Lady Wray at The State Room

KRCL hosted Lady Wray at The State Room on Sunday March 26, Lady putting on a production of highly orchestrated octave scaling with influences from the ‘90s and early aughts oozing out of every song.

The narrow hallway covered in framed show posters of The State Room’s countless performances lead guests through a corridor of graphic arts into a hall for the musically inclined where Lady showcased her repertoire of influences in her contemporary take on R&B, blues, soul, hip hop, funk. Even a blues rock and roll number made its way into her set. A contemporary twist on the sounds of the early aughts. Swanky and bluesy, sexy and silken.

Lady Wray, born Nicole Wray, has the soul and bounty of a voice like Aretha Franklin or Jennifer Hudson, with an R&B swag of the late ‘90s and early aughts like Ms. Lauryn Hill, Missy Elliott and Aaliyah. Missy, whose generation influenced contemporaries like Lady, first saw a young Nicole on an audition tape in 1998, signing her on the spot knowing Lady’s grandiose potential.

Opening with heavy hitters like Come On In and Piece of Me, her latest album’s title track, the crowd revealed itself as true stans belting the choruses. The production felt perfectly old school, reminiscent of Ms. Lauryn Hill and her high standard in the technicalities of vocal ranges and instrument wielding. Lady sang as the front woman to her special guest opener and supporting band Brainstory that included guitar, bass, drums, keys – both original and synthesized – and backup vocalists. Kevin on the gold guitar pulled out the wah pedal to surf the waves into bluesy funk. His brother Tony on the bass, animatedly concentrated, eyebrows riding scales up and down wrinkles like a musical staff. The drummer Eric found a sweet spot between styles, pulling influences through the beats.

The vocalists specifically referenced a more original time when back track harmonies compliment each other in highly rehearsed precision. Not prerecorded to near perfection digital renditions. I like to think it’s Lady’s ode to those original women in R&B her work is so inspired by. Specifically like the support Ms. Lauryn Hill had at her 25th anniversary concert for Ms. Education. Boisterous voices cruising octaves up and down scales, reaching notes so high with unfathomably large output of strength in their core and vocal boxes.

Lola, her femme backup singer from Brooklyn, harmonized the filler lyrics with an energy of an invested audience member, while simultaneously belting more energy in one burst of lyrics than I have for merely watching a concert. She performed, danced, reacted, got us audience involved, all while beautifully expending her fullest diaphragm. Body as instrument. The keys and male supporting vocals, JT, reached the gentle high pitches of Thundercat’s silken squeals. Playing classic jazz keys into synthesized riffs.

Lady’s songs cover topics in lamens terms of love and social complexities. Her words very to the point, literal, simple yet covering topics of depth in the heart. Like Guilty, using her music as an outlet for the guilt she holds about her brother being incarcerated while she gets to roam free. Guilty reading a double entendre: her brother found guilty, while she feels guilty for her success. Yet, she explained in a brief interlude, this has fostered gratitude in her ability to make music, to travel, to see beautiful places like the mountains of Salt Lake.

Another song of simple beauty: Melody, has potential for another double meaning. Named after her daughter, the song expresses the love for her baby, how she was in tears of distress and confusion before Melody came along, her love more than she could have ever imagined. Melody also reading how the musical melody she found in her life brought her back to herself. Wiping away tears when finding brightness in the melodies she creates. Her songs offer deep reflections into moments of her life, outlets of great love, pain, grief, joy.

She even brought back one of her original songs, one that initially caught Missy Elliott’s attention when Lady was a fledgling R&B artist exploring rap. Melodic, slow bars over smooth, early aughts influenced rhythms. Sexy body rolls to a smooth grind. Another deep cut even going into a rock and roll and soul collaboration. A grungy, deep girth in her voice belted in soulful power next to more classically rock guitar and drums, changing the pace for an end of the show banger. The crowd all wiggled like we were footloose.

The production was immersive in watching all of the different moving parts of such practiced skill. A contemporary bringing the greats to younger generations, Lady Wray is keeping the aughts alive.

