mariah.

In the meantime, watch performances by Brad Greer and Natalie Weiss from Mott’s showcase last Monday:

https://www.youtube.com/watch?v=NkfEzf4H1VU

https://www.youtube.com/watch?v=zrMWbkqMD28

The post Spotlight: Michael Mott and Loren Allred are a promising pairing to watch appeared first on THE 97.

Needless to say, I was in there, perched in my seat waiting for Gaga and Bennett to slay me; and slay they did. First, I must note that I was impressed how the pair performed a lengthy, 32-song set. I didn’t count solos, but it seemed like Tony had more (and rightfully so; he is a legend) but both were respectably impressive. While I’ve always known both could sang, I was floored by the vocal performances of both artists. Notably, when Tony put his microphone down and sang half of “Fly Me To the Moon” using the natural acoustics of Radio City. Or, when Gaga sang in French Amazing.

Video Credit: brandonxgaga

It was a show with numerous highlights indeed, from the solos to the adorable collaborations between the two. While Gaga’s numerous outfit changes were ravishing and show-stopping, unlike her solo tours it did not overpower the main focus, here: the music and the vocals. I’ve never seen Gaga live on her own; this was my first time seeing her live, ever. Why? Because I’m a bit put off by all the unnecessary “artsy” (read: weird) crap she does. I am a fan, but first and foremost for her voice, talent, and musicality. So, the Cheek to Cheek Tour was the perfect setting for me to see Lady Gaga live for the first time.

It’s interesting to see Gaga take such an unexpected foray from her pop superstardom at what most would call the primetime of her career. And, one must wonder what will come next. Will the pair do another album, and tour? Will Gaga go back to business as usual? Or will she do both? Hopefully, Gaga can find a happy medium (perhaps, doing a Broadway musical?). However, one thing is for certain: Mr. Tony Bennett, at 88 years old, is an unbreakable legend who will be just fine whether or not he is cheek to cheek with Ms. Stefani Germanotta.

If you weren’t able to see the duo live on the Cheek to Cheek Tour, I would highly recommend ordering their live concert DVD. It is not as lengthy as the actual tour, but it gets the job done.

The post Concert Review: Tony Bennett and Lady Gaga live at Radio City Music Hall appeared first on THE 97.

Rewind back to 1970, for a moment. The Jackson 5 are on fire. They’ve already scored 3 number one hits, and show no signs of changing that pace. Berry Gordy, the head of Motown Records, decides to take a risk, and depart from the upbeat bubblegum soul the group has been successful with, and crafts them a ballad. “I’ll Be There” quickly becomes another number one for the group, proving that they can achieve success with more than one sound.

Back to Mariah. She chose the Jackson 5’s “I’ll Be There”, which she chose to maintain as a duet and incorporated back-up singer Trey Lorenz as her singing partner for their show-stopping rendition. The two trade lines back and forth throughout, showcasing each their soulful vocal abilities. Trey momentarily steals the show with a falsetto high note that could be mistaken for a lower range Mariah whistle note, but Mariah retains central attention throughout.

In a rare occurrence at the time, the fans demanded the single release, and the label didn’t expect it. While covers are not strangers to the Hot 100’s crowning position, a live cover, with no accompanying studio version topping the chart is an extreme rarity. It is also only the eighth song to top the chart as performed by two different acts, joining songs such as “The Loco-Motion,” “When A Man Loves A Woman” and “You Keep Me Hangin’ On” which also hold the honor. While the song was a return to form for Carey after the underperformance of “Make It Happen,” it also marked Carey’s breakthrough outside of North America. The song cracked the top 20 of the charts in a number of European markets and would begin a trend of European interest in Carey’s non-composed recordings.

Over the years she has frequently incorporated the song into set lists for tours and live televised appearances, most notably performing it at the memorial service for Michael Jackson. She also gained two Grammy nominations for her performance, but in a noticeable trend at the Grammys, found herself leaving empty-handed. Despite the lack of a Grammy, the song remains one of her most well-known covers worldwide and helped propel her to yet another level of superstardom.

The post How Mariah Carey’s first recorded cover, “I’ll Be There,” became her 6th #1 appeared first on THE 97.

