Musical theatre from Esperanza Spalding

Den Atelier welcomed American jazz bassist Esperanza Spalding as she revealed her alter ego Emily to the Luxembourg crowd for the first time on Sunday night.

With seven collaborative and five solo albums Spalding is clearly as prolific as she is talented. She became the first jazz act to win a best new artist Grammy in 2011 and has since won three more.

With the success of her first four albums it might come as bit of a surprise that she has changed direction somewhat with the new album “Emily’s D+Evolution” which was co-produced by David Bowie’s long time collaborator Tony Visconti. This takes her into a heavier almost prog rock sound, leaving behind the straight up jazz that has served her so well in the past. Although what has come as less of a surprise is that this too has been showered with critical acclaim.

Like many acts before her, she has taken to creating an alter ego to break from the pressures of a growing commercial success, this has allowed her to be more creative and adventurous and it certainly shows.

So as the lights dimmed and the band began to appear, the unmistakable silhouette of Spalding’s afro appeared front and centre. Then as the lights rose to reveal Spalding wrapped in a huge sheet, her backing singers began to unfurl her, she dipped down behind the sheet and re-appeared with braids and a crown revealing her new alter ego Emily.

This theatrical intro was to become a theme of the show, so it’s fitting she requested the co-production help from Visconti whilst creating this character.

The smooth jazz was out and replaced by a louder proggier jazz-rock sound as Spalding interacted with the backing singers they held up a sign saying “Evolution” which is rather apt for last night’s performance.

Although this might be a wilder, more scattered sound than we’ve come to expect from Spalding, she still knows how to unleash those jazz vocals which leapt and swerved through the octaves whilst still leaving you with that hint of a delicate Joni Mitchell tone.

You couldn’t help but keep your eyes on Spalding as she incorporated stage design and acting into her already vivid musical storytelling. Every movement on stage was deliberate, it even veered into the performing arts territory which on its own is something refreshing but when backed up with her jazz fusion made it that bit more intriguing. She stepped back from playing the bass as much as usual but when she did pick it up we were reminded of just what a force she is.

Throughout the set the backing singers where very much involved and on “Funk the Fear” they took to centre stage and began their own dance routine, then disappeared from the stage, only to reappear a moment later in the crowd, walking through the somewhat modest audience and continued to dance as Spalding was in the middle of a jam with her incredible band, drummer Karriem Riggins and guitarist Matthew Stevens.

Anyone expecting to hear songs from her previous albums were to be disappointed as the show was titled Esperanza Spalding presents: Emily’s D+Evolution and that’s exactly what we got.

This was a feast of jazz and art all rolled into one, a concept album brought to life and a refreshingly raw experience at that. It’s exciting to see acts throw caution to the wind and take new directions and Spalding certainly jumped in with both feet with this one and it’s that conviction that helped pull it off.

3.07.16 – den Atelier

Steve Vai the guitar guy

It has been quite the week for guitar virtuoso fans of Luxembourg, first up it was Joe Satriani at the weekend and last night it was the turn of his old time student, Steve Vai who took to the stage at den Atelier.

Known as one of the greatest guitarists of all time, Vai is currently touring his landmark album “Passion & Warfare” which is regarded as one of the most important rock instrumental albums ever released.

Although Passion & Warfare was his second solo album Vai had already spent years learning from the likes of Frank Zappa & Whitesnake both of which he toured with, as well as being a pupil of Satriani’s.

Now 25 years on from “Passion & Warfare” he felt it was the right time to finally tour the album from start to finish, after a few other classic Vai tracks had warmed us up first.

As the lights dimmed and the screen behind the stage began to play an extract from the 80s guitar film “Crossroads”, a hooded Vai took to the stage with lasers coming from neon green glasses with a blue neon fret board, it was quite a fitting entrance for the man they call the “master of the space age guitar”.

He kicked into “Bad Horsie” with all the verve and gusto that we’ve come to expect from the likes of Vai, his fingers running up and down the neck of the guitar at incredible speed, making sounds that only few can conjure.

Vai ditched the neon look as he took us on a journey through some of his favourites from “The Crying Machine” and “Gravity Storm” before the searing atmospheric sounds of “Whispering a Prayer”.

By this point Vai hadn’t muttered a word to the crowd but once he started he was full of nostalgia for the crazy hair and videos of the 80s & 90s. Having already played 45 minutes, some acts would be finishing up but they were just getting started.