MIKE at the Soundwell

MIKE performed at the Soundwell on Thursday March 23, his bars riding a waterfalling cadence, consistent in their emphasis, strident in their flows with backtracks looping in emotive muffles.

This show in Salt Lake was his 13th of the tour for Beware of the Monkey, his latest album released in 2022. Although the 13th show, what could have been seen as unlucky by skeptics, there could be no bad luck for someone peaking in their performance. He was tight, diction clean, the muffle of the back tracks bringing his voice into HiFi clarity. MIKE clearly on a roll at this moment in his career, seen in the precision of the show’s procession.

A 24 year-old New York native, MIKE made his first waves in the NYC underground hip hop scene with [sLUms] collective in 2015. I have seen Mike perform before, in a backyard of the south side Chicago neighborhood Pilsen, or at the locals’ favorite Cactus Club in Milwaukee. But his bio on Spotify says exactly my observations: “The new record displays the intuitive musician’s eclipse into a new cycle. Beware of the Monkey finds the most confident and determined MIKE to date, as he shifts from an adolescent poet to a masterful interdisciplinary artist.”

He showed deep appreciation for the openers by repeatedly summoning our applause for Anysia Kym and 454. I thought I had never heard of either, until the latter performed a song I often turn to in angst. The bedroom pop, punky rap brought memory into clarity. A great pleasure to hear a song live that you have played at max volume in the car, listening in cathartic release while driving around in late hours of the evening.

The first half of MIKE’s set started in blue lights, but were quickly requested to change. “Hey light person,” he beckoned to the back of the hall, “Can we get these lights green?” MIKE seeing the ambiance of his set in green, not blue. The green jibing with the jazz piano in high octaves, on a loop in his backtracks, weaving bright and bouncy.

All while his flow rolled monotonously impactful. Redundancy making a point. Intentional repetition instead of boring lack of versatility. MIKE produces his muffled backtracks of 1950s sounding quartets, blurring the samples like seeing through frosted glass. Sounds made out in their figure, but precise clarity left behind a fog.

The backtrack lining up on the downslope of what you wouldn’t expect – a jazz tactic – nestling the loop of the most impactful segments of the sample into the pockets of his verses. DIY, self-productions like JPEGMAFIA’s imperfect yet creatively intuitive work. Taking many influences and using previously rendered sounds to build out a sound of their own.

The second segment of his show, he beckoned the light person again, a transition via lights. This time requesting red, seeing his next set darker, moodier, more intense, like the lobby song of the Halo the video game.

One last show transition ended the night in a head bopping pink. I found myself holding my heart in emotional sway during What Do I Do? off the tour’s dedicated project. The backtrack rising in what felt like glowing ascendance, the sun rising with cherubs singing unfettered radiant psalms. MIKE didn’t join for a couple of rounds, basking in that golden warmth. Eventually rolling into his verses, galloping into the bridge and chorus.

“If you gave me all of you, would you tell me what do I do?” I pondered his meaning. If you gave me all of yourself, what would you do, no longer an autonomous individual? If I gave all of myself to someone, I wouldn’t know what to do, hobbies abandoned, friends ditched, attention tunnel visioned to one thing and that is you, and none on myself? Is this MIKE’s hyperawareness to, a fear of, codependency?

The colors of the lights are not usually of particular notice. But here it felt like seasons of the songs. The green set in the bright field-prancing summer with the jazz piano bopping up and down octaves. The red into the hibernated winter, underground, basement, depths. The pink reemerging into spunky spring, bright and light, an ascendance of golden warmth. The seasons like the constant cycle of growth, change, development.

MIKE has never sounded more locked into his own unique style rooted in sampling and the monotonous gallop of his verses. The lights closed the show as flashing five-petaled flowers, reinforcing the awakening of spring and MIKE’s musical genius.

at large – week 17.188

week 17 of at large newsletter – playlist week 188

week 17.188 https://t.co/FVq6LYdgxH

— g (@respectheg) July 21, 2022

at large – week 2.174

at large newsletter week 2, playlist week 174

https://t.co/sCaKtlCYnO

— g (@respectheg) June 23, 2022

Has T.I. Become Outdated?

a concert review done for the Shepherd Express 

by genevieve vahl

T.I.’s Summerfest performance was underwhelming, despite attempts to mix his early 2000s roots with his 2019 music.

