R&B singer-songwriter Teedra Moses finally visited Boston for the first time in years and as a huge fan of her music, I could not have been more thrilled to purchase tickets as soon as I found out. Raised in California, Teedra Moses grew up in the church as her mother was a gospel singer. She held a love for gospel music that influenced her own music. In 2003, Teedra Moses would release what would later be her most famous and recognizable hit, “Be Your Girl.” In 2019, the song was remixed by artist KAYTRANADA, gaining notoriety and internet popularity for both of the artists. She has also collaborated with other R&B, hip hop artists like Durand Bernarr, Rick Ross, Anthony Hamilton, and Eric Bellinger.

Her debut album that she both wrote and performed, Complex Simplicity, was released in 2004. This year she celebrated the album’s twentieth anniversary by kicking off a commemorative tour at numerous City Wineries and one non-City Winery venue. The venue was a seated dining area with an elevated stage and we sat right in front of her making the experience intimate and unforgettable. Her setlist was explicitly comprised of songs from the album and she performed almost the entire album. Twenty years later and I was blown away by the fact that her vocals sounded exactly the same live, if not better. Her stage presence was so mesmerizing and genuine. She was such a beautiful soul on stage dancing around, interacting with the audience, belting out lyrics, and vibing to the music. There were a few hiccups in the sound and production which led to some frustrations but she persevered, giving the audience an incredible performance despite dealing with these issues.

The performance opened with her sweet and sappy love song “Caught Up.” The song has a catchy, smooth beat that hyped up the crowd for the performance. She followed with the song “Caution,” that she wrote about captivating a lover. The crowd roared along with the chorus and the vibes in that room were unmatched! The next song she performed was her collaboration track with rapper Jadakiss, “You’ll Never Find (A Better Woman).” This is one of my all-time favorite songs by Teedra Moses so I was particularly ecstatic. Sadly, she skipped over the song's silly opening lyric “Oh Cat Daddy,” and went straight into the action. Her performance of the song was captivating and fulfilled something in my life when my ears heard it live. I could not comprehend how she sounded just as angelic as the original track despite now being in her late forties.

Teedra explained to the audience that she wrote this album during a darker time in her life when she just had two kids with someone who did not want children. She wrote the life she wanted to live into her lyrics and manifested a future she desired with her songs. Twenty years later she is living that life which can be accredited to the success that Complex Simplicity has garnered. She performed her title track “Complex Simplicity,” inviting the audience to shout along to the song’s empowering, opening line “Life is just complex simplicity, thug it out.” The song is about living your life to the fullest and resisting the things in life that try to drag you down. Teedra Moses reminded her audience that even though life can be complicated, messy, and mundane, it is up to us to make the most of our time by focusing on all the pleasurable and joyous parts of life.

Teedra Moses continued strongly with the songs “Rescue Me” and “Take Me” which are both songs about sparking or rekindling a flame with a love interest. The performance of “Rescue Me,” was extremely powerful and showcased Teedra’s amazing vocal range. “Take Me” features a verse with R&B singer Raphael Saadiq which was performed by J. Black who is Teedra Moses’ long-time friend, collaborator, and one of the background singers at her show. It was so cool to see the two of them sing together in real life after listening to their previous bodies of work together.

The crowd erupted when the instrumentals introduced the song “No More Tears.” This song remains close to my heart as an empowering anthem about not putting any more time into being upset about the negative experiences that you can not change. The crowd sang along with Teedra, “happy, sipping, puffing, passing, relaxing with my family, no more tears for you!” She hyped up the crowd with her song, “You Better Tell Her” which, in her own words, is for all the “sophisiti-ratchet” ladies out there who have experienced someone else trying to claim their man.

Teedra finished the show off with the two most popular tracks from Complex Simplicity, “Backstroke” and “Be Your Girl.” Teedra allured and enchanted the audience with the sensual sounds of “Backstroke.” She left the stage after that but returned upon audience demand to perform her encore. She sang both versions of “Be Your Girl,” the original track and the KAYTRANADA remix. The first was the original version which was then sped up and an altered beat to become the KAYTRANADA remix version. I loved that she both paid homage to the original song while acknowledging the remix that is part of the reason she has grown so much as an artist.

