The German-based alternative rock group Milky Chance blessed fans when their third studio album 

was released on November 15th. Announced back in August, the 12-track effort runs 43 minutes in length and was promoted with the release of the lead single “Daydreaming,” which has currently worked its way to over 10 million streams on Spotify. This is their first project since 2017’s 

, and much like their previous efforts, the focus of 

is clearly to push the boundaries of sound. Milky Chance thrives by consistently pushing the confines of typical genres in the music industry today.

Throughout the album, the production stands out and seamlessly introduces the unique voice of lead vocalist Clemens Rehbein. The album begins with an electronic-turned-folk-turned-electronic-again beat that pays homage to the popular Portuguese music style, “Fabo.” The diverse influences and inspirations for 

 are apparent from the moment it begins. Listening for the first time, the stark stylistic differences between adjacent songs are immediately noticeable. Pop synths and engaging bass lines that drive songs such as “Oh Mama” are immediately followed by reggae-infused drums lines on “The Game.”

Lyrically, the album focuses on themes such as nostalgia, nature, and different states of mental being. The unique voice of Rehbein takes listeners on a path of sharp and colorful imagery as he discusses topics such as forces on Earth (“We Didn’t Make It To The Moon”) and getting lost in the clouds (“Daydreaming”). On the ninth track of the album, “Scarlet Paintings,” Rehbein laments on past failed relationships, expressing the pain of unrequited love.

On “Eden’s House,” a heavy acoustic guitar riff captures the signature folk sound that Milky Chance has used in their music since 2012. 

 also taps into the talent of numerous guest features who add vibrant vocal contributions to an already dense, full sound. Among those featured are Congolese-born Témé Tan on “Rush,” Australian musician Tash Sultana on “Daydreaming,” and the South African musical group Ladysmith Black Mambazo on “Eden’s House.”

 shows Milky Chance both embracing their comfort zone and pushing their boundaries. There are moments that sound both very familiar and very new: Milky Chance has become a master at their craft while still saving space to innovate and experiment. The album is a fun, energizing listen with bouncy, feet-moving beats masking lyrics that skew into the darker conscious mind. Its fusion of different styles of music keeps the production fresh enough that the instrumentals each take on a distinctive life of their own, existing perfectly as stand-alone tracks and together in a cohesive project.

Milky Chance continues to push the confines of genres on ‘Mind the Moon’

In 1994, hip-hop was beginning to gradually move away from its fundamental roots dating back to the 1970’s in New York City. The West Coast and G-Funk, popularized by Dr. Dre and Snoop Dogg, were dominating airwaves all over the country. Alternative, experimental forms of the genre pioneered by legendary groups like A Tribe Called Quest and Jungle Brothers were pushing the boundaries of what hip-hop could be. New fusions of culture and rap began developing in areas such as Atlanta, Georgia, where groups like Kriss Kross and Outkast were determined to put previously unknown regions on the map. Hip-hop’s future was rather uncertain, and with different sounds and styles popping up seemingly every day only the most gifted stood a chance to grab the genre by the horns and run with it.

Hailing from the Queensbridge housing projects in Queens, New York, Nasir Jones was determined to prove his worth during this competitive time in hip-hop. Known simply as “Nas,” he was just 17 years old when he broke onto the rap scene with a surprising yet impressive guest feature on Main Source’s “Live at the Barbeque” in 1991. He then followed up with the promotional single “Halftime” in 1992, which was debuted in the film 

. Despite these impressive first steps towards stardom and generating a large buzz within the hip-hop community, Nas was passed up by several record labels including Def Jam Recordings until being landed by Columbia Records. Determined to create an album that would prove his potential and be “

,” Nas subsequently spent the next two years recording what would turn out to be one of the greatest rap albums of all time. Numerous prolific New York producers reached out to help work on the album, which was anticipated to be the debut of a lyrical prophet heralded as the next Rakim.

After two years of recording, Nas’ debut studio album 

was released on April 19th, 1994. The album’s title is both a tribute to his childhood friend “Illmatic Ice” and a saying meant to mean “beyond ill” or “the ultimate.” The album’s iconic cover shows a picture of Nas at the age of seven (when he started to acknowledge the world around him) placed over a picture of a Queens street. The concept of using a baby picture as an idea for an album cover became increasingly common in hip-hop following this album’s release, with artists such as the Notorious BIG, Lil Wayne, and Drake employing this style in their own works later on. The album runs 10 tracks long, totaling just under 40 minutes in length. It was supported by the five singles “Halftime,” “It Ain’t Hard to Tell,” “Life’s a Bitch,” “The World is Yours,” and “One Love.”

debuted at number 12 on the Billboard 200. Despite lower sales than expected and limited commercial success, the album was universally acclaimed by critics and fans alike. The album was regarded as a classic, and is credited with ushering in the term “instant classic” to art. 

an influential hip-hop entertainment outlet, gave the album a five mic rating, which was the highest rating an album could get. Legendary hip-hop albums like Dr. Dre’s 

had not even received such honors, and the rating was even more meaningful (and controversial) because it was given to a debut album by a new artist. Other publications from every corner likewise praised the album and interpreted it as a statement of undeniable, unprecedented talent from the Queens rapper.

is its incredibly polished, yet rugged production. The majority of the production was handled by Large Professor, DJ Premier, Pete Rock, Q-Tip, and L.E.S., who were the five top New York producers at the time. The group created a work that exhibited an overarching aesthetic that was a mesh of their collective talents and techniques. 

incorporates elements of old school hip-hop, as well as using samples from the jazz, blues, funk, and soul genres. The producer firepower that went behind this work can be heard in the diverse sounds on the album. Definitive, powerful piano riffs, harmonic organs, and boom-bap percussions contrast and cooperate perfectly to walk the line between raw and alive, while giving the entire album a mystic, almost dream-like feel. 

exemplifies variety from track to track, with minimalistic, ominous tracks such as “N.Y. State of Mind” standing alongside upbeat, jazz-infused tracks like “The World is Yours.” The sharp beats serve as the pages in the book in which Nas crafts his dense, tightly woven stories.