Vai mentioned he hadn’t toured this album before because he’d never had the right band until now, however true that is he certainly has an incredible band now. With an exceptional rhythm section in Philip Bynoe on bass and Jeremy Colson on drums giving us the funk when required, leaving the unenviable task of keeping up with Vai to guitarist Dave Weiner.

The opener “Liberty” showed old footage of Vai playing along with Brian May on the screen and it wouldn’t be the last time Vai jammed with an old guitar legend, as the night progressed Joe Satriani & John Petrucci would appear on pre-recorded videos to jam on “Answers” & “The Audience is Listening” respectively. The wizardry and tricks Vai pulled off never let up all evening, with one searing solo after another, who needs vocals when your guitar can do all the talking.

As the album came to its conclusion I thought that would be that, but not Vai, they delved into an old Zappa track “Stevie’s Spankings” before the “Build a Song” segment where he invited two members of the audience to hum rhythm and guitar melodies that are then transformed into songs on the spot from the incredible band.

At over two and a half hours there was surely plenty for all the Vai fans to feel they got their monies worth and with the new album “Modern Primitive” released just days ago he’ll no doubt be back again soon.

29.06.16 – den Atelier

Garbage – Still full of attitude and energy

20 years on from their first show at den Atelier, Garbage were back on Tuesday night and with it much of the energy that launched them back in the mid 90s.

With the release of their self titled debut album back in 1995, Garbage broke onto the scene right in the middle of Britpop, bringing with them an angst-grunge element combined with melodic pop choruses which set them apart from the rest.

With over 17 million album sales, a couple of Grammy nominations, as well as a Bond theme tune to their name, Garbage had done it all before they took a seven-year hiatus in the mid 2000s, returning in 2012 with “Not Your Kind of People”. This gave them a desire once more, leading to the imminent release of their sixth studio album “Strange Little Birds” next week.

Support last night came from female two piece The Pearl Hearts who packed quite a punch with their rock and heavy blues groove. These support dates with Garbage are their first shows in Europe but by last night’s evidence, I’m sure they won’t be their last. With a bit more swagger & attitude they’ll be tearing up venues like this on their own soon and they couldn’t have a better mentor than Shirley Manson to show them the ropes.

Garbage wasted no time in introducing their loyal fan base to their new record by opening up the night with dark brooding track “Sometimes”, with the lights low, keeping the band in the shadows and the pulsating bass it was an atmospheric start that I wasn’t expecting but very much a welcome one. It didn’t take long to up the energy as they went into “Empty” their first single off the new record, which took them to the grunge sound we’ve come to expect of Garbage. It’s also here where we were reminded just how charismatic a frontwoman Shirley Manson is, taking control of the stage like any good lead singer should.

As well as an introduction to the new album there were plenty of Garbage classics from the ever present “Stupid Girl” to “Only Happy When it Rains” which induced some 90s nostalgia with their grunge pop hooks. But Garbage were always more than the hits, they had more vulnerability and attitude than most from the Britpop era, something they continue to channel today.

One of Manson’s personal favourites, the slow almost chant like “Bleed Like Me” took the evenings tempo down a notch before lifting us back up once more with “Sex is Not the Enemy”, its punk groove leading to Manson bounding around the stage with a beaming smile.

Later Manson went on to discuss her recent spat with a Radio1 DJ in the UK, as they refused to play them because Manson is over 40, which appears to be a misguided policy the station holds. With the energy and attitude Manson still produces she could teach most people half her age a lesson on the artistry she has honed over the years, she’s much more engaging and charismatic than most out there.

Whether it was new or old, each song was performed with the vigour we have come to expect from them, giving us more off the new album on the encore with “Even Though Our Love is Doomed” before finishing on the light hearted bubble-gum funk of “Cherry Lips (Go Baby Go!).

With few bands having survived the 90s, and even fewer still releasing and producing music today, it’s refreshing to see that Garbage are still making music that is as relevant today as it ever was. Here’s hoping other stations aren’t as ageist as Radio1 and help the new singles get to as many people as possible.

31.05.16 – den Atelier

Charlie Puth – A pop star has risen

Thursday night saw one of America’s newest popstars come to Luxembourg for the first time, as 24-year-old New Jersey native Charlie Puth took to the den Atelier stage.