Last night, June 6th, 2015, I attended my first Lana Del Rey concert. I had a lot of expectations for what it would like and for the most part I was completely wrong. Everything about the experience was unexpected, and not necessarily in a good way… but not necessarily bad either. But, before the Lanalites (or whatever they may be called – I made that up) attack, please put your claws down and/or unclench your pearls: I am not about to bash Ms. Del Slay.

My first expectation was for the crowd to be filled with a mixed bag of male and female, gay and straight, hipster 20-somethings… tipsy off alcohol or buzzed from some sort of drug, dressed in vintage finds from the thrift shop or Urban Outfitters; you know, basically Williamsburg.

But… that is not what I walked into, at all. Instead, I was met with teenage and barely 21 teenage white girls, adorned with flower headdresses (clearly, I missed the memo), usually arm-and-arm with their gay best friends; or simply with a gaggle of other white girls. I. Felt. Old. They were mostly still drunk, though, probably wearing stuff from Urban Outfitters (their outfits were wannabe Coachella chic), and during the show someone was smoking weed. Nothing against it, but I’d rather not catch a contact, dahhhlings.

Next, I must admit that I basically have never watched Lana give a live performance before so I really was unsure of what to expect from her. Her music is so atmospheric, moody, dramatic, heavily produced and… slow. Her band was wonderful; they truly sounded great, though they were unfortunately a bit too loud in comparison to Del Rey’s soft, often-mumbled vocals.

As for stage presence, I think I was expecting her to mope around the stage and lay strewn across a couch or just be as weird as most of her lyrics. On the contrary, I was pleased to find that she was rather, well, normal and dare I say, fun? She bopped around the stage (rather aimlessly, albeit) and grooved to her music. Though, my only complaint is that the lyrics (despite the fact that I knew most of them) were unintelligible and she frequently tossed the microphone to the crowd in what felt like “oops” moments of her not knowing the words herself. Funny, but, girl… I came to hear you sing, not these little girls.

What I am sure was exciting for all the little Lana lovers in the crowd was the fact that she performed “unreleased” (officially) tracks that I assume are fan favorites. These included “Serial Killer” and “Us Against the World,” as well as covers of “Chelsea Hotel No. 2” and “Why Don’t You Do Right?” – which I did not know, nor understand due to her tendency to Mumble Del Lyrics.

A photo posted by EST. 1997 (@est1997com) on Jun 6, 2015 at 7:26pm PDT

However, Lana came through tenfold when she responded to the fervent request of the crowd (myself included) and performed “Ride” – which is not normally part of the setlist – following “Born to Die,” “Ultraviolence” and “Summertime Sadness”. This latter half of the show, beginning with “Die,” was the better half of the show. On all of the aforementioned tracks, she sang clearly and it was all that I could have ever wanted from a Lana Del Rey concert experience. While I indeed got my life from her singing “my pussy tastes like Pepsi Cola” live, in front of my face, the rest of that performance was kind of lackluster. Though, in further effort to make us all gag (in the good way), she changed the lyrics of “Born to Die” from “let me kiss you hard in the pouring rain” to “let me fuck you hard in the pouring rain.” Needless to say, countless YASSSSSes ensued following this realization. On “Ride,” meanwhile, she understandably requested our help on some of the lyrics because, she explained, it had been a while since she performed it. At the end of “Ride,” she commented that it was “worth it” – an understatement, indeed; however, “Ride” came at a cost: “Brooklyn Baby” had been removed from the setlist.

She closed the show with “Video Games” and “Off to the Races” but not before singing the cover of “Why Don’t You Do Right?” while going to the general admission barricade to take selfies with fans and give autographs. It was a humble and humanizing moments from an artist who’s personality seems so detached from her theatrical and fantastical music. Both performances were highlights of the show, as well, but “Off to the Races” was especially epic.

Despite the numerous unfamiliar songs and the sometimes mumbled vocals, Lana Del Rey’s Endless Summer Tour was an enjoyable experience that I wish was indeed endless. Next time, I would love to see her experiment with some of her songs more by changing the tempo – perhaps a more uptempo moment in the setlist would break the monotony of the set. Alternatively, stripped down or acoustic versions of a few of her songs would be interesting to hear, as well. But, would I go see Lana Del Rey live again? Absolutely, and if you enjoy her music, then I’d recommend you do as well.

Grade:

80/97

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