I should have brought a box of tissues to Stevie Wonder’s show at Target Center in Minneapolis on Sunday night. Like the smell of bonfires and a crisp autumn breeze this time of year, songs can bring back a rush of memories and emotions. Perhaps I had underestimated how much Wonder’s music has soundtracked my life. Maybe I thought that his age – he turned 74 in May – would contribute to a more muted performance that wouldn’t bring about all those feelings.

Just past a union protest outside of First Avenue, a sea of people filed into Target Center and contributed to the joyous, celebratory atmosphere in the room. Young children with their parents, groups of seasoned fans rocking vintage merch, and people of all races made up the almost sold-out crowd. Although the show was advertised as starting at 8 p.m., Wonder, guided by two of his children, took the stage closer to 8:45 p.m. An impressively large band – comprised of two drummers, a horn section, an orchestra, two keyboardists with at least three boards each, and a choir – filled the stage.

Wonder’s tour is officially titled “Sing Your Song! As We Fix Our Nation’s Broken Heart.” He began the night with an overt message calling for peace. He made multiple passionate pleas for us all to vote, even including a QR code on the screen for people to register while they waited for him to take the stage. Throughout the night, he continued to thank the audience, saying many times that he loved us. The difference between Wonder and most other artists is that I actually believed him when he said this. His joy came through his music and the playful stories he shared with the audience.  This love was accepted and reflected back by the audience. Couples danced together in the stands. Beaming smiles that shone for the entire two-and-a-half-hour show. Mothers danced joyfully with their children, speaking to  Wonder’s cross-generational appeal and timeless music.

Wonder’s voice is still as powerful as ever. Many times throughout the show, he called upon the audience to sing for him, including “You Are My Sunshine” as a warm-up for “You Are the Sunshine of My Life.” We happily obliged. There were a few breaks taken to drink some tea for his throat. His long, enjoyable monologues between some songs might have also been planned moments for him to catch his breath. The most notable intermission of the night came about when singer Sheléa Melody McDonald came out on stage after Wonder performed “Overjoyed.” McDonald’s powerful renditions of “You’ve Got A Friend” by Carole King as well as her own work were enjoyable. However, it would have worked better as an opening act and not an abrupt intermission. Nevertheless, McDonald as well as the band on stage kept the good times going until Wonder was ready for the second act.

I can only describe the second act of the night as life-affirming. It was when I was most in need of the tissues mentioned earlier. Unfortunately, the sleeves of my sweater had to act as levees to block the deluge of emotion. Back-to-back-to-back-to-back classics kept the audience on their feet and beaming until the end of the show. Music from Songs in the Key of Life, considered by many (including this writer) to be Wonder’s magnum opus, comprised much of this set. Wonder and his band brought these songs to life, adding extended outros and solos.

Wonder’s messages for peace and love paired with his lively, masterful, and, at times, silly presence made me feel at home. It brought back the feelings of hearing his songs on road trips and family functions. His last show in Minneapolis was in 2015, there’s no telling when or if he’ll grace us with a show again. By the looks of it when exiting the show, those in attendance felt this honor and savored the moment. When I entered my Lyft home, the driver asked me if there was a concert at Target Center. “Yes,” I replied, “it was Stevie Wonder.” “Who is Stevie Wonder?” the driver asked. I wasn’t sure how to answer that question. His music and live performance feel like a fact of life. Whether people know Wonder's name or not, almost everyone on earth has had an entry point -- weddings, movies, Walgreens, and so on. His songs truly are in the key of life, everywhere and all-encompassing.

Setlist:

“Can We Fix Our Nation’s Broken Heart”

“As If You Read My Mind”

“Master Blaster (Jammin')”

“Higher Ground”

“You Are My Sunshine” (Jimmie Davis cover)

“You Are the Sunshine of My Life”

“For Once in My Life” (Jean DuShon cover)

“Signed, Sealed, Delivered (I'm Yours)”

“My Cherie Amour”

“Overjoyed”

Without Stevie

“Until You Come Back to Me (That's What I'm Gonna Do)” / “Feel Like Makin' Love”

(sung by Sheléa Melody McDonald)

“You've Got a Friend” (Carole King cover) (sung by Sheléa Melody McDonald)

“Something's Coming” (sung by Sheléa Melody McDonald)

“1999” (Prince cover) (sung by Backup Singers)

“Contusion” (instrumental played by band)

Stevie returns

“Don't You Worry 'Bout a Thing” (duet with Sheléa Melody McDonald)

“Love's In Need Of Love Today”

“Village Ghetto Land”

“Living for the City”

“Sir Duke”

“I Wish”

“Isn't She Lovely”

“I Just Called to Say I Love You”

“Superstition”

“My Eyes Don't Cry” (sung by Backup Singers)

“Do I Do”

“Another Star”

Photos

Stevie Wonder at Target Center by Steven Cohen

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“Them niggas who get the wrong impression of expression

Then the question is, "Big Boi what's up with Andre?

Is he in a cult? Is he on drugs? Is he gay?

When y'all gon' break up? When y'all gon' wake up?"

Nigga, I'm feelin' better than ever

What's wrong with you, you?

Get down”

- OutKast’s “Return of the ‘G’” (1998)

When you’ve done just about everything, what more is there to do? André 3000 has won six Grammys, sold 20 million records, and has been famous longer than I’ve been alive. In one of the most notable left turns in music history, he decided to continue his legacy by playing the flute. 

Last year, André 3000 released New Blue Sun, an album of ambient, abstract soundscapes that showcase his fascination with the flute and all its variations. It’s a stunning work; simultaneously  dreamlike, confrontational, and meditative. The album was critically lauded, receiving an 8.3 review score from Pitchfork and landing on numerous end-of-year best-of lists. Now, André 3000 is bringing his new ethos to live audiences. However, he is not playing songs from the album. He’s not really even playing songs. He’s just playing.

On Saturday night in Minneapolis, André brought the experience to the Fillmore. Originally booked for the Northrop Auditorium on the University of Minnesota campus, the show’s venue change was unexplained and last-minute. The floor of the Fillmore was filled with foldable chairs instead of the usual standing room only. 

The night began with opener serpentwithfeet. Fresh off of releasing his album Grip earlier this year, he set the tone for the night’s experimentation. Donning a bomber jacket gown that gave him two extra arms, he sang beautifully and even read a passage of Toni Morrison’s Jazz during his performance.

A mature crowd filled the seats of the venue. Preshow conversations overheard around me considered the direction Andre 3000 would take. A group in front of me – who seemed to be thoroughly enjoying the Fillmore’s signature strawberry lemonade margarita shaker – wished out loud for a flute cover of “Int’l Players Anthem.”

If you’ve had a pulse for the last century, you have undoubtedly felt André 3000’s effect on music and pop culture. This is the man who made us all shake it like a Polaroid picture. He let all of us know that the South has something to say. A progenitor to rap’s current class of eccentrics like Young Thug and Playboi Carti, André 3000’s work as an artist has made it easier for all of us to be ourselves. 

With that being said, his current direction isn’t so much of a left turn as it is logical progression. A sense of play and whimsy has permeated all of his work — he made a show for Cartoon Network, after all. Letting his artistic spirit guide him, he invited all of us to go along with him on the journey. He understands that many will be disappointed with the new direction, but marches on nevertheless.

It’s a brave move.

But that’s about it. Saturday night’s show wasn’t a show that was meant to be enjoyed, much less understood. Take for example this highlight of the night: In the middle of performing, André began a spirited monologue. The language he spoke was unclear, but he spoke with so much fervor that the audience gleaned that there must be a profound revelation being shared. Directly after finishing his diatribe, he revealed that it was all gibberish and jokes that we probably thought were deep. It was pretty funny, but I can’t help but wonder if this sentiment is the guiding principle of his latest work: Just playing around with the audience and what we expect from him, seeing how far we are willing to follow along.

From what I saw on Saturday night, many people are willing to go on that journey. People scatteredly clapped and exalted during the show. Some people fell asleep. A few people looked kind of pissed.

The New Blue Sun tour is meant to be experienced and seen. Instead of playing tracks from the album, André and his band improvised an extended jam. There were movements and swells, wistful oases to catch a breath, charming dialogues with the audience. But there were no songs. There was only a bath of sound. Pounding pulses from the drum kits; huffs, howls, and breaths from André; swirling arpeggios and drones from the keys. The crisp, powerful sound in the venue added to the experience, as did creative choices of lighting.

I didn’t enjoy Saturday’s show. Mostly because I don’t believe that this is a work meant to be enjoyed. This was a work meant to be experienced. At times I really did feel it — the drones and pulses paired with André’s abstract playing sounded directly from a sci-fi movie soundtrack. Other moments, I began to feel the length of the show, wished there was some sort of structure to the evening, and considered the merit of paying to watch a bunch of men play with themselves. This was a creative statement from a man hellbent on shirking audience expectations throughout his storied career. I appreciate it for that reason, but your mileage may vary.

British singer, songwriter, producer, and musician Sampha’s breezy, drifting vocals and soulful, experimental R&B is delightful recorded. But when experienced live, the impact of his work is richer and more resonant. It gives the audience the feeling of being inside his music. After a bit, the sold-out crowd filled First Avenue’s mainroom Saturday night, with half of the set showcasing Sampha’s 2023 release, Lahai, named after the performer’s middle name. 

Sampha has worked with Kendrick Lamar, Solange, Kanye West, and Drake, but his breathtaking solo recordings in a class of its own. His ruminative lyrics, sprawling compositions, and digital embellishments accompany his emotionally tactile piano playing. Openers Treanne and Ruthven were the ideal accompaniments to match Sampha’s visceral energy.

The 21-year-old Treanne appeared alone onstage in a light denim outfit with pointed patent leather slings and wielding a red electric guitar. She flowed through five songs in a too-short 15-minute set, including a few from her upcoming May release, 20/20. Her vocals were sleek and silken while she accompanied herself wistfully on guitar. After two songs, she switched to sitting at a keyboard. Her stripped-down sound matched the naked vulnerability of her lyrics about navigating the universally relatable growing pains of love as a young adult. “Through all the pain, you’re helping me evolve, but let me go,” she sang about the end of a fruitless relationship and the pitfalls and hollowness of hookup culture, “Sharing my body with you, you don’t want nothing else. Learning I can’t expect more from somebody else … Sharing my body, losing my mind.” The raw honesty of her work had all of us enraptured.

Similarly, South London hailing keyboardist Ruthven was a wonderfully unexpected addition to the bill. He mesmerized the crowd with a brief set that showed off his Prince-esque falsetto and mastery of his futuristic funk, poppy R&B, and explosive electronic sounds. A crack of thunder and heavy, tingly rain sounds filled the mainroom after he performed a song with tinkling keys and high, airy, looped vocals. Another, “Hypothalamus,” featured a warped and bubbly beat with sharp metallic clangs balanced by thudding drumbeats and energetic, triumphant piano. His use of effects gave a preview for the crashing, enveloping sound Sampha had prepared. (Ruthven would later join Sampha’s band onstage.)

Between sets, the chatty crowd buzzed with anticipation. Just as the lights were dimming, it seemed a bit too much for one crowd member, who passed out. They received medical attention as the band walked onto the stage outfitted with three drum kits and no less than five keyboards. Sampha took his place at the top of an elevated platform, and the five-piece launched into a set that took us all soaring into ethereal planes.

Kicking off with “Plastic 100°C,” things got eerie with the dry piddle of a snare drum, tinkling harp, and ghostly vocals in the background. Sampha spun in a circle, waving hands and shaking hips as a layered wall of sound blasted the bouncing, sold-out crowd. Samba-style drums added a sense of urgency while he pushed his voice, and backup singers chanted, adding mysticism to the moment.

“Stereo Colour Cloud (Shaman’s  Dream)” felt like a fever dream. Breakbeats rang out while a dense arrangement of arpeggiated piano and blipping synths zipped through our ears. The energized Sampha had the crowd under his spell, rocking their bodies and leading with their torsos. Funkier “Dancing Circles” had Sampha leaning over and touching their hands. As the bass thrummed and cymbals hit, Sampha's falsetto soared like the birds personified in the lyrics. It was an auditory painting of the dizzying madness of lost love.

The highlights of the night were reminders of the unique magic of a live show. For example, the recorded version of “Satellite Business” is only a minute and 25 seconds long. The version we got had the same piano up front, but the sonic textures on the album were amplified until we could feel the drums and bass clattering in our bones. In person, the ping-ponging electronic tones of the recording felt like shooting stars whooshing past. It presented itself like an exploded diagram of the song as layered harmonies drew it out. Later, the band played a seamless medley of three songs he collaborated on with other performers: Kendrick Lamar’s “Father Time,” Kanye West’s “Saint Pablo,” and Solange’s “Don’t Touch My Hair.” 

One of the more visually arresting parts of the night was “Without.” All five performers gathered around one of the smaller drum kits and played together. Playing off the lyrics, they pounded like an anxious heart wrapped up in the present, dreading the inevitable end of a relationship. The crowd bounced along, entranced, waving their arms and singing along.

A moment that had some women near me crying and wishing they had more tissues was “Sprit 2.0.” The already beautifully haunting arpeggiated track was made even more special when Sampha snuck in a few lines from Massive Attack’s sensual hit, “Teardrop.” Similarly, the purity and vulnerability of his solo performance of “(No One Knows Me) Like the Piano” called back to the piano in his mother’s house. We could experience his wonder and love for an instrument that has brought him success, an outlet for his experiences, and a way to connect with crowds like ours. 

While many of us seek out live shows to take a break from the every day, few allow us to be wholly present. This crowd was continuously enraptured with tears of joy, big emotion, and vulnerability across the room. This blasting hurricane of purifying sound left us feeling full, empty, and whole simultaneously, completely wrung out from the night’s transformative musical performance. 

Sampha

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Ruthven

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Treanne

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Setlist (from April 4)

Plastic 100°C

Satellite Business 

Suspended 

Inclination Compass (Tenderness)

Without

Stereo Colour Cloud (Shaman’s Dream) 

Spirit 2.0

Too Much

(No One Knows Me) Like the Piano 

Dancing Circles
Father Time/Saint Pablo/Don’t Touch My Hair

Can’t Go Back

Blood on Me

Encore

Can’t Get Close

If you told Lil Yachty listeners in 2016 that the artist’s shows would include a band covering Phil Collins in 2023, they’d likely be surprised. On the Field Trip tour stop at the Fillmore on Thursday night, Yachty led an adventure through an artistic evolution that resulted in his 2023 album, Let’s Start Here. — a sonic departure from the rap-oriented, trap beats that put him on the map. The smell of marijuana and incense filled the hallways as young people filed into the venue and packed the floor before the openers began.

On stage first was a DJ who asked, “Y’all mind if I heat this motherfucker up?” The crowd condensed within seconds; people instantly rushed to the stage and splashed water overhead when “Long Time” by Playboi Carti began. Excitement increased with Carti’s “R.I.P,” Waka Flocka Flame’s “Fuck the Club Up,” and Sheck Wes’ “Mo Bamba.” 

Two rap acts, Stoop Lauren and Concrete, followed with brief sets. The former instructed the primarily Gen Z crowd — which included many teenagers — to “Open it up!” Sometimes, what opened was a mosh pit the size of one-third of the room. Other times, three circles opened simultaneously. 

Concrete, the collective composed of Camo, Draft Day, Moe, and Karrahbooo, continued to stimulate energy by encouraging people to push others back onto the perimeters of the floor. Camo began solo with a cover of Carti’s “Stop Breathing” to “heat check the room,” but by the time all four members entered the stage, the majority of songs were recordings that the rappers danced and occasionally added a few words to. 

Next, to many people’s surprise, the lo-fi R&B artist Nick Hakim showed up to slow things down. Hakim spent this year opening for Big Thief and Weyes Blood’s tours, so people may have thought, “What’s he — a guy with an acoustic guitar — doing here?” The answer: Hakim worked on a few songs on Yachty’s latest album. Unfortunately, the singer’s time on stage was brief; he played only five songs totaling just over 15 minutes. At least the calmer, rhythmic tunes with vibrant guitar strums provided a break for people to relax before Yachty took the stage.

