Pop. Out. My. Ears. #yes

The Siren: Florrie Arnold

The Scene: Snow, ice, pints, and Summer Nights… on the outside: London’s first snow of the year, on the inside: the strobed sublime of HMV’s Next Big Thing – snowballs and disco balls make for a splendid sonic nightcap. Roughly speaking, Barfly hosted a beautiful melange of art gallery purveyor types, thirty-something Euro/Dance Pop aficionados, twenty-something knit hooded hipsters, Camden characters, low-key Diesel-and-cardigan donning Pop fiends, raven-haired East London teens… moustaches, brown leather satchels and black rimmed glasses, cocktail dresses, red lipstick and suede heels, scarves and sailor stripes… On the floor: an Anglophilic audience with a distinct taste for Xenomania; at the helm: a doe-eyed, denim-donning neo-disco diamond in the rough behind a pulsing pokerface bluff, and the beat of her own drum #litrally

The Sound: All the best bits of Brit-and-Synth-Pop – period. Much like a fine wine, or the Fugees break-up, Florrie’s stint as an unsigned artist yields a product that gets better with time. Saturday’s set list covered her relatively brief back solo catalogue, spanning both her Introduction (“Left too Late,” “Summer Nights,” “Give Me Your Love“) and Experiments (“Begging Me,” “I Took A Little Something,” “Experimenting with Rugs,” “What You Doing This For”) EPs, and throwing some new tracks in the mix (“Without A Trace,” “Go“).

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The set played through much like her sound as a whole: begin with a saccharin ephemeral shell, ease into the groove, layer cake the synth progression, pull in the listener with a smooth bassline midway through the first half, sidechain that bass into a boom, crescendo to a crest through vocals ebbing, fading, and flowing – pause, suspend, peak, drift, beat drop, close on the sub climax. When you’ve got that in your headphones: it’s fine; when you’ve got that in subs and a small sea of people – it gets real. Studio cuts are real as is, live though… said system becomes something of a surreal situation.

It’s that “all the best bits of Brit-and-Synth Pop” sound. It’s the brilliant, cool detachment of lyric and demeanor against the visceral basslines and primal percussion… its the snowball and the discoball. It’s the rhythmic subtle soul of the Spice Girls, a touch of the ska to synth evolution of Lily Allen, the breathy vocals coasting over multi-layered synth and string progression of Goldfrapp, of course it’s the Xenomaniacal essence of Girls Aloud, The Saturdays and The Pet Shop Boys, as much as it is the aspirational tandem in concept and instrumentation of true Dance music, the kaleidoscopic swelter, the endless beat of the night fueling Disco, it’s the devil-lays-there attention to diamond precise production, it’s the effortless fusion of live and synthesized, of not distinct genres, but just good, well-crafted music from the ground up – and then, to polish it with a Pop veneer. Yet and still, it’s all signature. It’s all the best bits of, not Stateside Bubblegum, but British Green & Black’s Pop – still sweet, but a bit richer, a bit more organic, a bit more naturally eargasmic Pop.

So, there’s that… here, live – and in living color.

Watch This Space: When HMV says “Next Big Thing,” it triggers a kneejerk “remember when Samantha Mumba and BBMak were the ‘next big thing?’” This though, triggered “I remember when I thought Lady GaGa was Ladyhawke and nixed Fame Ball… I remember when I got sold out of the Lily Allen show the day after her SNL gig… I remember when I was too young to go to the Spice Girls concert…” #ataleoftwotypesofbigthings

Call. 9. 1. 1. #shesontherun

Last week, John Legend teamed up with The Kennedy Center, Universal Music, and The Digital Youth Network to launch What’s Going On NOW to celebrate the 40th anniversary of Marvin Gaye’s timeless album. The campaign will focus on the aspects and themes of the record reinterpreted through images, poetry, video, and music. The digital component will conclude in May with a star-studded concert featuring Legend, Sharon Jones and the Dap Kings, and the National Symphony Orchestra.

