For the sixth episode of Season 47 ofSaturday Night Live, actor Jonathan Majors was joined by four-time musical guest Taylor Swift, fresh off the release ofRed (Taylor’s Version) on Friday.
Swift made her first appearance of the night in a digital short from Please Don’t Destroy, a New York-based comedy trio featuring Ben Marshall, John Higgins, and Martin Herlihy, the latter the son of former SNL writer and Adam Sandler collaborator Tim Herlihy. What seemed to be a music video on a day in the lift of Pete Davidson suddenly turned into “Three Sad Virgins,” with Davidson mocking Marshall, Higgins and Herlihy, joined by Swift partway through.
Swift would only perform one song this evening, the first time in seven years – Prince performed a single tune in 2014 – with the ‘new’ “All Too Well,” an extended update of the same song from Taylor Swift’s Red, released in 2012. The new take on the album was rerecorded to circumvent a dispute with her former label, and received immediate praise in scope and execution.
“All Too Well” featured Swift performing in front of a screen that shows clips from the short film of the same name, which was also released on Friday. Starring Sadie Sink (Stranger Things) and Dylan O’Brien (Teen Wolf) as “Her” and “Him,” the couple moves from romance to break up, due to uncaring behavior from “Him.” “Love is so short, forgetting is so long,” a quote from Pablo Neruda, references Swift’s brief three-month relationship with actor Jake Gyllenhaal.
Clad all in black with a red guitar, Swift performed, “All Too Well” and live scoring the film clips behind her. A rose petal filled stage, with alternating blue and red lighting, lasting an impressive 10 minutes. Swift put her guitar down towards the end, singing passionately for a build up that drifted into falling snow as the performance came to a close.
Jonathan Majors was underutlized this evening, but shone particularly well on “Broadway Benefit,” a Broadway musical spoof where he flexed his singing chops alongside Bowen Yang and Cecily Strong.
Swift and Majors would joyfully bump chests (while wearing masks) during the show closing goodbyes. Next week Shang Chi star Simu Liu with musical guest Saweetie for the Thanksgiving episode of Saturday Night Live.
If you dig the lush cinematic pop of Lana Del Ray but wish it came with more heartbreaking lyricism and some heavy R&B vocal chops to deliver it all, you should check out the music of 22-year-old Brooklyn-based singer-songwriter Cate Hamilton.
Photo by Justin Truglio
The St. Louis native has two soulful EPs to under her belt, Angel Baby (2017) and Five Shots in the Chamber (2019), as well as a new single – the dreamy, throaty, trip hop-flavored ballad, “Traces.” Cate also has a new all-girl backing band which she unveiled in a tight, six-song set November 11th at East Berlin on Avenue A, her first live foray since the COVID-19 quarantine commenced.
Cate’s sound is dense, sensual, soulful, jazzy and even little electronically experimental. It is inspired by a host of classic R&B icons and their modern descendants like Iranian/Swedish singer-songwriter Snoh Aalegra, a Hamilton favorite. In her studio offerings, Cate’s rich lead vocals are front and center, often complemented by her stacked, spiraling and sophisticated harmonies.
Photo by Justin Truglio
Hamilton’s new three-girl band did a wonderful job recreating the symphonic grooves and vocal harmonies Cate marshals in the studio. The band included Mia Madden on keys and vocals, Chloe Seltzer on drum pads and vocals and Bettinacakes on bass. Hamilton handled the lead vocals, on-stage cheerleading/banter and rhythm guitar.
Cate Hamilton and band kicked off the evening with two strong singles from her discography, “Traces” and “Universe.” The latter is a bouncy offering from her debut EP, with a killer chorus and a cool acapella outro. The highlight of the evening was “12 Bar Blues.” This is a new and as of yet unrecorded bluesy lyrical bitchfest propelled by a walking bass and gorgeous three-part harmony. Cate and crew ended their set with two smart covers: Snoh Aalegra’s “Fool for You” and Canadian electronic/jazz hip-hoppers’ BADBADNOTGOOD’s “In Your Eyes.”
Two standout studio tracks not performed that evening but deserving of some serious airplay and acclaim are the James Bond theme like “Sick and Tired” and “Exist.” The former can stand up nexty to Adele and Billie Eilish’s recent cinematic spy offerings, while the latter is a slow groove with minimalist accompaniment, one that really demonstrates this young singer’s superior vocal chops and range.