Yachty’s performance could be viewed as three separate acts. The first and last were formed solely from the psychedelic, electro-R&B songs on Let’s Start Here. The second was a return to his roots with tracks from his early career, as well as singles released after Let’s Start Here.

Before the music started, fans held phones overhead for about three minutes, waiting to catch Yachty’s entrance. As the lights went down, a person urgently asked their friend to “Get the footage!” For people less than six-feet tall, the only view of the stage was through the phone scenes. On a screen above the stage, colorful, rapidly shifting visuals with abstract commands like, “Find the truth,” “Distort reality,” “Control your environment,” and “Break down spiritual barriers” flashed as the crowd chanted, “Yachty!” 

The music began without Yachty on stage as the Silver Sisters, a band composed of six women — Téja, Lea Grace, Quenequia, Monica, Ro.Sa, and Kennedy Avery — infused the room with the disco aura of “drive ME crazy!” Ro.Sa sang, “Imagine life / Imagine life without me, it's a waste of time / You want the kind of love that can make a child,” with the most impressive vocals of any person on stage the entire evening. The band members were essential tour guides on the field trip through Yachty’s artistic rebrand. He showed them reverence, and at times, appeared like the background in the women’s show. 

Silver Sisters left the stage for the throwback portion of the set, where Yachty rapped shortened versions of “Broccoli,” iSpy,” and “Minnesota” — undeniably catchy bangers that defined the 2016 college campus recreational scene for those on the generational cusp of older Gen-Zs and younger Millennials. Yachty’s presence was once ingrained in frat parties, 9 a.m. football pre-games, and smoke sessions in dorm rooms.

Anyway, imagine Yachty skipping “Minnesota” when in Minnesota, shortly after the first snowfall of the season. Of course he didn’t, instead teasing the opening of the song, stopping, then starting from the beginning. On “One Night,” the artist waved his hands like a conductor leading an orchestra. Songs like these, which aren’t even decade old, evoked a sense of nostalgia. 

A notable difference between the acts containing Let’s Start Here. and Yachty’s solo time on stage, was the artist’s level of dependence on pre-recorded vocals. Like with the opener Concrete, Yachty sometimes rapped over backing tracks that included all verses, and his live voice got lost under the mix. The words he rapped into the microphone added accessorizing details to already completed songs. Nonetheless, this portion activated the most aggressive moshing.

Yachty remained front and center on stage most of the night, so the scenes off stage were the most visually entertaining. From the balcony’s point of view, the crowd’s collective movement appeared like a body of water splashing smoothly back and forth. But on the floor level, which I had to join for the throwbacks, warm and sticky bodies collided in rough transactions. Freshed bodies pushed to enter the crowd, and exhausted ones pushed to exit. 

Audience energy settled for the final act, when the show ended how it started, with the Silver Sisters producing the funky tunes from Let’s Start Here. Yachty and the band teamed up for a sensual finale that included layers of synth pop on “WE SAW THE SUN!” Yachty sang, but let the other vocals' authentic, smooth voices take the lead. The show closed with the most powerful scene of the night as one artist vocalized and another nailed a guitar solo on “The BLACK seminole.” Yachty’s field trip through his distinct artistic eras wouldn’t have been possible without the Silver Sisters’ talent. 

Photo Gallery

Lil Yachty shot by bearBOI

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Setlist:

drive ME crazy!

the ride-

pRETTy

The Alchemist. / sHouLd i B?

sAy sOMTHINg

In The Air Tonight (Phil Collins cover)

SOLO STEPPIN CRETE BOY

Slide

Split/Whole Time

Get Dripped

Yachty Club

NBAYYOUNGBOAT

Flex Up

Coffin

From the D to the A

Minnesota

Broccoli

iSpy

TESLA

Poland

Strike (Holster)

One Night

IVE OFFICIALLY LOST ViSiON!!!

THE zone~

WE SAW THE SUN!

The BLACK seminole.

“This crowd seems too nice to mosh,” someone behind me remarked. We were waiting for Death Grips outside the Fillmore, in a line that snaked the block thrice over. 

“Is this the end of the line?” a concertgoer asked us. We shook our heads, pointing over to the edge of Target Field, a good half-mile away from the venue.

The line was nowhere near unexpected: Death Grips, an industrial noise-rap outfit, has the sort of internet notoriety people dream of. Counting everyone from Jack Black to TikTok star Addison Rae as fans, the group has amassed a cult following unlike any other, slotting beside meme-heavy, 4chan-lite communities like JPEGMAFIA or Needle Drop fans.  

The crowd also looked exactly how you’d expect — Handlebar mustaches and bleached hair, ripped black clothing, and ironic pop culture tees galore (Seinfeld, Bernie Sanders, and Björk were the most popular references). TikTok star Paul Karpov was reportedly in our ranks. Someone in an Ernie costume and another in a propeller hat and overalls sprinted past us to the bathroom. 

Around 8:15, an unassuming trio strode onstage with little preamble. With no openers, no encore, and no small talk, Death Grips barrelled through their 29 song setlist in a little over an hour. Aside from a laptop and a drum set (played furiously by Death Grips producer Zach Hill), the stage was sparse — its imposing centerpiece was Stefan Burnett, otherwise known as Ride. 

Though Ride is famously reticent off-stage, here the rapper shone. Shirtless and bathed in red light, he writhed and bellowed, his voice an anchor amidst the buzzing electronica. In a now-deleted interview with Fucking Hater, the group described their vibe as “raw like wet pennies,” as well as “post-Christian” and “post-Satan.” The comparison feels apt, with Ride breaking into convulsions at point, then letting out a series of guttural screeches amid fan-favorite “Black Paint.”

Fascinatingly, the darkness of Death Grips’ work felt like an afterthought that night: Songs like “I’ve Seen Footage” and “No Love” are existential dread, warped and corroded into pop hooks. In “Steroids,” Ride chants, “Can’t hide from suspicion/War-waging prescription/Street life breaks you like religion… Better get numbered, you’re profit.” Directly inspired by the group’s home base, Sacramento, their discography touches on everything from homelessness to the unyielding reach of capitalism. Yet at the Fillmore, these forces felt untouchable — this show was a safe haven, a delirious compact between the audience and the artist.

Though Death Grips’ catalog is almost impossible to sing along to, the crowd gave it their all, screaming the impossible “Get Got” chorus to the rafters. Concertgoers battered the guardrails, shoving and jostling with fervent glee. (This is all, hilariously, despite the “NO MOSHING” signs posted across the venue.) It makes you wonder what kind of chaos would have ensued had they played the Armory — Death Grips’ ruthlessly howled, sweaty set felt in many ways at odds with the Fillmore’s inexplicable chandeliers and the tinted bar. 

As we left the venue battered and bruised, a white van pulled up on the street. Armed with a mic, someone took to the roof of the van and screamed. After a perfect set, another ragtag, surprise punk show? It was the perfect way to cap off this strange, incredible night.

Death Grips shot by Nikhil Kumaran

Death Grips at The Fillmore

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On a cool Monday night, avid fans waiting to see Janelle Monáe (they/she) wrapped around the Armory in downtown Minneapolis for almost two hours later than expected before the doors finally opened. (The culprit was rumored to be soundcheck issues.) Regardless, dedicated fans decked out in mesh shirts, pearl dresses, crop tops, and lots of glitter cheerfully waited to enter Monáe’s wonderland of pleasure.

The openly queer, nonbinary musician and actor’s fourth studio album, Age of Pleasure, arrived in June. It came with a message of outspoken liberation – from identity and presentation to loving freely – all in the pursuit of pleasure for her fans, set to sunny reggae and upbeat Afro-diasporic sounds. Monáe brought the heat of playful summertime passions, but not before their accompanying acts warmed up the crowd. 

Ghanaian-American DJ Nana Kwabena, who worked with Jidenna and Monáe on The Age of Pleasure track “Yoga,” mixed ’90s house beats like Robin S. and Sandeville’s “Show Me Love” with Rihanna and Beyoncé. Kwabena even threw in some Justin Timberlake while the crowd sashayed and danced. The creaking mattress intro of Trillville’s “Some Cut” looped as he hyped up attendees for viral stars Flyana Boss, but his mic kept cutting out. All seemed repaired by the time the Los Angeles rap duo, made up of Bobbi Lanea and Folayan Kunerede, appeared in their matching cargo pants and long, swinging braids onstage. At the same time, Kunerede sported prosthetic pointed elf ears. 

Their shared energy and connection was palpable during songs about their preference for big things (bank accounts, cars, genitals), “Trashboi” about crummy, ghosting exes complete with swinging balloon-filled garbage bags thrown into the crowd, and their TikTok hit, “You Wish.” The duo addressed the rumors that they were an industry plant and brushed it off by saying, “We wake up and water ourselves every day.” The set ended with a chopped-up version of Queen’s “Bohemian Rhapsody” that incited crowd singalongs, and they put their own impish and salacious twist on it. The performance was joyful and bubbly, and replete with choreographed hip pops, footwork, and twerks that made it impossible not to grin – and hope for more of these songs to drop on streaming platforms. 

Next, Jidenna swaggered onstage looking very mod in white bellbottoms, hat, and button-up, topped with a pearl-embellished black jacket. He sang one hauntingly beautiful and spacey song with reverb-laden vocals before describing his time touring with Monáe and her crew. He said before each night’s show, she leads a prayer of service to ensure they show up for each crowd. After discussing getting to share the stage with Monáe, he generously relinquished his time so that the already delayed show would go on. 

Shortly after, the curtain dropped to reveal a flower-drenched set, and a pair of trombone players flanked the top steps as the rest of the band appeared. Finally, as the all-female brass band’s thunderous horns rang out to begin Age of Pleasure’s “Float,” Monáe appeared draped in a Midsommar-esque flower-covered cloak. As she sang, flowers on the screen gently unfurled behind her. The five-foot-tall performer’s presence dominated the stage over a five-chapter show that crafted an environment of safety and belonging that was celebratory, liberated, lusty, and empowered. 

The band was tight and, at times, maybe a little too powerful for Monáe’s bright, clean mezzo-soprano vocals. At the beginning, her vocals seemed a little low in the mix, but as the night wore on, Monáe seemed to pick up steam. The crowd, too, seemed a little subdued – perhaps due to the late start – but it didn’t stop them from enjoying the spectacle onstage. 

Monáe and their backup dancers’ outfits matched each chapter’s themes. Starting with the bright-and-vibrant energy of songs like “Champagne Shit,” dancers wore strong-shouldered suit-cut booty-bearing leotards. Choreography took a more cabaret-style turn during “Phenomenal.” Later, when we were solidly basking in the rays of Monáe’s “Pleasure Island,” dancers sported paper-thin shirts, straw hats, and high-waisted ’70s style shorts for the Caribbean-kissed sounds of  women-loving-women anthem “Lipstick Lover” and sexual empowerment tune “Waterslide.” “Paid in Pleasure” had Monáe bringing giddy fans onstage to dance, vogue, and death drop. When she sang the not-so-subtle labia-praising hit “Pynk,” Monáe and dancers appeared wearing ruffled pants made to look like the anatomy of reference. The night’s theatrics and choreography definitely upped the pleasure factor for her audience. 

During the encore, Monáe paid homage to some of her idols. They draped themself in a cape and called upon the spirit of James Brown. She drew out the end of “Make Me Feel” with blasts from the brass and percussion sections and even threw in a “Baby Baby Baby” a la Brown’s “I Got a Feeling.” Monáe’s outfit was a Michael Jackson-inspired black sequined suit set with strong shoulders and a blunt, wide-brimmed hat, and she even worked in an impressively fluid moonwalk during “Tightrope.” And, of course, she honored her mentor Prince, reminiscing that he was present the last time she was in town. She praised him as someone who cared about community and bringing people together through music, as she works to do today. As a special treat for the Minneapolis crowd, she wrapped up the evening with an exuberant cover of “Let’s Go Crazy” that no doubt would have satisfied the Purple One. 

Monáe showed us that our pleasure is not something to be ashamed of. In fact, it is something to be celebrated. Monáe’s Age of Pleasure preaches that owning sensuality and chasing pleasure is a practice in self-love and acceptance. The show provided a healing space to validate having needs, expressing desires, carving out a space, or even crafting your own world to safely do so. 

Setlist

Float

Champagne Shit

Black Sugar Beach

Phenomenal 

Haute

Django Jane

Q.U.E.E.N.

Electric Lady

Lipstick Lover

Waterslide

Know Better

Paid in Pleasure

Snippet of “Screwed”

Pynk

Yoga with feature by Jidenna

Only Have Eyes 42

I like That

Encore

Make Me Feel

Tightrope

Let’s Go Crazy (Prince cover) 

Photo gallery

Janelle Monáe shot by Sara Fish

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After four years without touring, Kari Faux brought her bright smile, and contagious dancing to the 7th St Entry in Minneapolis on Wednesday evening. It felt like what every house party should feel like: everybody was dancing, singing along to the words, and feeling comfortable. Everybody enjoyed themselves.  

The night started with Ivy Sole, whose laid-back presence and floating vocals filled the Entry. The crowd was full of color, with patterns, flowers, glitter, hoop earrings, and a positive vibe that Sole’s music accentuated. The softness of Sole’s set brought us into the night gently.

The next opener was theMIND . Hailing from Chicago, he made sure to try to fit in with the Minneapolis crowd by wearing a Minnesota Wild jersey. His music brought the pace up a little, with tropical and fun beats that you can’t help but dance to. He had the whole crowd dancing, even inviting a crowd member on stage and gifting them a merch bag for their moves. By the time he asked if we were ready for Kari Faux, it was already a party.  

Kari Faux’s DJ did not disappoint. Before she walked on, he played “What It Is” by Doechii which transitioned smoothly into Kari Faux’s opening song, “REAL B*TCHES DON’T DIE!” She was having so much fun from the moment she stepped on stage, it was infectious. I couldn’t stop smiling and neither could anyone around me. It was just a nice vibe, simple as that.  

She was so affected by the beautiful vibe of the Minneapolis crowd that she ended up crying. Fighting back happy tears, she talked about how grateful she was to just be accepted as her authentic self. She joked, “I’m trying not to cry, I’m trying to learn how to do makeup” as a tear rolled down past her bright green eye shadow.  

She continued with her set playing favorites like “Mo’ Liquor” and “LEAVE ME ALONE.” She even brought theMIND back out to the stage to perform their collab “PAST LIFE” which was one of my favorites. Her DJ also sang along to this song, which was sweet, with the heartfelt lyrics of the song.  

It was a true party, with Kari and the DJ taking time for a “praise break” done a little differently than how it was for Kari growing up in the church. The hymnals over the speakers commanded us all to “bend it over” and “touch our toes.” Amen.  

As her set reached the end, she asked the crowd to put their lights in the sky. She said, “This one is special, this one is with a friend who is no longer with us,” as she introduced her song “WHITE CAPRICE,” which features deceased Three Six Mafia member Gangsta Boo. She told the crowd, “Send her light,” as the crowd waved their lights up to the song. 

Fans joined Kari on stage to dance to her encore “No Small Talk,” the breakout track that launched her career. With fans lining up for “REAL B*TCHES DON’T DIE!” merch and dancing their way out of the door, Kari Faux made the night one to remember for her fans. 

Setlist: 

REAL B*TCHES DON’T DIE! 

H‐TOWN 

ME FIRST 

GEMINI+ 

TURNIN’ HEADS 

MONEY ANGELS 

DOG 

Mo' Liquor 

Color Theory 

LEAVE ME ALONE 

PAST LIFE 

DRUNK WORDS, SOBER THOUGHTS 

MAKE A WISH 

WHITE CAPRICE 

Encore: No Small Talk 

Kari Faux shot by bearBOI

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Hope you weren’t trying to get into Dinkytown on Thursday night. Almost every exit leading to the east side of Minneapolis was in a deadlock. What else is to be expected on Bey Day? Yes, Minneapolis Mayor Jacob Frey and Governor Tim Walz proclaimed Thursday, July 20, 2023, as ‘Bey Day’ in the city.

As the sun began to set in the Twin Cities, tens of thousands of people trickled into Huntington Bank Stadium on the University of Minnesota campus. The audience had only time to excitedly waited for Beyoncé since there was no opener.

