Kate Nash, joined by her girl band, took the Showbox April 5, as one of 21 stops on her “Yesterday Was Forever” United States/Canadian Tour designed to showcase her latest release.“You can expect lots of girl power,” Nash said.After a 10 year hiatus, Nash returned to the stage featuring tracks from all four of her albums, paying tribute to her signature classics, and introducing new hits to an audience ranging from mid-20s to late-40s. A packed bar soon turned to a packed floor as individuals were drawn to the stage by Nash’s electric performance.From families singing along, children dancing, gal pals enjoying a night on the town- Nash drew a diverse crowd, all sharing one commonality- a love for Kate Nash.The 30-year-old musician encapsulates every pop-pixie-feel-good (as Nash would call it) “vibe” you could imagine. Her music makes it hard not to dance along, her energy makes it hard not to feel comfortable in doing so.With Seattle being her second stop on the road, her team was full of energy, excitement, and genuine appreciation. Complete with unique costumes, coordinated light shows, and well-rehearsed transitions, the band kept up their stamina throughout the entirety of the 2.5-hour performance.Endless props to performers who can run all over the stage and keep their breath, I can barely talk on the phone and walk up stairs without sounding winded, so the fact that Nash was catching serious air with each jump was even more impressive.Now I’m not new to the world of Kate Nash- her music found its way onto the majority of my junior high playlists as I made my way through a prim, proper, and British phase (we still have no idea where that came from- but thank you Kate Nash for getting me through it). I had (and still do have) every word of “Merry Happy” memorized and rehearsed down to the very last “do-da-do.”https://open.spotify.com/track/4xEDawqLVwsC331aF6Z33x?si=GpOjNIOxRqGlu48y9kWe3A But, it turns out I’m not the only one who dedicated themselves to Nash’s early albums. As Nash broke into the older tracks of her repertoire she joined the audience as the crowd collectively sang along. Nash extended her microphone to a particularly passionate gentleman in the front row adorned with a pink (all too fitting) flower crown to sing the popularized bridge of her track.To both the audience, and Nash’s surprise, the later named Zander, belted out the lyrics perfectly, showing all too well the power and impact of Nash’s work.Stunned herself, Nash continued to duet with Zander throughout the evening, encouraging the audience to provide him with multiple rounds of applause, and joining him after the show to dance and duet in the streets of Seattle.Nash, being an unsigned artist, has characteristically been appreciative of her fans, recognizing their support, arguably most notably through her last Kickstarter campaign, in which she, with the help of a loyal fan base, funded the entirety of her album.After pulling from past records, Nash was reminded of the emotions and experiences reflected in her past work- equating it as a form of diary, she gives power to girls who are becoming teenagers, the teenagers who are becoming women, and the women who are now invited to look back at their time being girls.“The teenage girl used to be ridiculed and made fun of in the media, and now the young girl has reclaimed her power and you’re not allowed to do that anymore. They’ve taken a stand for their right to know their power,” Nash said.Influenced and shaped by past relationships, both positive and negative, Nash has written tracks reflective of those time periods. Not to be dramatic, but Kate Nash didn’t just deliver a performance, she delivered a full-blown experience. I’m 100% sure I could have stayed all night dancing to 80s and 90s classics with Nash and her team, if it weren’t for my early morning quiz section. Even after the venue lights came back on Nash remained on stage dancing and singing with her fans, her tour team, and fellow band members.I’ve been to my fair share of concerts- and if I’ve learned one thing (besides not to bring a jacket, and wear shoes you won’t mind getting beer spilled on) is that you, as a member of the audience, can tell when an artist truly loves what they do. Kate Nash does.If you don’t have time to fully indulge in the album, Nash recommends, what she would consider a stand-out track on the latest release, “To the Music I Belong.”“It [the track] is very comforting, it really is about questioning how to carry on, asking ‘is this really something I can continue to do?’” Nash said.“I’ve doubted if I wanted to continue with it so many times, but it always comes back to that, music is the thing in my life that I love, and I will never let go of it, and I’ve tried, and I can’t, it’s just inside me.” Her tracks inspire, her performance awes, and her character is commendable.Here’s to listening to “Yesterday Was Forever” on loop and living life in pink.Sarah Archer IG: @archer_sarah TW: @saraharcher99
Paramore recently made a powerful comeback with their new album “After Laughter”, which dropped May 12th. I was stoked to hear the first single off the album ,“Hard Times”, which draws a lot from indie-pop with classic punk undertones – which isn’t surprising from the band who brought us “Misery Business”. Immediately, I feel in love with the aesthetic of the album; it’s filled with pastels and playfully muted colors. The album exemplifies something that the band was really playing with and moving towards in their self titled album.