Apart from the production, the lyrical content exhibited on 

has been the subject of musical, industry, and scholarly analysis since the album was released. 

reintroduced an emphasis on lyricism and storytelling in hip-hop that had originally been revolutionized and pushed forward by the likes of Big Daddy Kane, KRS-One, and Kool G Rap. Throughout all ten tracks, Nas illustrates incredibly complex wordplay and writing abilities. He uses literary techniques and rhyme patterns previously absent in the genre such as multisyllabic rhymes, half rhymes, assonance, and enjambment. On the track “N.Y. State of Mind,” for example, Nas exemplifies dominating command of internal rhyme schemes by rapping “

And be prosperous, though we live dangerous, cops could just arrest me, blamin’ us, we’re held like hostages.

” Nas’ technical skills as a writer enhanced his storytelling abilities, and the end product was a dazzling display of advanced vocabulary and literary techniques that did not take away from what he was saying. Rather, it only emphasized his points further and made them all the more real.

is the way in which Nas paints pictures detailing inner city life in Queensbridge. Nas uses a first-person voice to narrate experiences of crime, drugs, and violence from the perspective of a young boy involuntarily being exposed to it all. His stream of consciousness demonstrates a sense of authenticity and artistry; rather than telling the stories that sound the best, these are stories that needed to be told. They paint a vivid picture that has stayed with him and are being told again to bring awareness to these issues and help those going through the same. Nas describes people, places, and events in his life that bring the listener right to where he grew up. Thematically, the album ranges in topics from drugs and losing loved ones to pleasure and nostalgia. Nas’ ability to manipulate the English language gives him the freedom and flexibility to alternate between feelings of pain and joy, hope and despair, and anger and sadness at will.

This album, at the time of its release, was seen as a time capsule perfectly reflecting the state of hip-hop in 1994. 

 stood caught in between two distinct periods in the genre. The first of these was the “Old School” age of the 1980’s where pioneers pushed for a culture of storytelling and conscious, reflective content. The second was the immediate future after 

, where braggadocious and “gangsta” rap would soon become the norm. Nas was seen as the gatekeeper of the genre who could both preserve the past and push the genre forward.

This album shook the music world and brought immediate attention back to the New York City hip-hop scene. The momentum curated by Nas and fellow New York artists the Notorious B.I.G. and the Wu-Tang Clan during this time signified a return to regional dominance for the birthplace of hip-hop. The album influenced and helped shape the sounds of future New York legends such as Jay-Z, DMX, and Ghostface Killah. 

also revitalized the East Coast hip-hop scene by launching the careers of artists featured on the album such as Brooklyn-based AZ and helped re-establish the producers who worked on the album as the best in the industry.

For the past 25 years, the album has left a lasting impact on the career of Nas as well as all rappers who have followed in his footsteps. 

set an incredibly high precedent for Nas’ career after the album. In the years following its release he garnered criticism for releasing albums that, despite performing incredibly well commercially, were seen as “sellouts” and significantly lacking in quality in comparison. As a result, 

has been seen as both a blessing and a curse for the Queens MC; a project that both immediately established him as a legend and also set him up for failure for the rest of his career. The album has also been established as the gold standard for a “great” rap album, especially with regards to an up-and-coming artist’s debut release. Albums like Kendrick Lamar’s 2013 

immediately found themselves being stacked up to 

by hip-hop purists and longtime fans after it was released.

25 years later, this album is still regarded as the “quintessential” hip-hop album. Nas has gone on to release 10 studio albums since 1994, with three of them garnering nominations for “Best Rap Album” at the Grammys. However, to this day 

remains his crowning moment and greatest achievement. April 19th, 1994 symbolizes the day he transformed from a young, hungry MC to an immediate legend in the genre. As time propels forward, one can only hope the influence and beauty of this masterpiece will never be undermined.

‘Illmatic’ turns 25

30 years ago, on March 3rd, 1989, American hip-hop trio De La Soul released their ground-breaking debut studio album, 

 The group originally comprised of Posdnuos, Trugoy, and Maseo, who came together when they were in high school. For their first album, the group enlisted the talent of fellow Long Island producer Prince Paul, who had built a reputation as a rising local star. The album’s name is derived from the Johnny Cash song “Five Feet High and Rising” and consists of an impressive 24 tracks with a total run time of an hour and 7 minutes. This album was released at a time when hip-hop was beginning to gain international attention for its depiction of inner-city life and calls for social justice. This rhetoric, pioneered by the likes of N.W.A., Public Enemy, and Rakim, just to name a few, created a culture built around aggressive, political messages that were meant to invoke strong emotions from listeners. In the midst of these ambitious, remarkably powerful albums, De La Soul not only delivered a timeless classic, but did so by innovating and perfecting an entirely new style of hip-hop and storytelling. 

De La Soul captured audiences by painting pictures that were quirky, funny, and most of all, genuine. Lyrically, 

 is full of unique phrases and inside jokes (for example, 

“buddy” is used to mean “beautiful body”

). The album contains playful social commentary, showcases of penmanship and advanced wordplay, and nostalgic tales of young boys making their way through life and love; the latter of these serves as the main theme of the album’s 6th track, “Jenifa Taught Me (Derwin’s Revenge).” This album sees the three Long Island rappers perfectly walk the line between expanding their artistry and staying true to who they are deep down. Everything from the production to the vocals are incredibly diverse, yet they come together to form a single, consistent sound. The album revolutionized the genre by introducing numerous new recording techniques, including mixing, sampling, and the use of comedy sketches. The track “Me, Myself and I,” which peaked at #34 on the US 

Hot Rap Songs, uses samples from 5 different songs in just one track. The second track on the album, “The Magic Number,” samples parts from 6 different songs.

is credited with ushering in the “skit” era of hip-hop albums. A “skit” is a short track filled with humor or commentary that is used as a space to transition between songs, carrying the listener through the album. The album also helped influence the rise of alternative and jazz rap that would become staples in the sounds of legendary groups like A Tribe Called Quest, The Pharcyde, and Digable Planets. Upon its release, 

was acclaimed by critics and fans alike. Because of the overwhelmingly positive, hippie-like essence that bleeds throughout the album, the group drew comparisons to the similarly innovative Beatles, being called the “Sgt. Pepper of hip hop” by the 

De La Soul and their stylistically similar New York companions Jungle Brothers and A Tribe Called Quest were heralded as the most engaging, progressive, and talented emcees in rap, and were considered the future of the genre. They were not as commercially successful as the politically charged wave of hip-hop or the dance-inducing, hazy G-Funk style that was beginning to gain traction on the West Coast. However, 

served as a model for the power of experimentation in one of the most dynamic genres of music.