Puth launched onto the scene early last year with his retro infused debut single “Marvin Gaye” which hit the top spot in France, UK, Ireland and New Zealand. If that wasn’t enough for the budding young popstar, only one month later he was to co-write, produce and feature on the global super hit “See You Again” with Wiz Khalifa which went number one in 26 countries becoming the biggest selling song of 2015 with combined sales and track-equivalent streams of over 20million units. Not bad going for an artist who only a couple of months before nobody had heard of.

The success of “See You Again” helped propel Puth’s career into places he could previously only dream of. Another such act who must be dreaming of hits like that was last night’s support, Scottish pop powerhouse KLOE who has been making waves herself over the last year. Her explosive pop energy burst from the stage and awakened the crowd from the off, with the charisma and confidence she showed I’m sure it wont be too long before she is headlining venues like Atelier herself.

After being suitably warmed up the audience were already in fine voice, as the lights dimmed the sold out crowd began chanting CHARLIE CHARLIE CHARLIE. Puth made his way out onto the stage in a plain white t-shirt and ripped jeans and took his place on the piano stool, he played a few nice jazz fills just to get the feel of the piano before launching into one of his biggest hits, the retro infused R&B “Marvin Gaye”.

It was quite a statement for Puth to kick off with such a big hit and to be honest I suspected the excitement in the Atelier might fall a bit flat for a while after but little did I know that the crowd wasn’t just there for the hits, as each song passed the audience continued to sing their hearts out. However, the exuberance from the audience often meant we couldn’t hear anything Puth was trying to say between songs, as cries of “I love you” drowned out his voice.

With his three-piece band flanked either side of him they dropped in some jazz signatures to spice up the more conventional pop songs like “Left Right Left” and “My Gospel” before bringing down the tempo on “Up All Night” & “Then There’s You” as Puth perched on the piano stool looking out over his adoring fans, accompanied only by the acoustic guitar.

With just the one album out it was of no surprise the set was less than an hour long, but all was forgiven from the crowd as it’s clear he’s a very talented songwriter, producer and when you can get the reaction he did by just smiling and running your fingers through your hair you can play just about what you like. The night wouldn’t be complete without two of his biggest singles, “One Call Away” & “See You Later” which once more had the crowd singing along in harmony.

Puth’s music brought beaming smiles to the faces all over the venue, from the young kids to their parents, who seemed happy enough to take their children along. Shows like that won’t do him any harm as he continues to build on his rapidly growing fan base, who already can’t wait for his return.

26.05.16 – den Atelier

Simple Plan – Still full of high-octane energy after all these years

It’s less than a year since French-Canadian band Simple Plan sold out den Atelier, so with the release of their new album in February they made their way back to the A on Thursday night to play to a hot and sweaty crowd once more.

With the release of their fifth studio album “Taking One for the Team” Simple Plan prove they have the staying power that few of the pop-punk acts of the 00s possess. It’s now over 12 years since their biggest record “Still Not Getting Any…” but it’s clear by the audience that their songs are enduring hits and as much as the crowd is made up of people who were in their teens a decade ago, their music clearly still resonates with the teens of today, as there were plenty in the audience too.

Supporting them on much of their European tour is Roam from England who possess all the energy and enthusiasm you expect from a pop-punk band. Even if a slow number showed up their vocals to be patchy at best, they managed to win over the audience with their stage craft and by the end were conducting the crowd into mass swaying of the arms and even a very civilised mosh pit, they clearly left the stage with a whole host of new fans.

With the audience suitably warmed up Simple Plan took to the stage. Gone are the ¾ length shorts and spiky hair of the day, now they are all in full length trousers and wearing black t-shirts but that was in no way a reflection of their demeanour. They kicked off with the high energy “Opinion Overload” from the new album which showcases the powerful drums and guitar riffs their fans have come to expect and it never really let up all night.

Their knack of still producing big singles was apparent, as all it took was the simple riff from the intro on “Jet Lag” to send the crowd into raptures. Though it was “Jump” that really got the required effect with the first mass jump around.

With an audience who have been with the band for over a decade now, there was a real sense of nostalgia as they delved into the earlier material, with friends singing every word to each other as much as they were to the band. Their fine voices filling Atelier on “Welcome to My Life” with phones aloft and swaying in unison.