Nicolay and the Hot At Nights have been leaving a trail of fire and brimstone after burning down venues all across the country. The producer, best known for The Foreign Exchange hit the road with fellow North Carolinians The Hot At Nights for a multi-city tour. The experimental jazz project also reworked his monumental City Lights Vol. 2: Shibuya album, with the new Shibuya Sessions EP. Check it.

Ex-Washington Post journalist and now full-time deejay Rhome “DJ Stylus” Anderson refers to the party as “a mix of ‘lazer boogie,’ ‘Jheri curl funk’ and ‘champagne soul.’” It’s a celebration of the storm of post-disco crossover R & B, Detroit techno and the Minneapolis sound’s early 80s takeover. Kevin Saunderson, Juan Atkins and Derrick May’s down tempo electro funk was a staple of so many pop radio crossover hits of the era. Furthermore, you can’t tell the story of the 80s without Teena Marie, Prince, Morris Day, Jimmy Jam or Terry Lewis. Stylus continues, “I was hanging out one day with (fellow Axel F resident deejays) Jahsonic and Adrian Loving, and we realized that there were so many classic R & B jams that nobody really played out anymore. We wanted to change that, and for the past year I think we have.”

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Saturday night’s first anniversary event filled Liv, a classed up juke joint on the famous corner of 11th and U Streets, NW, to extreme capacity. The highlight wasn’t the just the music, but the appearance of something more. Sexual Chocolate. No, Randy Watson (and his powder blue tuxedo) weren’t exhumed from our collective memories of classic Eddie Murphy film Coming to America. However, an all-star band dressed in 80s themed costumes and tore the house down. Grammy-award winning member of the Foreign Exchange Soundsystem Phonte did don the iconic Jheri curl wig and play alongside indie soul favorite Zo! on keyboards, vocalists Deborah Bond, N’Digo Rose (shirtless while wearing a double-breasted blazer) and Nea Posey, guitarist Zach Cutler and a plethora more. Contemplating the amazing sight of a live band playing The Deele’s “Shoot ‘Em Up Movies”or hearing a cover of Cherelle and Alexander O’Neal’s “Saturday Love” and think “they don’t make em like this anymore?” Saturday night was JUST for you.

Standing in a dark corner, it was impossible to not want to boogie into the middle of the dance floor on time to the bassline of Stevie Wonder’s “Do I Do.” Janet Jackson’s “What Have You Done For Me Lately?” A gigantic hit for any era. Slowing things down for Keith Sweat? Still the ultimate romantic cure for seeing a cutie in a side-ponytail, headband and legwarmers from across the room. As if living and excelling in an amazing future isn’t enough, combining it with gems of an also beautiful past is arguably the ultimate party for the ultimate time.

There is something about Katy B concerts that makes the usually reserved, jaded crowds of NYC go apeshit.

What it is, who knows? But this is the second time I’ve seen the petite songstress in New York City, and all I can say is damn. There is something this lady does to crowds in this city that most established artists would pay for her secrets.

I think I have an explanation. As dubstep takes over America, Katy B is the best (and most accessible) amalgamation of the genre (sorry Skrillex!). Her pop melodies infused with dubstep rhythms are the perfect recipe for casual fans of the genre and bros whose girlfriends are tired of the throbbing wamp wamp of harder shows. So as no surprise you get a very interesting mix of people at her shows, from Brooklyn hipsters to Jersey Shore rejects.

But again, unlike a lot of hook girls in the EDM world, Katy can seriously hold down a show. Along with her hypeman, Katy breezed through the highlights of her album, On A Mission, to the adoring crowd. The dance-floor ready album ensured that there were no stoppages in movement, and the artist (honed in the UK underground and festival scene) surprisingly has a commanding stage presence.

The only caveats I have about the show? Unfortunately her band didn’t make the trip across the pond (like the last Studio at Webster Hall Show which she said was her “best ever,” and she’s still being booked in venues smaller than her fanbase will allow.