The Queen B finally appeared on stage with a simple acknowledgment, “Minneapolis.” The crowd erupted. She wore a bodysuit with sequin in the shape of the horse seen on the cover of 2022’s RENAISSANCE. The set was transformed into what could have been a real-life club renaissance. With what could have been a million shimmers, the stage twinkled endlessly.

Throwing it way back, Beyoncé opened her show with “Dangerously in Love.” Straightaway she utilized her signature vibrato style of singing. In between songs she took a couple of minutes to turn on her Southern charm and greet the audience properly. She continued, “this [next] song is about embracing life.” You could see the emotions she was feeling as she sang “Flaws and All.” Maintaining the slow, romantic energy she walked across the stage and sat on the piano as if she was performing at an intimate venue. Smiling, she performed “1+1” off her 4 Album. 

Picking up the pace ever so slightly with drums beating so loud nearby neighborhoods got a second-hand experience of the concert, Beyonce segued into a passionate performance of “I Care.” With support from her female trumpet players, backup singers, and band, the song had dynamic layers that would inspire even someone who didn’t know the lyrics to belt out the power ballad.

Before the intermission, she described the upcoming song as “one of [her] favorites, by [her] hero, Tina Turner.” While making it her own, she sang “River Deep - Mountain High” in memoriam of the rock icon.

During the first break, humongous RENAISSANCE imagery on stage transported the crowd through a portal into another dimension. Every sonic wave coming out the venue could be felt through your body. The music from “I’M THAT GIRL” played subliminally. Gradually, the music began to crescendo and become noticeable. Robot arms removed segments of Beyoncé’s metal suit and she came out to say, “Welcome to the renaissance.”

After a copacetic nonstop performance of songs from RENAISSANCE, Bey disappeared once more. Rings of light covered the stadium and the jumbo screen showed the galaxy. Two masked dancers were revealed to be the Les Twins, the troupe dancing with Beyoncé for years, to entertain the crowd.

In the shadows, she recited the lyrics of “CUFF IT” line by line. Dressed in Barbie-core, Bey emerged to make another grand entrance. It was reminiscent of her 2018 Coachella performance where she utilized a flight of stairs. From the top of the steps, she took the crowd to church – if it was secular, funkified, and disco-themed.

Prematurely teasing fans with music from “Move,” she unexpectedly performed “Energy” and “Break My Soul” next. A blow-up horse larger than life materialized on stage. During a second rendition of “Break My Soul,” Beyoncé gave her flowers to various Black women in music across eras.

As the beginning of “Formation” played, she and her crew were ready to kill in red with everyone dropped out in crimson. Seamlessly the music transitions to “Diva.” Once more, the music transitioned into a blend of “Diva” and “I Just Wanna Rock” by Lil Uzi Vert. She and her dancers then hit the shuttle move associated with that song.

For “Power” a familiar face appeared. Blue Ivy Carter, Beyoncé and Jay-Z’s 11-year-old daughter, joined the group of dancers. She has been performing with her mother for most tour stops. Her flawless execution of the choreography has become a fan favorite on social media. The crowd was audibly happy to see her perform in Minneapolis.

While the audience was distracted by Blue dancing front and center, Beyoncé hopped on a metallic tank. From the top of the vehicle, she proceeded to sing “Black Parade,” and then her verse from “Savage” and “Partition.”

The stage was dressed like a cathedral with Bey’s backup singer in choir clothes to match. Appropriately, the next song she performed was “Church Girl.” The crowd stood still when she sang the last couple lines of Maze and Frankie Beverly’s “Before I Let Go” in acapella. This slowed down the pace for the next rack, “Rather Die Young.” Mic stands were arranged in similar fashion to how they were in the “Love On Top” music video. This was a set up to sing that very song next. The crowd joined in to sing the chorus. Sans music, the audience sang the lyrics back to Beyoncé raising the pitch every single time as intended.

Beyoncé reappeared from inside a seashell coated in sparkles while singing “PLASTIC OFF THE SOFA,” co-written by the Internet’s Syd. Almost like a siren, she entranced the crowd while effortlessly singing vocal runs. For mash-up of “Naughty Girl” and “VIRGOS GROOVE” she literally and figuratively came out of her shell to give a sexy performance of the tracks.

“If you got your fans, I want you to pull them out,” said Beyoncé, encouraging the audience to wave their fans, an accessory popularized in ballroom culture. While singing the lyrics, “I gotta fan myself off,” during “HEATED” she dramatically waved a fan and pretended to cool herself down.

After performing “AMERICA HAS A PROBLEM” Bey’s dance crew formed a circle and a started a mini ballroom performance. Several of her dancers showed off their flipping, vogueing, duck walk, death drop, and twerking skills. Given RENAISSANCE’S heavy influences from ballroom and queer culture it was nice to see these performers showcased.

Straight of her RENASSANCE album cover, Beyoncé emerged on a silver horse. The end has come. Shining brightly, she began floating while saddled on the inanimate animal. She looked mystical while saying “I hope you guys has the best night.”

Gallery

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Setlist

Dangerously In Love (Destiny’s Child)

Flaws And All

1+1

I'm Going Down (Rose Royce)

I Care

River Deep, Mountain High (Ellie Greenwich, tribute to Tina Turner)

I'M THAT GIRL

COZY

ALIEN SUPERSTAR

Lift Off (JAY Z & Kanye West)

CUFF IT

ENERGY

BREAK MY SOUL

Formation

Diva

Run The World (Girls)

MY POWER

BLACK PARADE

Savage (Remix) (Megan Thee Stallion)

Partition

CHURCH GIRL

Get Me Bodied

Before I Let Go (Maze featuring Frankie Beverly)

Play Video

Rather Die Young

Love On Top

Crazy In Love

PLASTIC OFF THE SOFA

VIRGO'S GROOVE

Naughty Girl

MOVE

HEATED

MIND CONTROL

AMERICA HAS A PROBLEM

PURE/HONEY

SUMMER RENAISSANCE

The all-Black femme lineup of XINAVERSE, a showcase put together by Minneapolis multidisciplinary artist XINA,  packed the Green Room in Minneapolis Thursday night. Groups of college students, proud friends and family members, and couples on a date night filled the space, creating the largest turnout since Green Room’s opening according to its owner. XINAVERSE transported me to a world of Black femme power and unity.

The essences of XINA, Ricki Monique, 5th House, and Soulflower were unique. However, the lineup was cohesive. Their different styles brought a diverse crowd together.

Soulflower, the evening’s first opener, brought punk rock energy to the stage. She belted proudly, even inspiring moshing in the crowd. Her high-energy performance set a good standard for the rest of the performances. She was later joined by bandmates Zoé Challenger and Bobby Kabeya of Miloe to perform as 5th House. Both sets were passionate performances, however, the mood was dampened by crowd members talking during their sets.

Ricki Monique, a rapper and singer with poetic, cerebral punchlines, let the crowd know that this kind of interaction is not OK, especially at a show with an all-Black femme lineup. This was a big shift in the show’s energy. Ricki performed passionately, doing call-and-responses with the audience and giving space for her bandmates to give solos. Unfortunately, Ricki decided to end her set early due to a lack of respect from audience members given the request for their full attention at the beginning of her set. It was the audience’s loss to not be able to see the rest of her performance and hopefully a wake-up call to them to be more engaged crowd participants in the future. 

XINA, headliner and producer of the evening, mixed pop, jazz, neo-soul, and more during her set. XINA describes her style as “arts and crafts,” with XINA being the hot glue gun creating and sticking these elements together that keep viewers engaged and gagging for more.  Starting her set with “Waveform,” she soothed the crowd and eased them into her world. The song represents her multifaceted nature that was showcased throughout her set. I stared at the performance, wondering what else she had up her sleeve if that was how she started. Joined by dancers dressed in black. XINA later introduced singer and fellow multidisciplinary artist Vie Boheme on stage with her to perform the Vie Boheme’s track “Emotion.”

XINA's set was seductive and tantalizing. XINA showed her many talents during her set, pole dancing, belting ethereal vocals, and playing her guitar without it even looking like she even broke a sweat. The night ended with an afterparty of pole dancers. XINA expressed that she wanted the dancers attending to feel inspired, celebrated, and safe. 

XINAVERSE showcased an all-Black femme lineup of promising talent from Minneapolis. However, Ricki Monique’s acknowledgment of the lack of respect from audience members determined that the artists did not feel heard during the whole show. XINAVERSE was a demonstration of Black femmes advocating for each other and hopefully, a step in the future for listeners to create a space for Black women to feel honored.

XINAVERSE shot by Derrick Gichaba

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On a muggy June night, Fine Line witnessed what was perhaps the year’s most extravagant event yet — local artist Blu Bone’s Hi Cotton Ball; A decadent, hedonistic mix of live music, dance breaks, and a ballroom showdown at the end, concertgoers experienced a lifetime within just a few short hours.

The Hi Cotton Ball initially emerged as an informal response to last year’s Afropunk festival, which reportedly underpaid and undercut local performers. This year’s iteration operates under more joyous circumstances, celebrating the release of Blu Bone’s long-awaited EP, Hi Cotton. It’s a fantastic record, laden with striking imagery and curious production choices — near-monastic chants, careening guitars, D&B-inspired drums, Blu’s voice ever-morphing from furious growl to golden-voiced singer. 

This high-concept affair also draws from Blu’s family ties to the Deep South. “In the Black Mississippian lexicon, high cotton means the highest quality and the highest pleasure,” Blu shared in an interview with Carbon Sound last year. “It was funny to me that material and crops such as cotton that are tied to such violence and suffering for my people were used to talk about something pleasurable… by flipping and subverting these materials and these ideas… [my people’s] pleasure and pain are always connected.”

The performance itself was marked by transformation. Adorned in spikes and hair pronged upward, Blu bared sharpened teeth and widened eyes, made all the eerier with feline contacts. He had come armed and ready, throttling the mic and snarling through opening tracks “SOUF STAR” and “WICKED WOMB.” 

Given the night’s professed theme of Rapture, Blu effectively warped doomsday into his own design. Grainy black and white images flashed behind him, the Hi Cotton band’s cacophony of drums at times emulating rolling thunder, at others, the very earth splitting open. Blu’s pointed nails slashed through the air. A potent cross between the holy and unholy, shadows melted into each other as Blu rapped his way through standout “RIVER,” an atmospheric yet undeniably catchy cut.

“It’s nation time and you must be ready for War. Afro-Apocalyptic effect… the Holy War. How will we adorn ourselves when the trumpet blows?” Blu shared on Instagram earlier this week, equal parts a death knell and a call to action. “Do you imagine yourself a soldier? An ArcAngel? Mothership conductor? A Hi Cotton Affair is all about activating our collective imagination for the future.” 

Later donning gleaming white pants and a tipped cowboy hat, Blu slipped from otherworldly creature to natural showman. Bolstered by the remarkable live band, tracks “DONT RUN” and “HI COTTON” took a funkier, guitar-heavy route, the audience rapturous. Legs aching after hours of standing, I was powerless to do anything but move my body, and chant along. 

Hi Cotton is high-concept and requires space and time to explore. However, the night ran overlong, with festivities running well past midnight. Extended dance breaks and wide gaps between supporting acts were likely the cause, but despite my aching feet, stellar openers like Yonci and Gym Kang made the wait well worth our while. The latter’s smooth vocals and impressive dancing blew me away, as did the former’s tastefully DJed mix of crowd favorites and industrial tracks. Goldgrrl and Denaisha were also solid additions, Goldgrrl’s unique mix of metal and sugary hooks reminiscent of pop mainstays Poppy and Grimes. In between acts, host and local legend Destiny Spike kept us entertained with jokes and quick performances, later leading a Soul Train line in the crowd.

Backed by DJ Hijo Pródigo, Hi Cotton’s closing ball was an all-hands-on-deck production. In accordance with the night’s theme, concertgoers came decked out in ripped mesh, extravagant gowns, and lethal black — one notable inclusion was a plague doctor mask.

Blu expertly corralled us through the evening’s categories: Commentator v. Commentator, Runway, Sex Siren, Performance, and Hands. A loving homage to queer culture of past and present, the competitors battled it out under the fierce scrutiny of a handful of guest judges. 

All in all, this year’s Hi Cotton Ball was a rousing success as a celebration of Blackness, of queerness, of all its refracting and varying intersections. It was an avant-garde subversion of both corporatized pride and Juneteenth celebrations. It was also a straight-up night of great music. At the very end, a gaggle of friends carted a massive cake onstage. 

“It’s Blu’s birthday today!” someone shouted. As the crowd launched into a chorus of “Happy Birthday,” Blu shut us down fast: “I will conduct. I need y’all to provide bass, soprano, and alto.” The audience broke out in laughter, and the night hurtled to a close. 

Hi Cotton Ball 2023 - Performers

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Hi Cotton Ball - Ballroom

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Janet Jackson has been working tirelessly for the last half-century to build a name and sound all of her own. Along the way, she has won five Grammys and entered the Rock and Roll Hall of Fame. Back in the Twin Cities for the first time since 2015, Jackson danced all attendees down memory lane at Xcel Energy Center Tuesday evening on her Together Again Tour. 

On her journey to success as a performer, Jackson was a singer in Vegas, had a TV stint on Good Times, and released two sunny albums overseen by her father, Joseph. Her next album, Control, went platinum five times and Rhythm Nation went platinum six times. The latter’s loud themes of Black female empowerment and unity led her to begin openly expressing her own eroticism and sex appeal – something that continues to tap into to this day. Jackson performed an extensive 40-song set, and she brought Atlanta favorite Ludacris along for the ride. 

Rapper and Fast and the Furious actor Ludacris kicked off the night with a swift 30-minute set dressed in black leather joggers, a red-and-cream varsity-style jacket, crisp braids, and a gleaming, icy necklace dangling on his chest. Now 45, Luda smashed through a medley of his top hits, including snippets of songs in which he was featured, like Fergie’s “Glamorous,” Usher’s “Yeah!” and Jermaine Dupri’s “Welcome to Atlanta.” Although the 612 was not called out on the original “Area Codes,” he ensured it was included on the screens behind him. The amped-up crowd bounced and danced like it was a club for much of his set, and there were ample opportunities for sing-alongs. Luda seemed like he was having fun, bantering with a fellow emcee, Arbie Fate Wilson, and DJ Infamous spinning from a platform above. Later, he appeared wearing what he referred to as “big-a** sneakers” during “Stand Up,” and on his final song, “Get Back,” he donned the oversized arms featured in the music video to the approval of the enthused crowd. 

After a short break, it was time for Ms. Jackson herself to take the stage. The racially diverse crowd of mostly 30-to-50-somethings, dressed in their best bedazzled and floral going-out clothes, screamed with anticipation when a montage of Jackson’s photos spanning her career played on the screens above the stage. A drapey cloth was ripped away to reveal an ethereal Ms. Jackson shrouded in a purple hooded cloak that hid a slim-fitting glittering gold one-piece and large purple bow that showed off her figure. Backup dancers wearing matching purple boilersuits writhed onstage with Jackson as she launched into the first segment of the evening. 

Her set broke down into four acts encompassing many hits and a few new songs. Each act had a distinct color theme and outfits that matched the dancers – act one: purple and gold; act two: a flouncy black skirt that was removed to show wide-legged pants and high-necked, glittering black-and-white top; act three: a powerful-shouldered, blaze-orange-and-neon-pink dress with plaid accents; act four: a bedazzled shirt with RHYTHM NATION glistening across the front. Jackson’s hair was tied up in a sleek high ponytail that she occasionally had to battle and pull from her headset, and later she used to whip around her head like a helicopter blade. 

With help from her backup dancers, she showcased some of the legacy choreography that launched her, and countless other dance segments showing what a fit 57-year-old body could do. Jackson’s soft domination took center stage multiple times as lithe and muscled dancers surrounded her, knelt at her feet, and sensually submitted to her. The crowd whooped as she traced her fingers down one dancer’s chest and onto his crotch, and one got a good, deep smooch from Ms. Jackson herself at the end of act two during “So Lonely.”