On Thursday, November 11, pianist, composer and ensemble leader Michele Rosewoman will present “A Function at the Junction: Ancestral Bridge, Musical Streams” / “Una Función en el Cruce: Puente Ancestral, Corrientes Musicales,” a collaborative, multimedia event that will bring together Rosewoman’s New Yor-Uba ensemble, Francisco Mora Catlett’s Afro Horn and Román Díaz’s Rumba Ensemble in live performance with video documentation, a subsequent HotHouseGlobal broadcast and Habana/Harlem panels.
The program will take place at the Clemente Soto Velez Center, Flamboyan Theater in New York City at 107 Suffolk St, as part of Arts for Art’s three-day festival, Jazz Libre. Tickets are available here, with a cost of $15/set, $25/night in-erson, and $5 for a livestream. View the full schedule here.
On December 18, the event will be broadcast on Cuban national television (and beyond) as part of a 2-night event (Dec 18/19) through the HotHouseGlobal streaming platforms on Twitch, YouTube, HotHouse’swebsite, and Facebook Live. A recipient of the prestigious Southarts Jazz Road Creative Residency grant, Rosewoman has created a night that gives broader space and voice to the inspirations and traditions that have shaped and nurtured her.
With New Yor-Uba, we pay homage to the journey of centuries-old Yoruba traditions from Nigeria through Cuba to present-day New York, reflecting its contemporary manifestations.
Michele Rosewoman
The ensemble’s distinctive repertoire features Ms. Rosewoman’s original compositions and visionary arrangements that incorporate a large spectrum of Cuban spiritually-based musical traditions including, Yoruba (Nigeria), Arará (Dahomey), Abakuá (Calabar) and rumba/guaguanco, a uniquely Cuban musical form.
Rosewoman’s vision is that of a unique community of musicians in NYC with deep ties to both spiritually-based Cuban folkloric traditions and contemporary jazz, Rosewoman, Román Díaz and Francisco Mora Catlett share conceptual, artistic and spiritual intersections. Rosewoman sees this residency as an opportunity to “incorporate and stage the work of treasured co-creators who also highlight these traditions in unique contemporary contexts, while building bridges between artists and cultural voices based in NY and also those artificially separated by Cuba/U.S. policies.”
Master folklorist Román Díaz, a member of all three ensembles (leader of one), as well as a former member of Yoruba Andabo (Cuba) has been a featured and foundational member of her New Yor-Uba ensemble since 2008. Fulfilling a desire to further share her music (deeply informed by traditions born of Cuba) with Cuban audiences through her partnership with HotHouseGlobal, especially gratifying for Ms.Rosewoman is the fact that Mr. Diaz is featured in all 3 ensembles.
Michele Rosewoman | Credit: Chris Drukker
Michele Roswoman’s New Yor-Uba lineup includes: Michele Rosewoman– piano/vocals. Alex Norris–trumpet. Mike Thomas- alto & soprano saxophone, Isaiah Collier-tenor saxophone. Chris Washburne–trombone/bass trombone/tuba. Gregg August–bass. Robby Ameen–drums. Román Díaz – percussion/vocals. Rafael Monteagudo–percussion. Mauricio Herrera-percussion/vocals, Abraham Rodriguez- lead vocals.
This project enables us to share Mr. Díaz with the Cuban communities he is born of but separated from, as they experience his impact on the jazz community here in the U.S,” says Rosewoman. “And by ‘taking’ this music to Cuba, we all return to the source and pay homage to the roots of our inspiration, nurturing this junction.
Francisco Mora Catlett’s Afro Horn, an avant-garde ensemble that highlights the African presence in the Americas through an assemblage of prime musicians and a repertoire of written and improvised jazz expressions and Cuban folkloric influences, will also perform. Mora is especially known for his work with Motown, Sun Ra and Max Roach and as co-founder of the Oyu Oro Afro-Cuban Experimental Dance Company (2000) with his wife Danys Perez Prades, performing dance and music from the African Diaspora. Lineup: Francisco Mora Catlett–drums. Sam Newsome–soprano saxophone. Román Díaz –percussion. James Weidman–piano. Rashaan Carter–bass. Alex Harding–baritone saxophone.