My overall reflection on the performance was that it was phenomenal and satisfied my life craving of seeing Teedra Moses perform live. I wish she could have performed more songs especially off her other pieces of work. However, since this tour was dedicated to twenty years of Complex Simplicity and it is the album that has propelled her music career, it makes sense that the setlist was entirely comprised from it. The concert was short and sweet wrapping up after about an hour of live vocals and instrumentals. Teedra came out to the venue’s lobby after her performance for a mini meet & greet, autograph signing, and photos. It was amazing to see her up close and personal in all her glory! If you did not make it to the show but want to experience the joys in life of Teedra Moses’ live vocals check out NPR’s Tiny Desk with Teedra Moses that was recently uploaded to their YouTube channel.

Teedra Moses Celebrates Twenty Years of Complex Simplicity

Gloria Hallelujah Woods, better known as GloRilla, is a Memphis crunk rapper known for her “deep and textured drawl.” Her claim to fame was "F.N.F. (Let's Go)" which gained popularity on TikTok. GloRilla’s debut album, 

, was released just six months after her second mixtape, 

. It has definitely been Glo’s year with popular releases including “Yeah Glo!” “Wanna Be ft Megan Thee Stallion,” and “TGIF.” She also finished going on tour with Megan Thee Stallion this summer as her opener on the Hot Girl Summer Tour.

 begins with “INTRO,” the first track that establishes the overall theme of gratitude and reflection on how far Glo has come in life, especially pertaining to her career. The short but catchy track has great flow and a beat that goes hard. It is clear from the song’s spoken outro, this album is a direct callback to all the critique and hate GloRilla has received for not being respectable or conventional enough. Another song where Glo gets into this is “STOP PLAYING,” where she raps in the chorus “She glowin', they mad,” both a play on her and the album’s name alongside reference to the hate she receives. Despite critique, GloRilla mentions material triumphs that symbolize how far she has come and explains that she does it for the other women out there like her, “the baby Glo’s,” who can relate to her experiences or who find joy in life from her music. For a song partially produced and written by Timbaland, the beat does not exactly accentuate Glo’s unique sound but she does what she can with a lackluster semi-trap beat.

The lead-up singles for the album, “TGIF” and “HOLLON,” were extremely solid and popular, especially online. They generated excitement and eagerness for the album with these new back-to-back bangers. It was becoming evident that GloRilla was going to do her thing with this album, and that meant putting in the work at that booth. “TGIF” was released as a popular, hype anthem in June and was the perfect celebratory track to initiate weekend night shenanigans in the summertime. “HOLLON” debuted in September with a vibrant vibe and energetic lyrics, solidifying itself as a Hot Girl anthem.

The list of female rapper features (and one r&b songstress) were immaculate. Latto linked up with Glo for the track “PROCEDURE” that culminated into an unapologetically empowering hit. Both their southern accents mesh well singing back and forth to each other with a call-and-response style chorus. The next collaboration was long-awaited, at least in my book, between two of the hottest, newer female rappers: Glo and Sexyy Red. There are many similarities between the artists as they received popularity as well as critique for their authentic, exuberant, and spicy lyrics alongside gaining musical traction largely due to social media. Another shared trait of unconventionality but contestation in both Glo and Sexyy is their deeper, raspier voices. Personally, I think it's refreshing to have artists that sound unique and distinctive. Their ability to generate rap after rap that becomes viral or is used for a TikTok trend is commendable. I expect “WHATCHU KNO ABOUT ME” will be no different. Megan Thee Stallion’s influence on Glo and her music style comes through on this track’s chorus that’s reminiscent of Meg’s songs “Body” and “Her.” Their rap styles work so well to create an exquisite party smash to blast while dancing along to. 

Muni Long appeared on the song “DON’T DESERVE,” a hip-hop ballad for all the girls who hate their friends’ significant others and situationships. A few months earlier the two collaborated on the song “Leave My Baby Tonight” for Muni Long’s album Revenge. As both these songs showcase, Muni Long’s sultry vocals and GloRilla’s fierce flow match each other’s vibe for a memorable, melodious tune. I don’t think this album would have been complete without a feature from one of Glo’s best friends in the industry, Megan Thee Stallion. “HOW I LOOK” was definitely made for the GloRilla fans that are also Hotties and solidified the two rappers' prevailing presence in the rap game. Megan’s bold self-confidence and Glo’s energetic lyricism accumulate into vivacious verses that only leave you craving more than the one minute and fifty-eight seconds of play time. GloRilla released a bonus track edition of Glorious which included “NEVER FIND” featuring fellow Memphis rapper K Carbon. The track samples the old school r&b song “My Love Is the Shhh!” giving it a soulful, seductive feel layered with catchy rap lyrics.

