The Space in Evanston is a notoriously comfortable, intimate venue. When Caroline Smith played there on Saturday night, the venue was at its coziest–its floor filled with small, candle-lit tables and the stage covered with well-worn oriental rugs. There was no need for dramatics. Caroline Smith is a Minnesota based singer/songwriter who performed solo that night with only her acoustic guitar. She blends R&B, indie, folk, and pop elements into her music and her songs deal with love and life and even her beloved dog, Gracie. The setting was perfect for her intimate lyrics and laid-back stage persona.
Though Smith has not released an album since Half About Being a Woman in 2013, she still seems to have a strong resonance with her listeners. From the beginning of her set she established a light-hearted familiarity with the audience, opening with her satirical love song “Buy Me Something.” They all seemed in on the joke. She sang another song about love, and another—and then laughed and called herself out on it. “I don’t only sing about men!” she joked before transitioning into a cover of a song about growing up and exploring womanhood. She confessed to the audience that recently turning thirty has had a huge impact on her perspective, something they seemed to sympathize with. It struck me how honest and comfortable she was sharing herself with a room full of strangers, both through song and conversation. The mellow blue lights and her soft, full voice seemed to speak directly to the most vulnerable, human parts of the audience without transgressing any boundaries. Good songwriters like Smith have a knack for this. Even five years after her last release, people still identify with the ephemeral moments she captures in song and find themselves singing along.
Smith played quite a few tracks off her studio albums at the start of the set but took more liberty towards the end, taking advantage of her solo performance to play several new and in progress songs. She played three songs with Eric Mayson who had opened for her that night. The two have released one track together, “How Could You,” on Mayson’s 2015 album, Detail. Here you could really see the duo’s shared appreciation for soul and R&B, with Mayson playing keys and Smith losing her guitar in favor of stage mobility as she sang her heart out. Eventually Mayson retired off stage and Smith resumed her solo performance. After Mayson’s surprise appearance, the energy of the crowd ran high and Smith used this to round out her set with a mix of comedic and popular songs. The whole time, she was smiling. More importantly, so was her audience. For all her emotionalism, Smith never seemed sad or dreary. Good times, bad times, hard times, she rolls them all into song and keeps on singing.
Arriving right as doors opened for the Born Ruffians concert at Subterranean on Saturday, I was nervous to walk into an empty venue. It was the last show of their tour promoting Uncle, Duke & The Chief, the album they released in February, so I was expecting a better turnout at the start. By the time the opener, Little Junior, came on, only around 50 people were there.
The low attendance, however, didn’t stop Canada-grown Little Junior from leading with an incredible energy that put a smile on my face. Under a bright pink spotlight, the frontman, wearing red lipstick and a blue plastic necklace, literally glowed.
With songs dedicated to Ryan Gosling and a mysterious Michael, the frontman’s “enemy,” Little Junior filled their set with cheesy, coordinated headbanging and energetic guitar riffs. Their sound, reminiscent of the band Good Charlotte, transported me to a dark, crowded basement full of red Solo cups and beat-to-shit Converse, watching four guys bang out their angst with loud, overdriven guitar sound and emotional lyrics.
Despite the cheese, the band was more than enjoyable to watch. They were genuinely having a good time on stage, and couldn’t stop smiling and laughing at each other. Watching the hair of the bassist bounce up and down as he headbanged to every beat of every song made me so unbelievably happy. It’s been a long time since I’ve seen a group genuinely enjoy performing as much as Little Junior did, and it was insanely refreshing and infectious.
By the time Little Junior closed out their set, Subterranean was packed. Both the balcony and the main floor were full of people ready to see Born Ruffians, composed of lead vocalist Luke Lalonde, bassist Mitch Derosier, keyboardist Andy Lloyd and drummer Steve Hamelin. The crowd was a mix of devoted fans who had been around since the first album’s release in 2008 and younger teens who had just started listening. I even spotted one young teen with her mom. Being pretty unfamiliar with their work, I was admittedly skeptical of the show I was about to see. The nice suit that Derosier wore didn’t help.