In the years following its release, the impact and acclaim of this monumental moment in hip-hop can still be felt. It was ranked #7 on 

100 Greatest Albums, 1985-2005,” #346 on 

magazine’s “500 Greatest Albums of All Time,” was selected as one of 

“100 Best Rap Albums” and was included in the book 

. In 2010, it was selected by the Library of Congress to be included in the National Recording Registry for being a body of work that is significant to American culture, and whose message stands the test of time. From its colorful, iconic album cover to the deep, yet enjoyable intricacies in the lyrics, it’s been 30 years and De La Soul is still here to stay.

De La Soul’s ‘3 Feet High and Rising’ turns 30

Warner Bros. Records · February 22, 2019

At its worst, it is a repetitive and calculated project that shows no artistic growth from the 18-year-old Miami rapper.

On Friday, February 22nd, Lil Pump released his second studio album, 

 A follow up to his controversial, yet commercially successful eponymous debut album 

in 2017, this album is similar in length, with his first album running 15 tracks long at 36 minutes and 

The album was originally supposed to come out on Pump’s 18th birthday in August 2018, but due to legal issues and “

” part of the album, it was instead dropped nearly 6 months later. In anticipation of the album’s release, 7 singles were released roughly once a month starting from April 2018, including the dance-inducing club anthem “I Love It” featuring Kanye West, which peaked at #5 on the Billboard Hot 100.

One of the first things that immediately stands out to me on 

is the amount of high-profile superstar rap artists Lil Pump has enlisted to serve as guest features. In addition to West, artists such as Lil Wayne, Lil Uzi Vert, YG, 2 Chainz, Quavo, Offset and frequent collaborator and fellow Florida rapper Smokepurpp are found throughout the project.

Lyrically, the album is full of repetitive, simple lyrics addressing topics such as wealth, fame, drugs and women. Similar to his breakthrough hit “Gucci Gang,” the songs on 

rely on Pump’s high energy and fun trap beats to make up for the painfully simple lyrics that lack any deeper meaning.

 songs is often so oversaturated with absurd comments and drug glorification that it seems almost comical. The album’s opening track “Drop Out” plays along with a popular internet meme that claims Lil Pump dropped out of Harvard to “save rap.” The lyrics on the track showcase Lil Pump bragging about things like smoking in the school bathroom, buying cars and having rivalries with school teachers. The production on the album is handled mainly by frequent Pump collaborators CBMix and Diablo, with additional production coming at the hands of Kanye West, Fizzle, Dee Money and Lil Pump himself.

Make no mistake, this album can be very fun; Lil Pump’s confidence soars higher than ever as he raps about making millions despite dropping out of school, doing drugs with his grandma and not being able to read. Pump has endless charisma and moments of legitimate chemistry with his collaborators (the 12th track off the album, “Be Like Me” featuring Lil Wayne, sees Lil Pump at arguably his most polished, sharing a track with one of rap’s heavyweight veterans). There is an undeniable catchiness to his lyrics that is almost hypnotic, and combined with the explosive bass-filled production, the album seems to dare you to creep in and take part of the fun, madness and recklessness. At it’s very best, 

reminds us how Lil Pump became a critical face in the modern, colorful hair SoundCloud rap generation. It shows us the woozy, wild world Lil Pump has created for himself, excelled in and shows no desire to leave. He’s young, rich, and at the peak of his powers. At its worst, it is a repetitive and calculated project that shows no artistic growth from the 18-year-old Miami rapper.

Lil Pump gains no new strengths, and exhausts his current ones to the point where most of the album seems unnecessary at its core. Lil Pump seems less of an artist than a meme whose goal is to push the boundaries of what is being played in mainstream clubs and radio stations (for example, when he raps about giving lean to a baby on “ION”). It is safe, basic and just edgy enough, right on par with Lil Pump’s entire appeal. In today’s digital age of music, artists have so many outlets to entertain fans in addition to their music and can connect with fanbases in personal, unprecedented ways. Lil Pump is the embodiment of this skill. With over 18 million followers on Instagram, he has a fanbase so strong it seems as though an album like this could be released every year and he would still make a ton from sales. On his sophomore project, Lil Pump shows he knows what he is all about, loves what he is all about, and doesn’t care that you don’t like what he is about. To some extent, it is admirable; on the other hand, it is incredibly irritating.

Lil Pump does the same old thing on ‘Harverd Dropout’

The show was Bronson’s first full-length set since the release of White Bronco on November 1st, 2018.

Queens-based rapper Action Bronson kicked off his newest 20-stop tour in support of his 2018 project 

 at the Paradise Rock Club in Boston on Monday, February 11th. In front of a crowd stretching to the back wall of the venue, the concert started off with fellow Queens rappers and frequent Bronson collaborators, Mayhem and Roc Marciano opening and warming up the audience for the exciting night. Mayhem came out first and, with his combination of immense energy, raw New York City beats, and tight lyricism, sent the crowd into a frantic state. He performed a balanced mix of solo tracks, guest verses, and even took time to preview new tracks at the end to start the buzz around a potential new project. Roc Marciano followed next on his birthday night, which garnered a loud cheer from the crowd. Roc Marciano has had a long and prolific career stretching back to working with the likes of Busta Rhymes and the Wu-Tang Clan. His set was jam-packed, with the rapper performing parts of 14 songs, from a wide range of releases dating back to his 2010 album 

he performed the single from the album, “Thug’s Prayer,” as the last song of the set).

By the time Bronson came on, the crowd was absolutely ecstatic. The show was Bronson’s first full-length set since the release of 

 on November 1st, 2018. As a result, most of the tracks performed off the album were live debuts. Nevertheless, Bronson seemed incredibly comfortable performing the first 9 tracks of the album in sequential order to start off. 

 is Action Bronson’s first independently released studio album since his debut in 2011, and the sounds on it are very experimental. Bronson utilizes sounds and blends from multiple genres like jazz, funk, and R&B to create a unique vibe, and throughout his performance of the album, he vocally showcased his approval of the production on it numerous times. Lyrically, Bronson was as sharp as ever, rapping consistently and passionately throughout in his usual high-energy, craze-inducing manner.

On stage, Action was a charismatic and definitive presence. To hype up the crowd between (and sometimes during) songs he would engage in fist-bumping, throwing water in his face, and shouting, while also taking time to reflect on his journey as an artist, entertainer, and author (with numerous fans in attendance waving his cooking book “F**k That’s Delicious”). Action also took time to interact with the fans as well; at one point halfway through the set, he let a set of instrumentals play for 10 minutes while he walked around the stage, signing anything fans threw up to him including shoes, vinyls, and homemade posters of him and his album covers. Action Bronson’s fans are some of the most devoted of any artist out there, and he made sure to return the love and let his appreciation seep through an intense and dense performance.