As if people weren’t already dancing enough they found some time for a surreal stage invasion from the first band of the night The Bottom Line who were in fancy dress which included a giraffe outfit for a medley of “uptown Funk” & “Can’t Feel My Face”

The encore leaned heavily on the second album with “Shut Up”, “Perfect World” & the rock ballad “Perfect” which saw lead singer Pierre Bouvier take to the acoustic guitar as the rest of the band disappeared into the background to play one of the few tender moments before the band return for the chorus, bursting into high octane energy one final time. At this point Bouvier made his way to the balcony being accosted by plenty of woman on his way. For a band who are so close to their fans it was a fitting way to end, with Bouvier in amongst them.

Having only just released their new album I’m sure Simple Plan will be back in Luxembourg again shortly, so if pop-punk is your thing and you missed them, then make sure you see them next time round.

Birdy – takes flight at den Atelier

English singer-songwriter Jasmine van den Bogaerde, better known by her stage name Birdy took to a sold out den Atelier on Friday night.

Having shot to fame with her cover of Bon Iver’s “Skinny Love” at the tender age of 14, it’s easy to forget that Bogaerde is still a teenager. With three albums and world tours to her name, she has accomplished more in her teens than most will in a lifetime. Her new album “Beautiful Lies” has been her most well received to date by the critics and the British public, as it shot up the charts leading to her highest charting record in the UK.

Support came from Dan Owen who looks to be part of a conveyor belt of British singer-songwriter talent. With a voice beyond his years, I’m sure it won’t be too long before we hear his warm rugged vocal tones singing of love lost over the airwaves. Along with his vocal delivery, his affable persona seemed to catch the attention of the crowd from the start, after all it’s not often a musician gets an applause from the crowd when they mention the have CDs for sale at the door.

With the crowd suitably warmed up Birdy took to the stage where she was to find an audience who were there to really listen. You could hear a pin drop in the more delicate moments, even the people at the bar kept it quiet, which is no mean feat but when the haunting ethereal vocals of Birdy took hold it seemed like everyone was under her spell.

It was a great gig for fans of the new album, as she played all but three tracks from it. That’s not to say there wasn’t space for plenty from the first two records, with a set spanning over an 1hr 30 minutes, including 21 songs, there was plenty for all her fans. For a night filled with piano-led confessionals it was left to the eastern feel of “Growing Pains” to open her set.

Tracks such as “Wild Horses” & “Keeping Your Head Up” show there is a new found maturity in her song writing as well as an evolution in her sound, giving it a grander anthemic folk pop feel.

Having spent most of the evening behind the piano, Birdy ventured to the front of the stage for “Words as Weapons” & “Take My Heart”. Leaving her comfort zone, you would expect the shy young singer to look vulnerable but far from it, she looked just as composed with the mic at her hands as she did the keys.

As you’d expect she left the song that launched her career to the end, the cover of Bon Iver’s “Skinny Love”. This ended up being her least inspiring performance of the evening but which in turn just highlighted how far she has come since she was launched into the spotlight at such a young age.

Throughout the night her band barley missed a note, they were so tight It felt like someone had put on a CD and pressed play and that’s not a criticism here, I was genially impressed from the sound all evening, the levels were perfect and it was a joy to hear all the musicians in complete harmony.

It’s good to see that Birdy is still progressing and finding her feet as an artist, if she continues on this trajectory she will surely develop into a special songwriter in years to come.

29.04.16 – den Atelier

Anastacia – Delighted a sold out Atelier on her greatest hits tour

Having headlined “Rock um Knuedler” last summer Anastacia proved she still has pulling power, packing the crowds into Place Guillaume II. So it was of no surprise that her gig at den Atelier on Thursday night had been sold out for quite some time.

Back in the early to mid 2000s you couldn’t turn on a radio without hearing one of her many hits, with “Left Outside Alone” becoming one of the biggest songs in Europe in 2004.

As fruitful a time as it was for the singer professionally, she would go through two bouts of cancer, successfully fighting off the second one in 2013 and returning once more with the aptly titled album “Resurrection”.

Now 16 years on from her debut album she has embarked on her first greatest hits tour after the release of her “Ultimate Collection” album at the end of last year.

Taking to the stage we knew it would be a hits filled set and she didn’t disappoint, though it was a cover of Christina Aguilera’s “Army of Me” that kicked off proceedings. The powerful rousing rendition set the tone for the night ahead.