The color and tone of the whole album feels a bit reminiscent of some of their previous songs like “Fast in My Car” or “Ain’t it Fun”.
(Listen while you read! Here’s the album! Thanks Soundcloud)
In fact, the lead singer and front-woman, Hayley Williams, wanted to take the band in such a new direction that there was an entire shift in the membership. The bassist, Jeremy Davis, left the band and pressed into a legal battle with Paramore, and Zac Farro rejoined the band as the drummer. Current membership stands at Hayley, Taylor York, and Zac Farro. Needless to say, the direction Paramore had taken with After Laughter is certainly enjoyable both visually and in it’s sonic texture. You can check out the music video for “Hard Times” here, to get a feel for the aesthetic of the album. (Not to mention, Hayley Williams absolutely murders with those platinum locks).
As far as content goes, this album is jam-packed with some pretty wild songs. The album titled is (probably) derived from the saying “after laughter comes tears”, and the tracks on the album are certainly a reflection of that. We have a ton of amped up, danceable, fun songs like “Hard Times”, “Told You So”, or “Fake Happy” which imposed strong irony with somber lyrics. In “Fake Happy” we hear; “
You think I’ll look alright with these mascara tears?/See I’m gonna draw my lipstick wider than my mouth/And if the lights are low they’ll never see me frown”. Damn, are you okay Hayley Williams?
Then again, we’ve also got tracks like “26″, “Caught in the Middle”, or “Forgiveness” which are unapologetic (pun NOT intended) in their tragic nature. I mean, come on, with lyrics like “I don’t need no help, I can sabotage me by myself” these tracks are practically begging you to let a tear loose. (not that I cried, or anything) They do well to round of the album so we aren’t just being constantly slammed by the pop-punk feel that Paramore does so well. Most of the tracks are tied together by a playful sonic undertone that I can only describe as “pastel”. It’s the beat of a tambourine or the tapping of a xylophone that lends so strongly to the album’s entire texture. Moreover, I love Hayley’s vocals on this album, with the quick changes in key and tone, it’s really riveting to listen to, and the guitar complements it so well.
Personally, I’ve always viewed Paramore as one of those hard-to-reach punk, “emo”, bands that didn’t really appeal too strongly to me. But with this album I really feel like I’m seeing the band, especially Hayley Williams, in a whole new way. They haven’t departed from their core sound, but they’ve certainly evolved and time has been kind to them. I’m excited to see what direction this album takes them in.
In sound, aesthetic, and lyrical content – this album is the real deal. It’s a really strong album musically, and reveals tender spots in it’s lyrics. There’s a lot to be explored here, and you can be sure I’ll have this one playing on repeat for a long time.
I remember back in 2014 (or sometime around then) when Fun. announced they’d be going on hiatus, I was pretty distraught. Personally, I am a pretty big fan of the band, and I’ll patiently stay hopeful for their glorious return. It wasn’t soon after their hiatus announcement that I discovered Bleachers, whose front man, Jack Antonoff, was actually the drummer for Fun.! This was madness to me, but my love for Fun. extended to Bleachers, and I fell in love. Who put him on the drums? This guy can kill vocals! (Not that Nate Ruess couldn’t, God bless – check it)
Since the release of their first album in 2014, Strange Desire (which housed familiar hits like “I Wanna Get Better” and “Rollercoaster”) the artist had only released Terrible Thrills Vol. 2 way back in 2015. This album was a simple reprise of all the songs from the original Strange Desire, but sung by some pretty prominent female vocalists (Sia, Tinashe, Sara Barellies, MO, Elle King – to name a few).