In addition to his new music, Bronson made sure to deliver on some of his most iconic tracks from albums prior for the devoted fans who had been supportive since the early days. This included the track “Barry Horrowitz” from his debut 2011 album 

 and “Pouches of Tuna” off of his 2012 mixtape 

 (which he performed with Roc Marciano, who came back out for the track). In addition, he performed the standout tracks “Terry,” “Actin’ Crazy,” and “Baby Blue” from his acclaimed 2015 album 

. His last performance of the set was the thrill-inducing, emotional banger “Easy Rider” from 

, with its ringing and hard-hitting beat. For his encore, Action performed the short but cult favorite track “Amadu Diabo” off of his mixtape 

as well as a tribute to Biz Markie by singing the chorus to “Just a Friend.” After the show, Bronson thanked the crowd numerous times and promoted his Boston-specific merchandise, in which he stood by the stand after the show for meet-and-greets with fans, keeping up with his persona of being an entertainer who looks to interact and be accessible to those who he entertains.

At Paradise Rock Club, Action Bronson reflects on his career

On February 15th, the London-based musical group Nubiyan Twist released their newest body of work, 

. Following a string of positively received projects such as 

this 10-track album runs 55 minutes in length and is a wonderful, cohesive blend of multiple genres flawlessly blended together. This is the main creative intent for the group, pushed forward by the vision of guitarist and producer Tom Excell. Throughout 

one can hear mixed elements of jazz, hip-hop, dance, and reggae come together to create an exciting fusion of sounds.

In addition to Tom Excell, one of the hallmarks of Nubiyan Twist is the multiple talented pieces that come together as one to produce. In addition to producers and composers working behind the scenes to create the rhythms and put the finishing touches on pieces, Nubiyan Twist is comprised of a 10-person live show, with a 4-piece horn section, 2 vocalists, electronics, and a rhythm section. Hailing both from within the UK and internationally, a group this large and musically diverse is no simple task to unite as one unit. On 

 however, the skills of each member are given the opportunity to both work off each other and shine individually to create a powerful and dynamic sound.

The title track of the album contains an infectious beat paired alongside smooth jazz components, all supplemented by a catchy chorus that one can find themselves singing and dancing along to by the end of the first listen. The third track on the album, “Basa Basa,” is a cultural tribute that draws heavy influence from afrobeat styles and includes an impressive feature from Brooklyn-based rapper K.O.G. Multiple other artists come and contribute as featured artists on 

 including UK-based artist Pilo Adami on the track “Borders.” Vocals from legendary Ethiopian musician Mulatu Astatke are also used at the beginning and closing of the track “Addis to London.” This entire track is a tribute to Astatke, often labeled as the “Father of Ethio-Jazz.” The track, apart from his vocals, is entirely instrumental and makes heavy use of conga drums, similar to the music Astatke helped pioneer in Ethiopia’s “Golden 1970s.”

Throughout the album, the power and talent of lead vocalist and emcee Nubiya Brandon become increasingly undeniable. On the closing track “Sugar Cane,” Nubiya Brandon’s storytelling capabilities and melodic vocals are on full display, as she explores some of the harsher lessons she’s learned in her life while simultaneously showcasing her breathtaking, soulful voice. Even on tracks like “Brother,” where Nubiya Brandon is competing against exceptional production that utilizes an aggressive, fun piano riff and defiant trumpets, she lets her talent cooperate with these sounds to create an engaging jazz sound.

Overall, this album is a fun, electric listen, with hypnotizing vocals and boisterous, compelling production and beats ready to greet you at every corner. This album is experimental while also being focused, and is an excellent showcase of some of the most promising talent in the jazz and hip-hop spaces.

Nubiyan Twist channels multi-cultural influences on ‘Jungle Run’

The beginning of the new year brings about a time of reflection, hope, and new promises for many of us. For music fans all over the country, the transition to 2019 also signifies the arrival of Grammy season. Grammy season is an exciting period of time where everyone puts on their fortune-teller hats and predicts who will win the most coveted award in music today. Earlier this week, the list of performers at the 61st annual Grammy Awards, which will occur on Sunday, February 10th, at 5:00 PST (8:00 EST) at the Staples Center in Los Angeles, was released. The list is unique considering it enlists the talents of many first-and second-time Grammy nominees whose profiles have exploded only within the last few years.

Cardi B Rolling Loud Festival on December 15, 2018. / Photo by Scott Dudelson / Getty Images.

One of these nominees, who also happens to potentially be the biggest name on the list, is Bronx rapper Cardi B. Cardi B earned two Grammy nominations (Best Rap Song and Best Rap Performance) at last year’s Grammys for the number-one single phenomenon “Bodak Yellow” and has accumulated an impressive five nominations for this upcoming Grammys. Her undeniable energy, charisma, and impressive catalog of songs make her a perfect fit as a performer on a stage this big. Cardi B is no stranger to spotlights like this, as she headlined the hip-hop festival Rolling Loud in Los Angeles this past December. A well-respected artist and performer, it only makes sense that Cardi B has been given this opportunity. It is well-deserved, following the success of her debut album 

First-time Grammy nominee Post Malone is also slated to perform at the 2019 Grammys, a decision I personally am conflicted about. Post Malone rose to prominence from creating hard-hitting party anthems. However, as his career has progressed, his musical versatility has greatly expanded, as his experimentation in sound and style has grown with his confidence and rising profile. Given his musical scope, I am interested and excited to see how he decides to cater to the crowd and environment during his performance. I 

 skeptical of how his image and performance will fit into the traditional mold of a “Grammy star” and how it will be covered and reviewed with potential bias factored in.

One artist I am incredibly excited to see perform is Janelle Monáe, who is currently up for two Grammy awards in 2019 (her album 

is up for Album of the Year and the music video “Pynk” is nominated for Best Music Video). Her memorizing voice and overall aura make her one of the most mysterious and respected members of the music community. Monáe’s gradual mastery of the funk, R&B, and soul genres have culminated in a string of critically-acclaimed and connected projects, and she will now have the chance to apply her talents to a scale most only dream of. I expect nothing less than for her to absolutely crush this opportunity, expressing her talents and creativity in ways that will leave many desperate for more.