But by the end of the first song, I was hooked. The band led with “Hummingbird” off of their debut album, Red, Yellow & Blue (2008), and the energy of the crowd’s response to their classic hit was insane. Everyone was singing along and jumping, and when Derosier said to clap, they clapped. When he waved his hands, they waved back. This is pretty common at shows, but it’s rarely as enthusiastic as it was on Saturday.
After a few songs, Lalonde asked if anyone had been at their show in Chicago 12 years ago. Usually, there will be a few yells from the back when a question like this is asked. But in Subterranean, a solid third of the crowd responded to Lalonde. One of my favorite parts of the show was the dedication of the fans. Born Ruffians pulled from all of their extensive discography — “Forget Me” and “Love Too Soon” off of Uncle, Duke & The Chief, “& On & On & On” from RUFF (2015), and “Needle” from Birthmarks (2013) — but regardless of the song being played, the crowd knew every word.
The vibe of all of their music is laidback, easy-listening indie. I’d compare them to COIN, Circa Waves and ARIZONA, but with less synths and more of a natural sound. To me, this reflected Born Ruffians’ experience as a band. After having been around the block more than a few times, all four musicians were seasoned performers. They didn’t care much for gimmicks or unnecessary fluff, but instead preferred raw music and the joy of sound. It was refreshing, especially in an industry full of frontmen trying to out-hipster each other.
In addition to the actual sound of the show, the band was well arranged and matched the feel of the show. Lalonde and Derosier played off of each other beautifully. The stage was set up so that neither was in the middle, but instead each had their own side. Lalonde was calm, and stayed in his corner for the most part. Derosier, on the other hand, whipped his long hair all around the stage, taunted the crowd and jumped and danced around. The differences in energy among the bandmates gave everyone in the crowd someone to relate to.
After playing a few more songs, including “Ocean’s Deep,” and closing with “Miss You,” the band came back out with Little Junior for the last encore of the tour. Listening to the final song, “Working Together,” I was transported back to the Edward Sharpe and the Magnetic Zeroes show I saw in 2016. It felt like church – the whole crowd was singing together with passion, shouting lyrics that they had lived by and jammed to for years.
With a fan base spanning 10 years, undoubtedly people there had grown up with Born Ruffians’ songs. It was an uplifting, calming experience that reminded me of the staying power of music, and proved just how essential music is to happiness and growing up.
Three boys emerge from the silence following the ill-matched rap music playing overhead. They take their places on stage and with little hesitation, start playing. With grins across their faces and a crowd full of teens drooling over Chicago’s young indie rock scene, they seem to enjoy every second. The boys strum and bang away until Rand, lead singer and guitarist, gets so hype that he has to ditch his shirt to keep going.
An hour earlier, Rand Kelly, Ramsey Bell and Josh Resing of The Slaps sat at a high table in Lincoln Hall, chicken fingers in hand, refueling before opening for Manwolves. Getting ready for the show ahead, the boys chatted about their experience starting as a DePaul band and where they hope to go with their Chicago fame.
With a vibe described as “beach blues rock” and a large fanbase of all ages, The Slaps have emerged as one of the most promising groups in Chicago’s indie rock scene. With a seamless performance at Lincoln Hall, faced with an energetic mosh pit and frequent shouts of “i love you,” its clear these boys have a passionate following despite being relatively new to town. The authentic, yet relaxed, confidence of the trio stems from each of the band members’ long history playing music. Resing has 13 years of drumming under his belt, Bell played guitar in middle school, switching to the bass his senior year of high school, and Rand plays the guitar and the piano.The Slaps started off jamming in houses their freshman year, but they have since expanded to play at venues like the Subterranean, the Empty Bottle, and Lincoln Hall. Grateful to be expanding their fanbase, The Slaps are confident that “the Depaul music scene was a good foot in for us,” (Bell). Recalling his favorite house show in Wicker Park earlier this year, Kelly reminisces on the intimacy of the performance and how “everyone was more inclined to dance when it’s a small venue.”