It was on tracks such as “Paid My Dues” & “Not That Kind” where her vocals really came to the fore reminding us just why she burst onto our airwaves in the first place. She may not be to everyone’s liking and her chat between songs went from cringe pantomime patter to moments of genuine affection but at least she is not afraid to be herself. Laying out her humour and emotions to audiences each night, you can either like it or leave, which is to be admired.

With Anastacia’s health issues never far from her lyrics, she looked visibly emotional through “Heavy On My Heart” & “Stay” which includes the line “I’m not ready to go just yet”. After the song she wiped some tears from her eyes and paid tribute to the incredible Prince who had died just hours before the gig. She would later to go on and play a fitting and emotional cover of “Purple Rain”.

Of course it wouldn’t be a “best of” tour if she didn’t finish up with “I’m Outta Love” & Left Outside Alone” which both got the audience clapping and singing along before she brought two members of the audience up on stage to dance with her, and dance they did.

Whilst Anastacia has always been a fighter off the stage, she is clearly still one on it too, showing no signs of letting up any time soon. I suppose when you have a rapport with your fans like she does who can blame her.

21.04.16 – den Atelier

Bloc Party – Rolling back the years at a sold out den Atelier

Sunday night saw the return of one of the seminal indie bands of the 2000s, with Bloc Party taking to a sold out den Atelier.

It has been a turbulent few years for the band who have lost founding members, Gordon Moakes on bass and Matt Tong on drums, replacing them with Justin Harris and Louise Bartle. With the new lineup came a new sound for the ever evolving band. Their recent album “Hymns” has split opinion with critics and fans alike as they moved further from their energetic angst to a more somber, haunting sound.

Unfortunately for the band it was a somewhat stumbling start, as a technical glitch led to two failed attempts of “Only He Can Heal Me”, so instead of a third attempt they moved on looking a bit sheepish, with frontman Kele joking that “someone will be getting sacked for this hiccup”.

They continued with some technical issues with Kele’s vocals being lost and muddied by a bass that seemed to have been turned up to 11 on “Virtue”, all of this gave the gig a bit of a stuttering start.

It wasn’t until the unleashing of “Banquet” that they really found their stride. After all these years it still holds the ferocity and beauty it held on its first airing and with that it felt like the show really began. “Hunting for Witches” followed soon after, reminding us all that when Bloc Party were in their pomp they wrote some of the most exciting electro flexed indie of their time, influencing a plethora of bands as they went.

Unlike many of their peers, Bloc Party have always looked to evolve their sound on each record, which has proved divisive for some. For their sombre more introspective tracks like “Different Drugs” we saw Kele have a seat and take to the keys as they took it down a notch.

Although “Hymns” is a more restrained album there is still some space for the club escapism of “The Love Within” which translated better live than on record but still the jury is out on this one, especially when played next to “positive Tension”, which epitomises the urgency of early days Bloc party.

For the encore they decided it was take three for “Only He Can Heal Me” and this time there was no issue and a visibly delighted Kele declared “I’m happy we finally got it right”. The extended encore was far more upbeat, leaning heavily on the first few albums with “Rachet” & “Flux” before going onto one of the indie tracks of the decade with “Helicopter” then finishing on “This Modern Love”.

With the obvious distinction between their earlier work, it will be interesting to see how their fans follow them through these years of upheaval and discovery. On last night’s showing there is still a huge amount of affection for the band but how long will that last whilst they find their feet once more.

17.04.16 – den Atelier

Larry Carlton – Brought the right tone to Atelier

Each year as the Printemps musical festival rolls into Luxembourg it brings with it a wealth of talent from world music and jazz. Wednesday night it welcomed legendary jazz guitarist Larry Carlton to den Atelier.

In a career spanning more than 40 years, Carlton combined his roots in blues and jazz to become one of the most influential and in demand session guitarists in the industry. He brought his signature warm tone to artists such as Steely Dan, Joni Mitchell, Michael Jackson, Herb Alpert, Quincy Jones, Dolly Parton and Linda Ronstadt. Over this long distinguished career his catalogue of work includes film soundtracks, television themes and work on more than 100 gold records. Not to mention being nominated for a Grammy 19 times, taking away the trophy on 4 occasions.