And now, in the magical year that is 2017 we have been blessed with all new music from Antonoff. The first of two singles (so far) “Don’t Take the Money” is somehow worth the three (two?) year wait. First, I’ll say that it definitely feels like summer. It also has a pretty wicked music video to accompany it, it’s pretty weird with a fun little twist – but, that’s not unusual for Antonoff considering previous music videos. Check it:
Next up, we’ve got the latest release, “Hate That You Know Me”, which feels a bit like “I Wanna Get Better” as far as lyrical composition, but definitely departs from the more rock/punk feel that “I Wanna Get Better” throws out. Personally, it’s my favorite of the two to be released so far. I feel like it’s that track that everyone has been trying to write, but no one has done it just right. It takes the classic cliche “hate that you know me so well..” that you find in a lot of songs, and expands it into an entire track.
Just right off the bat, the two songs really feel pre-2000′s with a nice modern twist all blended together with Bleachers’ mixed bag of rock, pop, and a little bit of heavy piano ballads. I’m excited for what’s to come – and you can bet you’ll find a follow up post.
The upcoming album “Gone Now” holds a lot of potential, and it’s three (two?) years in the making. You can find it dropping on June 2nd – get it while it’s hot. No doubt it’s gonna dominate the summer, ya know, sorta like “I Wanna Get Better” did?
Easy going Mac Demarco has dropped his fourth album, This Old Dog. This follows his 2015 album Another One and shows his continued growth as an artist. Demarco is known for his laid-back demeanor, wanting to interact with fans directly, whether through his Official Fan Club or at shows. He’s given out his New York home address on the final track of Another One offering his fans a cup of coffee if they stop by. Since this, he moved to California at an undisclosed address and started working on his newest release. If you’re unfamiliar, you can get a better sense of his attitude through his music videos or social media posts.
This Old Dog doesn’t deviate much from Demarco’s easy, breezy sound found in his previous two albums, but displays a level of growth in songwriting and production. His lyrics are less cluttered than before and grapple with much more complex and adult themes, the largest being Demarco’s relationship with a largely absent father. He laments that he’s turning into his father on the first track “My Old Man”, closing the album with “Watching Him Fade Away” where Demarco says of his father’s illness: “the thought of him no longer being around/ well sure it would be sad but not really different”. It’s heart wrenching to hear about losing something that was never quite there and a stark contrast to previous songs such as “Ode to Viceroy”, an ode to Demarco’s favorite cigarettes.
Maybe it’s his shift towards these more adult themes that makes this album feel different from the previous ones. The sound hasn’t changed that much, although Demarco’s favored an acoustic guitar heavily this time around. This album also sounds more polished, more studio produced than previous demo-like moments from Salad Days or 2. He’s still the laid-back singer-songwriter but his sound is starting to explore a selection of other genres and influences. “A Wolf Who Wears Sheeps Clothes” feels folky with a harmonica and acoustic guitar while “One More Love Song” immediately after is funkier with heavier bass. However, he manages to do all of this and still sound like Mac Demarco.
This album makes for easy listening in true Demarco fashion. While it personally isn’t my favorite work from him, it still has great moments and is still a strong album.
Stream This Old Dog here and catch Demarco at The Moore Theatre September 10th or 11th.
Best Tracks: “My Old Man”, “Still Beating”, “One More Love Song”
Last night I saw Bastille perform at the WaMu theater, just outside international district in Seattle. In a word, it was WILD (pun intended). I bought the tickets because a friend and I were (and still are) really into their newest album, Wild World. Also – it was her birthday, so, perfect gift. I wasn’t super interested in their older stuff, from Bad Blood, but there was simply no denying I’d heard it all before. It had been force fed to me by the various radio stations that played almost all their songs relentlessly. Bad Blood, particularly the track “Pompeii” was what made this band absolutely explode (yes, like the volcano). Bastille has some kick-ass merch, so naturally as soon as we got to the venue and I immediately bought a shirt from the merch stand, no regrets. You can find their merch here. With a belly full of hot Asian soup, bubble tea, and a new Bastille T-Shirt on my back – I was pumped to see them perform.[As a side note – I was too busy buying merch that we missed the opener, Cosmo Mondo, but the drunken woman behind us assured me they were fantastic.]