Francisco Mora Catlett’s Afro Horn
Also performing is Román Díaz, a scholar of religious and folkloric music, composer & performer of folklore and contemporary jazz. Considered both a pillar of the New York City jazz avant-garde and one of Afro Cuban music’s great innovators, his Rumba Ensemble displays his vision of the confluence of New York City’s tradition of music of the African diaspora. He has performed and recorded with Merceditas Valdes, Raices Profundas, Paquito D’Rivera, Michele Rosewoman, Henry Threadgill, David Virelles, Jane Bunnett, Juan Carlos Formell, Orlando “Puntilla” Rios, Oriente Lopez, Afro Horn& Danilo Perez among many others.
Román Díaz ‘s Rumba Ensemble: Román Díaz -percussion/vocals. TBA-percussion. Clemente Medina-percussion. Rafael Monteagudo-percussion. Abraham Rodriguez-vocals, TBA- vocals. Onel Mulet-saxophone/flute.
Gotham Early Music Scene also known as GEMS announced their Open Gates Project launching with three concerts featuring women of color. The concerts will take place November 12-14, 2021 across three boroughs of New York City.
Open Gates Project inaugural concert series is The Divine Feminine: Centering Women of Color in Early Music. This concert series is focusing on the 17th–century works celebrating the animating feminine spirit featuring an ensemble composed of women of color.
The 17th–century female composers it will be focusing on are Chiara Margarita Cozzolani, Barbara Strozzi, and Francesca Caccini. The concerts will be performed by outstanding rising and established American and international artists, with careers encompassing early, chamber, and Classical music, opera, jazz, and musical theater. The program is bookended with works devoted to the Virgin Mary. It opens with Madre, de los primores by New World visionary Sor Juana Inés de la Cruz who is considered the first great Latin American poet and recognized for her influential perspectives on women and scholarship. Pergolesi’s glorious and sublime Stabat Mater closes the program.
The Open Gates Project and GEMS as a bigger entity is committed to helping make significant efforts to make early music performance opportunities more equitable for artists of color and more accessible to historically excluded communities of color. Over the coming year, the Project will offer a rich variety of music performed by distinguished artists for diverse audiences throughout New York City.
The three performances will take place starting on Friday, November 12, 2021 at 7 PM at the Holy Trinity Lutheran Church in Manhattan. Then on Saturday, November 13, 2021 at 7 PM at the Jamaica Performing Arts Center in Queens. And will wrap up on Sunday, November 14, 2021 at 4 PM at the Pregones Theater in the Bronx. All audience members must have proof of vaccination and wear a mask. Check the GEMS website closer to the opening dates for full COVID-19 protocols and any updates.
The lineup includes Nicole Besa singing soprano, Aine Hakamatsuka singing soprano, Heather Hill singing soprano, Amaranta Viera singing soprano, Tanisha Anderson singing mezzo-soprano, Guadalupe Peraza singing mezzo-soprano, AnnMarie Sandy singing mezzo-soprano, Hai-Ting Chinn singing alto, Jessica Park on violin, Maria Romero Ramos on violin, Amelia Sie on violin, Patricia Ann Neely on viola da gamba, and Duangkamon “Wan” Wattanasak on harpsichord.
The program includes performances of: Sor Juana Inés de la Cruz: Madre, de los primores, Chiara Margarita Cozzolani: O dulcis Jesu, Barbara Strozzi: I baci, Francesca Caccini: O vive rose, Alessandro Stradella: Sinfonia No. 22 in D minor, and Giovanni Battista Pergolesi: Stabat Mater.
Tickets are available for $15–$30 ($5 for students, ID required at venue) are all General Admission seating and are available onlineby calling 212-866-0468, or at the door depending on availability..
For more information on the GEMS Open Gates Project and its upcoming events visit their website.
Ed Sheeran performed as musical guest and Succession’sKieran Culkin returned to Saturday Night Live on Saturday, November 6. The hosting duties for Culkin occured almost 30 years to the day since his brother Macaulay hosted in November 1991.
This past week, Kieran shared a memory on The Tonight Show with Jimmy Fallon from his time hanging around Studio 8H while his brother held hosting duties:
I remember during rehearsal day, being on the stage and I was with my mom, and Kevin Nealon walks by, and she grabs him and she goes, ‘Oh hey, you’re great. By the way, you’re my son’s favorite.’ And he goes, ‘Oh, thank you very much, that’s nice to hear.’ And I went, ‘Mom’ — cuz I’m 9, kids don’t have a filter — ‘I told you, he’s my second favorite, Dana Carvey’s my favorite.’
