MAY 9 SAVANNAH - CHARLES MORRIS CENTER
MAY 16 CLEVELAND,OH BEACHLAND BALLROOM W/ ERRO
MAY 17 DETROIT CHARLES WRIGHT MUSEUM W/ERRO
MAY 22 HOUSTON,TX ARENA THEATRE w/ India.Arie
MAY 24 AUSTIN, TX PARISH ROOM
MAY 31 DALLAS,TX W/ PICK UP BAND
JUNE 4 AND 5 ATL,GA ATLANTA HISTORY CENTER
JUNE 7 WASHINGTON, DC CAPITAL JAZZ FEST w/ Mike Philly
JUNE 19 ATLANTA,GA TABERNACLE w/ LEDISI
JUNE 25 ATLANTA Mc Cafe
JULY 10 PHILADELPHIA KESWICK THEATRE W/ LEELA JAMES AND DWELE
JULY 16 BAM FEST(Day Show) and SOBs (night show)
AUGUST 6 SAN JOSE, CA
AUGUST 8 SAN FRANCISCO, CA W/ DWELE
AUGUST 10 SACRAMENTO,CA W/DWELE
Monday, May 4, 2009
Sunday, May 3, 2009
Concert Review: Drake The Loft- ATL
So, I just got hip to this kid Drake a month or two ago, in the barber shop, I admit. I try my best to keep up with the new hot shit, especially rap, so when I hadn't heard of dude, and he was popular already, I wanted to hate. I couldn't. He's got it.
So when I get word that he's performing at Center stage- where I can get in free (YES!!) -- I'm there.
Good to see the new new scene poppin off, and not be whack. Drake brought in badass youngins by the truckload, showing he's the first rapper I've heard in a while who can spit, and keep the ladies entertained. The singing don't hurt. Everybody wins! Thanks Drizzee!
But before we got to the homey Drake, we had to go through what I fear the most in standing room venues- openers. Not always a bad thing, it's just that when there's one, many promoters go crazy, and have like. . . twenty of em. This night it would be the mighty mighty Jazspects ( not mad at that), some guy named Danny Swain, and a little person, who may be Lil Wayne's child, not sure.
Up first was Danny Swain who gave a lesson in "how not to rock a show 101". Firstly, the announcer for the night didn't even prep the crowd for dude at all, as far as I can recall. The last thing I heard him say was "Drake is in the building!". Not necessarily a good setup for an unknown to come on stage, who clearly isn't Drake. Well, Danny doesn't help matters much, because I don't remember him saying his name either. I honestly think he thought that everyone there already knew him. Big mistake. I was assuming at first that the crowd was maybe giving him a hard time because they wanted to see Drake so bad, but after he shit on everybody for "not knowing I'm the illest" or some shit like that, I had less to feel sorry about for him . For some reason he chose to have his band play "The Truth" by Beanie Sigel, so he could show his lyrical skill. That is not one of Beans' hottest tracks, and Danny just wasn't that type of rapper that you would know for being a lyricist. I swear, at one point, I heard him say "splish splash, I was takin a bath"-- you be the judge. I got the idea that maybe the tracks were his strong suit, as I understand he's a producer as well, but they weren't turned up so loud, so it wasn't ALL his fault. When he told the crowd some shit about how he made $200 bucks for the show, all was lost- sandman, come get dude NOW. He had a girl come up and sing one of his hooks, and her voice was so nice and pretty, the crowd actually warmed up a little, but he destroyed that glimmer of hope when he said "yeah, give it up for her, since you won't give it up for me!" Classic. All he needed to do was speak a little louder and clearer, be nicer, and it wouldn't have gone so bad. Soon after, the ref had to throw in the towel on him, and he didn't get to finish his show. I hope he learned something from it, and doesn't think that they just don't "get it".
Next up, Jazspects. They are basically master showmen, all the way around. From the minute they touched the mic, they came with authority, and let the crowd know they were in good hands. The crowd responded accordingly, plus some of em, really has heard of them, and they murdered it as they always do. Playing, dancing, rhyming, all that. Not much to say except I think they could've done oooone less song. Again, when there is a headliner that is in such demand, I'm of the belief that leaving the crowd wanting more is a good thing. I got to track #4 of their new album "polka dotted stripes" on the way home, and it sounds pretty dope. It's in stores now so cop it.
