A Love Affair with Live Music
Tyler the Creator, IGOR Tour, MSG, 9.1219.
There’s a brief moment at every live show when the bass reverberates in such a way that your bones hum in tune and you’re transported somewhere else. Perhaps it’s on stage, perhaps it’s a distant memory, but concerts are a magical and special place.
Here, I’ll be cataloguing some of my favorite memories from live shows. You can also check out my SoundCloud and Apple Music profiles to stay up to date on whatever it is I’m listening to.
In Search of Sounds
Music has always featured heavily in my life. A song and an ad have a similar goal at the end of the day and that’s to instill a feeling. I don’t know if I’ll ever be so lucky, but it’d be a dream to interview musicians, helping them expound on their own artistry.
But in the interim, I’ve got just about a playlist for everything, I plan my social life around tour dates, and stay up until midnight for releases on any given night.
On Quality:
The primary goal of any live show should be to have fun, to make memories you hope you can tell your kids about when you share music with them one day.
For that reason, I apologize if you can hear me singing along, or if the camera quality wasn’t A1. It was likely shot on an iPhone or GoPro.
It should be noted for legal purposes that I do not intend to profit of these videos nor do I own the rights to these songs.
When you hear the words “punk show,” your mind probably begins to conjure up images of all-black outfits, piercings, and pandemonium. What you can’t see as easily is how welcoming and friendly the punk community can be. And while the pit might be everything a punk show pit is cracked up to be, IDLES was a night full of emotional release and brilliant madness. I’ve never seen so many people happily make way for anyone seeking to mosh. The welcoming nature of all my fellow concert goers was equally as beautiful as it was shocking: never have I seen such willingness to surrender precious real estate. Normally, you have to fight tooth and nail to make any sort of serious forward progress if you want to make it close enough to have a great view. Definitely not at an IDLES show, perhaps any punk show.
Opening up with Colossus, with its chittering drums and heavy distorted guitar strums, fans were in for an all-inclusive show. With a setlist spanning from Joy as an Act of Resistance (released in 2018) to Crawler (dropping 11/12/2021), IDLES might have played every single one of my favorite songs (except for Kill Them With Kindness). Performing hits from Ultra Mono, IDLES set the crowd ablaze with tracks like Mr. Motivator, with its infectiously catchy guitars and energizing drums, Grounds, a stop and start track that evolves into a beautifully distorted storm, War, an electrifying and nonstop whirlwind of a song, and Anxiety, an honest anthem that makes you feel as if you’re in a car chase scene out of an action movie. Hearing Never Fight A Man With A Perm, a song that sends you into a state of excited anxiousness, I’m Scum, which was co-performed by a lucky fan who brought a sign to the show begging for a chance to do so, and Danny Nedelko, half sports chant and half immigrant appreciation song, the cuts from Joy as an Act of Resistance were as beloved by the crowd as tracks from its follow up Ultra Mono. Providing something to look forward to on future tours, IDLES treated the crowd to tracks from their upcoming album Crawler, some already released (The Beachland Ballroom was drenched with heartache and swooned between soul and rock whereas Car Crash was a dark headbanger), some unreleased (The Wheel, grungy as ever and sincerely raw).
Sonically, IDLES curates a tasteful raucousness across their albums. But behind all the crashing drums and distorted riffs, you can find lyrics discussing self-esteem, the importance of loving one’s self, and acceptance. Lead singer Joe Talbot made a speech about how the cure for fascism might be community, that we’re all a community of loving idiots just trying to do our best. Perhaps it’s the undertones of inclusion throughout their work that produce such kindness in the crowd. But what’s truly the most intoxicating thing about an IDLES show is the genuine nature of their performance, playing as much for the crowd as they are to spread a message they truly believe in. After all, what’s more punk than speaking your mind and standing up for what you believe in?
Following Aris, fans who showed up early enough can say they were there to see Teezo Touchdown’s New York debut. Much like the buzz surrounding Teezo, the live show is undoubtedly unparalleled. Drawing on the world-building established in the catalogue of music videos, Teezo’s performance is powerful and heavily participatory. Bouncing off of his football coach/hype man for skits and interludes alike, Teezo takes us on a tour through his discography and then some (like performances of The Cave freestyle and an interlude of Randy Newman’s You’ve Got a Friend in Me, which gave way to Strong Friend). You can tell Teezo is truly committed to memorable and unique shows, as he came out dawning a Daniel Jones jersey, provides fans a chance to win “the game ball,” and tosses the bouquet that enshrouded his microphone into the audience. Seeing live renditions of songs like Social Cues and Technically contrast with those like Mid and SUCKA! shows you the range at Teezo’s disposal. To be able to effortlessly croon as well as generate mosh pits are skills seldom found in one artist. What’s perhaps even more impressive is when most of the audience is able to sing along for the first ever performance of the latest Teezo single, I’m Just a Fan. Teezo’s artistry, rollouts, and fan interactivity generate an aura of intrigue and curiosity, and yet many of sonic styles invoke familiar sounds, which perhaps is what is so inviting and familiar about it. Don’t be afraid to jump on the bandwagon now, as Teezo says, “don’t worry, you’re still early.”