If you haven’t seen the music video for their song “Fake It” you should watch it now, because it’s pretty important to several aspects of the concert.
Anyways, the newcaster guy from this video was displayed on the two huge screens on either side of the stage for about 20 minutes before Bastille took the stage. Essentially, it was just behind the scenes footage (although clearly staged) of this news caster being a pompous asshate to basically everyone in the studio. It was really interesting and gave a lot of context to the music video. There was a lot to read into here, but I know I’ll get carried away talking about it so I won’t even start.
When it was time for Bastille to enter, we heard “Pay attention to this breaking news” (or something like that) as the beginning of “Send Them Off!” began to play. Bastille stormed the stage and the concert was in full swing in a matter of seconds. They rocked, they destroyed really. Dan (the lead singer) had excellent control over his voice and completely blew me away. You can check out his vocal performance compared to the track performance here, and you’ll see there’s very little discrepancy. In my opinion, he was better live, Bastille as a whole was.
Between the amazing guitar solo (during “Four Walls”), the mesmerizing background, and the awesome sound of Bastille 20 feet away from you – I got lost. I took too many pictures, and I’m not normally one to take photos of a concert, I’m all about that “be in the moment” bullshit. But, they were so picture worthy. I was dancing and singing along, the concert lasted 2 hours and I loved every second of it.
Back to the background for a moment, did I mention it rocked?? Because it did, each song had its own really intriguing music video esque background to accompany it. Some of it was new perspective on their already released music videos, and a ton of it was new content. I couldn’t get enough of it. Again, so many ways to read into it… don’t even get me started. Basically justa huge amount of playful commentary on how the media and politics can destroy and mold us.
The concert ended with an awesome and emotional encore. The whole idea of encores seems silly and planned to me, so usually I find them superficial (not that I’m not thankful for the extra songs, but yeah). But, right before they played the last song of the set Dan told the audience that they’d be back, obviously, for the encore, so not to be worried. He commented on how silly it felt, but he had no choice. Awesome. Speaking of which, Dan (and the whole band) had great stage presence and audience interactions. At one point Dan walked right through the middle of the audience to the back of the theater… I tried to snap a picture, but I didn’t do a great job. I didn’t get close enough to actually see him. (Maybe you can spot him here in the middle of the spotlight somewhere)
When the lights came back on, the newscaster dude was back on the screens. And he FREAKED out. It was awesome. I can’t even explain how much commentary about the political and media climates there were, but it was a lot. And it was done perfectly, considering the Wild World album focuses a lot on the media and how our views can be shaped. I was sad to leave, but I wasn’t disappointed. Next time Bastille is here in Seattle you can be I’ll be there.
Until next time blawgers!
So, a few weeks ago a few friends and I went to go see Hayley Kiyoko live. The performance was at the wonderful Crocodile in downtown Seattle (although the roof was leaking??) and we were excited to see the show. We got there praying there wouldn’t be an opener, we just wanted to get straight to the Hayley Kiyoko part of the night. But there was an opener, of course, the upcoming band Flor. To our surprise, Flor blew us away with their music and stage presence – they rocked our socks right off. Surely, we thought, Hayley would top them by leaps and bounds – this wasn’t the case. Hayley Kiyoko was fine, she got the job done but all in all she was a beautiful mess. The show felt unprofessional, and I’d describe her stage presence and remarks thereof as a long Tumblr text post I did not want to read. So, this blog is gonna be about Flor, because I fell in love with them. Sorry Hayley.
Although Flor has just only started touring and doing large live performances, they still managed to impress us. The lead singer, Zach, was adorable and so awesome and kind to the audience. He had sort of a cute and quirky way of getting us pumped up. After their first few songs he thanked the audience, “Thank you guys for applauding, you really didn’t have to. It could’ve been totally silent, and I just wanna thank you guys for the applause”. I hope that in the future, if Flor gets big, that he doesn’t lose this thankfulness to a jaded look at fame and performance.