T.I. fell flat during his underwhelming performance at Summerfest’s US Cellular Stage on Friday, July 5. Even a crowd of millennials singing the lyrics verbatim to their high school icon did not seem fully enthralled. Compared to the newer generation of hip hop, T.I.’s show felt lackluster, never hooking the crowd with a bang. 

Emerging in a plum jumpsuit with a subtle shimmer in the fibers, a white diamond faced wrist watch and square aviator shades, his early 2000s sound did not land. He tried to mix his early 2000s roots with his 2019 subtle nod dance swag; two generations separate for a reason. Hits like Dead and Gone, Whatever You Like and Live Your Life gained traction for their unanimous catchy tune, but quickly fizzled out by the third verse. He worked to keep the crowd’s dwindling attention by covering new wave bangers intermittently throughout his set, an expedient tactic still failing to fully immerse the crowd. 

Unlike new wave trap rap performance styles, T.I. fully rapped his lyrics, never just ad libbing the peripheral sounds over his back track. There was, in fact, very little back track. If T.I. was not rapping, the crowd confidently filled in the lyrics both to his original songs and covers. T.I. shined when the music would end as if the song was ending, but would continue rapping a capella. He ended five songs solo rapping the last verses, showing his natural sense of rhythm and tempo. 

T.I. glimmered for moments on stage, yet was outshined by forged energy and generational mishap. His early 2000s glory might have faded enough to finally be laid to rest.

a link to this article can be found here.

Chaka Khan Showing Her Soul

a concert review done for the Shepherd Express 

by genevieve vahl

Her band and back-up singers bring passion to Summerfest’s BMO Harris Pavilion.

Chaka Khan showcased her experience and soul in her performance Tuesday, July 2 at Summerfest’s BMO Harris Stage. The sheer production quality and fluidity in her set reminds the audience of Khan’s canonized stardom. She and her bandmates have clearly been around the block, showcasing their deeply rooted passion in their performance.

Chaka started her show in sequins, glittering in the spotlight with wind billowing from below. The first set held Chaka in the spotlight, showcasing her voluptuous vocal range. Her three back vocals harmonized the chorus and main lyrics as Chaka belted adlibs to her brighter bangers, creating a layered gospel energy. 

Now at the latter end of her career, Chaka retreated back stage for an unspoken intermission, leaving the band to their own devices. Each band mate took a lengthy solo revealing their worth on stage. The drummer built a hip hop beat from the ground up; spitting drum fills in between the melodic chorus. The wah guitar and vocals kept us rooted in funk and soul, the foundation of this music. The most impressive of the evening’s solos, a seven-string bass solo, glided through scales like ice skates on a freshly zambonied rink. Lightly dusted his fingers on the chords, effortlessly serenading the crowd with his life’s dedication. Truly an inspirational array of talent given as much opportunity as Chaka herself to represent themselves as artists. 

Chaka reemerges in a black off the shoulder, wide sleeved lace number for the second set. Knowing she has nothing to prove any longer in her career, Chaka again forgoes the spotlight to her mentees. One by one, the three back vocals showcase their personal flare in their highly trained vocal ranges, key changing and octave shifting through I’m Every Woman. Chaka basked in the time off fanning herself off to the side as each woman belted their best.

The diverse crowd highlighted the power of music: all ages and demographics coming together, singing and dancing for the same appreciation. The band reunited in a funk gospel bang to close the show, a masterful showcase of passion and talent.   

a link to this article can be found here.

Empowerment as Performance

a concert review done for the Shepherd Express 

by genevieve vahl

Despite torrential downpour and threat of 60 mph winds just hours before, Lizzo reigned in a crowd of die-hard fans of all ages on Thursday, June 27. The crowd overflowed past the Harley Davidson sign into foot traffic. Lizzo matched the energy behind her album, never lacking authentic self-love and empowerment for her fans.