A central motif throughout her music is Glo’s recognition and gratitude for God and all God has bestowed upon her. This specifically manifests in the songs “GLO’S PRAYER” and “RAIN DOWN ON ME.” “GLO’S PRAYER” begins with an interlude from Glo that thanks God for the blessings she has received as well as a call for one more blessing, some advice on how to handle relationship struggles. The whole length of the song is Glo addressing God in a slower, personal tone that is distinct from her usual music. “RAIN DOWN ON ME” with Kirk Franklin, Maverick City Music, Kierra Sheard, and Chandler Moore is a Church choir-esque rap hymn where Glo displays versatility by striving into the realm of gospel music. The unlikely prospect pays off in an upbeat, spiritual song reflecting on her appreciation for God. The album has more hype solo-tracks towards the end like “I AIN’T GOING” and “LET HER COOK” have lively, fun beats. The features with BossMan Dlow, T-Pain, and Fridayy did not stick with me personally but have appeal for audiences into the strong musical presence of these artists.

GloRilla’s charisma and confidence come across in her album establishing Glo’s permanence within the rap field. I think this was an extremely smart debut album. It played around with a variety of beats, themes, and styles while remaining true to the sound her fans love. I think this album unveiled GloRilla’s potential and ability within a world where Black women remain ridiculed with critique, hatred, and harassment. Misogynoir is present in hip-hop culture and is bolstered by the media. GloRilla has demonstrated she won’t let this prevent her from artistic resistance in the form of empowering, genuine music intended to uplift other people like her.

Favorite Tracks: HOLLON, WHATCHU KNO ABOUT ME, PROCEDURE, DON’T DESERVE, NEVER FIND, HOW I LOOK, and GLO’S PRAYER

GloRilla shines bright on her debut album Glorious

I’ve noticed a recent trend where artists announce sequels to their most popular or beloved albums when they drop new music. In 2023, Nicki Minaj came out with Pink Friday 2, Victoria Monét dropped her album Jaguar II, and even though it's an EP Summer Walker released CLEAR 2: SOFT LIFE EP. I was especially excited to hear Kehlani was coming out with a sequel to her 2019 album While We Wait. It includes some of her most popular songs like “Nights Like This” and “Feels.” The album has a very consistent soulful, RnB sound that Kehlani strived to create during the beginning of her career. Kehlani’s most recent album before While We Wait 2, titled Crash, was experimental for Kehlani. This is not necessarily a negative thing for an artist to branch out and create different styles of music – however, Kehlani’s not-so-successful attempt prompted her to return to her roots. Thus, she released While We Wait 2 a little over two months after the release of Crash. Although I am unsure of her exact motives, I infer that with her upcoming Crash World Tour, she wanted to increase ticket sales by delivering music that plays to her existing fanbase. Another theory is that with the recent Kehlani drama on the internet she may have used this album to divert people’s attention from her controversies. Therefore, this album could be a rushed cash-grab gimmick, or it could truly be a rebound for those who did not like Crash and want to hear some more of the old Kehlani.

The album opens with a short but sweet little love song called “Love Like” where Kehlani proclaims the type of love and intimacy she craves in a relationship. She has always had a soft and poetic aura intertwined with her music almost as if her lyrics were love letters. Thus, this sappy, endearing song was a solid opener and introduction to what the next thirteen songs had in store. It felt particularly similar to the song “Butterfly” which is the second to last track on While We Wait. “Ballin’” is another cutesy, chirpy love song with a memorable beat from producer Camper. Kehlani’s silky vocals are just the icing on the cake of this addictive track.

Two days before Kehlani released While We Wait 2, she dropped the lead-up single “When He’s Not There” with fellow artist Lucky Daye. This is not her first Lucky Daye feature, with him appearing on her album It Was Good Until It Wasn’t with their song “Can You Blame Me.” In my opinion, “Can You Blame Me” is more compelling and all-around better. “When He’s Not There” is good but not great. It definitely has a catchy component, the chorus has been stuck in my head a time or two, but then it becomes tiresome. However, I think this song is intentionally different from their prior collaboration since it sounds more similar to Lucky Daye’s album Algorithm. I understand what it's striving to accomplish, but I just wish there was more oomph that would really make this song stick out.