Finally, Drake came up. I was worried that he wouldn't have a show format really, just run off songs one by one, but I was wrong. He had a crazy intro, and he has a really good presence. He's really a good combination of Kanye, and Wayne, cept he's more of a lady killer than both. I hate to use this word, but fuck it-- dude got swag. I just got his mixtapes a couple days ago, so I wasn't that familiar with his songs, but I'm sure that I was the ONLY ONE. Everybody in the room knew his lyrics, top to bottom- he could've just stood there if he wanted. I like the way him and the DJ ran through joints at a nice pace, sometimes going from an extremely slow song to an uptempo banger in a heartbeat. It's always a good thing when you have songs that everyone knows, definitely makes it easier, but I found his intros and banter in between to be cool as well. Trey Songs came out to rock their apparent hit, "Successful", but he really didn't need to sing much at all. Easy job, good money. Goes to show you what a hit song really means- who doesn't wanna be successful? The other ace Drake has up his sleeve is his ability to go across so many genres, from the coldplay intro, to some chopped and screwed shit, to some seemingly backpack, straight lyrical joints. Oh yeah, did I mention the lil dude can sing? He slayed the chicks with his voice, and right when he had em feeling sentimental, he cranked it back up with what looks to be a smash, "best I ever had". He's got a knack for saying things that women like, and men wanna say to women- again, everyone wins. I'm also glad he kept the set short, I'm a fan of that, especially when I don't know all the songs yet, but I'm sure he coulda done another hour and no one would have been mad. I'ma cop his album and claim it's for my sister, LOL.
biggup Janee Bolden for the footage. check more out @ http://ifuxwitit.blogspot.com/
So when I get word that he's performing at Center stage- where I can get in free (YES!!) -- I'm there.
Good to see the new new scene poppin off, and not be whack. Drake brought in badass youngins by the truckload, showing he's the first rapper I've heard in a while who can spit, and keep the ladies entertained. The singing don't hurt. Everybody wins! Thanks Drizzee!
But before we got to the homey Drake, we had to go through what I fear the most in standing room venues- openers. Not always a bad thing, it's just that when there's one, many promoters go crazy, and have like. . . twenty of em. This night it would be the mighty mighty Jazspects ( not mad at that), some guy named Danny Swain, and a little person, who may be Lil Wayne's child, not sure.
Up first was Danny Swain who gave a lesson in "how not to rock a show 101". Firstly, the announcer for the night didn't even prep the crowd for dude at all, as far as I can recall. The last thing I heard him say was "Drake is in the building!". Not necessarily a good setup for an unknown to come on stage, who clearly isn't Drake. Well, Danny doesn't help matters much, because I don't remember him saying his name either. I honestly think he thought that everyone there already knew him. Big mistake. I was assuming at first that the crowd was maybe giving him a hard time because they wanted to see Drake so bad, but after he shit on everybody for "not knowing I'm the illest" or some shit like that, I had less to feel sorry about for him . For some reason he chose to have his band play "The Truth" by Beanie Sigel, so he could show his lyrical skill. That is not one of Beans' hottest tracks, and Danny just wasn't that type of rapper that you would know for being a lyricist. I swear, at one point, I heard him say "splish splash, I was takin a bath"-- you be the judge. I got the idea that maybe the tracks were his strong suit, as I understand he's a producer as well, but they weren't turned up so loud, so it wasn't ALL his fault. When he told the crowd some shit about how he made $200 bucks for the show, all was lost- sandman, come get dude NOW. He had a girl come up and sing one of his hooks, and her voice was so nice and pretty, the crowd actually warmed up a little, but he destroyed that glimmer of hope when he said "yeah, give it up for her, since you won't give it up for me!" Classic. All he needed to do was speak a little louder and clearer, be nicer, and it wouldn't have gone so bad. Soon after, the ref had to throw in the towel on him, and he didn't get to finish his show. I hope he learned something from it, and doesn't think that they just don't "get it".