Former Fifth Harmony member Camila Cabello will also be performing this year at the Grammys following her first two nominations for Best Pop Solo Performance and Best Pop Vocal Album. Cabello’s dynamic, engaging voice backed by dance-inducing beats will surely be great to see performed live. Known for electric performances (with the live version of her hit “Havana” being one of her nominations this year), I am excited to see how Cabello injects her own unique flair into the show and expresses herself as the talented and accomplished musician she is.

Similarly along Cabello’s grain, Grammy rookie and fellow two-time 2019 nominee Shawn Mendes will also be hitting the stage on February 10th — a performance I anticipate will be filled with catchy, fun choruses and air-tight, impressive vocals. Mendes, though only 20 years old, has already built an impressive discography and catalog for himself. Given that one of the songs off of his Grammy-nominated self-titled album 

 (“In my Blood”) is also up for a Grammy, I expect it to be one of the songs performed on this night.

With the majority of the big-name acts this year coming from hip-hop and pop spaces, two country acts will also be taking the stage this year in an effort to diversify the lineup of performers. Eight-time Grammy nominee and two-time winner Kacey Musgraves will be one of the performers, and country duo Dan + Shay will be the second with their first Grammy appearance. Dan + Shay secured two nominations for Best Country Duo Group Performance and Best Country Song, while Kacey Musgraves locked up three, including Album of the Year. While I understand and respect the move by the Grammys to be more inclusive in the music they choose to celebrate, I think that it would have been better to enlist in the likes of a more dynamic music group like Greta Van Fleet (a rock group who are also first-time nominees in 2019, locking up four nominations in the rock and roll space). However, Dan + Shay have been dominating the country space for over four years now, and Musgraves has been an award-winning artist and influential member of the country community for over half a decade. With this in mind, I am still excited (yet skeptical) to see what they have to offer on the biggest stage in music.

This first wave of announced performers signifies the new wave of artists that are taking over the music world, whether it be on the charts, the radio, or at the top of critics’ lists. While Grammy veterans like Drake, Kendrick Lamar, Jay-Z, and Beck still topped the lists of total nominations this year, the list of performers for the 61st Grammys is a powerful declaration that there is a crop of new kids on the block who are hungry to chase those at the top.

Grammys Performance Preview 2019: What to Expect

It’s been 25 years since the ground-breaking and genre-shaking release of 

 today in 2018. One of the Wu-Tang Clan’s most essential pieces, Method Man, has released his fifth solo studio album, 

 The first member of the Wu-Tang Clan to venture out as a solo artist with his acclaimed, Grammy-winning project 

 in 1994, Method Man expanded his extensive and successful solo discography with a 22-track tape that manages to run just under an hour.

is a follow-up to Method Man’s 2015 project, 

 which reached 57 on the Billboard 200. The album is innovative in nature, as it is structured to resemble a TV season.Each song is titled as an “episode” with the album progressing in chronological order, and interlude-like skits break up the tracks to resemble commercial breaks on television. The commercial breaks are short and sometimes on the goofier side, giving listeners a break and a chance to experience Method Man’s humor. This stands in stark contrast to his drug-dealing, party-loving player persona he is most commonly associated with.

The album works to establish a 1990’s hip-hop feel, with the production from 

reminding listeners of the rugged, underground sound that propelled and subsequently established Method Man and the Wu-Tang Clan to stardom decades ago. Tracks like ‘Episode 2 – Eastside’ and ‘Episode 5 – Wild Cats’ have fun, bass-heavy beats that make them sound like they could fit right in on Method Man’s classic 1999 collaboration album 

 with Redman. Over the catchy beats, Method Man sounds like he hasn’t missed a step, with his tight lyrical flow and signature charismatic delivery making up for the lyrics which lean heavily on drugs and sex. Method Man’s iconic style of rapping has earned him accolades and recognition dating all the way back to 1993. He was given the only solo track on 

an honor supposedly achieved by winning a rap battle between all members of the Wu-Tang Clan. Throughout 

 Method Man enlists multiple features to add star power and life to the album, including Snoop Dogg, Noreaga, longtime collaborator Redman, and fellow Wu-Tang Members Cappadonna and Masta Killa.

Overall, the album is a fun listen, with Method Man’s hypnotic cadence luring listeners to stay engaged even in the album’s slower moments. While 

 is neither Method Man’s most cohesive or memorable work, it is a definitive declaration that Method Man is here to stay in the music industry. It shows the rapper’s intent on staying true to his Staten Island-influenced style and sound that he helped pioneer and trail blaze. Combining lyrics clearly set in 2018 (including references to things like Uber and Donald Trump) and a vintage sound, Method Man delivers an enjoyable sequel to 

 while not conforming to the style of rap currently dominating the charts today, which is an impressive feat in its own right.

Method Man revives ’90s hip-hop with ‘Meth Lab Season 2: The Lithium’

On October 19th, the underground rappers Fat Nick, Teddy and Bexey were slated to give the Boston neighborhood of Brighton a type of raw, punk rock-esque performance that would encapsulate the energy that the new “Soundcloud Rap” wave has established.

Leading off the night was Teddy, an exciting young act on the rise who already has collaborations with big names like ILOVEMAKONNEN and Rich the Kid. Right from the beginning, Teddy worked to engage the crowd, most of whom had already packed in for the entire show. Teddy established a very positive vibe in the venue, despite focusing on lyrical matter much darker in nature. The crowd immediately became not just engaged in the artist on stage, but with each other as well, creating a sense of community in the room that was unique. Despite the very aggressive dancing and mosh-style frenzies that typically break out at these concerts, it appeared that even though Teddy and the subsequent acts would tap into and unlock this type of energy, at the end of the day everyone could exist and feel safe.

Up next was hip-hop artist Bexey, a 22-year old signed from the United Kingdom known for his hit single “CUTTHROAT SMILE.” Bexey shared a profound connection with the cult-like crowd, performing the majority of his set from the very front of the stage and thanking everyone for their love and support throughout. Bexey’s set was energetic but also very calculated and meaningful, cleverly mixing in hard, trap-heavy anthems alongside more mellowed-out songs where he could highlight his voice. Sporting a vibrant red jacket that read “don’t let me fade away” and black contact lenses, Bexey illuminated the emotional, psychological-based wave of underground, punk-infused rap that has trailblazed such a dynamic path in hip hop in the last few years, and delivered a set that left his long-time fans very satisfied.