The song I’ve been adoring from the album is “Clothes Off.” It has the versatility I have been craving in this album while also including the quintessential elements of RnB. The song is sexy and seductive while also being unconventionally queer. A majority of sensual RnB music is written from a heterosexual standpoint, so this song’s outwardly LGBTQ+ lyrics are such a refreshing development. This song features kwn, a fairly new Queer artist. It’s amazing to see Queer artists support and uplift each other within the industry so, I am particularly favorable to this song. “Form of You” features another Queer artist featured and a friend of Kehlani’s, DESTIN CONRAD as well as Queer poet Childofnines. I was drawn to the jazz influences and spoken word intro of “Form of You” which I felt culminated in a coffee shop-esque jam. Kehlani’s lovely and melodic vocals along with the delicate beat work extremely well together. I’m a DESTIN CONRAD fan and I felt that he was not very prevalent but his verse before the ending is smooth and supplemental. Their voices mesh together really well on the beat. All three artists bring a distinct sound to the song that ends in a diverse set of voices but also sounds cohesive and complimentary. 

Concluding the album, Kehlani included two remixes to songs originally released on Crash. “8 - Remix” is a collaboration with British RnB girl group FLO. FLO is opening for Kehlani on her Crash World Tour, so it made sense she wanted to have a new song with them that they could perform on the tour. I was pleasantly surprised by this track: All four voices worked well together without anybody overpowering the others. I like FLO’s music but at times it can be a bit lackluster. This song was fun and had an allure that held me captive throughout the two minutes and fifty-one seconds run time. This song is the type of collaboration I would expect from Kehlani as I am a big fan of her other features on previous albums. The last track, “After Hours - Remix,” is a remix of arguably the best and most commercially successful song on Crash. It samples “Move Ya Body” by Nina Sky, providing the song with an infectious beat alongside Kehlani’s melodious chorus. The original song is amazing on its own but can feel repetitious after a bit. Therefore, this version with LUDMILLA, a Brazilian singer-songwriter, adds that piece of versatility to the song. LUDMILLA’s music style was the perfect addition to “After Hours - Remix” where she enhanced the song without modifying its initial strength.

While We Wait 2 is genuinely reminiscent of Kehlani’s past style, specifically While We Wait. The album has a consistent vibe and each song flows perfectly into the next. However, each song feels more and more predictable – it reaches a point where too many of the songs started to sound alike. The album needs a little more variety for more liking to penetrate my psyche and truly make the music memorable. The verses of many tracks, especially the choruses, were pretty simple, repetitive, or lacked nuance and clever wordplay. This left me to suspect that, combined with the circumstances of this release, that it was written on a whim and the production process was rushed. While We Wait 2 lacks the strength of Kehlani’s previous work,and I do not see it sticking for long in my playlist library.

Favorites: Know Better, Clothes Off, Ballin’, Form of You, and 8 - Remix

While We Wait 2 Album Review

City Cinderella is the debut album of the former City Girl, Jatavia “JT” Johnson. As the title insinuates, JT refers to herself as the “City Cinderella” evoking her roots of growing up in Miami, FL while also acknowledging the luxurious lifestyle as she has achieved star status. JT compares herself to a modern-day Cinderella due to her own rags-to-riches story that her rap career has afforded her. JT began making her own music credited as both City Girls and JT back in 2019 when she released a single after just serving about a year-long sentence in prison for fraud charges. Except for a few features in the meantime, her next single, “No Bars” came out in 2023 and was featured on the City Girls’ third album, RAW. RAW was overall lackluster with a couple of redeemable hits and did not amass nearly as much popularity or following as their two previous albums. After RAW, the female rap duo City Girls decided to officially split up and focus on their solo music careers.

The lead-up singles for City Cinderella were catchy and fun which built excitement around this album. “Sideways” and “OKAY” showcased JT’s solo flow which was impressive and catchy. “OKAY” was particularly captivating and memorable in its lyrics and attitude. The album concludes with the remix version of “OKAY” which features hip-hop rapper Jeezy who is credited as a pioneer of the trap music subgenre. I am not particularly a fan of Jeezy’s, so I did not find the remix to be more compelling than JT’s solo version. However, I do understand and appreciate the effort of JT collaborating with someone who impacted and influenced the industry as your predecessor. There’s also the business lens to think about: Jeezy added trap music and masculine elements to the song that could help expand its outreach.