Kieran Culkin, November 1991
Kieran appeared in three sketches that night – “Bill Swerski’s Super Fans,” “Medieval Scalders” and as Froggy, in a flashback during the “Richmeister” sketch, seen below.
Sheeran made his first appearance of the night as a guest on the Dionne Warwick Talk Show, with the talented Ego Nwodim playing the legendary pop singer who recently discovered Twitter. As a surprise, the Warwick appeared, just as Nwodim’s Warwick suggested she interview a true icon. After sharing “I’m not perfect, I’m just very good,” the two sang a duet of Burt Bacharach’s “What the World Needs Now.”
Sheeran was announced as musical guest for this episode back on October 23, and the next day shared a diagnosis of COVID-19 for he and his daughter, despite he being vaccinated. Sheeran was able to finish his isolation period and was cleared to perform, although he did not appear in the traditional SNL promos with Culkin.
For the first song of the night, Sheeran played “Shivers,” the second single off his new album = (pronounced “equals”), which was released just last week. There were no signs he had just been under the weather, as Sheeran didn’t miss a beat on this dance pop number.
https://www.youtube.com/watch?v=5ItgpYfAT14
Sheeran returned later in the show to sing the folksy “Overpass Graffiti,” fist-bumping members of his band at the end.
https://www.youtube.com/watch?v=EGiVv_iFaGI
During the goodbyes, fulfilling his monologue wish, Culkin was hoisted by cast members Chris Redd and Keenan Thompson, flexing as he did nearly 30 years ago.
Wavves played a killer set for hardcore fans last week (Sunday October 24, 2021) at Bowery Ballroom with support from 95 Bulls and Harmless. A crowded venue moshed, screamed, and raged as each band increased the frenetic energy in the room.
95 Bulls opened up the show with a selection of hard-hitting rock/metal bangers. Having formed during summer 2020 in lockdown, you would never have known the band was so new. The five band members all come from their own bands (Ashjesus, The Mystery Lights, Smock, Bipolar, and Jelly Kelly), so it’s no wonder that they were able to perform with such obvious chemisty. Their debut album is scheduled for release later this year. You can listen to their catalog here.
95 Bulls at Bowery Ballroom, Photographed by David Reichmann
Next up, Harmless brought a more soulful and mellow atmosphere to their performance. Between songs, the lead singer Nacho Cano helped return a few lost phones back to their owners, each time to big applause and laughter. The drummer drenched himself with his water bottle onstage to the pleased cheers of the crowd. Their latest single “Nacho’s” is available on streaming services now.
Harmless at Bowery Ballroom, Photographed by David Reichmann
Wavves took the stage to an already-wild audience, practically chomping at the bit to hear them begin their set. They wasted no time at all playing hit after hit from their catalog, including a few tracks from their newest album, “Hideaway.” In the middle of their set, lead singer Nathan Williams invited the crowd to open the center of the dance floor briefly to allow for a mosh pit. By the end of the night everyone including the band was wearing a thick sheen of sweat and a wide smile. You can listen to Wavves’ latest record here and follow their continuing North American tour here.
Legendary punk rockers Bad Religion stopped by the Hammerstein Ballroom Friday October 29, 2021 as part of their 40th Anniversary tour. The tour was originally scheduled for last year but was postponed due to Covid-19. The supporting acts include co-headliners Alkaline Trio and openers War On Women.
War On Women is a feminist harcore-punk band from Baltimore. After being inspired by the riot grrl bands that started in the nineties, Shawna Potter and Brooks Harlan formed War On Women in 2010. Their debut album was a six-song EP titled Improvised Weapons released in 2012. Their newest album Wonderful Hell was released last year on Bridge Nine Records. The bands current lineup includes Shawna Potter (lead vocals), Brooks Harlan (guitar), Jennifer Vito (guitar), Suzanne Werner (bass) and Dave Cavalier (drums).
Alkaline Trio has been described as pop punk, punk rock, emo and harcore punk. Since 2001, the band has consisted of Matt Skiba (vocals, guitar), Dan Andriano (vocals, bass) and Derek Grant (drums, vocals). They started their eighteen song set Friday night with “Private Eye” from their 2011 album FromHere to Infirmary. The crowd was amped as the trio got into some even older songs like “We’ve Had Enough” and “Nose Over Tail.” They also did a few songs from their newest album Is This Thing Cursed? released in 2018. The set ended with “Radio” from their second album Maybe I’ll Catch Fire released in 2000. The crowd was now well primed for the anticipated headliners.