A live band and DJ were mainly obscured for much of the set behind mesh curtains but were pushed forward for a few select moments. They played cleanly and loud enough to sometimes interfere with some of Jackson’s vocals, particularly during “No Sleep.” Jackson’s sexy, sumptuous mezzo-soprano breathily rang true a few times during the set, but the high-caliber calisthenics-like dance moves warranted what seemed to be some lip-syncing. The crowd didn’t seem to care or mind and sang along during hits like “What Have You Done for Me Lately,”  “Nasty,” “When I Think of You,” and “All For You.” There were a few lulls from Jackson and the crowd throughout the night. It was mixed results when she let attendees do the singing a few times while she sat primly onstage during “Come Back to Me,” “Let’s Wait a While,” and “Again.” Jackson also debuted a new song, “Put It On You,” during act three.

Some of the highest moments were in act four. “Miss You Much” showcased sharp and precise choreography. “Escapade” had great crowd appeal but cut off before her iconic callout to Minneapolis. The middle-aged crowd, slowly growing sleepier, perked up and became animated again when Jackson performed “Scream,” the duet with her late brother, Michael. Screens showed clips from the original music video as the crowd roared and the song bled into an energetic version of “Rhythm Nation,” featuring the original powerful choreography. For the night's final song and the encore, the teases and snippets throughout the night ramped up for the closeout of the entire track “Together Again” before screens rolled the credits for the high-production event.

Although she didn’t provide much banter, Jackson’s enthusiasm for her performance and dedication to putting on a good show, regardless of where it was or whom it was for, was very apparent. Jackson is a true performer whose night was dedicated to showcasing a medley of her take on Prince’s Minneapolis sound, new jack swing, smooth R&B, and pop. Although it could have been a little shorter, Jackson provided an entertaining set that gave die-hard fans and those who only knew her hits exactly what they wanted: a one-way ticket to her steadfast Rhythm Nation, and it sure felt nice to be Together Again. 

Setlist

Damita Jo

Together Again (DJ Premier Remix) 

Feedback

So Much Betta

If

No Sleeep

Got ‘til It’s Gone

That’s the Way Love Goes

Enjoy

What Have You Done for Me Lately

Nasty

The Pleasure Principal 

Because of Love

When I Think of You

Diamonds (Herb Alpert) 

The Best Things in Life Are Free

Control

When We Oooo

Together Again (Jimmy Jam Deeper Remix)

Come Back to Me

Let’s Wait Awhile

Again

Any Time, Any Place

I Get Lonely 

Doesn’t Really Matter

All for You

Come On Get Up

Throb

Girlfriend/Boyfriend (Blackstreet)

Put It On You (unreleased, live debut) 

Do It 2 Me

So Excited

The Knowledge

Miss You Much

Love Will Never Do (Without You)

Alright

Escapade

Scream (Michael Jackson)

Rhythm Nation

Encore

Together Again

Ludacris Setlist

Southern Fried Intro

Welcome to Atlanta (Jermaine Dupri)

Act a Fool

Southern Hospitality

Area Codes

Splash Waterfalls

Lovers and Friends (Lil Jon) 

Pimpin’ All Over the World

Glamorous (Fergie)

How Low

My Chick Bad

Money Maker

What’s Your Fantasy

Stand Up

Yeah! (Usher)

All I Do Is Win (DJ Khaled) 

Ludaversal

Move B***h

Get Back

Experimental multi-instrumentalist and producer Yves Tumor is impossible to classify into one genre. Their artistry and sound is both alien and familiar and touches dark wave, dreamy pop, expansive psychedelic rock, R&B, shoegaze, and alternative. Their latest album, Praise a Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds), crafts a glimmering world all of their own.

Like an alchemist, they combine each piece of raw material and stretch their lean, raspy voice — reminiscent of Prince in his “Let’s Go Crazy” Purple Rain era — and forges it into a glimmering piece of avant-garde music. This potent, darkly sentimental work was put on vibrant display Saturday night in downtown Minneapolis at First Avenue. Your humble reviewer would like to think Tumor’s efforts would have been lauded by the Purple One. If only he could’ve seen the raw energy, power, and gender-bending sensuality delivered onstage.

Picking opening acts for such a varied swath of sounds certainly is no small feat, but Tumor brought along two openers that, although seemingly incongruent side-by-side, made sense for their set. California-based Nation and New York’s Pretty Sick enthralled the culturally diverse younger-leaning crowd that threw their x-marked hands into the air begging for more.

Eurodance-y, atmospheric EDM act Nation consists of producer Funball and singer Fresh Jame. Funball set up a laptop on a large metal trunk with “Nation” spelled out in tape on it and launched into a set of airy beats filled with tubular-sounding synths and ricocheting sprays of sound. The bass was so loud at times that old confetti from previous shows shook loose and sprinkled down from overhead.

Fresh Jame whisperingly spoke-rapped over pre-recorded tracks, Milli Vanilli-ing through most of the set, but the crowd was too busy bouncing to care. The neon laces of Jame’s cheetah-print shoes glowed under the black light as he curled his body like a mantis and thrusted forward, barbed wire tattoos on his back peeking out of his tank. His rat tail flopped, but his yellow-tinted glasses and short-brimmed hat stayed on his head while he landed a few breakdancing moves on stage. Although their set was a simple two-piece, it elicited many cheers from the receptive crowd.

Pretty Sick hopped onstage next in a considerably more analog fashion. The three-piece consisting of Sabrina Fuentes on bass and vocals, Eva Kaufman on drums, and Orazio Argentero on guitar, shifted the sound from electronic to grunge-tinged indie rock. Their powerful energy was nothing short of combustive, with Fuentes’ voice moving from a coo to a whisper to a ragged growl. She owned her bass and her body, scrunching down and shaking her butt in a short tennis skirt on stage, more playful than intentionally provocative, knowing the crowd was eating it up. Their mostly upbeat set had the crowd pogoing along with them. A more-sentimental song had a heartbreaking guitar solo and lyrics about the desire to fix an ex-lover. They closed out the set with the dreamy track, “Dumb,” which was like a popsicle melting poolside in the sun with reverb-y guitar ringing out and Fuentes’ voice dripping with apathy. Not to be too reductive, but overall, Pretty Sick was, in fact, pretty sick and a lovely counterbalance to Nation. Kudos also to the eager crowd who appeared to love both acts in equal measure.

The Judas Priest fan documentary Heavy Metal Parking Lot played on the First Avenue screen until it rose, revealing an eerie blue light and a stage cloaked heavily in fog. The stage featured a drumkit on an elevated stand, and lights with large, perforated cages around them to set the ambiance for the show. Another platform with a large hook-like attachment had snakelike cords and mics surrounding it. Many of the mic stands on stage had arcs or double posts of metal, adding an industrial flair, and alluding to the stylized performance to come.

Joining lead singer Yves Tumor (born Sean Lee Bowie) were band members Chris Greatti on lead guitar; Gina Ramirez on bass and harmonious backup vocals; Yves Rothman on guitar, keyboard, and samples; and Rhys Hastings on drums. Each member was decked out in several silver studded and leather pieces, with the exception of Ramirez, who sported an effortlessly cool black jumpsuit, orange locs twisted into buns atop their head, and a large silver septum ring shining in her nose. Tumor gripped a mic holder that looked like the top half of a shiny silver hound’s head and had a sleep mask strapped to their stylishly disheveled hair.

Without much ado, the band vaulted into “God is a Circle” off their latest album that seamlessly transitioned into “Echolalia.” As the first notes rang out, the crowd erupted, and as the song progressed, they undulated and crashed into one another like waves onto a shore. Tumor sauntered and swaggered across the stage, feeding off the increasingly frothing crowd as the set wore on. Hands grasped for Tumor as the crowd pushed to touch them as they sizzled onstage during a smoky rendition of “Jackie.” Darkly soulful and twisted samples of thunderous big brass sounds filled the venue on “Gospel for a New Century” and “Ebony Eye.” Attendees were immersed in another world with spacy, glitchy tracks like “Meteora Blues” and “Heaven Surrounds Us Like a Hood.”

Pop-industrial “Honesty” and the rambunctious tilt-o-whirl of “Operator” found Tumor on the stand with the mics, a pedal board at their feet, morphing their voice with echoes and distortion. The Nation and Pretty Sick singers joined the band on stage during “Operator” when Jame and Tumor crowd surfed. Tumor lost their eye mask in the shuffle and charmingly bargained with the crowd to get it back, promising whoever had it would get a shirt and vinyl signed by the band, but then playfully dismissed it when many in the spirited crowd insisted they were the one to get the prize.

Some of the most chemistry onstage came from Tumor and guitarist Greatti, whose devilishly charming grin made him reminiscent of a young Ozzy Osbourne crossed with David Lee Roth. Playful flirtation and some writhing around on the First Ave stage floor together didn’t keep Greatti from absolutely shredding on his guitar throughout the evening, playing his guitar behind his head, and even sneaking in a bit of the iconic guitar solo from “Purple Rain” into the last song of the night, “Kerosene!”

Tumor’s carnival of sound had no encore and left the crowd clamoring for more as the house lights and music came up. The haze of the spell Tumor cast on Saturday night’s crowd slowly lifted from the bright eyes and shining faces of the well-spent crowd. Countless breathless grins spread across the faces of those leaving the venue, no doubt headed home to dream of the otherworldly chaos Tumor had just conjured for them.

Photo Gallery

Yves Tumor at First Avenue shot by Awa Mally

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Setlist 

God is a Circle

Echolalia

In Spite of War

Jackie

Gospel for a New Century

Fear Evil Like Fire

Lovely Sewer

Honesty

Licking an Orchid

Crushed Velvet

Meteora Blues

Interlude

Parody

Heaven Surrounds Us Like a Hood

Operator

Secrecy Is Incredibly Important to the Both of Them

Strawberry Privilege

Ebony Eye

Kerosene!

Once Upon A Time at Ratchet St Entry was a fairytale night for the Minneapolis hip-hop scene. With an MC, a DJ, backup dancers, high-energy performers, a fog machine, and lights, Essjay The AfrocentricRatchet facilitated the most theatrical performance I’ve ever seen at the 7th St Entry.  

The night started with DJ McShellen spinning some tunes in her rhinestoned headphones while the audience made their way in and the sun went down. She kept the energy up with a mix of R&B, Afrobeats, and City Girls. 

Starting the performances of the night was Minneapolis rap scene’s sweetheart, Grrrlstomp f.k.a Riotgrrrldarko. She came on stage in furry moon boots and a black fur hat accompanied by her DJ, Meda, who was wearing a princess crown and a dress. People were already dancing all around the room; in line for the bar, seated, even the guy in the sound booth was dancing. She commanded the audience subtly. Her nonchalant energy mixed with her cutting lyrics like “Full combat I never gave a fuck” made her music come to life. She ended the set with, “If I had one wish it would be that everyone sees the beauty and peace in everything. Have a nice fucking night everyone.” 

One of the best parts of the show was the Host/MC, Tella. She was completely committed to being the show’s “fairy hoemother,” granting wishes for each performer like they were Cinderella. 

The night continued to gain theatricality and energy as it went on. Big Kiaa was next, but she didn’t come out alone. She was accompanied by four backup dancers in matching fishnets, pink leotards, and ponytails. She became part of the crowd throughout the set, walking off stage and into the crowd while continuing to rap. She joked with the crowd at the end, pretending to end her set with a sentimental song before yelling, “You know I can’t do y’all like that!” She got in the crowd and everyone was shouting, “Go Kiaa! Go Kiaa!” in unison. She lived up to her name -  Big Kiaa, big energy. 

The DJ announced a “prince so fair” as Tristan Price walked on stage to the sound of trumpets. A dancer did a cartwheel from backstage onto the stage to join Tristan and he spun the dancer around before more dancers appeared on stage. Amid the fog, a dancer did a headstand on a chair while twerking. It was a true performance. Tristan’s final wish from the fairy hoemother was for “the baddest, realest, fairest princess in all the land.

EuphoriasRoom came on stage through a huge cloud of fog and pink lighting in a white corset and beaded hat. She turned up the performance with her choreography in sync with the dancers. She had multiple outfit changes throughout the show, first, into a ski mask and puffer jacket to come back out for some of her more hard-hitting raps. At the end of the set, she had one of the backup dancers hold a mirror and brush with bows on it for her like a princess while she did her final outfit change, keeping in theme. 

DJ McShellen helped the fairy hoemother announce the next guest by saying, “Now time for a royal twerk break, shaketh thy knickers.” DJ McShellen continues to keep the energy up by adding in adlibs and singing along to each performer's song, feeding off their energy. Especially during Jaeji’s set, she was shouting along, “Give it up give give give it up”. 

The fairy hoemother introduced Essjay The AfrocentricRatchet with a final riddle, “So many wishes and so many desires has set the ratchet witch of the west on fire. So many wishes and so many come true she can even grant a wish for you.” 

Weed smoke, fog, and yellow lights filled the air when Essjay hit the stage. The dancers brought the drama for her performance, both with their choreography and on their faces. Without missing a beat, Essjay was joining in on their choreography, bringing the whole night together. Every few songs, Essjay would bring a performer back out to perform a song with her. Calling out, “Where’s the wolf at? Bring the wolf out!” while Tristan Price made his way to the stage to perform with her. Later in the set, she brought out Jaeji. I even saw Big Kiaa hyping her up the whole time dancing in the front. Outside of her music videos, this was my first time seeing her perform, her commitment to her craft was on full display.  Each song was a whole new performance of its own. She brought her personality on stage and joked with the audience saying, “It’s so funny that our songs got titles like ‘Sick’ and ‘Hungry’ lmao we worried about y’all.” She called to the DJ for one last song and the DJ rapped right along with Essjay into the mic, it was a party.  

Sunday night showed the commitment this city has to hip-hop culture and continuing traditions. It was a SHOW, it was not just a concert. The fairytale theme, costumes, host’s riddles, DJ’s energy, dancers’ hard-hitting choreography, and each performer made the night one to remember. A wish come true. 

Photo gallery

Once Upon A Time at Ratchet St Entry by bearBOI Photo

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People might recognize Masego’s name from the viral 2017 hit “Tadow.” It was born out of a one-take saxophone jam session with the also incredibly talented jazz experimentalist FKJ (French Kiwi Juice). The video of their collaboration went viral and continues to accumulate millions of views each year. But long-time Masego fans, like myself, were already well aware of his unique talents.

I have been a big fan of Masego, real name Micah Davis, since he released The Pink Polo EP in 2016. The EP is a collaboration between him and Medasin, a producer from Texas. The two artists coined the term “Trap House Jazz,” which eventually became a label and collective. It’s also a perfect description of the mash-up of genres and styles that Masego continues to experiment with today.

A multi-instrumentalist, Masego sings, plays several instruments, and sometimes raps too. He is mostly known for providing jazzy vibes via the saxophone, mixed with a genre-bending blend of hip-hop, soul, afrobeat, and Bossanova. Since his first EP, he has had several hits, most notably a recent collaboration with Don Toliver, “Mystery Lady,” from his EP Studying Abroad.

Masego’s lyrics highlight very vulnerable aspects of his romantic life, traveling the world, and also self-reflective moments about his place in the music industry, an ongoing concept for him throughout his career. He seems to truly pride himself on being a musician who knows his talent, respects the craft, and is not interested in the superficial fame and fortune that might come along with it, especially if that means having to change who he is. Masego comes off as an artist who refuses to compromise himself and his music.

The last time Masego visited the Twin Cities was back in 2018. I was devastated to not be able to attend. This time, he came to revisit his extensive catalog and promote a brand-new self-titled album, released this month. The new album is without any guest features, and centers on the Masego sound his fans know and love. I arrived to a sold-out First Avenue on Thursday night, having missed the opening act Ogi, a Nigerian-American singer, who has been touring along with Masego for the You Never Visit Me Tour. According to inside sources, aka a friend, Ogi’s performance was “phenomenal (fire emoji)”

As I moved to find a good spot to watch the show in a very-packed mainroom, I could tell the crowd was very diverse — and I have to say, I like Masego fans. A little after 9 p.m., the lights went down and a very dramatic intro began. The stage had some plants and stacked light poles on both sides and at the top. Drummer Jonathan Curry and bass player Ced Mitchell stepped onto the stage first. Then Masego walked onto the stage with his signature saxophone and the fans went absolutely crazy. He opened the night with the well-known — and often controversial — song “Navajo” famously sampled by Drake on “Champagne Poetry” in 2021.