Did you expect anything less of Lizzo other than red metallic leotards, Barney purple lights and twerking on roller skates? Her third studio album “Cuz I Love You” put Lizzo on the map. This album caught a following amongst women of all demographics. From middle-aged moms to young teens to girls in their mid-20s, they all could be seen dancing and screaming word for word Lizzo’s motivational lyrics. Shamelessly herself, Lizzo’s confidence radiated.

Lizzo and her dancers twerked and twerked and twerked some more. On roller skates, on the ground, with one leg up, while handstanding. A full choreographed spectacle allowed Lizzo to shine brighter than her album can translate. Her album fails to really acknowledge the pipes on this woman. Lizzo opened the show belting the album title “Cuz I Love You” with a gospel pop bang. Live performing suits Lizzo better, giving her space to truly shine (literally in her metallic leotard and humid glow).

Song after song, Lizzo barely needed to sing the lyrics herself. The crowd easily managed to fill in the blanks while Lizzo rolled and dropped it low. Using pop culture fads like “hitting the woah” while sticking to classic roots by performing Aretha Franklin’s “Respect,” Lizzo’s empowerment spoke to all ages. “Your transgressions will become your greatest blessings,” she reminds the crowd. A great showcase of black women owning their identity and proudly flaunting themselves, contagious for anyone watching.

a link to this article can be found here.

Old Pup serenading South Milwaukee

a concert review 

by genevieve vahl

Cactus Club in South Milwaukee hosted several new wave renditions of old school rock and folk bands on June 1 in their back venue space. Walking into the Cactus Club for the first time, I really had no idea what to expect. With a name like ‘Cactus Club,’ there is a range of what this space could have been like: ‘Cactus’ insinuating an old time saloon yet ‘Club’ as a dance space for young people; a conflicting yet enchanting perception.  

The Cactus Club sits on the north east corner of Wentworth and Russell Ave, kiddie corner from G. Groppi Food Market which sells fantastic hot paninis the size of a 17 inch laptop. Doors for the event opened at eight and music supposedly to start at nine. Upon my arrival, the venue took the liberty to change the start time to 10 to ensure enough of an audience turned out for their performers. This gave me the idea they probably could use a new marketing manager.

In the meantime, I sat at the bar chatting with my friend, the cellist for the opening band Old Pup. I came to see him perform and see a new venue as a recently turned 21-year-old. Finding new venues and spaces is going to make Milwaukee, the city I was born and raised, a new place to re-discover.

Even though the bar had probably ten beers on tap, and many in a bottle, both bartenders on duty were not well equipped to answer any questions about beer, much less even their favorites. “I am not really a beer drinker” I was told twice. It is tough for me, someone who works in a restaurant that requires me to have at least a base knowledge of the 28 beers we have on tap, to come to another establishment where people have little to nothing to share.

The event seemed a little unclear right off the bat with the secret time change, then even the performers not really knowing the series of events for the evening. A DJ was supposed to start at 10 but so were the actual bands? Which would have thrown the vibe off right away for the audience to go from a DJ into folk americana live bands.

Ten o’clock approaches and the sweet young bartender with straight cut bangs wearing black flare jeans turned the music off for a split second to announce the beginning of the show. Entry was ten bucks, a fair price especially 1). knowing one of the artists and 2). wanting to support artists in general.

The space was small and intimate. The stage rose above the audience with a black and white geometric maze backdrop. Layered fragments of the backdrop hung from the ceiling, ascending into the foreground. Panels of layered stickers like on a Nalgene water bottle decorated sections of the walls. Multicolored string lights zig zagged from beam to beam across the ceiling above the audience while a long rectangular, sparkly cloth billowed in the shifting air.

The opening band, Old Pup, the reason for my attendance, starts the show with the lead guitarist slash singer slash harmonicist and cellist. Our lead wore a Milwaukee Brewers hat, the classic logo with the curly ‘M’ and a wheat sprig underlining it, faded from wearing it obsessively. Both performers rocked plaid button downs, perfect for their performing genre.