First up last night was local blues act Kid Colling Cartel who, from the sound of things, have been influenced by the Carlton tone themselves. Having seen Colling play around Luxembourg before it was good to see him now with his full band as they delved into the blues with no restraint. After playing a few tracks from their past EPs, they gave us a taste of things to come with a new track off the forthcoming debut album and if this is anything to go by, the album is sure to enthral all the blues enthusiasts out there. Look out for the album later this year.

Then it was time for Carlton, he took to the stage in rather unassuming manner with just his trusted Gibson ES335 for company. As he got into position front and centre you could hear a pin drop in the venue as the crowd waited with baited breath for that first note and when it sparkled out from the stage you could hear the collective appreciative sigh. His signature tone resonated with the crowd, as anyone who is familiar with his work will know it’s as much how he plays rather than what he plays.

The band followed Carlton to the stage and instantly kicked into the classic smooth jazz timings of “Bubble Shuffle”, it all looked so effortless as they weaved in and out building up the layers before the band made up of Klaus Fischer on bass, Jesse Milliner on keys and Hardy Fischötter on drums would take turns going off on solos themselves.

With over 30 albums of his own material to choose from you never really knew what was coming next, but as soon as the funk bass of Fischer kicked in you knew it was time for “Oui Oui Si” as he led the band with some slap bass before they all joined back in with perfect timing.

The band went from jazz to blues with consummate ease with Carlton still proving that you don’t need a mound of effects pedals to be a great guitarist, just great technique. On “Burnable” they took their turns laying down their own solos and as you can imagine Carlton doesn’t just employ any musician but some of the finest jazz players around, so you get an idea of the quality solos emanating from the stage.

They would finish on the unmistakable “Room 335” which drew cheers of from the crowd, it optimised the smooth jazz we had been treated to all evening with the guitar punctuating every note. This might have been one for the aficionados but sheer technique and rhythm kept the rest of us thoroughly entertained.

23.3.16 – den Atelier

Lianne La Havas – Is on unstoppable form

Sunday night saw the return of British soul singer Lianne La Havas to den Atelier. It’s been a few years since she was last here but from the show of hands we could clearly see she has amassed a whole new fan base since then.

With her debut album “Is Your Love Big Enough?” peaking at number 4 in the UK charts as well as being nominated for an Ivor Novello & Mercury Prize it was of no surprise there would be more pressure on her second record. Could she deliver the same blend of folk and soul on the notorious difficult second album? Well she delivered, and with the new album took on a neo-soul and jazz style, with elements of R&B, reggae and gospel and with this winning blend she has amassed critical acclaim along with a Grammy nomination.

La Havas took to the stage on Sunday night in a bright red jumpsuit with just her guitar and a solitary spotlight as she kicked in with the delicate “No Room for Doubt”. It was a brave if somewhat surprisingly bare song to open with. There is no hiding on such a fragile track but she didn’t need to hide anywhere as her effortlessly smooth vocals undulated between the subtle yet pronounced guitar.

After such an intimate opener she was swiftly joined by her backing band, who were nicely balanced all evening, never overdoing their fills just keeping it all together whilst still adding enough groove and energy to lift the songs when required. Like when “Green & Gold” & “Tokyo” needed that soulful groove to elevate the songs.

If anyone hadn’t already been won over by her effortlessly cool aura and sultry vocals, then they surely were by her radiant infectious smile which was beaming all night long. She clearly had a lot of love for her band and you could understand why as they launched into “Unstoppable” the lead single from her new album. The smooth groove teetered on the fringes of her jazz influences whilst her sweeping uplifting vocals balanced carefully along the rich velvety rhythm guitar.

Throughout the night the band would come and go from the stage leaving La Havas holding the attention of the crowd all on her own, like on “Fairytale” & “Ghosts” where her light breathy vocals would would sit among the the delicate guitar.

As much as those moments had their own appeal she never really showed off her vocals to their true potential on her own, it would take for the band to return before she really let loose and allowed her powerful voice to come to the fore. As on “Midnight” where the upbeat neo-soul groove drove her to belt out the chorus finding the crowd were in fine voice too, singing back to her.

The upbeat and playful “Age” took us on a Parisian stroll with its breezy jazziness before finishing on the rockier riff of “Forget”. The good news for anyone out there who missed the show, she promised new music and new concerts soon. Although with her recent album not even a year old yet I’m not sure how soon that will be. If her next record can continue on this upward trajectory, then you’ll surely have to buy your tickets quick as her reputation is only going to continue to soar.

20/3/16 – den Atelier