As expected, Masego took us on a really fun journey through his catalog. A few songs in, he asked the audience “it sounds like you might be familiar with The Pink Polo EP?” and the crowd cheered. “You also might know ‘Lady Lady’?” And the crowd responded. He went down the list of all his albums, including his latest. One of my favorite early moments of the night was when they performed “Lady Lady,” and ended with a saxophone cover of Anita Baker’s “Sweet Love.” To my surprise, a lot of folks in the audience sang along. The energy was high the entire time and I attribute it to this constant audience interaction.

When he said “Say ‘yeah yeah yeah’,” the crowd repeated it. Also as expected, Masego not only sang his heart out and played the saxophone, but also made a beat on stage (as referenced in his song “Yebo/Sema”) — and, yes indeed, it was from scratch. It began with a looped beatbox, keyboard, and he added layers of vocals. Then he moved on to the live drums. It all culminated in a live version of “Silver Tongue Devil.”

The fun night continued as he threw roses into the audience during “Mystery Lady,” in reference to a lyric about throwing his fans a rose. The visuals behind him went in and out between a camera view from the stage to illustrations of forests, trees, and sunsets. At another moment, he also threw fake money into the crowd during their performance of “Black Anime,” the first song on Masego which includes a sample of “The Cha-Cha Slide.” It might sound silly, but trust me, it worked somehow. At one point, he declared, “This is a good show. Yep, this is a good show.” Eventually, Curry had a moment to show off his incredible drumming skills.

Another hilarious moment was Masego holding up a yam during his rendition of “Yamz,” which features Devin Morrison. He ended the night with “King’s Rant,” another one of his songs that discusses his complex relationship with fame. The evening was filled with lots of dancing, laughs, and wonder. Masego was able to showcase his vocal range, smooth dancing skills (moonwalk included), incredible musicianship, and playfulness with his fans. For the encore, he returned on stage, and sat in a chair, giving us a slower moment for the first time of the night. Once the song ended, he walked off stage and a video was played highlighting young Black children experiencing moments of joy. It was a tender way to end the show. A few moments passed, and Masego returned to the stage with the hit “Tadow” and the crowd went wild.

Beyond being a Masego fan myself, this was a really great show. Masego and the band gave an outstanding performance from beginning to end. The energy level and playfulness were consistent all throughout, and they left the audience smiling and energized.

Masego shot by Sara Fish

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Ogi

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I had my first experience at Underground Music Cafe in Minneapolis Thursday night for 454 and MIKE’s concert. The crowd filled the venue with excitement before the show started. I walked in and took my position standing in the crowd. After a moment, I looked to my right and realized I was standing right next to one of my friends. We laughed and shared our mutual excitement for the show. I then looked to my left and realized I was also standing next to MIKE, who was hanging out near the crowd, laughing with friends and getting ready for the show to start. 

The night opened with a DJ set from Niontay. The crowd was already dancing as soon as it started and it inspired me to get deeper into the crowd. Niontay’s set flowed right into 454’s set. He walked on in sunglasses and a hoodie on the cold, snowy night. He joked to his Minnesotan crowd, “I’m out here with no jacket, just a hoodie, walking in here, goofy as hell”. He kept the energy up and kept the crowd dancing along to his set. 

I’ve played 454’s tracks in my own DJ sets before, so my excitement to see him was palpable. He has a unique and inimitable voice and everything I have listened to by him sounds fresh and fun. 454 had the whole crowd jumping up and down. This was 454’s first visit to Minneapolis. He was supposed to join Amine last year, but got sick and had to miss the show. 454 ended his set on his biggest song to date, “LATE NIGHT,” and MIKE was in the crowd dancing along and taking pictures of the set on his phone like a true fan and friend.

Next to grace the stage was MIKE. As he got set up, he talked to the crowd saying, “Not gonna lie I’m feeling a lot of love in here. This is my first time in Minnesota.” The crowd answered him with excited cheers. 

The soulful beats and remixed samples that are signature to MIKE’s songs filled the room as his set went on. The DJ would occasionally pause the beats and you could hear the crowd singing to fill in the silence. It made for an immersive concert experience. 

MIKE’s songs complemented the cozy atmosphere of Underground Music Cafe; the warm lighting, the long bar, and the New York-style exposed brick walls. Towards the end of his set, the groovy vibe of the song, “Crystal Ball” was a huge hit with the crowd, inspiring dancing and cheering. It seemed like everyone knew the words. There’s a lot of love for MIKE and 454 in Minneapolis. The crowd's excitement only grew from the beginning to the end of the show. 

After the show, MIKE took a step outside and greeted fans as they passed him walking out of the show.  MIKE, 454, and Niontay were all a part of the show all the way through. When they were not on stage, they were in the crowd, dancing, and having fun.

The whole show felt intimate and conversational even though it wasn’t necessarily a small show, with fans filling the room. It was the relaxed and fun vibes I expected from such great artists, and the friendliness of the performers and the crowd made for a great first experience at Underground Music Cafe. 

MIKE and 454 shot by Awa Mally

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“Can I talk my shit, Minneapolis?” singer-songwriter Ari Lennox asked a packed Tuesday night crowd at the Fillmore. A resounding cheer went up, and Lennox beamed, launching into “I Been,” an excellent cut from her 2019 debut LP, Shea Butter Baby.

Lennox herself is a controlled, level-headed performer. Making little use of chit-chat between songs, the DC native hurdled through her 90-odd-minute setlist with ease. With precise posturing, clean vocal runs, and a smaller stage, this night centered around Ari and her fans, who screamed their way through the hits and deep cuts alike. Even better live, personal favorites “Hoodie” and “Whipped Cream” were all the more amplified by a live band and a crowd call-and-response.

“She’s for the girls,” concertgoers behind me noted midway through the show, and it rings true — Lennox is backed by an all-woman band, and she pulled in some powerful female openers, including “Stop By” and “Pressure” co-writer Jai’Len Josey, who graced the crowd with energetic cuts from her 2020 EP, Illustrations. R&B musician Alex Vaughn followed shortly after, nonchalant tracks “ISH” and “Demon Time” showcasing her keen vocal control and engaging lyricism. 

In several interviews, Lennox has detailed being at odds with her label owner and executive producer J. Cole, particularly on tracks that speak to the female experience. “I had to tell [J. Cole], ‘Look these songs aren’t for you.’ [They’re] for women,” Lennox recalled in a 2019 conversation with GQ. “I felt like he couldn’t understand why I love ‘New Apartment’ so much, and I think he was, as a producer, focused on the beat not being as perfect as ‘Whipped Cream.’ It’s just a different vibe. And what’s most important about ‘New Apartment’ is the message. I just wanted to talk about achieving that dream. I never thought I’d be able to afford an apartment.” 

In perhaps a moment of karmic retribution, Lennox’s bass-heavy rendition of “New Apartment” on Tuesday garnered the night’s most ear-splitting cheers, the crowd reaching decibels previously unheard with the chorus, “Walk around this bitch naked/And nobody can tell me shit.” 

With Lennox, the personal is inextricable from the professional. Her latest record, age/sex/location (2022), grapples with the ever-topical notion of self-love, translating seemingly obvious truths into startling revelations: “There’s something I am sure of/I deserve something purer/My love is a privilege.” The audience last night clearly resonated with the message — one audience member shouted, “I know that’s right!”

Much of the record, and by extension, last night’s show, also reflects on the dissonance between the internal and external self. In an Instagram statement released before the album rollout, Lennox noted, “[I’m] in a transitional space… [I used to feel] very vulnerable and codependent and validation seeking … I remember the countless times I was kicked out of dating apps because they didn’t think I was really myself, it reminded me of those age/sex/location days where I actually wasn’t being myself in those [AIM] chatrooms.”

Though this is purportedly Lennox’s last tour, as I walked home with “Unloyal” rattling around in my head, I resolved to see her live at least one more time again. “Who’s going through a journey right now?” Lennox had asked our audience, and it was impossible not to respond in kind, impossible not to dance along to Lennox’s chant, “Giving the girls Diana Ross/Walkin' around like I’m the boss.” To know your fears and passions were echoed by the singer before you, to know the crowd surrounding you also deeply related to Lennox, was such a special experience, and all the more reason to lose yourself in the music.

Ari Lennox, Alex Vaughn, and Jai'len Josey at The Fillmore

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BabyTron, XXL Freshman, wordplay king, and a self-confessed scam addict touched down in Minneapolis on Monday, Feb. 13.

Carbon Sound went to Fine Line in downtown Minneapolis to speak with the fans about what makes him special.

Starting the night with “Jesus Shuttlesworth” and going breathlessly through his eclectic, sample-filled discography, BabyTron and DSM delivered a show worth trekking out in the tundra on a Monday night.

Fans were excited to see the BabyTron and shared their thoughts before and after the show with Carbon Sound, a few even sang the songs themselves.

Tune in to Carbon Sound to hear tracks like “Jesus Shuttlesworth” and “Frankenstein” by BabyTron in rotation right now.

Subscribe to our YouTube channel to watch more fan reviews and future in-studio performances.

P.S., We took video of BabyTron’s performance, too. Scroll below for videos of his full performance, “Jesus Shuttlesworth”, and “Mr. Hanky.”

As a music fan, you hit a certain point in your life where you know it’s time for jazz. You start to develop a palate for, say, a seated show in a jazz club downtown… Friday evening was my first experience at Minneapolis’ jazz club, The Dakota, to see Robert Glasper. It was his first of six performances that weekend at Dakota. I was led to my seat at a dark wood bar facing the stage, awaiting the start of the sold-out show by candlelight with other twenty-somethings who have decided that now is time for jazz. 

As soon as I settled into my seat, the show started, perfect timing. The show opened with a DJ, who welcomed us into the atmosphere with a perfect choice, Marvin Gaye’s “Mercy Mercy Me”. I was already having a great time. Everyone around me was having a glass of wine or a nice cocktail, dressed up, smiling. It was everyone’s ‘night on the town’. The DJ only played for a couple of minutes before Robert Glasper and his band took the stage. Even before the show started, I couldn’t stop thinking to myself, “Wow, I’m having such a great time, I’m at the jazz club”. 

It seemed Robert Glasper had the same idea as me, when he first got on stage, he spoke to the crowd, “This is a nice place, this is dope. I fucking like this place. I don’t play many jazz clubs anymore.” The crowd was already cheering and excited. I was excited to see that he had a full band with him; a drummer, a bassist and his DJ  to accompany his keyboard. 

Robert started off the show with swirling improvisations on the keyboard, it was bouncy and colorful and brightened up the dimly lit room. He continued to weave through intricate playing on the keyboard, providing vocals, and joking around with his band. Glasper’s music has been described as a mix between jazz, hip-hop, R&B, and neo-soul. This came through in his performance, with the classic jazz-influenced instrumentation, R&B vocals, and the use of a DJ as a part of his set, this was a unique jazz experience. 

The band’s sense of humor is a hallmark of their live performances, the band riffed in between songs throughout the entire show. The band would say things like, “Everybody give it up for Robert Glasper, piano student, it’s his first night with the band, give him some love,” and the crowd would laugh with them. 

Though, it was obviously not his first night with the band, or with the piano. Glasper played chaotically with precision and ease, it was obvious he was a pro. Glasper continued to mix up his style with each song, showing his control with slower, softer melodies and his experimentation with the speed he played. It wasn’t just a backup band either, Glasper’s band each individually shined as well. Glasper’s drummer stole the show a few times, one of which was when he played a jungle drum break halfway through the show. Although I liked the seated vibe of the show, I really wanted to stand up and dance when that happened. 

My other favorite moment of the show was when they covered “Everybody Wants To Rule The World” by Tears For Fears, one of my favorites. It was a calm, spacey cover. The keyboard took the lead role in driving the song while the singer’s elongated vocals brought an R&B vibe to this cover. This song got a lot of attention from the crowd, many people even started singing along.

In between having fun on stage, Glasper took his time with the audience to send out some uplifting words. He talked to the audience about jazz standards, “Now we’re gonna do a song by one of my favorite rappers.” He said that jazz standards become jazz standards when a jazz band plays them, he finished this point with, “So play your friends’ music”.

Glasper surely does have some friends' music to play. The prolific musician has played with many of the big names of R&B, funk, hip-hop, and jazz– Erykah Badu, Herbie Hancock, Nina Simone, Mary J Blige, Kendrick Lamar, and Jill Scott to name a few. He even played the March On Washington in 2020 alongside George Clinton. Along with the respect of all of these legendary musicians, he has won four Grammys, to talk more about his impressive keyboard playing would be redundant. 

What truly brought the night together was his stories and sense of humor. He interacted with the crowd all throughout the night, joking around with his band, sharing stories, or simply just telling the audience what he was thinking about. The relaxed, conversational vibe of Robert Glasper and his band, tied together with the candlelit, suave atmosphere of The Dakota made it a great night. He received a standing ovation after his encore. You could hear snippets of the crowd raving to each other as we cleared the bar for the next show later that night, and passed by the excited incoming crowd that was about to experience Glasper’s next set of the night.

Photos

Robert Glasper at The Dakota

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On a frosty Friday night, concertgoers young and old crowded the historic First Avenue floor, shedding winter coats and stomping snow off their shoes. Hosted in conjunction by local radio stations The Current, Radio K, KFAI, and 93X, First Avenue’s Best New Bands is a continuance of a mid-’80s tradition. This time, seven emerging acts took to the main stage and performed for their lives.

Recent Minneapolis transplant Raffaella kicked off the evening with a grungier take on her wry, polished pop. Accompanied by frequent collaborator Jake Luppen (of Hippo Campus fame) on bass, Sara L’Abriola (“Hank”) on guitar, and Joey Hays on drums, the singer-songwriter channeled early-’90s and aughts angst, breathy vocals descending into sighs and shouts. A wiry, tremulous presence onstage, Raffaella flitted across the dais in theatrical fits and bursts. Standout tracks “BLONDE” and “GROWN UP” had her, in turns, dropping into splits, clutching at Luppen’s legs, or kicking in time to the drums. “I wrote some of these songs when I was absolutely devastated,” Raffaella confided to the audience. “I thought nothing had meaning. Minneapolis has given me meaning. I’m beyond honored to be here tonight.

Up next, with a heady mix of African highlife, reggaeton, and R&B, Nigerian producer and multi-instrumentalist Obi Original brought his electrifying take on Afro-fusion to the masses. An effortless performer, Obi danced, leaped, and belted his way through a groove-heavy set, with seamless audience calls-and-responses. Joined later on by Kion Rose, as well as Bakarii and Ch!nwe of pan-African group Ozone Creations, the group’s chemistry was undeniable in songs “Fanta” and “Unknown Banga 001.” My favorite moment? Obi’s calls to the crowd to “get low” were met with little resistance – then an endearing, but awkwardly Midwestern, scramble to get back up.

Minneapolis-based artist Mike Kota’s set posed a stark contrast. A less danceable, more contemplative follow-up, Kota’s bare bones lyricism and wrenching vocals set an intimate scene: “Keep me alive, keep me sweet/Tell me something new to put my mind at ease.“ “This is a night of firsts for me,” Kota told the crowd in between songs. “This is my first night on the First Avenue main stage. This is my first time with a live band… and I haven’t shit my pants yet.” Her acerbic humor was welcome levity. Kota’s true prowess lies in her deft guitarwork and production ability, with songs like “Rift” and “It’s Not Serious” studies in understated, gorgeous harmony. With the excellent closer, unreleased track “Dragonfly,” she dissolved into wails, a crescendo of guitars following suit.

Carbon Sound favorite killusonline’s ferocious 30-minute set provided a much-needed jolt of adrenaline in Friday’s proceedings. Self-described as “chaotic-death-grind-rap-core,” the local group’s experimental mesh of hip-hop and hardcore roused a sense of contained anarchy in the crowd, and bodies slammed against each other in an ever-present mosh. Riotous tracks “Floor Pedal” and “Inside Out” sent drummer Theo Galetka’s drumsticks flying up in shards, all the while vocalist Mory prowled the stage amidst throttling bass.

Folk-rock group Harlow proved considerably mellower, playing a summery, wistful mix of old, new, and unreleased. A quiet folk tune “Palo Alto,” my personal favorite, comes off their latest EP, Other Lives, Told, but the band was remarkably diverse in their offerings, veering from straightforward country to arena-ready rock.