While he isn’t the virtuoso of beat production that most people bought tickets to see, Kenny Mason is a Kenny to pay attention to. It’s always so refreshing to see young artists who have stage presence and crowd control beyond their years. Equally capable of gliding over 808s as he is guitar riffs, Mason has range to be reckoned with. Splitting the set time between the original Angelic Hoodrat and new cuts from the deluxe version, Mason provided offerings for fans new and old. Even without having the likes of Denzel Curry and Freddie Gibbs to back him up on A+ and Much Money respectively, Mason delivers unrelenting energy mixed with a swagger normally reserved for someone further along in their career. The confidence displayed was somewhere between breathtaking and inspiring as he effortlessly progressed through his set; Mason posed questions that would surely elicit cheers thoroughly throughout the crowd (such as “Y’all get money?”), took time to teach the hooks of songs, and peppered positive affirmations about success and hard work. On tracks like Pup and Metal Wings, Mason taps into the more metal side, with a natural ability to rage. Distorted electric guitars, heavy drums, and vocals imbued with a touch of existential angst mix together nicely in a way that Mason’s “rock-rap” (you will never see me use those words again) feels oh so natural. It wouldn’t be just to say that Kenny Mason is all raw, unrelenting energy, as he channels a quieter, more reflective style of performance on songs like Partments that are quite enjoyable to see live. At 25, Kenny Mason is surely still in his pup phase as an artist, and I can’t wait to see the dog fully unleashed.
As I sit here writing this Zack Fox review, I’m ashamed of myself for having set any expectations about what this show would be like (although I was certainly right in that it got very rowdy). What can one even expect from Zack Fox, except the unexpected. After a raucous set from Kenny Mason, the crowd began to hum and murmur about where the next performance might take us in terms of energy, and we should have known Zack planned on taking it all the way up to 10. Politely requesting a vile and sinister mosh pit in order to open with The Bean Kicked In, the tone was set for the show: hilarious contradictions. Hectic, funky, and amplified: Zack Fox has no business being a part-time rapper. His latest single fafo, produced by BNYX, mixes incredibly witty comedic lyricism with catchy cadence and natural rhythm. Songs like Square Up, produced by the headlining Kenny Beats, also caused the crowd to erupt into a beautiful mayhem. In a preview of what was to come later on in the evening, Fox used his time center stage to shine a spotlight on artists he deemed worthy of such an occasion. Melodical and transcendental, 454 performed a few songs complimented by Detroit’s own ZeLoooerZ, hard-hitting and stylistically as they come. With the show culminating with freestyles and JLO’s Waiting For Tonight, Zack Fox had the entire venue eating out of his hands. As unpredictable and eclectic an artist as he is, you can certainly guarantee you’re in for a stellar show.