All four members of the band had a stage presence that played off one another, they worked as a cohesive organism that made awesome rock sounds. Not only was their stage presence just fantastic, so was their music. The indie and high voice of the singer was the perfect complement to the airy indie rock music flow they had going on. They did a really cool rock style performance of Adele’s “Send my Love (to your new lover)” that you can watch here:
All in all the concert rocked, and it was really worth it to see Flor – oh, and Hayley Kiyoko was there too. I ended up buying this sick hat from the Flor merch, I liked them so much.
<3 Zach Krieger
Check THIS to start listening while you read
remember the song “Gold”? You know, released in 2013 – popular over the summer
that next year? No, well, unfortunately not many people I’ve talked to seem to
remember it. Clicking this might jog your memory, if
you’ve heard it before at least. The song was off the album You Haunt Me by Sir Sly, and it was a magnificent album. Sir Sly focuses on an
ambient, electronic “chill” pop sound mixed with some interesting vocals. The
band is a three-piece formed in California just back in 2012, so relatively new
to the music scene. You Haunt Me is
their debut, with 12 tracks, was released in 2014. I’ve been patiently awaiting
the release of a second album; but, it’s been three years and all I’ve gotten
is one single, “Expectations”, in 2016 and nothing since. I figure maybe if
they get more support they’ll be more apt to release some new music, so here’s
an artist rediscovery of Sir Sly.
heard Sir Sly, it because you found them through their most popular song,
“Gold”, which admittedly is a pretty sick track. A lot of the tracks on You Haunt Me feel very much like “Gold”,
with a sort of accusatory lyrical composition and an ambient electronic feel.
It’s the sort of music you listen to on a cloudy day (so pretty much everyday
here..). Like any angsty new band, the songs focus mainly on the destructive
end of a relationship, and the hindsight that comes with it. From tracks that
focus on self-doubt like ”Leave You, to tracks that blame the other person,
like “Found You Out”, we journey through every part of a relationship as it
ends. This album has it all; from fast paced and anger filled, to melancholy
takes advantage of metaphor, and employs the technique liberally throughout all
their songs. It kicks ass when coupled with the atmospheric feel of the whole
album. Not only that, but the unique twinge of the vocals completes the
electronic undertones that accent most of the tracks. Beyond the base
metaphors, the lyrics feel destructive and precise, they hit right where they’re
meant to – this band certainly is country but they know how to pull your
heartstrings. I’ve found that they express a lot of things about love that you
won’t find very often in music; the subtle doubts. Sir Sly doesn’t necessarily
focus on huge, glaring, problems that are visible on the surface of a relationship.
Rather, their music emphasizes things like pride or disloyalty (or other
personality traits) that leak into a relationship and poison it. Here are some
of my favorite lyrics:
“A taker and a giver / Oh I made you shiver
/ Couldn’t I deliver?” (Found You Out)
“I believed in you and then you feel apart/ You broke my trust, broke
my heart” (Nowhere/Bloodlines, Pt. I)
“I’ll be the bigger man while you act like you’re innocent / No matter
where you go, your lies will follow you” (Found You Out)
“I don’t owe you a single thing, not a God damn thing” (Gold)
If you don’t listen to Sir Sly then you really should. If you’re
ever feeling angry, sad, or just sorta existing, Sir Sly is the band for you.
They are fairly difficult to characterize, but they are similar to The Neighbourhood,
a slowed down David Guetta, or maybe more of a Bad Suns type vibe. As far as
where to start listening, I recommend “Found You Out”, “Inferno”, and “You Haunt Me”.
Thanks for the read! See you next week.
<3 Zach Krieger
Raleigh (like ballet) Ritchie (like Lionel) took fans by surprise when he announced the release of his new EP last November. The EP, Mind the Gap, was released on December 16th, 2016 and it’s devastatingly good. Raleigh Ritchie (real name Jacob Anderson) is newer to the music scene, having only just released his debut album You’re a Man Now, Boy earlier last year. Yet, he’s not an entirely unfamiliar face, fans of Game of Thrones might recognize him as Grey Worm, the leader of the unsullied. This is where I discovered him, looked him up one day because I thought he was cute and google let me know he had a few songs floating around at the time (thanks google). Gave one of his singles, “Bloodsport ’15”, a listen and I was instantly in love. It was fate. I’ve been a fan ever since and I am personally so stoked about the recent release of Mind the Gap which is what we are here to talk about.