Coming off a landmark year, four-piece indie group Creeping Charlie took the stage with aplomb, their distortion-laden tunes echoing the likes of Metric and the Greeting Committee. With recent gigs opening for Shamir and Landon Conrath, as well as a December residency at Amsterdam Bar & Hall, the band’s feedback-laced songs were easy crowd hits, “quiet” and “GTFO” particularly primed for head-bopping. The words “WEAPON OF MASS CONSTRUCTION” are etched across lead singer/guitarist Julia Eubanks’ Fender, and the description feels apt: Creeping Charlie’s compositions are complexly architected, riff-heavy works.

Closing out the night, Brotherhood of Birds, a seven-piece (!) Twin Cities-based bluegrass group powered through a lean assortment of songs. Replete with a standing bass, mandolin, banjo, and fiddle, the group was true to its Americana roots, playing selections from their 2021 EPs Caged Vol. 1 & 2.

All in all? Best New Bands was a rousing success, a night primed to dance with friends, nurse a cold drink or two, and discover some new music. Three days later, my eardrums are still shot. It was more than worth it.

Best New Bands

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Carbon Sound went to the Amsterdam Bar & Hall in St. Paul to talk with the fans about what makes Flo Milli and Monaleo special.

Flo Milli and Monaleo are two of the most exciting young voices in rap today. Carbon Sound contributor Tosin Faseemo went to the show, commenting, “Flo Milli and Monaleo showed their full, charismatic selves to Minnesota. In addition to their viral hits, they have genuine talent that translates to real-life stage presence. As long as these two are around, the future of rap is safe.”

Fans were excited to see the duo and shared their thoughts before and after the show with Carbon Sound, a few even sang the songs themselves.

Tune in to Carbon Sound to hear tracks like “Conceited” by Flo Milli in rotation right now.

Subscribe to our YouTube channel to watch more fan reviews and future in-studio performances.

Omar Apollo made his case as a voice of pop’s future at Palace Theatre Tuesday with a set showing off his latest album.

The 25-year-old alternative R&B singer-songwriter from Hobart, Ind., has enjoyed the kind of year amateur musicians across the Midwest can only dream of. After years of uploading music onto the internet, his long-awaited debut studio LP, Ivory, has hit big. The album earned a No. 1 spot on the U.S. Heatseekers Album chart, a 79 on Metacritic, and a headlining spot in the 2,500-capacity Palace Theatre.

Opener Ravyn Lenae, an up-and-coming alt-R&B star from Chicago, also had a marquee year. Featuring collaborations with KAYTRANADA and Steve Lacy, her debut studio LP, HYPNOS, caught the music world’s attention. It earned a Best New Music accolade from Pitchfork, and she has snagged deserved cosigns from breakout stars SZA and Noname. 

Sure enough, Lenae’s performance almost threatened to upstage Apollo. Prancing onto the stage in knee-high black boots and a bright-pink dress, Lenae’s outfit laid down a vibrant tone for the night. Her three-piece backup band -- consisting of an electric guitarist, a drummer, and a keyboardist – at times exceeded the sound found on HYPNOS.

Much like her clearest inspiration, Aaliyah, Lenae’s vocals went toe-to-toe with the ambitious instrumentals that band put forth, usually with a high success rate. Exemplary restraint, quirky high notes and well-placed giggles helped the singer work her way through the kind of outstanding opening performance that audiences rarely receive.

The live band and oddball vocals warrant comparisons to another R&B great, Erykah Badu. Much like Badu, Lenae’s lyrics flex a poise beyond her years and her onstage presence expressed an enviably leveled graciousness.

“St Paul, you’ve been beautiful tonight. You’ve been open, you’ve been warm,” Lenae thanked the crowd at one point.

After rehashing what made HYPNOS such an achievement, Lenae closed out with “Sticky,” the 2018 single that made her name. After skipping offstage, her band stayed on for a minute for an uproarious finale, full of head-banging.

After a break filled with Nicki Minaj on the speakers, smoke machines in full effect, and security guards distributing water bottles, Apollo arrived onstage.

With one drummer in shades, two guitarists, and gigantic LED lighting panels that often displayed his live image, Apollo sang, strutted, and smirked across the stage like he owned it. Well, in those moments, he totally did.

Apollo danced with heaping amounts of boyish charm, reminiscent of a teenage Usher. At times he grabbed his belt and moved his hips to the beat, his tongue ever so slightly out, infusing the smooth ’90s R&B-inspired moves with a Latin influence.

In multiple interviews, Apollo has referenced Prince as an influence and so, inevitably, he addressed that elephant in the room.

“We’re in Minneapolis,” Apollo stated, before correcting himself, “No we’re in St. Paul, which is close to Minneapolis.”

“Prince is from here,” he said with a smile, in an effort to prove he actually did know a thing or two about his audience’s home that night.

At other times, Apollo leaned away from the funk influences and into traditional Mexican rock.

“Is there a lot of Mexicans in St. Paul?” Apollo asked about six songs into the show before grabbing an acoustic guitar and diving into a trio of Spanish-language songs. Born to immigrant parents from Guadalajara, Apollo seems intent on re-introducing his non-Mexican fans to their southern neighbors while engaging those who already get it. Two fans in the balcony waved a Mexican flag while Apollo teased the audience members who didn’t know his Spanish lyrics.

In addition to his Mexican identity, Apollo also imbues his performances with his queer identity. Ivory’s cover, featuring Apollo shirtless and solemn in the shadows, closely resembles the artwork for Set My Heart On Fire Immediately by indie rock queer icon Perfume Genius. Like Perfume Genius, Apollo also sings lyrics full of queer heartbreak and envy. Comedian Jaboukie Young-White frequently jokes that yearning is the gayest emotion. It’s telling that both artists have ballads on White’s popular Spotify playlist titled, “gay yearning.”

Apollo balanced his more upbeat moments with these tales of queer heartbreak on Tuesday night. One particularly vulnerable moment arrived during his performance of “Mr. Neighbor.” In the song, Apollo pleaded to the crowd, “I, I, I, I don't want to be alone,” before finishing it out with a primal, “F**k me, oh yeah, yeah-yeah / Oh yeah, yeah-yeah.”

No entry in Apollo’s discography sears quite like “Evergreen,” his last song performed on Tuesday night. Every line in “Evergreen” devastates, as Apollo describes his hopeless boy crush like an addiction, questioning whether something’s wrong with his body and his urges. In the song’s second verse, a wounded Apollo reached his Tuesday night performance’s climax, belting out, “She could never love you more, more than me!”

The current landscape of alternative R&B and Latin pop exists in the shadow of Frank Ocean and Bad Bunny respectively. Both artists have redesigned what a male pop star looks like.

With Latin influences, vulnerable queer songwriting, and an admirable stage presence, Apollo seems to fit that image better than most. With catchier lyrics and a more distinctive style, Apollo could easily launch himself into crossover pop success.

If the talent on display at Apollo’s show on Tuesday night is any indicator, that’d be a bright future for us all.

Rappers Flo Milli and Monaleo performed a sold-out show to an energetic crowd at Amsterdam Bar & Hall in St. Paul on Wednesday night. Clad in matching all-pink outfits, the pair stunned concert-goers with boisterous lyrics and lively deliveries.

Monaleo opened the show, introducing herself as a Houstonian rapper and getting right into “Beating Down Yo Block,” which samples Yungstar’s “Knocking Pictures Off Da Wall,” a Houston classic. After performing the song, she paused and then took time to explain that the next song had upset a few people. The song in question was “Faneto Freestyle,” which uses the beat from Chief Keef’s stalwart party anthem “Faneto.” The line that had presumably upset people, “I can’t date no white man 'cause I'ma kill him if he say ‘nigga,’ and I’m not playing, ” resulted in loud cheering from the crowd, showing that Monaleo’s playfulness was well-received. Her set was brief, yet animated. Though she has yet to release her debut album, Monaleo’s live performance proved that her talent will take her far.

After a brief waiting period, it was Flo Milli’s turn to stun the crowd. Hailing from Mobile, Alabama, Flo Milli had the audience singing along to all her songs and dancing to every word she rapped. Beginning with “Come Outside,” “Roaring 20s,” and “Like That Bitch,” Flo Milli’s cheerful delivery matched perfectly with the “Mean Girls” inspired visuals that were displayed behind her. The images of a burn book in addition to her blonde hairstyle and bright pink clothing were a clear homage to Regina George, the main character of a movie that centers on young girls who are finding their way in the world. This is a theme that permeates most of Flo’s work.

As she rapped her “Beef FloMix”, a remix of Ethereal and Playboi Carti’s “Beef,” I looked around to see mostly young women whose eyes lit up at the mention of Flo’s affinity for “cash and my hair to my ass.” While it felt like a party, the night was also a celebration of Blackness, femininity, and empowerment. At one point in the show, she brought a few people onstage to vogue as she sang “PBC,” a song that lifts up those who are often cast to the sidelines, reminding them that they are “pretty, Black, cute.” Monaleo was brought back out onto the stage with Flo to perform the remix of “We Not Humping,” a collaboration that epitomizes female rapper unity.

With their punchy deliveries and consistent engagement with the crowd, Flo Milli and Monaleo showed their full, charismatic selves to Minnesota. In addition to their viral hits, they have genuine talent that translates to real-life stage presence. As long as these two are around, the future of rap is safe.

Photos

Flo Milli and Monaleo at Amsterdam Bar & Hall

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The Cedar Cultural Center welcomed DOMi and JD BECK for their first-ever Minneapolis show on Friday, October 28. Coming together from Dallas and France, the duo met in 2018 and have already worked with many jazz legends. Coming up as child prodigies, the pair, now 19 and 22, respectively, are touring the world and selling out shows just shortly after releasing their debut album “NOT TiGHT” in July of 2022. 

The crowded room awaited the start of the concert to a soundtrack of fart sounds playing from the speakers. The noises, paired with the stage full of flowers and DOMi’s “toilet” seat, created a surreal, cartoonish atmosphere. The duo’s incredible talent and technical skill did not prevent them from being kids and making some jokes on stage. 

As I waited for the show to start, I observed the crowd: everyone was very tall. Maybe if you’re tall you’re just more likely to be a fan of DOMi and JD BECK… who’s to say. I ended up making my way to a spot by the side of the stage in between a 7-year-old in a suit and tie, sitting on the edge of the stage next to their dad, and an older, fashionable couple, already dancing. This truly was an ALL ages show. 

Welcomed by an MC, DOMi and JD walked on stage and took their positions in front of the backdrop that was their album cover. With their outfits and hairstyles matching their look from the album cover, it looked as though the art was coming to life right in front of the audience.

Before the music started, JD told us this was their first time in Minneapolis and that their parents had just driven them here earlier that day from Chicago, another sold-out show. It was no different here, the entire venue was packed, everybody showed out. JD mentioned that it gave him a “school auditorium vibe”, but this was much more than a school talent show. 

Right away, JD’s drumsticks were flying around in blurs as DOMi’s fingers bounced between two keyboards. They started off playing through their album in order, with songs like “WHATUP” and “SMiLE” (which was my favorite) while adding in some covers by legends like “Endangered Species” by Wayne Shorter, who they jokingly called “Wayne Taller”. 

Not only do they cover jazz legends, but they play alongside them. Later on in the set, they introduced their collaborative song with Herbie Hancock with a story about how it came to fruition. After he discovered them on YouTube, they exchanged emails. Honored, they set out to write a song for him and eventually recorded in the studio with him for their album. Before starting to play, JD joked to the audience that this song was difficult to play and to not make fun of him if he made weird faces. 

The crowd oo-ed and ahh-ed as the pair played excitedly, with supreme focus and technique. They talked to the crowd in between songs, once saying that they were two of the most nervous people ever, which is silly to think about from the crowd’s point of view, seeing their undeniable and effortless skill, how could they be nervous? They continued to play with ease and precision, through many of the songs on their debut release. 

In between songs, JD would egg on DOMi to tell a joke or a story to the audience about the next song. JD encouraged DOMi to do her Thundercat impression, mimicking his 6-string bass sound on her keyboard, a real crowd-pleaser. It was all in good fun, as Thundercat is another big name featured on their album on the song, “BOWLiNG”. 

There was a playful nature to the show, they don’t take themselves too seriously, even with their child prodigy label and conservatoire training. The audience laughed at all their jokes, it felt like a conversation between the two of them and the audience. Looking around, everyone seemed mesmerized watching them play their instruments. There was dancing, and bobbing around, but it was hard to take your eyes off the musicians’ hands. 

While their talent has already impressed the jazz legends and seasoned pros, they certainly impressed the Minneapolis audience Friday night. The crowd just shifted themselves away from the stage to the merch table after the show ended, as DOMi and JD BECK came to talk to fans. Their first time in Minneapolis, and they already have devoted fans. 

This is only the beginning for DOMi and JD BECK. We will see these two for years to come.

Photos

DOMi & JD BECK at Cedar Cultural Center

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Setlist

1. LOUNA iNTRO

2. SMiLE

3. BOWLiNG

4. Figaro / All Caps / Rhinestone Cowboy / Raid / Meat Grinder / Accordion (Madvillain cover)

5. TWO SHRiMPS

6. U DON’T HAVE TO ROB ME

7. Endangered Species (Wayne Shorter cover)

8. DUKE

9. SPACE MOUNTAiN

10. MOON

11. Jump

12. Havona (Weather Report cover)

13. WHOA

14. NOT TiGHT

15. THANK U

16. SNiFF (Encore)

Everyone was a documentarian at papa mbye’s Friday night 7th St Entry show — an omnipresent GoPro swung across the masses, photographers crowded the outskirts, and concertgoers pushed up against the stage as if by magnetic pull, phones aglow. It was a night well worth remembering.

Openers Riotgrrrldarko and Mike Kota kicked off the evening’s festivities with powerhouse performances. Packed in close, sweltering quarters, little of the audience was fazed, honed in as Riotgrrrldarko tore through a fiery, all-too-short set. Adorned with silver and decked out in black mesh and army green, both the local rapper’s look and sound recall early aughts emo and punk, especially with cuts like “DOGPILE SKIRT” and “LOLITA.” The self-proclaimed Lady Rager rapped with genuine vim, punctuating lines with theatrical eye rolls and jagged enunciation amidst the guttural bass and crunchy guitar samples.

Minneapolis-based artist Mike Kota took a more lowkey approach, serving as her own DJ, audio technician, and guitarist. With solely Kota onstage, the room fell into a hushed lull with stripped-down tracks “Corner” and “Selfish” reverberating into the rafters. Using her rounded contralto to full advantage, Kota’s multi-tracked vocals echoed the likes of Bon Iver and Fleet Foxes, atmospheric and chilling as the lights faded to dull red. “Every Damn Day” struck particularly poignant: “Every damn day I’m in love with the love that I got/Still find a way to hate myself for everything that I’m not.” 

Enveloped by deafening cheers, headliner papa mbye bound into the spotlight with an irrepressible smile. With a crowd eager to rage and the star just as willing to reciprocate, papa and his six-piece backing band launched into the excellent, stadium-ready opener “WONDERINWHY” with little introduction. 

Though a goofy, charismatic presence in between songs, be it grabbing the aforementioned GoPro for selfies or cracking easy jokes, papa proved a hyper-focused, intense performer. Energy abound, papa head-thrashed, leapt, and crowd-surfed his way through the 90-minute show, and the crowd responded in kind, alternately dancing for their lives or jostling for space. His accompanists, with notable inclusions Ben Farmer and Zak Khan, frequent collaborators and producers, were just as exhilarating, with dreamy synths and punchy, intricate guitar lines. Despite his work as a self-professed pop artist, papa and the group leaned into a heavier sound, with punk-adjacent tracks like “Ladybug” and “Cool Maybe,” as well as usually-sung choruses dissolving into screams, shouts, and raps. “PASSENGER,” a personal favorite, gave way to throttling drums and bass, with a clamorous audience call and response.