It’s hard to argue you go to any concert primarily for an artist other than the headliner. The same can be said for me when I bought tickets to Kenny Beats and Friends. At the beginning of the pandemic in 2020, I found comfort and consistent entertainment in his Twitch streams and catalogue of “The Cave'' episodes. It’s not often you get the opportunity to cut through circles of separation and understand what makes brilliant creatives tick. Despite his pseudonym, Kenny is committed to more than just beats: he helps artists flourish. With the sole goal of creating fulfilling yet exciting sounds, Kenny Beats helps musicians of all levels produce work they’ve been craving to create. Kicking off the show with an intro video comedically comparable and similar to something out of Anchorman, a definitively diverse DJ soon ensued. Half of what makes a show fun is when the performer is having fun, and it’s safe to say Kenny was enjoying himself. Leaning equally into throwbacks for fellow 90s babies and the latest hits of today, his DJ set embraced anthems for all ages. While he might consider it a blip in his career he might rather not revisit, Kenny’s set is certainly ameliorated by his EDM past. During a supposed moment of less-than-satisfactory crowd participation, we were pleasantly trolled by Calvin Harris’ Feels So Close which gave way to Playboi Carti’s New Neon. Flawless transitions, unexpected yet immensely satisfying switches, and effortless crowd control were all on display throughout the performance. What impresses me most about the discography of Kenny Beats is its unabashed contempt for being boxed into one genre, style, or sound. Bouba Savage (a 13 year old Harlem rapper, performing his latest single Shutdown), Offset Jim (a Bay Area rapper, performing their collaboration Face Card), DJ Lucas (a western Massachusetts rapper performing cult classics from Kenny’s Twitch stream like Weed Person and recent single Fake the Funk), Nick Hakim (who serenaded the crowd for a pleasant change of pace), Kenny Mason (performing some quality unreleased “kentertainment”), and Zack Fox (leading essentially a sing-along for the viral collaboration, Jesus Is The One (I Got Depression)) all made time to show out for Kenny to surprise and satisfy fans from all entry points. Capping off the night with a motivational speech about how he’s turned his career around in the past five years, pursuing work that he’s passionate about and working with artists he respects and admired, Kenny Beats wants the crowd to succeed and flourish as much as they have fun. Make sure you don’t overthink buying tickets to the next DOTS show.
What happens when you put two legends on the same stage? You get one hell of a fucking show. Freddie Gibbs and The Alchemist were on another level that Friday afternoon, delivering classics from Madlib projects (Crime Pays, Fake Names, Palm Olive, Thuggin), recent singles from Freddie (Big Boss Rabbit, Gang Signs), and all your favorite offerings from Alfredo (Baby $Hit, Scottie Beam, Something To Rap About). The braggadocious swagger Freddie brings to the stage is tempered by Alchemist’s suave production and generally reserved demeanor, making them a very balanced performance. Freddie’s natural humor shines through in between songs, cracking jokes while taking tokes. Chants of “Fuck police,” cheers for the Alchemist, and concert-goers belting choruses created a deafening atmosphere, rivaling some sold-out indoor venues I’ve visited. Part of what people love about Freddie Gibbs is his larger-than-life personality, as he has an authenticity about him that’s naturally charismatic. If there’s anything I can be certain about after that set, it’s that Freddie Gibbs and The Alchemist have undeniable chemistry and I hope they have more on the way.
In January of 2018, a report from Nielsen Music identified that rap had finally surpassed rock in terms of music consumption. But Phoebe Bridgers will not go quietly into the night. She may very well be the next iteration of a rockstar. From her band all being in uniform, to stage production, and most importantly, her diehard fans: Phoebe Bridgers is killing all aspects of the game. Apparently, I had been living under rock for quite some time as I only did a deep dive into her music when I saw her on the GovBall lineup announcement. How foolish was I? Songs like Motion Sickness, Garden Song, and ICU feel more like Phoebe hosting a singalong, as the entire crowd is belting back each and every lyric at the top of their lungs with emphatic energy. Tracks like Kyoto also fall into that category, but there’s an immense rush of excitement as the brilliance of Bridger’s music blares through over the speakers for the chorus. Ballads like I Know The End are blissful moments of serenity, as I found myself swaying with my eyes closed in my little spot in the crowd. Her nonchalance in between songs is intoxicating, as it’s a beautiful contrast to her immensely emotive and personal performance. It’s so endearing to see past what’s on the outside and find an individual who profoundly cares about their work. What perhaps is most endearing about Phoebe’s performance is how she’s unabashedly herself: quips like “Fuck nihilism, too” are interjected in between songs, her outfit a glamorized rendition of the classic skeleton t-shirts. While I might have been late to the party in terms of the Phoebe Bridgers hype train, you can bet I’m going to be early to every one of her shows from here on out.