Next up, Jazspects. They are basically master showmen, all the way around. From the minute they touched the mic, they came with authority, and let the crowd know they were in good hands. The crowd responded accordingly, plus some of em, really has heard of them, and they murdered it as they always do. Playing, dancing, rhyming, all that. Not much to say except I think they could've done oooone less song. Again, when there is a headliner that is in such demand, I'm of the belief that leaving the crowd wanting more is a good thing. I got to track #4 of their new album "polka dotted stripes" on the way home, and it sounds pretty dope. It's in stores now so cop it.
Finally, Drake came up. I was worried that he wouldn't have a show format really, just run off songs one by one, but I was wrong. He had a crazy intro, and he has a really good presence. He's really a good combination of Kanye, and Wayne, cept he's more of a lady killer than both. I hate to use this word, but fuck it-- dude got swag. I just got his mixtapes a couple days ago, so I wasn't that familiar with his songs, but I'm sure that I was the ONLY ONE. Everybody in the room knew his lyrics, top to bottom- he could've just stood there if he wanted. I like the way him and the DJ ran through joints at a nice pace, sometimes going from an extremely slow song to an uptempo banger in a heartbeat. It's always a good thing when you have songs that everyone knows, definitely makes it easier, but I found his intros and banter in between to be cool as well. Trey Songs came out to rock their apparent hit, "Successful", but he really didn't need to sing much at all. Easy job, good money. Goes to show you what a hit song really means- who doesn't wanna be successful? The other ace Drake has up his sleeve is his ability to go across so many genres, from the coldplay intro, to some chopped and screwed shit, to some seemingly backpack, straight lyrical joints. Oh yeah, did I mention the lil dude can sing? He slayed the chicks with his voice, and right when he had em feeling sentimental, he cranked it back up with what looks to be a smash, "best I ever had". He's got a knack for saying things that women like, and men wanna say to women- again, everyone wins. I'm also glad he kept the set short, I'm a fan of that, especially when I don't know all the songs yet, but I'm sure he coulda done another hour and no one would have been mad. I'ma cop his album and claim it's for my sister, LOL.
biggup Janee Bolden for the footage. check more out @ http://ifuxwitit.blogspot.com/
Saturday, May 2, 2009
The closing-- and expansion of SugarHill
About a year or two ago, my manager, Richard Dunn, came to me and asked my opinion on a business decision he was about to make. he was planning to collab with some partners to create the club, SUGARHILL. He told me the risks associated with forming this place in the ATL underground, with it's past history and the success that eludes that place. He also asked my advice from the perspective of an artist of what makes a great atmosphere for the performers, and the audience.What I described, fit that venue to a tee. A stage with great views from many angles, and a sound system to match, as well as just an overall sexy atmosphere, not too bougie, not too juke joint. A place where people could enjoy the artist, and be a part of the experience.
When I saw the room, it was a no brainer. Atlanta, with the great live music scene it has, didn't have a place quite like this. All props due to some of my favorites such as the World famous Apache, Smith's Olde Bar, Sambuca, and Vinyl , all great rooms who are welcoming to what we do, among many others. Those are all great spots to get started, and eventually an artist can get to play something as big as The LOFT or even the main room in Center Stage, The Tabernacle, and so on. The problem was, the first rooms I mentioned are 200 or so capacity, and the large rooms are 600-2,000 seaters. An indy artist on the grind who can maybe sell out Apache, gets thrown into a huge room, and it suddenly looks . . . empty (echoechoecho LOL).
What's the in between? Where would an artist like myself play as I continue to grow my audience? Eric Roberson, Dwele, Bilal, Janelle Monet? Sugarhill was the perfect size for what we had to offer and it had an intimate feel that brought out the best of a live performance. On top of that, from what I understood, the underground was giving incentives for new nightlife spots, and perks, like closings at 4AM-- the true A town way.