After Bexey, the DJ for the night, DJ Scheme, unleashed a set like none other. DJ Scheme turned his set into a tribute for XXXtentacion and Lil Peep, the former of whom was shot and killed at the age of 20 at a motorcycle dealership in June, and the latter of whom died at the age of 21 from an accidental drug overdose. Relying on thunderous beats and passionate, aggressive lyricism, Scheme’s set was met with heavy approval from the crowd, who continued to form mosh pit after mosh pit and shout back every lyric at the stage. DJ Scheme was focused but personable, reminding the crowd of the impact these artists had on hip hop and playing some of the artists’ most influential hits, including Lil Peep’s ‘Save That Shit’ and XXXtentacion’s ‘SAD!,’ ‘Jocelyn Flores,’ and ending his set with the craze-inducing ‘Look at Me!’

Fat Nick brings Soundcloud rap to Brighton Music Hall

Throughout hip hop history, a narrative of innovation and trailblazing has been both heavily encouraged and criticized. While some have been applauded for their ability to blur the lines between genres and pioneer completely new categories of rap, others have been shunned from the hip hop and music community for not “sticking to the status quo” and joining the dominant sound at the time. Never was this dichotomy clearer than on September 29th, 1998, when the rap group OutKast, consisting of high school friends Antwan “Big Boi” Patton and André “André 3000” Benjamin released their 3rd studio album 

At a time when gangsta rap was king of the hip hop industry, and glorified tales of drugs, women, and violence were all that could be found on the radio, OutKast relied on coloring outside of the lines to achieve critical and commercial success. Hailing from Atlanta, GA, OutKast’s rise to the top of hip hop stardom was met with heavy backlash from the very beginning, as they did not emerge from Los Angeles or New York. However, after the profound success of their first two albums 

in 1994 and 1996 respectively, the group found themselves in a lane of their own. As 1998 rolled around André 3000 and Big Boi were in a position to expand on their creative talents and experimentation that had made them a household name.

is a combination of Big Boi’s Aquarius and André’s Gemini Zodiac signs, and was the first album ofwhich the majority was produced solely by André and Big Boi. André handled the production onmost of the tracks while Big Boi wrote thelyrics and hooks. Stylistically, the album expands on 

spaceyand extraterrestrial feel, while still containing songs with fun, bouncy beats that can keep up with any other in a club. Lyrically, 

focuses on numerous themes relating to the human experience, with André 3000 focusing more on distinctly unorthodox topics (this was inspired by his budding relationship with Erykah Badu at the time). Big Boi, on the other hand, focuses on maintaining a “player” image and playing into many of the themes prevalent in hip hop at the time. Throughout the album, OutKast uses precise and powerful storytelling techniques that paint vivid images in the listener’s mind. On ‘Rosa Parks,’ the hit single that peaked at #55 on the Billboard Hot 100, the group uses the oppression and discrimination imposed on Rosa Parks and other Civil Rights leaders during the 1950s and 60s and relate it to their experiences being ostracized in the rap world for their different sound and style. On ‘Da Art of Storytellin’ (Part 1),’ a song later sampled by the likes of J. Cole, OutKast remembers old childhood friends lost to drugs and crime, and recounts them in such a way that by the end, the listener is inclined to feel the same emotions and sadness expressed by André and Big Boi.

The album is 16 tracks and runs just short of an hour and fifteen minutes long. Even in 2018, we can see the impact and influence that 

brought into the rap universe. This hip hop album is unique in a sense that it incorporates the usage of live instruments throughout; including guitars, pianos, and most notably a harmonica solo from André 3000’s stepfather in ‘Rosa Parks.’ 

made waves for its fearlessly innovative sound and ability to stand out in the genre at a time where East and West Coast-based mafioso rap was at its peak. The album also calls upon many talented artists who come on as features including George Clinton, Cee-Lo Green, and Raekwon of the Wu-Tang Clan, showcasing the duo’s ability to mesh perfectly with rappers from any region or style. Heavily praised upon its release by both major publications (with 

giving it a famed five-mic rating) and the general public, 

silenced all those who sought to write off OutKast as too “weird” or “strange” for hip hop. Being a very masculine and braggadocious culture, many were skeptical of embracing characters like André 3000 and Big Boi, the former of whom would dawn flamboyant clothing, wigs, and oversized sunglasses in public around the time of 

stands as a testament to creative freedom and expression in a genre constantly concerned with establishing a dominant sound. Hip hop has grown a lot since 1998, but to this day André 3000 and Big Boi can be seen influencing music with this classic album. By rapping about real affections that can connect to a large audience and focusing on a more genuine, fluid sound, 

paved the way for some of the most groundbreaking and unique artists that flood our streaming playlists today.

OutKast’s ‘Aquemini’ turns 20

Wednesday, October 10th was a special night for Boston as it welcomed the last show of a unique and inspiring tour from one of hip hop’s most recognizable faces. Jermaine Cole, also known as J. Cole, wrapped up his KOD tour in TD Garden on Wednesday night alongside supporting acts Young Thug, the electric Jaden Smith, and Dreamville Records label mates EarthGang.

EarthGang kicked off the show with a brief but energetic set, emerging with large goofy hats and bright, engaging visuals behind them on stage, and playing some of their biggest hit like “Red Light” and their cut off “Jermaine’s Interlude.” EarthGang exhibited a genuine energy throughout their set, keeping up with bouncy, upbeat sounds by maintaining a charismatic flow and tight lyrical deliveries. Earthgang exhibited moments of both confidence and humility.

Following EarthGang, the influential and charismatic 20-year old Jaden Smith took the stage, serving as a hype man, dance performer, and musician all at once. Smith gave the city of Boston multiple shout outs during his set,, encouraging fans to check out some of the places he had explored, including MIT and Harvard’s campuses. Jaden quickly engaged the crowd with slick dance moves and passionate performances of hits like “Icon,” which he performed twice. During the last performance, he took a lap around the floor section of the arena, taking videos on fan’s phones and connecting personally with his audience.

After Smith left the stage, veteran superstar Young Thug came on, face hidden behind thick sunglasses, a beanie hat and a hoodie, playing very well into his mysterious and hidden aurora. Thug performed a wide array of music from his diverse and lengthy catalogue, with throwback hits like “Lifestyle,” “Digits,” and “Pick Up the Phone” woven cleverly in between new hits like “Sin” off of his new album 

, where he brought Jaden Smith back out to complete his segment of the song. As expected, Thug used his voice as his most prominent instrument, sounding like a true rap heavy hitter at certain points and an emotional crooner at others.