As Saturday night of Governor’s Ball was drawing near to an end, there were millions of individual conversations going on in the crowd. But almost all of them were centered around one question: When will A$AP Rocky start? At 9:12pm EST, the question was answered, with a bang. Crowd surfing around in an inflatable car, bullhorn in hand, Rocky showed off some new sounds as unreleased tracks (Grim Freestyle amongst the slew of new songs) boomed over speakers. Mosh pits opened up left and right as the concert slowly evolved into a beautiful, New York block party-esque chaos. Hearing recent work like his features on Slowthai’s MAZZA and Famous Dex’s PICK IT UP were unexpected yet gratifying moments. But what really amplified the crowd was hearing some of the radio hits. I can’t remember a time in recent memory when I’ve been as excited as when the first synths on LPFJ2 and Telephone Calls hit. Classics like Praise Da Lord and Yamborghini High ensured that there were no lapses in energy or excitement. Babushka Boi set the crowd ablaze, as the off-key notes intermingled in the beat acted as cues for the rowdy meter to kick it up a notch. Rocky even gave up some of his set to ensure the rest of the mob was represented, as he had the DJ play Plain Jane by A$AP Ferg. The softer side of Rocky’s discography was met with equal anticipation as Sundress and A$AP Forever were met with exuberant cheers. Fully embracing his trippy side, after asking us if we liked hallucinogens Rocky performed L$D to a roaring crowd (he also teased us with the unreleased Mushroom Clouds after asking us if we fucked with mushrooms too). During what felt like a showcase of the Harlem rappers’ ability to generate raucous ovation, the time had the crew informed Rocky his set had to be wrapped up. An earnest plead to keep it going was made, begging to at least get off Peso, but the euphoria was always going to be finite. It’s safe to say, anyone saying Rocky fell off is full of it.
From start to finish, Burna Boy kept it hot. Bringing plenty of Nigerian flair to the CitiField air, I can safely say that Burna Boy’s set was one of the most enjoyable of the weekend. Even before he appeared, loud chants imploring him to take the stage could be heard ringing throughout the grounds. As his band and mom (who doubles as his manager) patiently waited, you could see them grinning and laughing as they knew we were in for a great show. Burna Boy then graced the stage and we were transported to another world, filled with laid-back vibes, political protest, and triumph. Opening up with Gbona, it was apparent that the entire show was going to be electric. Hitting dance moves, smiling from ear to ear, it was obvious that Burna Boy planned on making a stellar first impression at the Governor’s Ball (he also earned major New York brownie points by giving us an animated performance of his velvety feature on Enjoy Yourself by Pop Smoke). Hearing some of my favorite songs live cemented them even further in the favorites category as his performance adds another level of fun and personality. Collateral Damage, a beautifully subverted political protest anthem, felt truly harmonious as the entire crowd chanted the chorus with their fists in the air. As much as I love my AirPods, the heartfelt energy of both the crowd and Burna Boy I felt in the crowd during Anybody and Dangote could never be matched by speakers. Even the less upbeat songs (such as Wetin Man Go Do) he performed were met with incredibly cheerful reactions. Live riffs from the band during some of his most popular singles added great spice for those who are familiar but equally exciting for new listeners. It’s apparent that there’s a great sense of camaraderie amongst the whole crew, that their main goal is to put on a memorable and joyous show. I can only hope that Burna Boy and the band make trips to the states more frequently.
Have you ever felt the urge to forget everything that’s worrying you and just live in the here and now? Then you should go to as many Ellie Goulding shows as humanly possible. There’s a good chance you’re already familiar with some of her work (I’ll get to that in a bit), but it’s an entirely another thing to see her bring them to life. Hidden under the surface of a soft-spoken, singer-songwriter is a powerhouse performer, ready to give the show and attendees her everything. Watching her confidence grow during the set, seeing her come out of a shell that had likely developed as a result of not touring, was a beautiful sight to behold. In between comments about how grateful she was to be performing, quips about her outfit, you really got to watch her conviction begin to grow and take root. Anthemic at every instance, the crowd was equally ready to return the same energy Ellie Goulding graced us with. The only thing that was all over the place about her refined and poised performance was the eclectic mix of work she pulled from. From Lights (and yes, if you’re curious, that shit slapped) all the way up to her latest album, Brightest Blue, we got treated to the Ellie Goulding evolution set. Intermingling a solid slate of collaborations like Diplo’s Close To Me (I don’t know if I’ve ever sung along as fervently as I did for that one), Calvin Harris’ I Need Your Love (okay, I lied, this is the one where I lost my voice), and Major Lazer’s Powerful, there was a reference point regarding how they discovered Goulding for everyone in the audience. Hearing oldies like Aftertaste, Anything Could Happen, and Only You instantly transported me to simpler times, back when bills and deadlines seemed like an abstract concept. In another edition of music star leads a sing-a-long, the crowd could have taken over for Lights and Love Me Like You Do. Thankfully, we got to hear Ellie too. It’s a magical moment when a few hundred (maybe a full thousand) are all united by one common goal: to embrace the present and shower the performer with adoration in the form of knowing every lyric. Harmony amongst total strangers tied together through a common love of music. Ellie Goulding gave us more than one of the best sets from the weekend, she gave us a sense of unity and togetherness unlike any other I’ve experienced.