We looked at those pros, weighed against the cons of what we are all familiar with about the underground. It's kinda in the hood, a lot of the bars down there are cool with that, and it could be a bit grimy. Well, Richard and I are both GA boys, him from Atlanta, me from Savannah. Honestly, part of what makes Georgia folks so fresh, is that we can take a little hood with our classy shit- we actually PREFER it-- so knowing the risks that some folks may be scared away by the underground tag- plus wanting to be a part of the big change that can happen organically, instead of a complete gentrification overhaul, I said to Richard-- "the risk is what makes the reward worth it-- GO FOR IT!"
Richard, J Carter, Freddy Luster, Tom Cook, Josh Antenucci-- all major promoters with a real history of involvement in the scene, put their necks on the line to bring ATL something we all needed; the next level in live entertainment. J brought his legendary event, Sol Fusion there and set it off. Harmony N Life found a home there. In no time, every serious artist graced that stage, and classic performances happened. Even the uber stellar drummer, Little John Roberts felt compelled to "get the band back together" and make Tuesday a reminder of what the Yin Yang was for us all in the 90's with DJ Kemit, and now Salah. I remember walking in and hearing a woman on stage who I thought sounded like Jill Scott-- turns out, it WAS Jill Scott. I saw Raphael Saadiq,John Legend, India, Algebra, Donnie, Omar, Tweet,J Davey PJ Morton -uh, dude from Blackstreet who wasn't Chauncey (LOL),Big Boi,PK,Keisha Jackson, and of course the Underground Queen, JOI--- all putting their sweat equity into the building, cuz we all knew what it meant. Shout out to the bringers of that NEW energy----Hollyweerd,Jazspects, Chante Kahn, Brittany Bosco, Eva Kennedy, Dawn Mclain, Stephanie, Rahbi, of course Janelle, Foreign Exchange, Muffy, Dane Harris, Mikhel and Sepsenahki-- all bringing it the way it's supposed to be brought!
But -- and yes, there's a BUT-- not ERRBODY can take the grime I suppose. No hate, but some people really are scared of their own people, and just couldn't make the trip down to support. As much of a draw as many of these artists are, I have actually had conversations where I'm hyping up a show, and when I mentioned where it was, I get the "uh-uuuuh, I don't go down there!"
I'm not making this up, and I'm not saying it to offend, it's just what it is. I suppose you guys have a right to have it all the way as you like it, but sometimes, you have to be a part of creating it as well. That's what brings it around the whole 360.
So, Sugarhill -- in that location. . . is closing DOWN. Keep your eyes and ears peeled, because it will rise again. I remember when the Yin Yang closed before it. It encouraged us all to spread our wings, and make something bigger happen. That would be India's albums, my albums, Donnie's albums, Joi's albums, and on the venue side-- Sugarhill was born. It will only come back bigger and better. That's how serious the spirit of it is. It's a part of an ongoing evolution that we are all a part of. So we roll with the punches.
I give my personal thanks to everybody who is down for good music, period. My personal most meaningful night in there was the night dedicated in memory of Ms Peach, who left us with this spirit to keep it moving- if some of you only knew.. .I hope we show the influence she left.
There's so much to say in this blog about that place. A lot of people may not understand the convergence of things that were happening there. Atlanta, we know, is a city overflowing with transplants these days. This was a place where newcomers could mix with a little bit of the Westsiders , Eastsiders, Southsiders, who BEEN HAD the flavor that people came to recognize about this city. I know, I know, It's NOT NY, it's NOT LA- and this is how you can dip your toe in it, and get your first lil taste of what it IS. Sugarhill, as a concept, represents that to me, and I can't wait to see what happens next.
The last night in that location is this Tuesday. Bring some money, and bring your ass, cuz it will be historic, and a foreshadowing of what's to come. You'll prolly still catch me down there in Motions from time to time, that is if you aint too scary LMAO!
I was gonna post some youtubes, but there are too many- thank God for that-- just enter Sugarhill ATL, and you can see gigabytes of hotness. Be lazy today, surf.
P.S. can't forget my dude, Dres Da Beatnik and The World Famous Mic Club!!