The two begin duet style, the lead’s raspy yet soothing mid tone voice serenading the crowd with the cello making our hips sway. The unison of cello and guitar created deep emotion; the type of emotion I feel when watching the end to the dramatic fate in a movie, somber yet beautiful. They would pick up their pace with passion and force. The cello would go deep while the guitar doused in a country twang, creating a folk, americana sound. The duet laid a gentle yet powerful foundation for the rest of the band to join on stage.

The drummer and bass player emerge from the crowd as if they had been just another audience member fangirling the duet’s masterful delivery. The full band began their ballads together, no one ever overpowering another. Although a high potential for the cello to be easily lost, the sound technician with the greying beard as long as his ponytail did an impeccable job of balancing the ratio of each instrument.

A general consensus of the entire venue: fantastic sound quality. The sound never got uncomfortably loud in the small space coupled with the porous crowd. Every instrument could be heard equally; the cello never lost, the singing never busting an eardrum, nor the drum owning the show. Knowing the cellist and his fear of getting drowned out by the rest of the band, I was particularly impressed with my ability to constantly maintain ears on his essential bow for the entirety of the show.

I never failed to know if someone joined the crowd. Whenever the door opened, the music from the DJ in the bar area rudely busted into the performance like a drunk person making a scene at a wedding: intrusive. It was distracting and abrasive during the set, interrupting the deserved attention to the band. Having a DJ simultaneously performing seemed unnecessary to the event and only detracted from the bands performing.

The head guitarist, singer and soon harmonicist seamlessly strapped on his harmonica. The drums and bass rooted us in rock. The guitar in concert with the cello and classic harmonica interwove the perfect amount of folk. The combination never lacked emotion. The cellist and drummer humbly in their element, closing their eyes, feeling the movement of their unison.
I honestly could have gotten glittery eyed if they played in the perfect emotional scene of a movie. The space was a perfect fit for the group; the intimate setting perfect for their emotional yet lively folk rock ballads.

Even with the unclarity and the answerless beer inquiries, The Cactus Club is a fun place for people of all ages. I could have seen regulars in their 60s bellied up to the bar on a Tuesday night, or people 30 and younger arriving and drinking lavender color cocktails with flowers decorating the rim for events like this one. It was a fantastic place to get out of the typical east side, yet not have to trek all the way down to Bayview to see good live music.

Lake Street Dive’s Musical Cocktail

a concert review done for the Shepherd Express 

by genevieve vahl

Music buffs of all genres could appreciate Lake Street Dive’s genre smorgasbord at Summerfest’s Uline Stage Sunday night. A full band setup including guitar, trumpet, piano, drum kit, standup bass and lead vocals promised a night’s worth of authentic musical performance.

A trumpet solo started the set off intimately, slowly; people standing motionless, awed at the simplicity of their beautiful opening. Quickly transitioning into a guitar rock groove, unique to their traditional recorded folk comfort, the band’s influences blended into a cocktail of musical genres. Continuous rock guitar, southern twang, blues soul vocals, jazz symbols and trumpet, funk groove in the piano and bass lines. 

The lead singer, Rachael Price, has the voice of a new-wave Susan Tedeschi: bold and full-bodied, humble yet soulful. Head thrashing, hair flipping, air kicking; Price’s movements and dancing as vibrant as her voice. Although undeniably the star of the show, her voice never out-shined the rest of the band. Performing songs written by all the band mates and singing solos by the drummer and pianist proved the performance a group effort. The guitar, too, stayed heavy the entire night, balancing the power of Price’s voice and keeping the show lively even during emotional ballads.

The five performers shined brightest during their mini acoustic set. The group circled around a mic with an acoustic guitar, tambourine, melodica and their voices. Simple yet emotional, their performances of Mavis Staples and Sly & The Family Stone’s Everyday People shot goosebumps down everyone’s bodies. 

The performance left people giddy, dancing and twirling out of the stage’s gates. Lake Street Dive’s live performance showcased their full spectrum talent as musicians and artists. 

a link to this article can be found here.