Upon the end of Thug’s set, an immediate energy and excitement filled up the now-packed Garden, as a large curtain explaining the three meanings of J. Cole’s album 

 (Kids on Drugs, King Overdosed, Kill our Demons) hid the stage from view. When Cole’s set started, the curtain fell, revealing the three letters of the album as large balloons hung above the stage. Cole wasted no time tapping into the crowd’s love of his most beloved hits; after playing the intro to 

 and opening with “Window Pain (Outro)”, Cole threw the crowd into a frenzy with performances of “A Tale of 2 Citiez” and “Fire Squad” off of his double platinum third solo album, 

. From there, Cole drew from a number of previous projects to complete his impressive setlist, including 

 (performing “Power Trip”), 2016’s 

 (performing “Déjà Vu”, “Ville Mentality”, and “Neighbors”), and even taking it back to 2011, where he performed “Work Out” from 

 after giving an emotional explanation of the song’s importance to his career. Cole explained that without a hit radio single, he might never have earned the platform and respect that allowed him to become who he is today. From there, J. Cole wrapped up his set with fan favorites such as “Wet Dreamz”, “G.O.M.D.”, and a bouncy, rage-inducing performance of the title track “KOD” that ended his set until cheers and applause brought him out for two encores; one being the controversial and thought-provoking “1985”, and the other being “No Role Modelz.”

The most impressive thing about Cole’s set was not necessarily the music or the performances, but rather the way he carried himself. Despite being a rap titan in 2018, Cole expressed humility and vulnerability with the crowd, explaining that part of the reason 

 means so much to him is that he also has demons he is trying to overcome. He got very personal with the crowd at numerous points, giving life advice, criticizing the politics of things such as tax and wealth, and reminding us all to work to see the beauty in others and take time to learn one’s journey before you judge. As a legitimate star, he could have just performed his required music and left, but instead decided to take his last night on tour as a chance to reach out and give the themes and motifs behind his songs a face and identity. In typical J. Cole fashion, however, he never dismissed the opportunity to assert himself as a dominant force in music where he could, filling up the jumbotron screen with goat emojis over his face as he rapped his fast-paced closing verse to “KOD” acapella, to roaring applause from fans.

J. Cole closes his tour with a memorable performance at TD Garden

WRBB’s Kyle Rossini caught up with Ro Ransom to speak on his TRL-inspired influences, staying true to yourself, and his next project, 

Your music has been defined as pulling from late 1990’s – early 2000’s hip-hop and R&B, and I just wanted to get a gauge of what sound you specifically see yourself trying to capture in your music?

I always say that two of my biggest influences are Justin Timberlake and Aaliyah. Everything I do, you can find the DNA of Justin Timberlake in my whole last album, and you can find the DNA of Aaliyah in the whole record I’m putting out now. That was just in my most vulnerable formative years when I was finding out about music, and the stuff that really pulled at my heartstrings was Aaliyah, was Destiny’s Child, was TLC, was Justin Timberlake, and I grew up being in love with rap music too. Being in love with Eminem’s music and being in love with Lil Wayne’s music, and now what you’re seeing is a hybrid of all those things blending together.

That’s fantastic, and you already started answering my next question about your greatest musical influences. What introduced you to them, and what prompted you to start making music in the first place?

I’m a child of TRL. I feel like TRL was the first Spotify playlist in a sense that, before [Spotify], MTV would play Run DMC and did a record with Aerosmith, and that blended genres. When I was growing up, seeing Christina Aguilera next to Dr. Dre next to Sum-41 next to Jay-Z, and seeing the best of everything put together, was really formative for me. I’m also from the hood so rap was inescapable, just being a person who lived through the culture, that’s how my lens was formed. Honestly, the way I started rapping was my older brother was rapping and girls liked him, and I was like “well if that’s what it takes to get girls, I’m in.” I started to become a sponge, and Daft Punk was huge, I think Daft Punk was the first album I ever bought. I might have been 8 or 9, I was just a sponge just watching the TRL and 106 and Parks and huge TV countdowns and just taking it all in, and that was my escape from living in the hood.

Going off of that, did growing up in Harlem have an impact on your perception of music?

Well, I mean, I think the biggest thing that living in the hood did for me as far as the actual sound of my music is it gave me confidence. Every day I was kind of ostracized because I thought Pharrell was super cool and I was wearing ‘icecreams’ and colorful clothes that wasn’t the coolest in the hood at the time, but it gave me thick skin to be like, “this is what I believe, and this is what I like, is what I identify with, and I don’t care what anybody thinks,” and I still have that mentality today, that’s what’s carried through in my music all these years. I’m gonna do me, sometimes I just gotta go do my own thing. That’s who I’ve been this entire time, no matter what’s going on around me, I’m gonna just stick to what I know, what I identify with, and I don’t care what anybody thinks.

I’ve seen you’ve built up a very impressive collection of accolades and accomplishments over the length of your career so far, and now that your music is starting to produce tangible results, people are acknowledging your work. How do you work now to either redefine or keep true to what you consider as success and impact in what you do?

For me, I don’t know if this is good or bad, if this is smart of stupid, but for me, its always been to just stick to my essence, and stick to what I know and who I am. No matter what happens, I can’t do anything other than what’s in my heart. So no matter what, even if I sell 10 million records, I know Linkin Park’s 

blew my mind, and I don’t really care what’s going on in the culture, that [album] meant something to me, and so if I pull from that, that’s the inspiration I’m pulling from. So I always make the music that I want to make at that time, but at the same time anyone who listens to me will tell you that I have my own sound, even if I’m making pop, even if I’m rapping for 50 bars, you know its Ro Ransom when you hear him. The way I respond to any accolades I have or haven’t gotten is to stick to that no matter what.

That’s fantastic. Bouncing off of that, I know you recently signed a deal with the Sony-imprint Same Plate Records. Do you feel that you’ve been able to maintain your unique style, and as you were saying, going between pop, rap, and R&B, do you feel you’ve been able to keep that innovative approach to your music while signed to a major overarching record label such as Sony?