When I saw the room, it was a no brainer. Atlanta, with the great live music scene it has, didn't have a place quite like this. All props due to some of my favorites such as the World famous Apache, Smith's Olde Bar, Sambuca, and Vinyl , all great rooms who are welcoming to what we do, among many others. Those are all great spots to get started, and eventually an artist can get to play something as big as The LOFT or even the main room in Center Stage, The Tabernacle, and so on. The problem was, the first rooms I mentioned are 200 or so capacity, and the large rooms are 600-2,000 seaters. An indy artist on the grind who can maybe sell out Apache, gets thrown into a huge room, and it suddenly looks . . . empty (echoechoecho LOL).
What's the in between? Where would an artist like myself play as I continue to grow my audience? Eric Roberson, Dwele, Bilal, Janelle Monet? Sugarhill was the perfect size for what we had to offer and it had an intimate feel that brought out the best of a live performance. On top of that, from what I understood, the underground was giving incentives for new nightlife spots, and perks, like closings at 4AM-- the true A town way.
We looked at those pros, weighed against the cons of what we are all familiar with about the underground. It's kinda in the hood, a lot of the bars down there are cool with that, and it could be a bit grimy. Well, Richard and I are both GA boys, him from Atlanta, me from Savannah. Honestly, part of what makes Georgia folks so fresh, is that we can take a little hood with our classy shit- we actually PREFER it-- so knowing the risks that some folks may be scared away by the underground tag- plus wanting to be a part of the big change that can happen organically, instead of a complete gentrification overhaul, I said to Richard-- "the risk is what makes the reward worth it-- GO FOR IT!"
Richard, J Carter, Freddy Luster, Tom Cook, Josh Antenucci-- all major promoters with a real history of involvement in the scene, put their necks on the line to bring ATL something we all needed; the next level in live entertainment. J brought his legendary event, Sol Fusion there and set it off. Harmony N Life found a home there. In no time, every serious artist graced that stage, and classic performances happened. Even the uber stellar drummer, Little John Roberts felt compelled to "get the band back together" and make Tuesday a reminder of what the Yin Yang was for us all in the 90's with DJ Kemit, and now Salah. I remember walking in and hearing a woman on stage who I thought sounded like Jill Scott-- turns out, it WAS Jill Scott. I saw Raphael Saadiq,John Legend, India, Algebra, Donnie, Omar, Tweet,J Davey PJ Morton -uh, dude from Blackstreet who wasn't Chauncey (LOL),Big Boi,PK,Keisha Jackson, and of course the Underground Queen, JOI--- all putting their sweat equity into the building, cuz we all knew what it meant. Shout out to the bringers of that NEW energy----Hollyweerd,Jazspects, Chante Kahn, Brittany Bosco, Eva Kennedy, Dawn Mclain, Stephanie, Rahbi, of course Janelle, Foreign Exchange, Muffy, Dane Harris, Mikhel and Sepsenahki-- all bringing it the way it's supposed to be brought!
But -- and yes, there's a BUT-- not ERRBODY can take the grime I suppose. No hate, but some people really are scared of their own people, and just couldn't make the trip down to support. As much of a draw as many of these artists are, I have actually had conversations where I'm hyping up a show, and when I mentioned where it was, I get the "uh-uuuuh, I don't go down there!"
I'm not making this up, and I'm not saying it to offend, it's just what it is. I suppose you guys have a right to have it all the way as you like it, but sometimes, you have to be a part of creating it as well. That's what brings it around the whole 360.
So, Sugarhill -- in that location. . . is closing DOWN. Keep your eyes and ears peeled, because it will rise again. I remember when the Yin Yang closed before it. It encouraged us all to spread our wings, and make something bigger happen. That would be India's albums, my albums, Donnie's albums, Joi's albums, and on the venue side-- Sugarhill was born. It will only come back bigger and better. That's how serious the spirit of it is. It's a part of an ongoing evolution that we are all a part of. So we roll with the punches.
I give my personal thanks to everybody who is down for good music, period. My personal most meaningful night in there was the night dedicated in memory of Ms Peach, who left us with this spirit to keep it moving- if some of you only knew.. .I hope we show the influence she left.