Tune out and plug-in. A beautiful Saturday graced New York City this September for Diplo presents Higher Ground at Brooklyn Mirage. The whole affair was a BPM barrage, delivering high-energy and catharsis via rhythm from start to finish. Having never been to the Mirage, I certainly was eager to find out what all that hype was about. Dare I say, Diplo did not disappoint.
Make no mistake about it: Brooklyn Mirage was built for bass and equipped for entertainment. With walls paneled and angled to prevent sound from escaping and pillars, mounted with auxiliary speakers throughout the venue, Brooklyn Mirage is proof some form of intelligent design exists. I was also certainly impressed with the visual displays and the tasteful use of CO2 and pyrotechnics, but concerts are truly about being surrounded with sound. The outdoor aspect of the venue also was refreshing and made for a beautiful open-air evening.
Having seen Diplo twice before, I was certainly amped to see this iteration of his set. For two hours, he didn’t skip a beat. A pulsating and invigorating house set from start to finish, sprinkling in moments of radio favorites (Close To Me), certified classics (Be Right There, Revolution) and even some Kanye West interludes (Mercy, Power). For someone to maintain a set with no dips in energy or excitement, it was thoroughly engaging throughout. There’s something incredible about the bliss and peace of mind you experience at concerts, absent from worries or concerns (other than not losing your spot or getting spilled on). Diplo definitely delivered on that aspect of the show, and I can safely say the rest of the crowd looked to be experiencing the same serenity. All-in-all, it was a daydream-like experience that was equally as focused as it was fluid.
The latest TDE offering came to us this summer, the hotly anticipated project The House Is Burning by Isaiah Rashad. Rashad walks us through the inner machinations in his life and growth since The Sun’s Tirade came out in 2016. Writing a recap for a show that got cut short feels masochistic in a way, but also falls in line with the old adage “always keep them wanting more.”
During what seemed like an innocuous nod to the album we were about to hear, Isaiah’s DJ dropped Darkseid and the show was upon us. Without having ever been to an Isaiah Rashad show, there’s an air of familiarity that hangs about the venue. Something about the rasp in his voice, the focused intonations in his delivery, and the calculus of his energy all generate a feeling that you’ve been to every Isaiah Rashad show there ever was. Tracks like RIP Young create an excited bounce amongst the crowd whereas tracks like Chad offer concert-goers a moment of release and catharsis.
But this show wasn’t just about displaying Rashad’s crowd control. With special appearances from Iamdoechii (featured on Wat U Sed), Jay Rock (featured on True Story) and SZA (featured on Heavenly Father), we were really in for a treat. Doechii’s velvety vocals float across an upbeat, zephyr-like instrumental, accompanied by punchy flows from Rashad. Jay Rock offers a real taste of West Coast cadence on dreamy, laidback instrumentals. And just as the show was heating up for a SZA spotlight on Heavenly Father, we were forced to evacuate. Would Duke Deuce have come out for the Memphis-energy imbued Lay Wit Ya? Will I ever get to hear those haunting intro chords of THIB live? I guess I’ll have to see Isaiah again to find out.
Hey…. it’s been a minute…
2.29.20, the last show I went to. 542 days removed from my happy place. Thankfully this was rectified on August 24th, at SummerStage in Central Park. If only I had known a simple, warm summer evening would evolve into something so cathartic. It felt as if everyone collectively took a breath and let their guard down. Trading their best singing voices for belting back cherished lyrics, abandoning the worries of today, and leaning into one of the greatest gifts there is on Earth: live music.
Kicking off the show was 16 year-old singer-songwriter Zia Victoria. If I wasn’t such a fool, I would have known the openers and let me tell you: you need to know about Zia Victoria, a pop-star in the making. If I had the same courage and poise at 16 as Zia, I might be a state senator at this point. To catch an artist so early on in their career, yet still displaying confidence and charisma, is a magical moment. Her raw, candid lyrics are mixed in with incisive quips at ex-lovers, all without venom or malice. The energy around her is electric, despite showing up on stage alone with just an acoustic guitar. Some of my favorites were Blurry Love, Knot With You and Trust, which are all unreleased as of writing this and that pains me so because I am ready for these songs to live in my head rent-free. So, surely, the best is yet to come.