The Slaps’ success is the main priority for the band members at the moment, but as the well-rounded musicians they are, Bell and Resing are pursuing PR and marketing as Depaul sophomores, while Kelly pursues a degree in anthropology. When asked about expanding the band to include more members, the boys were open to the idea but “only if they can match the friendship we already have going,” remarks Resing. The Slaps being roommates begs the question of whether or not another member will be able to join the trios strong friendship. While Kelly and Bell are childhood friends hailing from Lexington, Kentucky, The Slaps met in September 2016 when Kelly and Bell approached Resing at a freshman party inquiring if he played the drums because, “he just had that vibe,” says Kelly.With their fame growing as they play more shows throughout Chicago, solo and with local bands like Manwolves (a band of Evanston Township High School alums headlining the show at Lincoln Hall), The Slaps are heading to Texas this summer to tour and bring their “beach blues rock” to the South.
Making their 8th appearance at Thalia Hall, Lake Street Dive returned to a loyal fan base and a full house on Tuesday night. The band has been active since its formation in 2004, still boasting its original lineup of Rachael Prince (vocals), Mike “McDuck” Olsen (guitar, trumpet), Bridget Kearney (upright bass), and Mike Calabrese (drums), plus the addition of keyboardist and vocalist Akie Bermiss in 2017. The longevity of the group and their well-defined sound give them an air of maturity, which was reflected in the crowd they drew.
The audience was almost entirely in their early 30s, drinking eight dollar beers, and probably into recycling. That didn’t stop them from singing and dancing along with the band, however. It was hard not to. Lake Street Dive has a unique way of crossing over time and space, tapping into genres like 50s jazz, 60s blues, 70s funk, 80s country, and 90s R&B to create their own “free country” music, completed by Rachael Prince’s powerful voice and insightful lyrics. The effect is a groovy twist on a classic sound.Lake Street Dive swaggered onto the stage, basking in the excitement of the devoted crowd for only a moment before launching into a song called “Baby Don’t Leave Me Alone With My Thoughts,” off of their new album Free Yourself Up. The stage was drenched in deep blue with shimmering pearls of disco light ricocheting off the bands loosely color coordinated outfits. At the center of attention, singer Rachael Prince rocked a baby blue A-line skirt, beach waves, and bold red lipstick. I couldn’t tell if the band was out in space or underwater but they were definitely in a world of their own. Especially with the way that the elaborate border framing the stage of Thalia Hall absorbed the color of the stage lights, it felt as if we were watching a sixties rerun of American Bandstand on an old CRT television.
The dramatic lighting played a huge role in the stage dynamics for the rest of the show. The nineteen song set was broken into distinctive visual blocks that kept the songs from bleeding together, with the lighting emphasizing and complimenting the bands transitions between genre and mood. Even though the band has a relatively consistent collective sound, they were able to highlight individual influences in their music this way and seemingly travel through time.Each member of the band also enjoyed an individual spotlight at some point during the set, starting with Mike Olsen as he switched from guitar to trumpet during the fifth song “Better Than.” By this point highly polished feeling from the beginning of their performance had tarnished into a more relaxed, interactive atmosphere. The band played a few songs from some of their older albums, evoking nostalgic singing from the crowd who remembered Prince’s character “Bobby Tanqueray” from the band’s 2014 album Bad Self Portraits. This time, bassist Bridget Kearney took the spotlight with a solo that transitioned the band into their hit “Spectacular Failure” off of their 2016 album Side Pony.
The band kept jamming through their next few songs until Prince halted their flow to introduce Lake Street Dive’s relatively new member, keyboardist and vocalist Akie Bermiss. Bermiss took the band in a funkier direction with an R&B inspired cover of Shania Twain’s song “You’re Still the One.” After Bermiss’s enchanting voice riled up the crowd, the band played hit after hit while the audience sang and danced along. Instead of riding this energy to the end, however, the band chose to mellow back down and “let Rachael Prince do her thing” in the spotlight to the song “Could’ve Done Better.” The lights went low, and she was accompanied by only ambient instrumentals as she filled the space with her voice.The band played three more songs after, embracing the emotion of their lyrics, the clarity of their sound, and proving why, after 14 years, they can still pack Thalia Hall on a Tuesday night. Lake Street Dive is a band that knows what it’s about and knows how to do it well.