There's so much to say in this blog about that place. A lot of people may not understand the convergence of things that were happening there. Atlanta, we know, is a city overflowing with transplants these days. This was a place where newcomers could mix with a little bit of the Westsiders , Eastsiders, Southsiders, who BEEN HAD the flavor that people came to recognize about this city. I know, I know, It's NOT NY, it's NOT LA- and this is how you can dip your toe in it, and get your first lil taste of what it IS. Sugarhill, as a concept, represents that to me, and I can't wait to see what happens next.
The last night in that location is this Tuesday. Bring some money, and bring your ass, cuz it will be historic, and a foreshadowing of what's to come. You'll prolly still catch me down there in Motions from time to time, that is if you aint too scary LMAO!
I was gonna post some youtubes, but there are too many- thank God for that-- just enter Sugarhill ATL, and you can see gigabytes of hotness. Be lazy today, surf.
P.S. can't forget my dude, Dres Da Beatnik and The World Famous Mic Club!!
Wednesday, April 22, 2009
Making an album- the holistic process
Here's news for ya... I didn't grow up making music, nor did I ever even dream of being a singer/songwriter/guitar player- none of that.
I played snare drum in the school band (P-SEC!!), and I was into acting. I wrote billions of stories, but it seemed far fetched for me to be a writer, living in Savannah. I joined the army, got out, and came to ATL, going to school to be a either an artist manager ( I did "manage" India for sec LOL), a sound engineer, or maybe direct videos- shit, somethin creative.
The point in telling you that is that I found my musical gift as an adult. By the time I realized that this was something I could do for a living, I had been using it as a therapeutic process for the better part of my life, so it's not something I do JUST for fun, or money. I write when I feel the overwhelming need to be creative, and I feel like I have NO other way to express something. 9 times out of 10, my explanation for why I wrote a song is so piss poor, you'll wish you'd never asked, LMAO! Try listening to me explain "cheatin man". It don't work- that's why I wrote a song about it. But sometimes it takes a while, because I turn things around a thousand times before I release it. I have to feel like I captured it, but didn't kill it.
And I'm saying THAT to say, as I embark on this new record, I'm in the phase of my life, and career (did I just say career? that still sounds strange to me) in which I'm more aware of the term CRAFT. The gift is there, it's the craft that takes an artist to the next level. I've become aware of it more ever since I released my first record, but it's been mostly related to singing. Again, as a person who didn't sing all my life, it was all raw emotion really, and my voice is more linked to what I'm saying more than vocal prowess. Still, the craft part came, in using different tones and voices to better illustrate what I'm saying, or for variety to keep folks interested. A nice falsetto note from time to time, or a vocal run is good to hit people in the heart, and either regain someones attention, or just let you know I CAN SANG- people like a showoff sometimes, I've learned. So I had to learn that I can't smoke (as much), can't drink (as much), I have to rest my voice, meaning, I can't be hollerin in the club (which is EVERY conversation in the club), so it's best that I just not go to clubs, especially where there's smoke. All of this, just so I can sound halfway decent at shows. I can get away with some things that some people can't, and some people can do things, I would never dream of, and still sing circles around me.
So imagine what it's like when WRITING material that's related to your life. You may run across things that you are afraid to say, you may run across things that you are ASHAMED to say, you might be vocally off one day because you didn't take proper care of yourself, you may just not feel like saying anything. I feel a duty to give people an overall good feeling, the feeling that whatever they're getting is made with care and concern for their experience. I hate listening to something that just feels- blah. Someone singing about something they know absolutely nothing about, or worse, to know that they are flat out LYING. The only appeal then, is to be amazed at how vivid their imagination is, cuz I listen to some rappers like, "damn, he sounds like he really believes this shit!! Maybe he's just more crafty than I am!"