Start listening while you read: click HERE to go to Mind the Gap on soundcloud!
This EP is an organized clusterfuck of self-deprecation and heartbreak mixed with upbeat instrumental and fast paced lyrics, producing a fantastically odd dichotomy of feelings. The album has a sound that feels derived from R&B but somewhere along the lines it picked up heavy pop influences, with a light peppering of the occasional rap or spoken word. It’s not too much of a departure from his debut album (which I HIGHLY recommend you listen to), there’s a lot of similarities between the two pieces. Raleigh even said himself that he felt the EP was more of a bridge between his debut album and the next, rather than a totally independent piece. I won’t quote him on that because it was in a tweet from a few months back that I won’t even bother to search for. He tweets a lot. (One time, he favorited my tweet – but that’s a story for another time).
Something I love about the sound of this album is the deeper electronic feel with the background vocals. You’re a Man Now, Boy was very flowly and floaty in the background vocals – almost choir-like. Almost fantastical. Whereas Mind the Gap is mostly background vocals that are tuned bytes of Ritchie singing drawn out “ahs” or “ohs” (excuse my inability to quantify music). The subtle electronic qualities are pretty much thrown in your face in the first track off the album Motions, which begins with a brief audio of a Robot fight/break-up. We hear two Siri-esque voices argue about how they feel about each other, resulting in the end of their robot relationship. This persists through the song with brief one liners from either robot voice. It’s pretty rad, if I do say so myself.
Mind the Gap totals 5 songs: “Motions”, “Sicko”, “Liability”, “StraitJacket”, and “Unicron Love” (don’t ask me why its spelled like that – I have no idea). Each song is unique, but they all flow very well together. My favorite example of this is the transition between “Motions” and “Sicko”; “Motions” ends with the Male robot saying “I love you”, only to have the female reply “I know, but you are sick” – and then sicko immediately begins with “Maybe I’m just sick”. Hell yeah. Well, I mean, that’s pretty sad and heartbreaking lyrically, but 10/10 transition. Speaking of lyrics, Ritchie gives the listener a lot to think about as far as sanity and heartbreak go. “Motions” and “Unicron Love” both focus on two different sides of a relationship. Since we know that Motions isn’t the brightest view on love, we can probably guess how “Unicron Love” portrays it.
“Sicko”, “Liability”, and “StraitJacket” all focus more on an introspective view. “Sicko” plays off “Motions” and outlines the chaos of a mind trying to diagnose an internal sickness. There’s a lot of self-doubt and confusion present in the lyrics of this song, ending in the simple conclusion of “Maybe I’m just sick”. Liability is all about feeling bad for yourself. The musical composition of this song is diverse and beautiful, it ranges from flowy and floaty (both technical terms) to harsh and brittle (if that’s a word people use for describing music). The song feels like it’s been written out of a place of anger and defeat, it screams “why me?!”. I’m a sucker for this song, self-pity, now that’s something I can rock to. The song ends with a beautiful, whispered, “oh, fuck off” directly at his own thoughts.
Now, we arrive at “StraitJacket”, my favorite track off the album – this one is just an Ode to Mania, a sweet sweet embrace of the craziness that is our mind. It’s a fast paced, rollercoaster of a song, and there are no seatbelts. Every time you think you’ve reached the climax (not sexual) of the song, you find yourself surprised by even more faced paced energy. At the real, destructive, climax (might be a little sexual) of this song you can practically feel Ritchie screaming in your face. It also showcases one of the best things about Ritchie’s music; his sexy voice and crazy good spoken word influenced rap style. The song ends with a jarringly slow verse of spoken word that asks the listener if any of us (especially Ritchie) are sane; “Fight amongst the foot soldiers, but the war is in my mind”. Not only is the song super fucking cool, there’s a super fucking cool music video that accompanies it. Check it below, it really adds to the song and shows what Ritchie is trying to say with it (basically, that he’s just crazy).