I discovered Smallpools back in my junior year of high school when they released their self-titled EP. They have since gone on to release their first studio album, Love Tap.
On May 11th, Smallpools performed at the House of Blues in downtown Chicago. The night started with two openers, Half the Animal and Great Good Fine Ok. When Smallpools took the stage, they launched right into one of their songs from their EP, “Over and Over”: truly a great song to kick off the show, featuring the line “I wanna live this night over and over.”
As I was standing there taking photographs, it was hard to keep my hands steady due to the audience all jumping in unison and causing the floor to shake. With the lead singer, Sean Scanlon, tucked behind the keyboard center stage, my eyes wandered over to lead guitarist, Mike Kamerman, who was having the time of his life dancing across the stage.
Smallpools has a very upbeat, alternative pop vibe. Their songs are very guitar-heavy with catchy melodies and a beat that makes it almost impossible not to dance. Even the casual observers in the back by the bar couldn’t help but bounce around to the music.
Definitely not without a sense of humor, Scanlon introduced a song saying “This song is about a relationship with a person you don’t really like any more… The only thing you will miss about them is their pet and their family.” Despite the fact that the inspiration for this song seemed to come from a very angsty place, it still shared that same optimistic, dancey beat as the rest of their songs – even if the lyrics were darker than the actual music. For example, they played their song “Dyin’ to Live” which featured the lyrics “We’re only trying to feel alright…We’re all just dyin, we’re all just dyin’ to live.”
The band closed out the night with their most popular song, “Dreaming.” Their first single and the song that launched their career – also my personal favorite. Overall, it was a really fun night full of dancing and fun, upbeat tunes.
There was nothing straight about May 3 at the House of Blues. From colorful, patterned outfits to rainbow flags draped around shoulders, eager fans livened up the rainy, overcast wait in line to see Lesbian Jesus – otherwise known as Hayley Kiyoko – in person.
Hayley Kiyoko burst onto the pop scene a few years ago after a stint with Disney, among other ventures (Velma, anyone?). Although some of her older tracks are not that impressively produced, she represented an often marginalized part of the music industry – gay women. Her newest release, Expectations, is a triumphant and tender exploration of this identity. She’s proud to be who she is, and it translates to her emotional and authentic music.
As I entered the venue, the crowd hummed with excitement that carried through the opening act, Allie X. Clad in a white wig, a puffy satin pink gown and a sheer mask with exaggerated features, she solemnly proceeded to the front of the stage only to be met with elated screams. She opened with “Paper Love,” an anthem of pain and loving people you shouldn’t. I had never heard her music before, but her synth-pop beats and high soprano vocals were easy to dance to.
Some of her songs were less memorable; as she stripped out of her elaborate costume to reveal a black, sequined outfit, I found myself more interested in her performance than the music at times. It was an entertaining addition to her unique, sometimes murmuring vocals that could get drowned out by the pounding drums backing each track.
The suspense was almost unbearable before Kiyoko’s set, especially in a room full of girls just as excited as I was. The tension built further as the room went dark and clips of her music videos flashed on a paneled screen. When she finally took the stage, the room erupted. She was showered in bras as she sang “What I Need,” one of her many new hits, and I could hardly focus on taking pictures. She moved fluidly, like there was nothing that could hold her back from being herself.
I thought the energy couldn’t grow any higher, but then she took her shirt off to “pay us back” for throwing bras at her. I was impressed by her overflowing confidence and wisdom that accompanied each song. She went from giving us relationship advice, to explaining her own romantic strife in “Wanna Be Missed.”