City Cinderella opens with an intro track that is a solid introduction for the album to come. On “Intro (Hope),” JT gets real discussing her struggle with rising stardom and never losing the old her, even when she watched her dreams come to fruition. This song is inspirational in her exploration of trauma and navigating life between two worlds. JT asserts her City Girl status by mentioning Miami and Dade County throughout her songs. A proud Miamian, JT constantly reminds her audience that behind all the glitz and glam of stardom, she is the same girl who had to hustle and work hard to survive. The song “Brick Talk” specifically explores this idea, with JT rapping “I'm a City Girl, born and raised,” and “Rose from the trenches, I'm the city Cinderella.” JT cleverly uses rap music and the imagery of a Cinderella-esque fairy tale to narrate the story of her life. Unfortunately, the remainder of the album does not have as many empowering tracks and falls short of challenging the norms when it comes to female rap lyrics. With momentum from the opening tracks and pre-released singles, I was not expecting the album to fizzle out after a while, but the music started to sound a bit repetitive and lacking charm. However, there are some hidden gems within the tracklist.

DJ Khaled partners with JT once again to create the song “Oh.” Surprisingly, we never hear “We the best music!” which is one of DJ Khaled’’s signature catchphrases. Instead, we’re met with some fake inspirational quote BS that’s also typical of Khaled. The song starts with an uptempo, fierce beat, but JT's voice loses a lot of the momentum by the end. Especially when she does the “Ohs” that are scattered throughout the song. I wish JT brought more to the beat, but the song was still quite good. Another former collaborator, Stunna Girl, was featured on the song “Lemon Pepper.” The two previously worked on Stunna Girl’s “Like Dat Remix.” JT sounds lively and prominent in this song. I thoroughly enjoyed this track and it remained a bop throughout. These songs are not outstanding or the most riveting, but they are hype and fun for the summer.

“Star of The Show” has a powerful sound that is reminiscent of the “Don’t Hurt Yourself” and “6 Inch” Lemonade-era Beyoncé. This sound particularly drew me at first, but the clever wordplay kept me enthralled. Describing herself as a “Miami Griselda mixed with Donatella,” JT again explores her juxtaposing identities which should have her torn between differing worlds. Instead, JT proudly claims both aspects of her identity not allowing them to conflict but rather owning the unique position she is in and the privilege she has acquired.

Although JT is a rapper, a couple of songs dabbled into the realm of RnB and Hip-Hop. The beat of “90’s Baby” is reminiscent of the popular and soulful songs that defined that decade in music, especially for Black artists. JT pays homage to her birth decade and the music that her generation grew up on. The song features a sample from “All The Things (Your Man Won’t Do)” by RnB singer Joe. JT’s use of the sped-up sample evokes contemporary club remix vibes alongside golden age RnB music which results in an incredibly smooth and riveting hit. Continuing to give credit where it's due, JT named her song “Uncle Al” after DJ Uncle Al whose song “Mix It Up” is sampled on the track. Alongside the Uncle Al sample, the song includes a sample of one of the most notable female Hip-Hop songs of all time, “Push It” by Salt-n-Pepa. The usage of an already highly popular song as the main beat makes the song more palatable and catchy. The only issue I found with this song was the highly autotuned vocals which reduce the song’s quality. I think this song would have been more satisfactory had it included more rap and less singing.

Speaking of JT’s lyricism, she employs relevant and trendy language in her music so she can appeal to a popular culture that lives on social media. The chorus of “Swang” is “let me cook though,” a phrase popularized by TikTok. Expanding cultural borders, the instrumental aspect of “DOD” is inspired by melodies commonly found in Indian music. “DOD” also employs an Ozempic metaphor that compares people’s wallets to the thinness of the medication users. The medication Ozempic recently made its way into the zeitgeist as its usage has soared amongst the rich and famous as a weight loss aid. By using language that references internet trends and culturally relevant terminology, JT works to increase her music’s presence on social media. Nowadays, social media heavily impacts what music will make or break so, artists are pressured into creating music that appeals to the mass audiences on social media, particularly TikTok.

Like the best song on the album, it was overall pretty “OKAY.” The songs are formulaic and standard. Not many go above and beyond or experiment with JT’s ability. The album has some fun beats and bold lyrics, and the short length of the album made it very digestible and helped make it increase its memorability. Unfortunately, this sometimes becomes too obvious in its appeal to TikTok and virality. Had the pieces been played around with more, the album may have seemed more polished. Further, more effective collaborations could have helped improve some of the good songs that seemed to be lacking that extra oomph to make them superb. I do think it has potential but, I do not think the album will be as well-received as JT may have presumed from the success of “OKAY” and hyperpop hit “Alter Ego.” Even so, JT’s ability to use her music to tell her story and bluntly explore the themes of her life proves she has what it takes to create an authentic, noteworthy career on her own.