Yeah, I mean, first of all, they signed me because of me. They wanted to work with me because of who they heard in the first place, and I think that if they wanted to come in and change that, it would probably not be a smart decision. But even on top of that, I wasn’t going to get into a partnership with anybody if I didn’t feel like I was going to be able to do everything I wanted to do creatively, because that’s my bread and butter; that’s what makes me me, so I made sure I was comfortable knowing that they were going to allow me to be the artist I wanted to be before I even put my name on anything.

I know you spent time in 2017 touring with artists such as Dua Lipa and Witt Lowry. What about the tour life did you like, what did you not like, and how did being surrounded by people like that help you grow as an artist, taking away lessons and inspiration?

I liked all of it, even the stuff I didn’t like, I liked, because it was learning. You wake up, you have to get in the bus, you have to drive four hours first, you’re cramped, you have to pull up to the venue, bring out the equipment, prepare for the show, do sound check, do the show, hang out in the crowd with the fans, which is the best part, and then hop in the car, drive another four hours to a midpoint, sleep for two hours on the floor, wake up and do it all over again. That’s a learning experience and what I can come to expect. Those were my first tours. My first tour I ever went on was with Dua Lipa, and it was all just me taking notes and learning. As far as being around people like that, I learned so much just watching [Dua Lipa] from afar, seeing how hard she worked, seeing how gracious and grateful she was for everything that was being put in front of her. For her at that level was a message to me that it doesn’t really matter who you are or where you’re from, what you accomplish, this is hard work and you also have to be grateful for that hard work.

What can people expect from your next project, 

, slated to drop this summer? Can you speak a little to the structure and content that we can anticipate?

 was really me telling a story front to back and really giving people a taste of each of the different things that I can do. I don’t really jump feet first into any specific thing on 

, and I would say the difference is probably that on 

, I’m more leaning into my pop influences, more so leaning into that TRL sound, that 1999, 2001 kind of a feel and again, flipping it in my own way, and doing it with my own lens. You know there is the DNA of women who’s music I grew up on, like a Fergie or a Gwen [Stefani], it’s all in there. It’s almost like I’m being “possessed

 by my female influences. That’s really what this chapter for me is about, because you can’t really understand who I am without me telling you that part of the story.

Q&A with Ro Ransom

Young Money / Cash Money Records · June 29, 2018

Even before we heard the first second of Drake’s highly-anticipated fifth studio album, 

, it felt like we knew exactly what was coming. With the remarkable commercial and critical success of ‘Nice for What’ and ‘Gods Plan,’ we went into the album confident that Drake was seemingly better than ever at producing a hit, while also evolving as an artist. With Drake’s highly publicized, personal beef with GOOD Music President Pusha T coming to a head with Pusha T’s scathing diss track ‘The Story of Adidon,’ a retaliation (or at least acknowledgement) of the feud was to be expected.

 actually dropped, we were once again surprised by a number of things. The first thing people point to is the length. The album, which has an A-Side (mostly hip-hop tracks) and a B-Side (mostly R&B/Pop tracks), runs almost an hour-and-a-half long and contains a total of 25 tracks. We see a limited number of official guests on 

, of which include Ty Dolla $ign, the late Michael Jackson, and Static Major, and a surprising verse from rap heavyweight Jay-Z on Side A’s ‘Talk Up,’ which sees Drake go bar for bar against hip-hop’s business mogul over a thunderous Three 6 Mafia produced beat.

Drake dedicates a good amount of time to develop a trademark emotional painting of his life in 2018, with tracks such as ‘In my Feelings,’ ‘Emotionless,’ ‘Is There More,’ ‘Mob Ties,’ ‘8 out of 10,’ and others showcasing his ability to express his emotional vulnerability. These tracks provide an interesting contrast in content; standing beside braggadocios, defiant tracks such as ‘Nonstop’ see Drake giving insight into his skills as a businessman and rapper. Drake draws heavy influence from Memphis’ hip hop scene in this track, with the beat being produced by Memphis-bred Tay Keith and sampling Memphis’ own DJ Squeeky and Mack Daddy Ju’s 1995 track ‘My Head is Spinnin.’

This isn’t the only time on this album Drake pays homage to the different and distinct sounds that arise geographically within rap. The second single from the album, the Billboard #1 hit ‘Nice for What,’ has been described as having a “New Orleans bounce” that Drake used as a stepping stone to achieve his fifth number one record. On the final track of Side-B, ‘March 14,’ Drake waits until the final five minutes of his monstrous album to send us off with in-depth, personal conversation about his son, the mother of his child, and the feud that brought both him and all of GOOD Music to the center of the hip-hop world a month ago.

This album, which was heavily marketed on social media and streaming platforms prior to its release due to the Canadian rapper’s stake in the genre, sees Drake juggling topics like fatherhood, love, betrayal, heartbreak, money, and his extravagant lifestyle. The album broke numerous streaming records upon its release, including 

 in one day, shattering the previous record held by Post Malone’s 

 by over 50 million. Despite unprecedented streaming statistics, the album has met mixed reviews critically, with the album’s overwhelming scope and subject matter being described as both a strength and a weakness, depending who you are talking to. The album has also been criticized for showing a lack of lyrical development from Drake and a heavy reliance on subject matter he has already been discussing in his music for ten years now.

With Drake getting so much off of his back, it will be interesting to see what comes of the situations in Drake’s life that are still up in the air. What will come of the beef between him and Pusha T? What are his next steps going forward into fatherhood? Will Drake ever find “true love?” If there is one thing we can be sure of, it is that if any of these questions are answered, we will surely hear about them from the man himself (preferably in the form of a very catchy hook).

Drake releases 25-track full-length ‘Scorpion’

Chicago artist Noname performed at the Middle East Downstairs on March 3rd for a sold-out crowd. To sum the show up in one word, it was spiritual. Every song from Noname, and her opener, Ravyn Lenae, touched the crowd in a way that was truly special.

The show got off to a rocky start. Due to unforeseen medical issues, the first opener, 

, was unable to perform in Boston and would not be performing for the duration of the tour. Nevertheless, Ravyn more than made up for her absence. Given that Noname is a hip-hop artist, her fans were probably expecting another talented Chicago rapper to prepare the stage for her, but what they got instead was one of the most talented vocalists I’ve encountered recently. 

 displayed superior breath and pitch control, fitting that of a seasoned veteran–and at only 17 years old, one can already see her limitless potential. She entered the stage with a smattering of fans among the crowd, and left the entire room converted. Her latest EP, entitled 

 dropped the day before the concert and it is highly recommended.