Arguably the wildest moment in the show was when she played “Curious,” her most popular single off Expectations. I was deafened by the cacophony of voices shrieking the iconic lyric, “Did you take him to the pier in Santa Monica? Forget to bring a jacket, wrap up in him cause you wanted to? I’m just curious, is it serious?” It’s understandable why. The song describes the all-too-relatable feeling of dating a girl who can’t handle society’s pressures. They create a facade in dating guys, because it’s “easier” than accepting who they are.
No one wanted it to end, and an encore was necessary. She delivered, finishing the show with “Gravel to Tempo” off her older Citrine EP. “I’ll do this my way, don’t matter if I break, I gotta be on my own,” she sang, giving the audience another piece of her before she left. That’s one of the greatest aspects of her; she does do it her own way. I exited the venue with my ears blown out and my heart full of hope because people like Hayley Kiyoko exist in the world.
Friday, May 11 saw the return of The Fratellis to Chicago, and they were received by an enthusiastic audience at Metro in Wrigleyville. Everyone was ready to sing along with The Fratellis older hits and new material, off their 2018 album In Your Own Sweet Time.
First up was the duo Blood Red Shoes from Brighton, England. With Laura-Mary Carter on vocals and guitar and Steven Ansell on drums and vocals, they delivered a punk sound that shook the floor. In the middle of the set, one audience member shouted out, asking them to perform their new single. Ansell responded by yelling “You’re a psychic motherfucker! This our new single, called ‘God Complex.’” The rest of the set passed, and at the end Carter let her guitar buzz as she held it up in the air in celebration before carefully setting it down on the stage, ensuring the noise would continue long after the duo bowed and left the stage.
After the stage was reset, the lights suddenly went dark and the crowd roared. No one came out–instead can-can music started up, and went on for a solid few minutes before The Fratellis finally took the stage, opening with their song “Got Ma Nuts From a Hippie” off of their iconic 2007 album Costello Music, closely followed by “I’ve Been Blind” from their most recent release.
Throughout the night, The Fratellis did a great job interspersing the old hits everyone really wanted to hear with their new material, which the audience still seemed to know inside and out. Jon, Mince, and Barry Fratelli delivered their iconic sound as they rocketed straight through a 21-song set with no breaks to speak or interact with the audience. It was a straightforward night without any theatrics, and the fans were clearly there for the music itself.
Crowd favorites “Creepin Up the Backstairs” and “Vince the Loveable Stoner” were worked into the middle of the set, with “Henrietta” and “Baby Fratelli” coming at the end, all from Costello Music. This was when the fake encore came, as the band left the stage and the audience stayed and cheered, waiting for the songs they knew had to be coming.
The Fratellis bounced back on stage for “We Need Medicine,” and, finally, the song everyone was waiting for–”Chelsea Dagger.” They’d been gifted a Fratelli Blackhawks jersey, and bassist Barry proudly showed it off to the crowd, eliciting a huge cheer, expressing the combined energy given to the crowd by both live music and hometown pride.
Two sets of lights flash from red to blue sending shadows flying across the sold out Rejjie Snow concert at Schubas Tavern, catching the smoke from the not so subtle blunt which started in the crowd and had now found its way on stage to Snow in their beams. The audience listened as the the ethereal voice of Dana Williams played over the speakers in the background of the song “Room 27”. Originally born in Ireland, Snow recently moved to New York to further pursue his dreams of music: something you would never guess from listening to Snow’s laid back West Coast sound with synths that evoke the likes of Pharrell and Tyler the Creator. Snow first came to the U.S. on a scholarship to play soccer at a Florida boarding school and has now found his passion not in sports, but in his music. While he may have found a home in his sound, standing on stage there was a sense that the easily distracted unmoving mass of people in Schubas made Snow feel more uncomfortable than homely.Snow struggled at times to find his place in the shifting environment. Standing to the right, I watched as Snow would turn to his DJ only to signal him with a cut to his throat to stop the beat half way through. Performing mostly songs from his brand new, feature-packed LP Dear Annie, he was forced to stand quietly while he traded the mic back and forth with the likes of Amine and Caroline Smith. With only his DJ accompanying him on stage, moments like the guitar solo at the end of “Sunny California” (a track off of Rejjie Snow’s 2017 project The Moon and You) fell flat. Watching Snow perform his second air guitar solo of the night I couldn’t help but wish there was an actual guitar in his hands–or at least in somebody’s. With songs that are as much about their lucious N.E.R.D. inspired instrumentation as they were about Snow’s crisp vocals,the band’s presence was both felt and missed.