Song Recommendations: OKAY, 90’s Baby, Lemon Pepper, Uncle Al, and DOD

JT explores music as narrative with a rendition of her Cinderella Story

Nothing says summertime quite like Megan Thee Stallion releasing her self-titled album MEGAN. As she states on the first track of the album, “HISS,” Megan has claimed the summer season. The phrase “Hot Girl Summer” came about from her, with an hit song and arena tour. Megan has her own record label and entertainment company, Hot Girl Productions. MEGAN is her first full album produced under the label, meaning she has more creative control over her music. With this knowledge, I was especially ready for this album to come out and hear what her music would sound like when she’s calling the shots.

For Megan, more control over her music meant creating a central motif that is maintained throughout MEGAN and its preceding promotion. From the album cover art to the song titles and lyrical themes, Megan’s serpent-stricken album has a double-entendre meaning. On the one hand, it symbolizes the snake-like figure she has been painted as in the public eye through her trial with Tory Lanez and the rap beef that followed. On the other hand, it demonstrates her shedding this image in the media and re-birthing herself. This is evident in the album’s cover art which depicts her crawling out from the shell of an egg. Further, the “Cobra” music video begins with the mantra “Just as a snake sheds its skin, we must shed our past over and over again,” and imagery of her physically removing her shedding skin as a snake would.

Megan did not hold back on her lead-up singles for the album “Cobra,” “HISS,” and “BOA.” She disses other artists and reveals her truths during a time when she feels unfairly ostracized by the public. “Cobra” is a rock-influenced track where Megan gets deep and discusses her struggle with mental health which is uncommon in rap music. “HISS” is daring but highly entertaining in its controversy-charged lyrics. “BOA” is fun and snappy, but I can’t help but feel it was made for TikTok, with a formulaic beat that goes “ticktock, ticktock, ticktock, ticktock.” However, it still gets stuck in my head, and I find myself randomly humming along to the amusing lyrics.

The self-proclaimed Houston Hottie must always pay homage to her hometown of Houston, Texas. The song “Paper Together” features rap-duo UGK who are Houston hip-hop royalty. Megan’s incredible rap verses juxtaposed against these well-respected artists solidifies her name in Houston hip-hop Herstory. She pays tribute to her roots and credits these artists who inspired her to become the artist she is today. The collaboration track with her tour opener and fellow female rapper, GloRilla, also pays tribute to both of their southern origins. “Accent” is a song that’s main theme revolves around both rappers' country twang in their voices. I was especially excited to listen to this song when the album’s tracklist came out as the two rappers have had amazing chemistry ever since The Hot Girl Summer Tour. The two rappers also recently released a collaboration track “Wanna Be” earlier this year which I have had on repeat. Sadly, “Accent” is not as much of a banger as “Wanna Be” yet, I still find myself bumping this track and dancing along to a solid tune. Her catchy, pop track “Worthy,” and other songs made sure to mention witty lines referencing Texas. “Worthy” has an infectious, lively beat that is a similar style to its predecessor “Don’t Rock Me To Sleep” from Good News.

Even with the homage paid to Houston, MEGAN displays a global influence. On “Otaku Hot Girl” and “Mamush,.” Megan meshes her love for rap and Japanese popular culture. Rapping, “I’m a weeb and a baddie,” Megan pairs her typical hot girl lyrics with references to anime characters, Japanese cities, Japanese phrases, and the use of the Japanese language. “Mamushi” features Yuki Chiba, a very popular Japanese rapper, and verses in Japanese that show Megan’s ability to experiment with language and rap style. The title also continues with the reptilian theme, as “Mamushi” translates to ‘snake’ in English.

Megan teased the song “Where Them Girls At” on Instagram with a twerk video on her tour bus with her fellow tour dancers. I was particularly excited for this song after hearing the snippet on Instagram and it did not disappoint. This song is a baddie anthem that is the perfect hype song to play while getting ready for a night out on the town. Megan knows her audience and she catered to the hot girls who needed their song of the summer. “B.A.S” is another song that is full of energy. It is a mixture of trap and NYC drill that features Brooklynn rapper Kyle Richh. It also includes a soulful Teena Marie sample which culminates into a unique but risky sound for Megan that pays off quite well, making “B.A.S” a savory hit.