Despite the joyful thrashing of the audience, the vibe was largely familial. In breaks between openers, friends embraced each other and made introductions. Shouting out brothers, cousins, and friends proved papa’s through line (a Huhroon mention, in particular, garnered massive cheers), papa even going so far as to pull friend and community organizer Philli Irvin onstage to rap electrified verses for the encore, “NOFOODINMYTUMMY.” “Papa, my boy, I love you!” an audience member shouted in the midst of the set, then turned to a friend and said, “We went to high school together. I’ve known him forever.” 

But what truly marks a fantastic concert? The back of my hair lay in stiff peaks, which I only managed to register when I returned home. Someone spilled their drink down my back sometime in the night, and I barely noticed, too enveloped in the spectacle.

Photos

Papa Mbye, Mike Kota, and Riotgrrrldarko at 7th St Entry

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Lizzo missed the Twin Cities and it’s clear the feeling was mutual. At the beginning of her first Twin Cities arena show, Lizzo gave one of many speeches about her affinity for Minneapolis-St. Paul. She recalls this as the place where she received valuable support (“Shout out to The Current”) and is eternally grateful for it.

Personally, I haven’t seen Lizzo live since New Year’s 2018 at Myth in Maplewood. The venue only held 3,000 people which is a fraction of the Xcel’s 17,000. The winter cold was especially bitter that night, but Lizzo’s performance made up for it. Seeing her rise since “Good as Hell” and “Truth Hurts” came out — they were relatively new at the time of her Myth performance — has been incredible to witness.

Starting at precisely “bad bitch o'clock” Lizzo spent two hours filling the Xcel Energy Center with serotonin-inducing songs without missing a beat. She was supported on stage by a crew of Black women which included her long-time DJ, Sophia Eris, her Lizzbians band, and her dancers, the Big Grrrls. (Asia Banks, a participant from Lizzo’s Emmy award-winning Prime program, Watch Out For the Big Grrrls, was also present on stage showing there are real benefits to competing on her reality show.) Bringing new and old together, she performed a rendition of her 2022 single “Grrrls” and 2016’s “Phone,” from her 2016 Coconut Oil EP — same release that introduced “Good As Hell.”

Sporting a sparkly pink Yitty hat that we can only hope will soon become available online, Lizzo transitioned into “Boys.” Lizzo had the whole arena bouncing up and down while singing along. This was one of many clear crowd favorites. The track not only sounds like it has Minnesota’s beloved Prince’s influence, but its music video also honors the late legend by taking place in front of the iconic Schmitt Music note mural. (Prince was photographed there in 1977.)

The Lizzbians then took the reins and geared up the crowd for “Tempo” with a electrifying solo from their 19-year-old guitarist, whom DJ Sophia Eris affectionately called “the baby girl on the team.” Accompanied by background visuals reminiscent of Rihanna’s “Bitch Better Have My Money” era, Lizzo and her dancers twerked to the club track.

To cue up “Rumors,” the jumbotron began showing text messages. “Lizzo and Chris Evans are dating!?” “Lizzo is engaged!!” “What’s next, a baby?” The visual was evocative of Demi Lovato’s infamous “Sorry Not Sorry” performance at the 2017 American Music Awards. Cardi B made a surprise appearance “ringing” in via pre-recorded FaceTime call to deliver her verse in “Rumors.” The video worked so seamlessly into the concert, more artists should consider implementing this when performing songs with a featured artist.

For the next song, “Naked,” which she debuted on her Emmy-winning Watch Out For The Big Grrrls, Lizzo got more intimate with the crowd. She strutted down the walkway in a feather boa robe fit for a mansion to get closer to the concertgoers in the standing room. As she got nearer to the audience in GA she disrobed and was seemingly naked. (Don’t worry, she was wearing a nude-colored bodysuit, presumably from her brand Yitty.) She bared all to give lyrics to the song new life. The dark arena lit up with phone camera flashes while the stage light beautifully displayed different shapes and colors before finally reading in clear bold letters “My Body My Choice” on Lizzo’s silhouette.

“If you’ve dated a Gemini, you’re entitled to compensation,” says Lizzo from the therapy-style chair she had brought on stage while performing “Jerome.” “Break Up Twice” in meaning is a straightforward song. Lizzo doesn’t break up twice. She does it [date] once and does it right. The background of this song, however, is especially intriguing. It was produced by the legendary Mark Ronson, and contains an interpolation of Lauryn Hill’s “Doo Wop (That Thing).” Before hopping off stage for an outfit switch, she and DJ Sophia Eris rapped the first part of the Hill hit, then handed it off to her incredibly on-key background singers.

Finally, Lizzo performed the track that her tour and album are named after, “Special.” In a public declaration of self-love, she had the crowd wave their hands in unison. Lizzo’s encouraging voice saying “I love you. You are beautiful. And you can do anything. In case no one told you today, you are special!” was still ringing in everyone’s ears while she performed. The last few lines being sung a cappella was a goosebumps moment.

In a transition that could’ve either been a bit or completely real, Lizzo spotted a fan on the barricade in a wedding dress. She asked the fan if she recently got married — to which they replied, “I got dumped.” Some members of the audience audibly said “aw,” taking pity on the person. Lizzo, on the other hand, gave the fan a pep talk and reassured them, “I got just the song for you” before singing “Truth Hurts.” While performing, she made sure to sing some lines directly to the heartbroken fan. After the song ended, she took a few minutes to acknowledge the crowd. She showed off her 20/20 vision by specifically pointing out what people were wearing, even if they were in nose bleeds. A concert attendee dressed in a “fuck fatphobia” crop top and sheer leggings drew special attention.

At one point Lizzo restated a point she made in her recent Vanity Fair cover story when the writer asked about criticism that she makes music catering to white audiences. “My name is Lizzo,” she said. “I’m a Black woman, making music from my Black experience. And I make music for every-fucking-body. Period. Because I know when you see me on this stage, you see yourself as well. I’ve lived enough life at this point to know we all go through our own individual struggles and it may not look the same, but it is the struggle nonetheless. And if you’ve gone through the last two years like I’ve gone through you’re a survivor. Period.”

While crying a little bit, she had the crowd sing back the words to “I Love You Bitch” to her. “I never thought a song called ‘I Love You Bitch’ would make me so emotional.” She continued with “Good As Hell” and “Juice” before ending with “About Damn Time” for an encore. Performing those upbeat songs had the audience forgetting it was the end of the concert. Many did not start leaving their seat until a video of Lizzo on the jumbotron exclaiming her iconic line, “bye bitch!”

Setlist

The Sign

2 Be Loved (Am I Ready)

Soulmate

Grrrls/Phone

Boys

Tempo

Rumors

Scuse Me

Naked

Jerome

Break Up Twice

Doo Wop (That Thing) [Lauryn Hill cover]

Special

Like a Girl

Birthday Girl

Everybody’s Gay

Water Me

Cuz I Love You

If You Love Me

Coldplay

I Love You Bitch

Good As Hell

Encore

Juice

About Damn Time

On Tuesday night in Minneapolis, Sudan Archives, the 25-year-old violinist, singer, and one-woman-band, turned the Fine Line into her own personal prom night during her energetic set on her Homecoming Tour. 

In typical bad bitch manner, Sudan Archives had to take the stage fashionably late. She prowled out onto the stage wearing leather booty shorts, a matching leather tie top, and a mullet. She greeted Minneapolis right away and told the crowd that she never went to prom, so she’s making the show her prom. “We didn’t have time to blow up balloons,” she confessed. “But there would’ve been hella balloons.”

She took it all the way, scanning the crowd for her prom date, pulling a fan from the audience and awarding her with a Natural Brown Prom Queen sash to crown her own prom queen, and twerking with fans in a raucous dance circle in the middle of the room, making the night just as much about the audience as it was about her. 

Sticking with the prom theme, Sudan built most of her set around hits from her stellar month-old sophomore album, Natural Brown Prom Queen, the playful, lyrical, and instrumental oeuvre that touches on race, womanhood, and her journey from Ohio to L.A. She also took moments to dip into her debut Athena and her early EP’s showing the crowd how her tunes bridge the gap from her early innovative and unusual works to the bold songs of her newest album.

With her music traipsing across different sounds; from classical strings to smooth R&B to electro-house, it’s clear she’s come a long way from her early iPad-beat-making days as she fills almost every inch of the venue. Still, she managed to make playing in front of hundreds an intimate affair. An expert in silly banter, she made it seem like she was just going to a club on a Tuesday with her besties. After opener Lulu Be. warmed up the crowd with an effective 25-minute set, the room was ready to dance their ass off, and damn, did they dance.

The show had the makings of a DIY gig with her right-hand, Byron Crenshaw, backing her up with synth, keyboard, bass, and drums while she owned the stage, shredding her fiddle like she’s Jimi Hendrix. Sudan redefines and dissents from classical violin, showing the Afrocentric side of the instrument—honing in inspiration from regional African musicians like Sudanese violinist Asim Gorashi and Cameroonian composer Francis Bebey. She proves she doesn’t need a full band, she manages to kill it all by herself with her undeniable skill, charm, and voice that can fill the room.

Managing the spotlight with ease, relishing in her music, and building a rapport with her fans, it was impossible not to fall for her radiant magnetism when she finished off the night with a lineup of songs about titties, declaring that “we all have titties!” or asking, “have you ever been loyal to a hoe…? Imma just leave it at that” before singing “Loyal (EDD)”. Or when she sang the iconic “NBPQ (Topless)” line: “I just wanna have my titties out, titties out, titties out” she flashed one of hers and laughed.

With half a dozen shows from the tour under her belt, Sudan Archives shows no signs of slowing down. Watching her refreshingly unconventional and entertaining show, the crowd had no choice but to crown her prom queen of the night.

Photos

Sudan Archives shot by Zoe Challenger

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Carbon Sound went to the Amsterdam Bar & Hall in St. Paul to talk with the fans about what makes Ken Carson and Destroy Lonely special.

Ken Carson and Destroy Lonely are two up-and-coming rappers from Georgia. Signed to Playboi Carti’s Opium label imprint, the two rappers share his avant-garde approach to rap.

The two artists are known for their ravenous fanbases. Although there are a lot of shared fans between the two, there are those who heavily prefer one to the other and won’t hesitate to let you know.

Fans were excited to see the duo and shared their thoughts before and after the show with Carbon Sound, a few even sang the songs themselves.

Tune in to Carbon Sound to hear tracks like “TURNINUP” by Destroy Lonely and “Freestyle 2” by Ken Carson in rotation right now.

Subscribe to our YouTube channel to watch more fan reviews and future in-studio performances.

“ITS Fest is one of my favorite things happening in Minneapolis for sure. There’s always a different theme every year,” Minneapolis artist and mainstay Papa Mbye confided to me. On top of that, ITS core team member Cherish Witherspoon went the extra mile: “Minneapolis is recognizing who really is a leader of the community, who’s actually doing it for the community instead of for the clout.” My expectations were high, and still ITSTOPIA soared above them.

Founded in 2016 by Philli Irvin, ITS (Intro to Success) is a North Minneapolis based organization that aims to provide funding, resources, and experience-building opportunities for young Black and brown creatives. This is far from an empty promise: Last year alone, ITS reportedly redistributed roughly $77,000 back to creators and performers of color.

With continuously inventive themes, be it ITS Prom or ITS World, and a commitment to keeping things free and inclusive, ITS Fest (one of ITS’s two yearly events) has quickly gained traction through the years. “[ITS Fest] has gotten so big because it’s a reliable space for people to come and express and have a good time, because you know what you’re getting into,” ITS photographer and lineage keeper Awa Mally notes. “It’s gonna be a new experience every time, but you know that you’re going to be around like-minded individuals and creatives in North Minneapolis.” 

As such, ITS has expanded into two branches, the first being ITS Factory, which holds all  of ITS’s programming and, as founder Philli Irvin puts it, is “creating an alternative space to higher education… a space for Black and brown artists to [pursue art] and who maybe don’t want to go to college.” The latter is ITS Agency, slated to launch next year. “[ITS Agency] will provide an economic route for Black and brown artists in a way that protects them and makes sure when they’re working with a large organization at any level, their best interest is in line.” 

ITSTOPIA

After last year’s record-breaking turnout, Irvin immediately began brainstorming this year’s theme, finding inspiration in Black Minneapolis history. “There are so many spaces we don’t know about that perished,” he lamented during our phone conversation, bringing up groundbreaking Black landmarks such as King Solomon’s Mines, the first Twin Cities venue to book predominantly Black musicians, and The Way Community Center, a crucial Northside space devoted to music. “What’s different about this year’s theme is that we’re thinking about ways for us to continue forward [those spaces’] lineage so we’re not falling into the same cycles.” In essence, ITSTOPIA is a conversation between the past, present, and future of Minneapolis. It is a daunting, yet necessary, task.

Cherish Witherspoon, multimedia specialist at ITS, concurs. “It’s really about looking in versus looking out. After Minneapolis went through all this hoopla these past few years, in particular with the murder of George Floyd, how are we recovering? Let’s not forget why we’re here and why we started… How do we heal?” 

In the spirit of creating legacy, ITS plans to lay claims of their own, with this year’s location proving particularly significant — ITSTOPIA, which is sponsored by Public Functionary, takes place at Public Functionary at Northrup King Building , which, as Irvin puts it, is the “ideal kind of place that we’re looking to purchase for future Factory programming in North Minneapolis. We want to get our first brick-and-mortar location so we can expand our programming and do year-round events.”

With a new locale, the ITS team also plans to further develop their core infrastructure. “We want to be in the position to impact and reach more artists and work with them on a deeper level, as well as reach potential clients for [ITS Agency],” Irvin said. “[Purchasing space] will be a cornerstone in our stride towards self-sustainability.” 

But ITSTOPIA isn’t just a place for recollection — “We want this to be a place of curiosity and playfulness… A return to childhood,” Irvin said. “A sort of bending of time in order to address where we are and why we’re here.” 

The day begins

On a rainy Saturday, my friends and I splashed our way to ITSTOPIA, trying (and failing) to avoid puddles en route to the Northrup King Building. Nestled behind towering silos, a cluster of tents lay before us, with cheerful passerby and vendors chatting despite the drizzle. 

A vast array of offerings lay before us, with pop-up clothing and jewelry stores, a mini hip-hop inspired writing workshop, book-making and art booths, and a large wooden structure we later discovered was a performance art piece, where you could freely lounge and enjoy the music. As we wound our way towards the back, we found a collaborative painting area where the young and old alike freely spilled paints across canvases. Right beside it, Strangers Meeting Strangers, a pop-up social event, had participants meet each other in front of a live audience.

Food trucks from staples like Chimborazo and Pimento cropped along the sides, along with newer offerings from Public Functionary Cafe (run by Public Functionary, collaborators on this event), Life Juices, and Flavors of Life Ice Cream, the latter actually encouraging patrons to draw on the truck itself.

Much of the night felt like a return to our youth, with childhood games and activities strewn about the space. At one point we tried our hand at chalk drawings, and feeling both rough concrete beneath my hands and an intense concentration on the most low stakes of tasks, art washed away by the inevitable rain, was simply all too familiar. Children raced the grounds, playing tag. Others played ping-pong, tic-tac-toe, and Connect Four. Some adults even undertook rapid-fire double-dutch, with mixed results. 

As we made our way inside for the live performances, we couldn’t help but notice a twin set of overhead projectors. With this immediate elementary school throwback, event goers could pick up a pen and answer one simple question: “Why are you here?"

Performers take the stage

A thick haze fell over the warehouse, a glowing dais bathed in fluorescent blue light before us. Local musician Blu Bone took to the stage, a commanding presence in all black. The crowd, a fascinating mix of all ages, moved in tandem with him. Blu, a multidisciplinary artist fluent in both music and visual artistry, is no stranger to ITS, having performed almost every year at ITS Fest and serving as programming director for ITS just last year. Earlier in the week over a phone call, he recounted his enduring friendship with Philli, reminiscing over his involvement with ITS’s first ever event, ITS Gallery: “ITS is very much about creating a space for our creativity, because so often [society] tries to suffocate that wonder and brilliance out of us. We won’t have our brilliance snuffed out. Me and Philli, we refused then and we refuse now. It’s always about this unification of the community… about really stepping outside of the self to contribute to the miracle that is our ability to transform through and with each other.” To watch such a thoughtful, transformative performance was a superlative kick-off. 

