GRAMMY Nominees Channel Rihanna and Beyoncé

R’n’B has a soft spot for a rugged lady, and Victoria Monet is as sexually brave as they come. Their signature tune is called A–Like That, a kick-ass anthem about working out that will stop passersby in their tracks. The above page was used vigorously during a fascinating entertainment The reviews for the show at London’s Roundhouse were almost as poor as the pop concert itself. The take-no-prisoners energy level was exhausting to watch.

Perhaps Monet was extra excited by the news from America. “I’m a GRAMMY nominee!” he announced proudly. The 34-year-old singer, songwriter and producer was performing her first live show since the announcement of the American Music Industry 2024 Awards, which received a surprising seven nominations. Monét, a music industry favorite, may be poised for a major commercial success even at this advanced stage of her slow-moving career. She’s got a lot going for her: a little bit of Beyoncé in her vocal power and sheer physical presence, a little bit of Rihanna in her rugged pop smarts, with an extremely flexible voice that can cover all the RnB bases from bedroom slow jams to . Funk and summery reggaeton. She has written and produced major hits for others, providing large portions of Ariana Grande’s discography, and can be characterized as Grande’s provocative, adventurous, and, frankly, big sister.

Monét arrived covered in a cowl last night, but it fell to the floor before the first song’s intro ended, revealing a gymnastically fit Monét in a swimwear-like outfit. In keeping with the theme of this year’s late debut album Jaguar II, his accomplished male four-piece band was surrounded by abundant fake leaves to convey the atmosphere of a steamy jungle, while two dancers Were wearing clothes that could have arisen from a strange Tarzan imagination. Their routine had the most body-shaking excitement reminiscent of vintage Tina Turner, though I suspect it was when their leader sang a song called FUCK (allegedly an acronym for FRIEND YOU CAN KEEP). had sung, Iketes would have had a full Sapphic make-out. ,

There is a sense of the history of the soul about Monet’s razzamatazz. She and her dancers mixed it with The Supremes’ Stop in the Name of Love before following with their own more confrontational stop (Askin Me 4shit).

Yet musically, Monet seems torn between immediate attraction and a desire for sophisticated complexity. His virtuoso band blended analog with digital elements, mixing catchy soul jazz fusion with slick hip hop pop, and made abundant use of pre-recorded elements including horns and backing vocals. Sometimes the proximity of the microphone to Monet’s lips during dance routines had no significant effect on the quality of her singing.

Contemporary audiences were unimpressed by such gimmicks, and the 1,800 worshipers at the Roundhouse were vocal in their enthusiasm. Interestingly, at least 60 percent of his audience was women, who responded favorably to the tone of sexual empowerment rather than compliance. Seeing the massive roar once again, Monet sees their world go round.

in Cocoa on 15 November;

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