Victoria Monét appears on the song “Spin,” which is a silky blend of hip-hop and pop. The combination of Megan’s intense flow with Victoria Monét’s angelic autotuned vocals results in a seductive, contemporary hit. The up-tempo and rhythmic tune makes you want to get up and dance along, and has the potential to serve a large audience from pop fans to hip-hop fans to RnB fans. I wish Victoria Monét had stronger vocals on the chorus and a less edited sound, but it is still catchy and summery. MEGAN also taps into her sad girl side with the song “Moody Girl.” The slow on-beat flow culminates into one of the strongest songs on the album. The melancholic beat and lyrics are not all-encompassing as the pacing and rapping work to uplift the somber tone. I love the softer, slower beat with Megan’s fierce rapping; it creates the perfect song for both being in your bag and getting in your feels. The ability to have a rap album embody an expansive range of emotions is impressive.

Megan Thee Stallion has created a polished album that flaunts her versatility and complexity as an artist. MEGAN explores different styles and vibes from different locations, artists, and genres. Megan Thee Stallion is a rapper, but she is not constrained by the genre to create uniform, cookie-cutter raps. Rather, she experiments and plays with her music which keeps her catalog vibrant. Despite its large size at eighteen songs, MEGAN is a coherent record – I may not be a fan of every single song, but they all fit in with each other. Megan Thee Stallion steps out of the box, but without losing the Megan we all know and love. Hot Girl Summer is officially back in session, and I see MEGAN becoming the soundtrack of the summer!

Top Tracks: Moody Girl, Spin, Accent, Where Them Girls At, Worthy, and “B.A.S.”

It's Megan Thee Stallion’s Hot Girl Summer and we’re all just living in it 

a chemical messenger that acts on areas of the brain to give you feelings of pleasure, satisfaction, and motivation.

DOPAMINE is Normani’s highly-anticipated debut album since splitting from Fifth Harmonyin 2018. Since then she has had many hit singles including “Love Lies” with Khalid, “Dancing with a Stranger” with Sam Smith, and “Motivation,” one of my all-time favorites. Her previous singles left a memorable impression on fans that seemed hard to live up to. Yet as the title implies, this R&B-pop album delivers a pleasureful punch that delighted listeners can dance to, cry to, jam to, and indulge in just in time for the summer!

I excitedly awaited this album and consumed every lead-up single release each ‘New Music Friday’ they dropped. I obsessed over “1:59,” her first single which included a feature by Gunna. This song follows what I believe to be one of the best formulas for a song: a catchy R&B vocalist chorus, a palatable rap verse, and a chemistry-filled back-and-forth exchange between the two. After my initial listen, some of the songs felt a bit on the safer side and met what you would expect from a formulaic R&B song. Others immediately exceeded expectations and truly stood out amongst the influx of new music that had come out. Since then, I have begun to appreciate how cohesive this album is. Not only do the songs flow well into each other, but they also have quite a bit of variety in the style of the songs, so the album does not feel too repetitive or reductive. Yes, this is a majority pop and R&B album, but it goes deeper and plays with subgenres like hip-hop and hyperpop.

“Take My Time” is an infectious, upbeat track that has become one of my top songs off the album. It evokes the vibe of blasting music as you're driving home from a beach trip with your best friends as all the windows are down and the warm wind is blowing through your hair. One of the catchiest tracks “Still” exhibits Normani in her baddie era emphasized by a trap-infused beat that samples “Still Tippin’” by Mike Jones, Paul Wall, and Slim Thug. Normani’s sound gets sultry and seductive with some of her sensual tracks like “Grip,” “Candy Paint,” and “Lights On” which distance her from her girl group days.

Speaking of Fifth Harmony, Normani’s album came out just two weeks before her former group member Camilla Cabello’s album. The tracklist for Cabello’s album contains a star-studded features list including JT from the City Girls, Lil Nas X, Drake, and Playboi Carti. It is obvious why Normani’s features lack the same fame level as Cabello’s, yet I would have liked to see someone I was excited for when Normani dropped the tracklist for her album. I am also disappointed by the lack of female collaborations besides “Big Boy” which features a verse and adlibs from her songwriter Brittany Talia Hazzard, aka Starrah, who is heavily autotuned, and “Wild Side,” her collaboration with Cardi B which was originally released just shy of two years ago. I understand why Normani added “Wild Side” – it is recognizable, it matches the album’s vibe, and it is still arguably one of its strongest songs. But it does not bring anything fresh or special. Starrah is credited with writing some of the album's most popular hits including “Wild Side,” “1:59,” and “Candy Paint,” but I am left wondering the potential “Big Boy” would have had if it featured someone like Megan Thee Stallion or Missy Elliott. As a big fan of the R&B genre, I did geek out over “Insomnia” having both Brandy and Victoria Monét credits. The fact that it was inspired by Brandy’s song “A Capella (Something’s Missing)” made the song so special for me. I love when a specific song directly inspires or influences the creation of another, similar to Beyoncé’s “Rocket” with D’Angelo’s “Untitled (How Does It Feel).” If Brandy and Victoria Monét had been actual features on the song rather than background vocals, I would have liked it even more.