So for me, the craft comes full circle to being more crafty at LIFE. I've written about some of my flaws, I'm more interested in correcting them than making them sound good in a song. I know I'll never be perfect, nor am I interested in being that (booooring) , but this process is showing me that there are a few things that I should all out CHANGE. I'm not religious at all, but religious folks know the feeling I'm describing. Just like I have to protect my voice, if I wanna share my life with you, and I CARE about what I'm giving you, I have to LIVE BETTER-ugh, you people make me SICK LOL!! This means, without giving away more than necessary( Iownknow yall like THAT), I have to not live lies. We all lie (I'm certain of it, sometimes it's necessary), but -- well, YOU know. My favorite artists are those who have conviction, and at the very least can LIVE with themselves. This manifests itself in many forms, there are as many ways to live as there are people, but I know it when I see it, and that's what I'm attracted to as a listener. That's also what I want to share with you as a listener. That good shit. That's the craft.
I played snare drum in the school band (P-SEC!!), and I was into acting. I wrote billions of stories, but it seemed far fetched for me to be a writer, living in Savannah. I joined the army, got out, and came to ATL, going to school to be a either an artist manager ( I did "manage" India for sec LOL), a sound engineer, or maybe direct videos- shit, somethin creative.
The point in telling you that is that I found my musical gift as an adult. By the time I realized that this was something I could do for a living, I had been using it as a therapeutic process for the better part of my life, so it's not something I do JUST for fun, or money. I write when I feel the overwhelming need to be creative, and I feel like I have NO other way to express something. 9 times out of 10, my explanation for why I wrote a song is so piss poor, you'll wish you'd never asked, LMAO! Try listening to me explain "cheatin man". It don't work- that's why I wrote a song about it. But sometimes it takes a while, because I turn things around a thousand times before I release it. I have to feel like I captured it, but didn't kill it.
And I'm saying THAT to say, as I embark on this new record, I'm in the phase of my life, and career (did I just say career? that still sounds strange to me) in which I'm more aware of the term CRAFT. The gift is there, it's the craft that takes an artist to the next level. I've become aware of it more ever since I released my first record, but it's been mostly related to singing. Again, as a person who didn't sing all my life, it was all raw emotion really, and my voice is more linked to what I'm saying more than vocal prowess. Still, the craft part came, in using different tones and voices to better illustrate what I'm saying, or for variety to keep folks interested. A nice falsetto note from time to time, or a vocal run is good to hit people in the heart, and either regain someones attention, or just let you know I CAN SANG- people like a showoff sometimes, I've learned. So I had to learn that I can't smoke (as much), can't drink (as much), I have to rest my voice, meaning, I can't be hollerin in the club (which is EVERY conversation in the club), so it's best that I just not go to clubs, especially where there's smoke. All of this, just so I can sound halfway decent at shows. I can get away with some things that some people can't, and some people can do things, I would never dream of, and still sing circles around me.
So imagine what it's like when WRITING material that's related to your life. You may run across things that you are afraid to say, you may run across things that you are ASHAMED to say, you might be vocally off one day because you didn't take proper care of yourself, you may just not feel like saying anything. I feel a duty to give people an overall good feeling, the feeling that whatever they're getting is made with care and concern for their experience. I hate listening to something that just feels- blah. Someone singing about something they know absolutely nothing about, or worse, to know that they are flat out LYING. The only appeal then, is to be amazed at how vivid their imagination is, cuz I listen to some rappers like, "damn, he sounds like he really believes this shit!! Maybe he's just more crafty than I am!"
So for me, the craft comes full circle to being more crafty at LIFE. I've written about some of my flaws, I'm more interested in correcting them than making them sound good in a song. I know I'll never be perfect, nor am I interested in being that (booooring) , but this process is showing me that there are a few things that I should all out CHANGE. I'm not religious at all, but religious folks know the feeling I'm describing. Just like I have to protect my voice, if I wanna share my life with you, and I CARE about what I'm giving you, I have to LIVE BETTER-ugh, you people make me SICK LOL!! This means, without giving away more than necessary( Iownknow yall like THAT), I have to not live lies. We all lie (I'm certain of it, sometimes it's necessary), but -- well, YOU know. My favorite artists are those who have conviction, and at the very least can LIVE with themselves. This manifests itself in many forms, there are as many ways to live as there are people, but I know it when I see it, and that's what I'm attracted to as a listener. That's also what I want to share with you as a listener. That good shit. That's the craft.