Bad Religion came out and played a 22 song set that spanned their entire 40 year career from their first LP How Could Hell Be Any Worse? all the way to their latest album Age of Unreason. They started with “New Dark Ages” but quickly got into older classics like “Modern Man” and “Recipe For Hate”. As soon as they started playing I felt like it was twenty years ago and I was back at Roseland Ballroom. They sound exactly the same as did then and the mosh pit was just as rough as I remember it. You can definitely feel more energy during certain songs, especially the older ones like “I Want To Conquer The World,” and “Better Off Dead” which was the first time they played it live. I was very excited to finally see BR post covid and they did not disappoint. The band is the same, Greg Graffin (lead vocals), Jay Bentley (bass), Brian Baker (guitar), Mike Dimkich (guitar), and Jamie Miller (drums). This tour ends on November 27th in Hollywood, CA. You can see the rest of the dates here.
War On Women Setlist: YDTMHTL, Divisive Shit, White Lies, Lone Wolves, Big Words, Aqua Tofana, Predator In Chief, Silence Is the Gift, The Ash Is Not the End
Alkaline Trio Setlist: Private Eye, We’ve Had Enough, Blackbird, Is This Thing Cursed?, I Wanna Be Warhol, Nose Over Tail, Every Thug Needs A Lady, Cringe, Clavicle, Armageddon, Mercy Me, Emma, In Vein, Continental, Warbrain, Fine, This Could Be Love, Radio
Bad Religion Setlist: New Dark Ages, Modern Man, Recipe For Hate, Los Angeles Is Burning, Fuck You, Chaos From Within, Epiphany, I Want To Conquer The World, 21st Century (Digital Boy), Damned To Be Free, Man With A Mission, Murder, Better Off Dead, Candidate, Do What You Want, No Control, Generator, You, Infected, Sorrow, American Jesus Encore: We’re Only Gonna Die
Yves Tumor and It’s Band performed in New York City this past week for two sold-out shows at Webster Hall. Fresh off the heels of a new EP, The Asymptotical World, the band brought along 4 openers for both shows, presenting musical styles ranging from industrial techno to future pop. Opening artists included the enigmatic future-pop star ECCO2K, industrial and deep house duos Deli Girls and Club Eat and experimental electronic artist, No Bra.
Yves Tumor at Webster Hall, 10/28/2021. Photo by BuscarPhoto
Yves Tumor debuted in 2015 with the highly experimental and self-released album, When Man Fails You. The record is a kaleidoscopic journey through different passages of distorted, ambient electronics and bits of futuristic pop. The sophomore release, Serpent Music, saw Yves Tumor starting to mix in soul and Motown elements into the distorted haze of electronic elements. This style became a launching point for the band’s two major label releases on Warp Records: the breakthrough, Safe In The Hands of Love, in 2018 followed by, Heaven To A Tortured Mind in 2020.
Yves Tumor at Webster Hall, 10/28/2021. Photo by BuscarPhoto
Apart from the varying musical styles, The setup for the performance was also one-of-a-kind. The drummer and keyboardist were on very high elevated platforms in the back corners of the stage, situated right in line with the house lights in the rafters, creating interesting shadowy silhouettes that stood out within the light. Yves Tumor, along with guitarist Chris Greatti graced the front of the stage, as their energy and engagement with the fans remain unmatched. Venue personnel also added several platforms within the security pit, allowing Tumor and Greatti to maneuver in and out of the crowd, since Tumor spent a portion of each song singing along with the crowd, rather than singing to them from the stage. At one point, Greatti even made his way to the VIP balcony and played a guitar solo while hanging over the railing.
Yves Tumor at Webster Hall, 10/28/2021. Photo by BuscarPhoto
The setlist for both nights were similar, but featured essential tracks “Kerosene!” and “Dream Palette” from Heaven To A Tortured Mind, “Noid” and “Licking an Orchid” from Safe In The Hands Of Love, and “Jackie” and “Crushed Velvet” from the recent EP The Asymptotical World.
Yves Tumor at Webster Hall, 10/28/2021. Photo by BuscarPhoto
Yves Tumor will continue touring, with west coast dates scheduled throughout November and a European leg kicking off in February. This live show is not to be missed; with well written albums, intoxicating music and dedicated performers, as the band feeds off of the crowd’s energy.