This EP is phenomenal, and you bet I’ll be listening to it pretty much once a day. The title of the EP (Mind the Gap, if you somehow forgot) is really validated by the content of the songs. It’s about watching out for the mental leap in logic from sanity to insanity, it’s fitting for how much attention the tracks give to being not-so-sane. Raleigh Ritchie is an amazing and talented new artist that deserves a lot more attention than he gets. On the plus side, he’s so unknown that he’ll favorite/retweet your tweets if you tweet at him. But seriously, check him out, between the amazing album art, magically sexy vocals, and make-you-think lyrics there’s nothing not to love. Make sure to check out not only the Mind the Gap EP, but also his debut album You’re a Man Now, Boy! Thanks for reading, I’ll see you back here next week for the rediscovery of Sir Sly.
By the time 7:00 PM rolled around on Tuesday night, the line of concert-goers waiting to be let into the Showbox stretched around a corner and over block and a half. I talked to nearly everyone waiting in line before the show, and most of them weren’t aware of who R&B artist Stanaj was other than being the opener for SoMo. By the end of the night, I think the singer made quite the impression on the crowd as he showcased his good humor and impressive voice in a relatively short set of 7 songs.
Stanaj opened with “Goddess”, one of the four songs released on his first EP, The Preview. The song started him off strong and showed many clueless members of the audience what they were in store for with him, as he belted out the lyrics “Love beyond the sky / When heaven and Earth collide” in falsetto during the song. He was able to perfectly set the tone for the night, which was decidedly sexy, and display his wide vocal range at the same time.
The singer took a moment to address the crowd in front of him in between songs to talk about food poisoning and being sick, both of which he experienced the day before the show. He drew laughs from the audience when he went on about using throat spray for his voice due to his recent illness, and commenting that he wasn’t sure who he’d be kissing tonight because the throat spray tasted so awful. He kept up similarly playful “banter” with the audience throughout his time on stage, and this worked to create some rapport between him and the crowd and made his show, at least for me, pretty enjoyable even when he wasn’t singing.
Stanaj continued the show with two more songs from his EP. “Romantic” was the slowest song of the night, and it worked nicely with the crowd’s energy. He also sang a personal favorite of mine, “Ain’t love strange”, which is really something else to hear live. I couldn’t get enough of his super smooth voice and emotional intensity on stage as he belted out “Maybe baby, I’ve seen crazier things / Stranger things have happened, how strange would it be / If I told you I believed you were made for me?”.
He gave a sneak peek at a new song called “Meant to Be”, a slow, bittersweet ballad that included beautiful lyrics like “it must have been our names written in the stars”. Stanaj also did a cover of “I Can’t Make You Love Me” while playing the piano, a song which he said was one of his favorites to play. He has a cover of the song on YouTube, where he first started posting covers and was able to initially gain popularity through the platform. He humorously told the crowd, “It gets me in the feels bro” after finishing the song, which helped to lighten up the heavy, heartsick feeling permeating the venue when he finally finished the emotional song. He finished the set with the slightly more upbeat “Sleep Alone”, which is also on his EP. It served as a nice finale and definitely pumped the crowd up for SoMo’s following set.
Stanaj waited by his merch booth to meet people after show, and took pictures with fans as they waited to exit the venue. Though he might not be an influencer yet, his music is already catching the attention of fans and established artists alike. He has already been seen in circles with big music names like Drake and Chris Brown, and I can say after seeing one live show, I cannot wait to see what he has in store. My one complaint about the singer? He has only four songs out. I’ll definitely be watching out for new music from artist Stanaj.
The upcoming show is on November 22nd at the Showbox, Seattle and is part of R&B and soul artist SoMo’s current U.S. tour. He’s touring with singer Stanaj, and the show will hopefully be an amazing showcase of the two R&B singer/songwriters. Both artists are signed with Republic Records, and have released new music lately. SoMo recently released a single, “First” in August 2016, and also released another single “Control” earlier this year.
Stanaj had a lot of hype before releasing his first EP, The Preview, in August 2016. He’s gained much of his notoriety leading up to the actual release of his original music through his popular YouTube covers and talk of collaboration with big industry names like Drake.
Personally, I’m mostly looking forward to Stanaj’s incredible vocals, and I’m extremely curious to hear him live. If The Preview is any indication of how the show is going to go, I will not be disappointed.