Up and comer Shyvonne proved to be an amazing compliment to Katy B’s rhythms. The Brooklyn-based singer’s tracks such as “Damn!” and the excellent 2-step influenced “Mind Reader,” were almost like an appetizer for Katy, and the crowd agreed. Accompanied by DJ Bonnie Danger’s hour long throwback set (can someone say “Perculator?”) the duo got the crowd hype for the main event.

As for Katy B, can you please get this woman to SXSW, Coachella, Lolla and larger venues in the USA? She is more than ready to take over the world.

FELA! is making yet another run through the country after a successful first run and a amazing stint on Broadway. As is becoming a tradition, the band (consisting of actors from the play as well as members of Antibalas) created yet another sweaty mess at DC’s Montserrat House last week. The play is set to roll through Detroit, Philadelphia, Chicago, Houston, and Minneapolis/St Paul this spring.

On Wednesday I was invited to a sneak preview of Estelle’s new album All of Me listening event at Open House  in New York City. The UK-born singer is preping for the release of her latest album, All of Me, which is her first offering in almost four years. The album features collaborations with Rick Ross, Janelle Monae and John Legend among others, and is meant to be a more personal effort than her US debut. All of Me hits stores February 28th.

I bet any amount of money that Syleena Johnson is probably your favorite singer’s favorite singer. There are not enough accolades I can come up with to describe Syleena Johnson’s performance at Blues Alley this past Saturday, but the ones that immediately come to mind are amazing, hilarious, and flat-out brilliant.

At one point early on in the show, she proclaimed to be “the baddest bitch on the planet,” and when she opened her mouth to sing (or talk, really), I had no problem believing such a bold statement. There was not one moment where her confidence wavered. It shone like an extra-bright beacon upon her adoring fans, as well as her equally-adoring band/background singers.

She performed songs from her newest album Chapter 5: Underrated, including the latest single, “A Boss,” and the soul-stirring duet “Little Things” with her impressive new artist Malone (who was also one of her excellent background singers).

I was doubled-over and near-tears the whole time from laughing so much at her jokes and mini-sermons. As if her bluesy, love-weary delivery weren’t enough to make me a true believer, Syleena went and pulled out a major trump card: she performed Tina Turner’s “Proud Mary.” Now folks, you know just as well as I do that if you’re gonna have the nerve to attempt this, then you betta come correct. Well, not only did Syleena come correct, but I swear that if I had closed my eyes, I would have thought that none other than Tina Turner was up on that stage!!! She straight KILLED it! She even had the choreography down-pat.

Yes, Syleena may be “underrated” as her album’s new title not-so-subtly hints at, but for selfish reasons, I think I want her to stay underrated. I’m not gonna name names, but when it comes to pure vocal skills and stage presence, there are some soul/R&B divas in the game right now that are a little overrated and couldn’t hold one single solitary candle to Syleena. That being said, a little birdie told me that she MIGHT be coming back soon to the Birchmere. So IF that happens, y’all might wanna just go ‘head and do yourselves a favor and treat yourself to some REAL soulful entertainment.

And while we’re talking about Ms. Varner….check out our interview with her that we posted last week.

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Imagine a lineup where the only thing that you as a fan has to do is get lost in the music. Its not hard when you have Bajah & The Dry Eyed Crew opening the show with their energetic, West African flow. You may or may not remember them from the Roots Picnic, held in Philly about 2 years ago. One thing is for sure, these two men hailing from Sierra Leone definitely know how to open a show. Up next, the amazingly talented bassist, Derrick Hodge.  As a lover of the bass, it was  definitely easy to get lost in Hodge’s composition. As soon as Hodge began to play his first bass line, someone from the crowd shouted, “THATS WHAT I’M TALKING ABOUT RIGHT THERE…”. I think they were on to something. The real treat of the night came in the form of legendary percussionist, Gary Bartz and jazz legend, Little Jimmy Scott.  All of the young folks who came out on Friday received a treat, whether they knew it or not. Performing some of this most amazing hits, Scott wooed the crowd, while Bartz led them into an eargasm waltz. And to think, the night was only just beginning.