Again, I’m so disappointed in myself that I wasn’t aware there would be openers, nor would they be so talented. Allison Russell, somewhere between folk and alternative pop, felt like a 180 degrees after the previous set, but change isn’t a bad thing. A poignant, thoughtful performance interjected with intensely emotive and personal moments. The range that Allison Russell possesses is, in a word, frightening. The Montreal native, multi-instrumentalist, croons with ease about the lamentable, from either a personal and societal perspective. Performances that leave you with thoughts and questions afterwards are few and far between, especially when there’s still another act due up. Tracks like Persephone and Nightflyer are sure to engulf you in a sense of calm, but there’s a layer of gnawing longing underneath that you can feel in your bones. So crack the merlot, and you’re pretty much ready to go.
And now, the hour was upon us: time for the headliner. I didn’t even know who Lake Street Dive were until this past July, something I will regret for some time. Anthemic, effortless, electric and united are all adjectives that came to mind throughout their set. Funk, jazz, R&B and rock all blend together to bestow a unique and infectious sound. The camaraderie displayed onstage generates a sense of jealousy that you’re not up their jamming with them but is also comforting and heart-warming in the sense that they derive so much joy from working together. The vocal array lead singer Rachel Price wields with such gravitas is, frankly, unbelievable. Belting ballads, lulling love songs, it’s all well within her repertoire. By the way, this is not a knock on the rest of the band: THEY SHRED (special shout outs to Akie Bermiss on the keys and Bridget Kearney on the bass). From the opening song to the final encore, I was taken to a place of discovery yet all-the-while felt instinctively comfortable. While I may have managed to go these first 25 years without knowing them, however much of this next century I inhabit will have some Lake Street Dive in the background.
Chelsea Cutler, How To Be Human Tour, Terminal 5, 2.29.20 From bedroom ballads of heartbreak and longing to anthemic chart hits that you can’t help but belt out with the windows down, Chelsea Cutler is a virtuoso and a special talent.
Chelsea Cutler, How To Be Human Tour, Terminal 5, 2.29.20 The visceral, emotive quality she can bring to any track is uniquely paired with the expansive host soundscapes she’s delved into, gifting her listeners and fans with a plethora of options for whatever you need.
Chelsea Cutler, How To Be Human Tour, Terminal 5, 2.29.20 The absolute joy and spirit she brings to her performances is something I’ve truly been blown away by. Giving back as much energy to the sold out Terminal 5 as we gave to her, it was a magical night for those in attendance. Take some time to explore her albums and the gems she has hidden on her SoundCloud/Spotify!
Denzel Curry and Kenny Beats, Secret Unlocked Show, China Chalet, 2.25.20 It all started with a (fake) Twitter beef. That turned into a short film. That turned into an album. That turned into one of the greatest Thursday nights I’ve ever had. This is the story of the Unlocked secret show at China Chalet. Peanut butter and jelly, Cheech and Chong, Kenny Beats and Denzel Curry: certain things just fucking go together. The energy doesn’t stop when these two juggernauts get together and it’s safe to say China Chalet’s floor barely survived the night. Unfortunately, during the COVID-19 pandemic, China Chalet had to close its doors for good but not without providing one last hurrah.
Denzel Curry, Secret Unlocked Show, China Chalet, 2.25.20 Denzel Curry has the force of a hurricane, the precision of a surgeon and a creative vision that holds no comparison. When driven, the execution is only inevitable. The energy Curry possesses on stage is infectious and inviting to the audience. I have been lucky enough to see him perform three times, each better than the last. A can’t miss.
Kenny Beats, Secret Unlocked Show, China Chalet, 2.25.20 Kenny Beats is most likely your favorite artist's favorite producer. When he’s not busy engineering hits with Rico Nasty or Ski Mask the Slump God, he’s helping the next generation of emerging artists cultivate their sounds and styles. When you hear a “Whoa Kenny!” in an intro, you know you’re in for something good.
Elohim, Group Therapy Tour, Elsewhere 2.21.20. It’s very rare these days that an artist can feel like a friend, like someone who’s there for you, but Elohim never fails to tap in to just what her fans want (or maybe need). Her music has a way of folding itself into your heart, there to stay and be called upon whenever you need.
Elohim, Group Therapy Tour, Elsewhere 2.21.20. Perhaps it’s the passing out of flowers to her own fans after each show or her willingness to share her struggles with mental health in order to let you know you’re not alone that drives this sense of connection. Or maybe it’s the intimate, velvety cadence she brings to each track which envelops your body and takes you somewhere dreamy and warm.
Elohim, Group Therapy Tour, Elsewhere 2.21.20. Either way, we're lucky to be here at the same time as El. Her passion for performing, her curiosity in creation, and her love of those that love her is something wondrous to behold. Having seen her thrice now, I can't wait for what's next.