Dumpstaphunk last performed in the Empire State at the 2019 New York State Blues festival in downtown Syracuse. Later that evening, band members Tony Hall and Deven Trusclair kept the groove going at the Funk n Waffles club for a sit in on “Standing on Shaky Ground” by the Temptations that Funkadelic’s Eddie Hazel co wrote. A month later they opened for the Rolling Stones to 40,000 people in their hometown at the New Orleans Superdome.
Dumpstaphunk kicked off 2021 by releasing their first record in seven years, Where Do We Go From Here, which was just nominated in four Grammy categories. The band has been on the road promoting its sound this summer leading them up to a Labor Day Weekend of shows with Dave Matthews Band at Heavens Amphitheatre, The Gorge. All members of Dumpstaphunk sat in with DMB for Sly Stone’s “Thank You (Falletinme be mice elf again) and Peter Gabriel’s “Sledgehammer” to close the night.
Tony Hall sat in with the DMB as part of an alternate format the entire weekend on bass and vocals as well. He was reunited with Dave Matthews and Tim Reynolds on stage for the first time since their infamous Some Devil Tour in 2003. Dumpstaphunk will also be joining Dave Matthews Band at the World’s Most Famous Arena, Madison Square Garden, on November 12 and 13.
Dumpstaphunk @ Brooklyn Bowl, Photo by Russell Mangicaro III
All of this momentum could be felt on stage at Brooklyn Bowl on Saturday, October 23. Rotem Sivan Band opened the show as Dumpstaphunk hit the stage at 9:45 p.m., crushing their entire set for the Williamsburg crowd. Brooklyn Bowl founder, Peter Shapiro, appeared behind the curtain dressed as a pilot while the band took off on stage. Shapiro gave them a quick fist bump of delight after their tune “Itchy Boo.”
Come on lets get at it Brooklyn! Get up, Get down, Keep it stepping, keep it moving. Every band member was fully engaged with the Brooklyn Bowl crowd the whole set. Tim Reynolds told
If there was a clip that examples their on stave vigor, it would be from their performance of “Justice” (that features Trombone Shorty on the new album). Tony Hall took the electric guitar for a ride down the adjacent lanes to end the jam. New Orleans cats Ivan Neville, Ian Neville and Nick Daniels hit hard on Tower of Power’s “Soul Vaccination,” resonating with the New York crowd. I’m talking bout soul (soul vaccination) Everybody get in line (soul vaccination) Horns!
During the final song horn players Alex Wasily and Ashlin Parker made their way through the Brooklyn Bowl crowd for “Street Parade” to close the set like the Saints go marching in.
For the encore, the band paid tribute to legendary drummer and singer Buddy Miles. as his song “United Nation Stomp,” featuring Marcus King was nominated for a Grammy Award for best American roots performance.
In recording a new album, Tony Hall shed some light with NYS Music about the group’s creative process.
We recorded a bunch of these songs and didn’t finish them lyric-wise. Vocal-wise we can always change. It goes kind of like vice versa. We’re all a band that can sing and play too, ya know?
Harlem-based rapper Princess Nokia performed a vibrant set at Irving Plaza in New York City on October 24th for one of the last domestic stops on her tour. Known for her high-energy performances and colorful stage design, Princess Nokia lived up to her reputation by giving the crowd exactly that.
As one of the more prominent female rappers in today’s pop landscape, Princess Nokia had no shortage of hits to run through, from old favorites like “Tomboy” off the 2016 project 1992 Deluxe, to the extremely popular “I Like Him” off the 2020 project Everything Sucks. Backed up by some stage dancers, she exemplified why these songs have been popular for so long, moving the crowd to the rapid rhythm and maintaining a breakneck pace.
Princess Nokia oozed charisma and charm on the stage, always interacting with fans between songs and making jokes. Between the rapid-fire rapping, dancing, banter, and screaming crowd, this concert was an absolute spectacle. The spectators were one hundred percent into her the whole time and before the concert even started, she peaked her head out on the balcony and the crowd screamed with delight. There was no shortage of electricity the whole set.
Princess Nokia’s tour has one more stop in Boston at Paradise Rock Club on Wednesday, October 27 before hopping overseas to Europe. You can see the rest of the tour dates here. Be sure to check out the full photo gallery below!