Bilal then hits the stage. If you’ve ever had the opportunity to experience this artist, then you understand the power of his creativity.  Opening his set with a remake of “Levels” from his Airtight’s Revenge album, Bilal grabbed the audience’s attention. Bringing out Robert Glasper, as well as Mr. Bartz, Bilal continued to showcase why being eccentric as an artist has its perks. Performing track such as “Who Are You” and “All Matter”, each artist on that stage got an opportunity to showcase their skills all while reminding the crowd about how powerful Bilal’s recent release was.

To close the show and give light to reason why we were all gathered, Yasiin Bey (formerly known as Mos Def) steps on stage to pay tribute to one of the world’s most amazing poets, Gil Scott-Heron. “He’s the reason why I do what I do”, says Bey as he begins his dedication to late artist. Opening his segment with “New York City”, an emotional Bey began to show his connection with the poem as not only a native New Yorker, but also as an admirer of Heron. Bey continued to give the audience a taste of the legend through remakes of his works such as “Home” and “Winter In America”.

From the tributes, the presentation of new talent, preservation of the legendary, and overall dope vibe of the festival, there is no doubt why the show was indeed, indelible. Its not really a surprise though. Jill Newman never disappoints. She has a eye for this kind of stuff.

I had the privilege of seeing Lady Alma, one of my favorite soul-dance divas, usher in the year 2012 at D.C.’s legendary Blues Alley.   Throughout her career, she has proven herself to be a bridge between several musical cultures, moving effortlessly between soul, jazz, broken-beat, house, and hip-hop; all with the intent to move us either physically or spiritually (she usually ends up doing both simultaneously).  This versatility was put on full display and lended itself perfectly to Blues Alley’s intimate vibe.

Her band, A Black Tie Affair, set the mood and tone with a soulfully ambient instrumental number, after which Lady Alma got right down to business.  She started off with Silhouette Brown’s “Bitter Pills and Butterflies” and eased into Earth, Wind, and Fire’s “Can’t Hide Love.”  Her version was so mellow that she invited the audience to “lean wit’ it, and rock wit’ it,” but by the time she and her background singers got through with the closing harmonics, she had unleashed the Philly beast with big roaring vocals that threatened to blow the roof off!

From that point, Blues Alley had been transformed into Lady Alma’s Living Room.  She peppered most of her performance with witty asides, at one point thanking the audience for coming out on such a cold night, but promised that she would surely warm us up “just like a bowl of Campbell’s soup…cuz I’m Mmmm Mmmm good!!!”  She made herself at home and pulled out an extra-tender version of Andre 3000’s “Prototype” from her bag of tricks, which ended up morphing into Bob Marley’s “Waiting In Vain.”  The show reached a fever pitch when she closed with her broken-beat anthem, “Hold It Down.”

I found myself gaining a new-found respect for Lady Alma as she shared with us that she was having serious bouts of depression that she is receiving help for.  After the show, she went into more detail with me about what was going on in that dark period of her life.  In 2010, she had attempted suicide and had to be hospitalized for a week.  While in the hospital, she decided that she had to live.  “After seeing the hopelessness of some of the other people that were in the hospital, I realized that I was trying to take the easy way out.  I realized that I have a job to do.”  She also noted that she uses her audience as her therapy, and by being so open about her situation, wants them to know that she is just like them.

This year looks to be shaping up to be the year of Lady Alma, as she revealed that she will be featured in a new documentary that will be filming her for six months in Amsterdam capturing life through an independent artist’s eyes.  Around April or May, she will also be releasing her long-awaited full-length album titled, “Lady Alma:  Get To Know Me,” which she has had a big hand in producing and writing.

Lady Alma confirms for me that even through life’s toughest tests, one can truly prevail and continue to grow and inspire others.  The energy that she brought to Blues Alley was a reflection of this thought as she demonstrated that in order to walk the path of fearlessness, sometimes you have to cross through the intersections of pain and vulnerability.  Her strength lies in the fact that she is still here, entertaining the masses and spreading love, peace, and positivity for those who are truly in need.