Yet Snow wasn’t simply going to let the concert remain void of the energy he was craving. As “Room 27” continued to play over the speakers Rejjie Stood quiet looking out into the audience.This time with a blunt in his hand, inhaling and exhaling, suddenly it felt like Rejjie Snow found solid ground and took off. Moving with more confidence, his voice cut through the room just a little bit more and struck to the bone of the audience. A crowd that seemed frozen in place just a moment was now enjoying their contact high and starting to dance. Moving into more up beat songs such as “LMFAO,” Snow proved that his polished sound was not simply a fluke, but the product of a lifetime of dedication and genuine love for music.Finally the nervous MC from Ireland started to ooze the charisma that seemed so prevalent on his album. Committed to finishing the night off strong, Snow’s newfound energy filled in the gaps left by the missing band and feature artists. The lights still flashed in and out with the beat, and if you paid attention you could catch Snow smiling. Beaming and gentle, it further emphasized how deep Snow’s love for music goes. Even if it sometimes takes a blunt from a stranger to bring it to the surface.
Metro was packed on Wednesday, May 9, as people squeezed inside to get a good spot for The Struts. It was clear the audience was ready to take in the performance of this band and its frontman, Luke Spiller, known for putting on an energetic live showed aimed at “making rock-n-roll fun again.”
First up was Spirit Animal, a more indie-rock leaning group to listen to as attendees filtered in. Vocalist Steve Cooper was dressed in all white and working the small stage to his benefit, managing to captivate most of a crowd that initially wasn’t interested. They closed with a performance of their new release “YEAH!” out Friday, May 11.The second act of the night was The Glorious Sons, a rock band from Ontario, Canada. These guys had a much heavier sound than Spirit Animal, with gritty instruments and the thick, strong vocals of Brett Emmons. Emmons’ long hair became a focal point as it constantly swung in his face and emphasized his headbanging throughout their set.
Emmons’ movements around the stage were erratic and alarming at times, as he grabbed at guitarist and his brother Jay Emmons and at one point threw his mic stand, which Jay caught and set to the side. A cover of The Rolling Stones’ “Gimme Shelter” excited the audience, and the momentum kept going through the end of The Glorious Sons’ time on stage. In a similar vein to The Struts, The Glorious Sons seem to pull inspiration from the nasty old-school rock bands of the past few decades.Finally, it was time for the headliner–the lights dropped, and a dramatic voiceover began asking the audience if they were ready as the members of The Struts took the stage–all except for Spiller. He made a late entrance in a loud orange suited covered in massive fringe, with his hair and makeup done in dramatic fashion as always. They opened with “Put Your Hands Up,” a single from 2016, before getting into songs off their 2016 album Everybody Wants. Spiller fulfilled all expectations, asking “Are you ready for one of the greatest nights of your lives?” and telling everyone in attendance “If you’re not ready to let yourselves go, you may as well fuck off!”
After “The Ol’ Switcheroo” it’s announced that they’ve finished their second album, and the crowd goes wild as Spiller says they’re about to perform a brand new song, seemingly titled “Primadonna Like Me.” Throughout the set, Spiller had the crowd wrapped around his finger, getting everyone to sing along at his command and instructing different sides of the stage and balcony to sing different parts at different times.