DNM, a Minneapolis band and supergroup of sorts, with a tight acoustic set replete with beautifully layered harmonies and easy crowd rapport. The group’s debut single, “Shiny,” was a notable standout, stripping the originally upbeat indie pop to something more bittersweet and aching. 

Amidst a furious storm brewing outside, Northside rapper BdotCroc kept the crowd on its feet and well-entertained with an energetic set, at times ducking in and out of the front rows themselves. With not one but two impressive freestyles, the latter being a meditation on Black joy, BdotCroc had clearly honed her craft, and it was a pleasure to witness. On “Almost Quit,” the penultimate song on her set, Bdot asked the DJ to cut the music for her last verse (“Talk your shit!” an audience member cheered), performing an impassioned, sweat-drenched coda entirely acapella. 

smileywlips, a side project from established artist Papa Mbye and frequent collaborator Zak Khan, took the stage in a four-piece group. Papa is also no stranger to ITS, having been a part of the collective since 2017. “I was part of the graphic design team from 2018 to now, and I’ve just been helping out wherever I can. [Philli] is a really close friend of mine, a really close collaborator,” Papa said in an earlier phone interview. The artist also teased a more intimate, stripped set, with looser vibes: “We’re trying to play a set that doesn’t put us in the power position… I want people to feel like they can, you know, talk during the set or they can not even pay attention to it... Take the ego away from performing. For this event in particular, it’s not about me or us, it’s about everyone. It’s about the experience. And our performance is just a small part of that.” 

True to form, Papa invited the crowd to sit onstage and many complied, cross-legged and enthralled. Sweet, lo-fi pop tunes like “Carolina” and “Sudden” shone, with deceptively simple arrangements. To my immediate right, I noticed a mother cradling a sleeping baby and couldn’t help but smile — “Sudden,” with its honeyed, autotuned vocals and shimmering synths, had proved an unintentional lullaby. “PASSENGER,” a personal favorite and a Papa Mbye solo cut, closed out the all-star set, and the band remained onstage for the next performance, Huhroon, who strode onstage with ease.

“Not to flex, but I’ve been to every single ITS Fest,” Huhroon said after the transferral of mics. “It’s a flex!” someone in the crowd shouted back, and the audience laughed. Opening with recent release “PEPPERMYNT,” Huhroon proved an adept performer, with excellent lyricism and confident stage presence. At one point, Huhroon took a seat onstage with the audience members, attempting a poetry reading inspired by “playful adolescence, just growing up and being with your loved ones.” After yet another gust from the overzealous fog machine, Huhroon dissolved into laughter. “I can’t see shit!” Despite the setbacks, he recovered admirably, later joined by Papa Mbye for “a song written during the protests in May. We had a lot of pent up anger we needed to get out.” A head-thrashing finale, the two took turns on the mic over a rollicking beat.

As the last of the rain fell, singer-songwriter Mayyadda came on with her unique brand of rhythmic pop. Cutting a striking figure with lime sneakers, bright eyeliner, and twin sets of hoops, Mayyadda’s effervescent energy was undeniable. “Mississippi,” a folk-y acoustic number, and “WonderBread,” a downtempo pop cut, were driven by clean vocals and great crowd engagement, particularly in the former’s call-and-response driven chorus. In spite of technical issues with the closing track, “BlackGirlMagic,” Mayyadda forged on, cracking jokes along the way.

Bookending the night were “after hours” DJ sets from Leah Damte and DJ McShellen, both igniting an electric energy in the warehouse. Damte was particularly hyped for their set when I spoke to them beforehand, having performed at ITS Fest last year: “You can’t see me, but I’m smiling from ear to ear!” They also expressed a profound admiration for ITS’s values, especially the idea that art is the extension of self. “I really enjoy ITS and Philli’s definition of community as teamwork, and bringing people who are marginalized to the front row and giving them access to resources. A variety of resources! Not just money, but wellness. What I admire so much about ITS is all the intersections where wellness and health are really prioritized… Let’s use that art that we’ve made to heal ourselves. Let it be reciprocal.” Damte describes their work as “cathartic,” and it’s hard to disagree — both Damte and DJ McShellen’s sets drew from a vast array of genres, veering through soundscapes, pulsating and bright. There was no choice but to dance. 

Looking forward

The future of ITS hangs in the balance: Aside from plans to purchase physical space and launch ITS Agency, Irvin plans to expand ITS to other cities, amusingly likening it to the animated series “Codename: Kids Next Door”. “It’ll be a network of Black and brown creatives with different bases. The Black Kids in Memphis can connect with the Black kids in Minneapolis. We’ll bridge the digital world with the physical,” Irvin said. 

“We might be looking at ITS Fest Chicago or Miami pretty soon here, we’ll have to see,” Cherish Witherspoon noted. “We’re really trying to scale it so we can serve other communities.” 

Towards the end of our conversation, Blu Bone reflected on ITS’s flagship event: “We wanted to create [Kids Next Door/ITS] for ourselves and for others. That’s been the purpose. ITS is birthed from that fire… but we need to be visionary enough to realize and understand that this fire is in everyone else, and know that it needs a place.” On a rain-drenched Saturday in Minneapolis, the fire burned on.

Photo galleries

ITSTOPIA: Community at the festival

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ITSTOPIA: Performers

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When I first entered the Northrup King Building, a cavernous warehouse space in Northeast Minneapolis, I felt like I was underground. The long hallways and several left turns it took to get to Studio 144, the primary suite of Public Functionary, evoked a journey into the subterranean. Ambient music signaled my arrival at the right place, and as I watched the nooks of couches, benches, and chairs become populated (and felt the temperature rise in accordance), I got the feeling that the evening of music ahead was going to be far from a typical concert. Then Ricki Monique took the stage, and my feeling was affirmed.

Well, she took one of the stages. There were actually three: a blue-green, almond-shaped contraption that resembled a cocoon, a decked-out DJ booth with a synth in every corner, and a plush, warmly lit vignette whose gentle furniture and dark-green flora evoked the modernity and comfort of a West Elm furniture set. Ricki took this stage, and welcomed the audience to The Playground Experience, a two-week residency created by Vie Boheme, the artistic and co-executive director of Bohemian Way, in partnership with Public Functionary. Her gentle and self-assured voice guided us through the intention behind the experience: the artists here had thought hard about their relationship to oeuvre and performance, of creating a work and then having it be reinvented with live renditions and re-interpretations. As suggested in the name, Ricki and her co-stars, Vie Boheme and MMYYKK, were here to play with their existing body of work in ways that hadn’t been done before.

But the word “play” can have a troubling double-meaning, one that extends beyond free experimentation and creative exploration. Silliness. Uncalculated, impromptu behavior. Doing something just because, like kids smashing their fingers on a piano and shrieking at the dissonance. Contrary to these perceptions, these artists weren’t here to waste the audience’s time with anything that was half-baked or self-indulgent. Their play was to perform freely, in ways that promoted excitement and unconventionality.

The ethos of unconv​entionality is at the core of Public Functionary. Founded in 2012 with the help of crowdfunding, the organization sought to breathe new life into the Northeast visual arts scene, whose coveted warehouse art spaces saw a dearth of low-income artists and artists of color. Co-founders Tricia Heuring and Mike Bishop envisioned a mixed-use space of creation and presentation on 12th Avenue, and after being awarded a grant by Intermedia Arts, moved to a doubly large space in the Northrup King Building in 2019. They were joined by artist Leslie Barlow to create PF Studios, a cooperative studio program that provides young artists with subsidized visual arts and music studios. Bishop sees the expansion as natural: “After we kind of got rolling with things, we started [...] to see more of a community need for an arts ‘hub’. Just a space that was flex-use and allowed different types of creators – theater, dance, musicians – to come into the space and produce things.” Arts education and residency is a cornerstone of PF’s work, and sets it apart from other arts venues who, after filling their calendars with year-round performances, lack the ability to cater to artist development for weeks at a time.

Unconventionality also lies at the core of Bohemian Way’s DNA. The burgeoning entertainment, wellness and lifestyle company provides entertainment and education on the edge of belief to equip people to operate at their personal edge. It achieves this through live and virtual experiences of multi-modal theatrical performances, music concerts, yoga, wellness workshops, and intensive training programs for artists.

Vie, a prodigious dancer, vocalist, and actress who describes herself neatly as a “multimodal artist”, spoke of the uniqueness of Public Functionary’s offerings. In creating The Playground Experience, she saw a dearth of residency opportunities for musicians in the same way they were provided to – and expected of – dancers and actors. “[The Playground Experience] kind of birthed out of my experience doing intensives as a dancer. Going through all of these emotional rollercoasters. It's really that process of refinement, that rigor, that I found a lot of value in and anchored me, and I just didn't see anything for musicians.” Her longing for camaraderie through intensives gave her the idea for something she called Vie’s Improv Playground, an intensive that she conceived in private for the old PF space. It didn’t materialize, but years later, in collaboration with Public Functionary, the idea evolved into what became today’s Playground Experience. Now, it’s coming to life “a million times bigger than I had ever imagined.”

Along with collaboration and play, joy and gratitude were common threads across the evening. Ricki voiced her surprise at the crowd's size, and took the time to shout out the people in the crowd who meant something to her: her family, her performance coach Gwen Matthews, and BeBe Zahara Benet, the first winner of RuPaul’s Drag Race. But it wasn’t all about lightheartedness and having fun with music. Born and raised in St. Paul, Ricki vividly described the culture shock she experienced attending high school in the suburbs, where she was “othered” as one of the only Black kids. Between feeling out of place in school and disenchanted as she started a career as an educator herself, she started seriously pursuing rap as an outlet. “Everyone thought of Immortal [a highlight from her 2022 EP Good Seeds] as a happy song, but it didn’t come from a place of joy. I was just trying to feel something.” She rapped these lines a cappella as a means of introducing her set: Bowl in the dorm room, now they wanna fine me / Weed in joint rolled, hit it kinda lightly / I just wanna feel some / I'm just tryna feel.

Each artist’s relationship to play was different, but a theme of restraint was seen across all three. Ricki’s focus was to give herself space to speak her mind between songs, or to remain silent and let the music do the talking. As a dancer, Vie was using the evening to focus on her vocal performance, keeping her expressive choreography to a limit so the audience had no choice but to zone-in aurally. And MMYYKK had a unique chance to work without a band, putting himself on the mainstage to tell his story without instrumentation or production getting in the way. “I’m a synth wizard, so my M.O. is making sure the beat’s slappin’. And [Ricki and Vie] were like, ‘Bro, it’s cool that the beat slaps, but they gotta hear you and take in the message. Strip it back. Maybe the beat doesn’t come in.’ And that was a beautiful process for me, to step outside of myself and see my process from y’all’s eyes.”

The fact that we even heard these musings from the artists reflected a level of vulnerability and bravery that they brought to the evening. The show felt like an extended conversation – a dialogue between the musicians themselves and also between the performers and audience – while still maintaining clean execution and deep audience engagement. 

At a post-show session where the artists responded directly to audience thoughts and questions, Vie left us her own meaning of The Playground Experience: “In the spirit of play, everyone got to have a playground experience here. We got to have one in our process, the [set designers] got to have a playground. And what do kids do when they go to the playground? They pursue the most joy. They’re like, yo, the swings look like so much fun. And they get on the swings and swing until they go, the slide would be more fun! They pursue the most joy possible every single moment they’re there, and that’s a part of what inspired this experience, this process, this practice.” 

Walking out of the Northrup building three hours later, I began to see Public Functionary as a playground, too: a vast place situated in concrete where artists and creators of all modalities can earnestly engage in the pursuit of the most joyous, cathartic output possible.

Photo Gallery

Playground Experience

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It’s been a couple of years since Kehlani has been in the Twin Cities. The last time they performed in Minneapolis was in 2020 for less than happy reasons.

They had participated in a benefit show in remembrance of St. Paul rapper Lexii Alijai, for which proceeds went to a recording arts scholarship fund. They remembered the venue, First Avenue, as a small box. (First Avenue can only hold just over 1,500 people in contrast to The Armory’s 8,400-person capacity.)

Lexii Alijai Tribute Show at First Avenue

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Kehlani’s openers Destin Conrad and Rico Nasty set the mood for the night. The two artists couldn’t be more opposite. Both brought the dual sides of Kehlani’s music and fanbase. Conrad, whom Kehlani endearingly referred to as their “baby,” belted soulful R&B, and Rico brought uptempo tracks suitable for jumping around and choreography. During Conrad’s set, a fight between concertgoers erupted, and he hilariously tried to sing through it. He continued with the lyrics, “We at the day party!” before asking the two brawlers to stop (again.) Rico Nasty performed hit after hit while the audience kept up with every step and lyric. From her features on songs like Doja Cat’s “Tia Tamera,” to her tracks such as “Money,” “Sugar Trap,” and “Smack a B*tch” Rico was hyped for 30 minutes straight.

Before Kehlani made thier long-awaited entrance “Lexii’s Outro,” the fifteenth and final track from Kehlani’s 2020 album, It Was Good Until It Wasn’t, filled the venue. The track features the voice of Lexii Alijai, whom Kehlani considered a dear friend. They worked with Alijai’s family to properly honor the late rapper. After performing their first two songs of the night, “Little Story” and “Shooter Interlude,” their first few words to the crowd were, “I’m not going to say much, but you already know what tonight means for every single person in this room and who tonight is for.” They asked everyone to hold their hands up and form the letter “L” in remembrance of Lexii.

As an artist, Kehlani comes off as real and authentic, and you could see their true temperament during the evening. After singing “Open (Passionate)” with Conrad, they cautioned those in the front to “scooch back” and “make space.” In multiple instances, they didn’t hesitate to pause the show to let distressed fans exit the crowd easily. There are a lot of musicians out there that would leave it up to security to get people who fainted out safely. Seeing this compassionate side of Kehlani was not surprising, but still refreshing.

Later, during “Hate the Club” Kehlani stepped into the crowd and serenaded a few fans. Due to the lack of jumbotrons, it was hard to make out what was happening,  however the ecstatic screams were a good indicator of how fans were taking it. One lucky fan had a whole conversation with Kehlani where they asked “How old are you?” and when the fan said “16,” Kehlani warmly responded, “Hello baby. I was singing that to you very sisterly. Nice to meet you, thank you for coming tonight.”

Kehlani’s mellifluous voice had everyone, including themself, so immersed in the music they had gone through half of their set list without stopping to speak to the audience for some time. They said, “I realize I’ve been going from song to song and not talking and that’s very me.” To take it all in, without slowing the pace, they sat on a stool next to their guitarist, Lexii Lynn, to sing “Honey.” For the sake of better hearing the guitar, the background music was lowered and the crowd could finally be heard singing along. They carried on with some of their older work, including remixes of “1st Position,” “You Should Be Here,” and “Distraction.” Hearing these new renditions felt like a celebration of how far they have come.

At 27 years old with a 3-year-old daughter, Kehlani is very appreciative of the space they have created as an artist, but they know they couldn’t do it alone. Throughout the night they repeatedly shared the spotlight with their band and dancers. They even called out the fact they wouldn’t be able to do anything without their fans. They candidly shared, “I need you guys to understand how much of a blessing it is to exist in my industry, my world as long as I have and it's all thanks to you … You guys gave me a life far beyond what I imagined for myself [or] imagined possible.” Although the only response the crowd was able to muster was “AHHHH,” it was obvious Kehlani’s sincere appreciation for everyone in the room was received.

One of the most memorable moments of the night was made when four or five lucky kids varying from ages of 5 to 16 years old were brought up on stage for their final song, “CRZY.” Kehlani admits, “You know I’m a mommy!” Their admiration for children and young concertgoers was charming. For the song, they appropriately instructed the youngsters to go crazy. Everyone on stage – Kehlani, the band, dancers, and the children – went berserk. The audience happily joined in on the last hurrah of the night.

Photo Gallery:

Kehlani, Rico Nasty, and Destin Conrad at the Armory

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Setlist:

Lexii’s Outro

little story

shooter interlude

more than i should

tangerine

Open (Passionate) (with Destin Conrad)

Love Language

Piece of Mind

Can I

Water

Hate the Club

wish i never

up at night

Serial Lover

Honey

1st Position

You Should Be Here

Distraction

Nunya

Grieving

melt

any given sunday

Toxic

Nights Like This

Altar

CRZY