This album is a great starting point for Normani’s career, as it leaves space for improvement and growth but it still showcases her talent and musical abilities. At times it is daring and refreshing, while also what you would have envisioned from Normani. It’s an album she could top, which is why it's the perfect introduction to what her career can look like if she continues to experiment with her sound. Overall, I am extremely satisfied with this album and I see it growing even more on me with each listen.

Best Songs: Take My Time, Still, Grip, 1:59 and Insomnia

Normani gives the first dose of her solo music career with her debut album DOPAMINE

What better way to spend my leap day (Feb. 29) than seeing Destin Conrad perform the tour for his two-part album, 

at the Paradise Rock Club? Destin Conrad dominated the SUBMISSIVE Tour stage with a night full of harmonious tunes, vibrant lights, and impressive vocal performances! Destin Conrad gained traction initially on the app Vine, accumulating over 1 million followers. Since then, he has collaborated with artists like Masego, Musiq Soulchild, and Alex Isley. Destin Conrad continues to break barriers as a queer artist of color whose identity is reflected in his music and aesthetic. Upcoming alternative R&B and neo-soul artist, Amaria was the opening act whom performed a handful of spectacular, original pieces such as “Lose Control.” Both Destin Conrad and Amaria are Tampa-natives with similar silky, angelic vocal styles so, her presence on this tour was a no brainer. Amaria also made a guest appearance in Destin Conrad’s set to duet their song “All For You” which impeccably (and thematically) matches the vibes of SUBMISSIVE.

Before the SUBMISSIVE Tour, Destin Conrad joined his longtime friend and fellow R&B artist, Kehlani, on her Blue Water Road Trip tour. As well as acconpanying Syd, member of The Internet, on their Broken Hearts Club tour. Destin Conrad has come a long way, earning the headliner position tonight by bringing an amazing mixture of smooth, soulful vocals layered on top of soft, catchy beats. He began performing some of his new tracks from 

including “MARIPOSA” and “OFF DAT SHIT (FREESTYLE).” These upbeat, spunky tracks open the album so they perfectly set the tone to open the setlist! Alongside the tracks from his newer albums, he performed the beloved tracks off his first album, 

“BILL$” and “EXCITED!” Fans erupted in excitement and sang along in unison, swaying to the repeated “Dollar bills, dollar, dollar bills,” of the chorus. I was most excited to hear him perform some of his newer music like “WAR!” and “SWITCH” which are more sultry, seductive songs. The most iconic aspect of “WAR!” are the silly ad-libs, which Destin Conrad playfully relayed to an enthusiastic audience. Following these songs, he sang “IN THE AIR” which also happens to be his most popular song on Spotify. This song is an earworm that I have had on repeat so, I was particularly enchanted by his rendition of this song. Singing each note so seamlessly, I was shocked to hear Destin Conrad sounded just as good, if not better performing live. I patiently waited to hear the song that led me to Destin Conrad’s music in the first place, “UNPREDICTABLE” which is an addictive R&B collaboration with artist Kiana Ledé. It is hard to imagine this track without the incredible vocals of Kiana Ledé yet, Destin Conrad made the song his own, completely blowing the performance away.

Overall, Destin Conrad’s SUBMISSIVE Tour was a phenomenal concert experience marked by extraordinary performances. This was one of those concerts that has you falling back in love with an artist or album you already listen to, because the live experience was so remarkable. The fluorescent, rainbow-changing lights intensified the queerness and aesthetic pleasure of the performance. The curation of the setlist was deliberate, as each song flawlessly flowed into one another keeping a continual soul-soothing, rhythmic vibe throughout the performance. Amaria and Destin Conrad’s sounds worked so well together which is a rare occurrence between an opening act and main performer. Destin Conrad performed an ample blend of his current music alongside older hits and fan favorites. Although his discography is on the smaller side, Destin Conrad had a jam-packed setlist with the right amount of music keeping the audience engaged without dragging it out. If you are looking for a concert with some chill, feel good ambience, then I wholeheartedly recommend seeing Destin Conrad in concert. 

Bella Carbone