Around the middle of the show, The Struts played a surprise cover of Bruce Springsteen’s “Dancing in the Dark” and afterward invited a woman with a tattoo dedicated to the band up on stage with them. After “Could Have Been Me” came the fake exit as Spiller runs off stage, and guitarist Adam Slack was finally allowed a moment in the spotlight–he had been killing it all night, and finally got the chance for the audience to appreciate his insane talent.
Spiller eventually came back out in a completely new outlandish outfit for their finale, consisting of striped pants, a sequined shirt and jacket, and a large sequined top hat with a long hanging ribbon tied around it–also covered in oversized sequins. The closing song was “Where Did She Go” and Spiller pulled off one more trick with the audience, asking everyone to be his human fireworks. He got the crowd to all crouch down, and nearly everyone obeyed, staying down as Spiller continued singing and finally, called for an explosion–and, again, everyone listened, jumping up and beginning to dance.After the end of “Where Did She Go” Spiller and the rest of the band took a moment to bask in the cheers of the audience, having truly succeeded in getting everyone to loosen up and let go for a night of fun rock music. Golden lights came on and the four members lined up to take a bow and throw picks and towels out to the audience, after Spiller took a moment to dramatically say: “Chicago! Remember the name: The Struts.”
Jorja Smith, a 20 year old British singer, capitaved a sold-out crowd at the quaint Thalia Hall in the Pilsen neighborhood of Chicago on May 2. Smith’s smoky, yet extremely commanding voice helped create a truly intimate and warm feeling between herself and the audience. Although the venue was at capacity, as you watched Smith it was difficult not to become entranced by her angelic voice and stature. Albeit it may not have been on purpose, Smith did an amazing job of making you feel like it was just you and her in the room. Her constant deep gaze into the audience made you forgot about everything else in the world, besides her..
As Smith strutted out in her blue flapper-inspired dress and white Nike Cortez shoes, I literally lost my breath. Jorja, also affectionately known as JMoney on social media, began her concert with “Something in the Way,” a song off of her only release, an EP titled Project 11. As she sang, her blue dress and the blue background, along with her soulful voice, created a surreal atmosphere. Supported by her band –a guitarist, bassist, keys player and drummer–she then went on to play “Where did I Go?” and “Teenage Fantasy,” which are two new singles of of her upcoming debut album Lost & Found.
Smith’s silky smooth voice and overall appearance was amplified when she finally introduced herself to the audience using her distinct and strong British accent. Even though her words were met with deafening cheers and the occasional scream of “I love you,” Smith’s gentle voice and sensuous smile was still able to reach the audience clearly and confidently.
Smith then performed a few older songs, including “Beautiful Little Fools,” before she introduced a new song called “Goodbyes.” She prefaced the song with the fact that she wrote this song after losing one of her closest friends, which put her age and personal life into perspective. While watching her literally control all of the emotion and attention in the building, it was so easy to forgot that she is currently the age of a junior in college and is navigating young adulthood just like a lot of us in the audience.
The concert was amped up a few notches when she covered TLC’s famous song “No Scrubs,” giving everyone in their audience their first chance to sing along in unison. After she finished the song, she ran off stage, giving the impression that the concert was over. This led the crowd to chant her name until she returned.
Before she began singing again, she let her band perform a solo, as she sat on an amp and watched graciously. The solo seemed to not only re-energize the crowd, but gave her a rest as well before she performed her most popular songs. She started out with her powerful new single “Let me Down” before transitioning to “I am,” her single from Black Panther the Album, and “Blue Lights.” The crowd, vibing in an intrinsic swaying motion, passionately sang along more than ever before. After playing two more songs, Smith had the crowd enthralled and on their toes with her final performance of her hit “On my Mind.” Smith, who spent the entirety of the performance grinning and glistening, walked from end to end of the stage and made sure she was the center of everyone’s attention before thanking the audience and quickly running off the stage, leaving the crowd begging for more.
Smith’s hour long performance left a lot of the audience, including myself, wanting more.This was not because it was lacking anything, but because of her grace and heavenly persona that no one wanted to watch walk off the stage. Now I am more excited than before, for her debut album coming out in June.