More tour dates - come see meeeeee!
More details to come soon!
APR 22 NYC - BB Kings w/ Erro
APR 23 ALEXANDRIA, VA - BIRCHMERE w/ Erro
APR 24 BALTIMORE - RAMS HEAD w/Erro
APR 27 ALEXANDRIA,VA - BIRCHMERE w/ Chrisette
MAY 9 SAVANNAH - CHARLES MORRIS CENTER
MAY 16 CLEVELAND,OH BEACHLAND BALLROOM
MAY 17 DETROIT CHARLES WRIGHT MUSEUM
MAY 22 HOUSTON,TX ARENA THEATRE w/ India.Arie
MAY 24 AUSTIN, TX PARISH ROOM
JUNE 4 AND 5 ATL,GA ATLANTA HISTORY CENTER
JUNE 7 WASHINGTON, DC CAPITAL JAZZ FEST w/ Mike Philly
JUNE 19 ATLANTA,GA TABERNACLE w/ LEDISI
JUNE 25 ATLANTA Mc Cafe
JULY 10 Keswick Theatre, Philadelphia w/Leela James and Dwele
JULY 16 BAM FEST(Day Show) and SOBs (night show) BAND
APR 22 NYC - BB Kings w/ Erro
APR 23 ALEXANDRIA, VA - BIRCHMERE w/ Erro
APR 24 BALTIMORE - RAMS HEAD w/Erro
APR 27 ALEXANDRIA,VA - BIRCHMERE w/ Chrisette
MAY 9 SAVANNAH - CHARLES MORRIS CENTER
MAY 16 CLEVELAND,OH BEACHLAND BALLROOM
MAY 17 DETROIT CHARLES WRIGHT MUSEUM
MAY 22 HOUSTON,TX ARENA THEATRE w/ India.Arie
MAY 24 AUSTIN, TX PARISH ROOM
JUNE 4 AND 5 ATL,GA ATLANTA HISTORY CENTER
JUNE 7 WASHINGTON, DC CAPITAL JAZZ FEST w/ Mike Philly
JUNE 19 ATLANTA,GA TABERNACLE w/ LEDISI
JUNE 25 ATLANTA Mc Cafe
JULY 10 Keswick Theatre, Philadelphia w/Leela James and Dwele
JULY 16 BAM FEST(Day Show) and SOBs (night show) BAND
Tuesday, April 14, 2009
Tour dates and such 4/14/09
I'm using this blog mostly to have a place for a schedule, but every now and then I may yap about somethin. For now, we will start with dates:
First up, hitting up NY, DMV, Cleveland, Detroit, with Eric Roberson and Angela Johnson!! This oughtta be a ridiculous lineup, same one we tore down Londons O2 with. Definitely a run that I am looking forward to!
I've been trying to get back to ALL those areas for a minute, so this one will be a family reunion!!
I'll also be hitting up my hometown, Savannah GA, for the Savannah Urban Arts Festival with the homey Brittany Bosco! It goes down like theeeeeeis:
I will come back and add more in a few, but hey, hopefully we can hang out soon. Peace!
First up, hitting up NY, DMV, Cleveland, Detroit, with Eric Roberson and Angela Johnson!! This oughtta be a ridiculous lineup, same one we tore down Londons O2 with. Definitely a run that I am looking forward to!
I've been trying to get back to ALL those areas for a minute, so this one will be a family reunion!!
I'll also be hitting up my hometown, Savannah GA, for the Savannah Urban Arts Festival with the homey Brittany Bosco! It goes down like theeeeeeis:
Saturday-5/9/09: 8:30pm-TICKETED EVENT
AWOL Benefit Concert featuring Grammy Nominated and Savannah born artist Anthony David
Also performing live another Savannah artist, Brittany Bosco! If you have not heard this sultry young ladies music, then I suggest you click on the link above right now and go to her Myspace Page!
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I will come back and add more in a few, but hey, hopefully we can hang out soon. Peace!
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