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Pulling from many influences and gifted with a rich and sensual voice which is encompassing three octaves, Rebekka Bakken has built her very own musical world, song after song and album after album. She has consistently refused to be confined to a single genre, hopping easily from jazz, soul, and funk to pop, folk, and country. In her hands, the genre of a song doesn’t matter half as much as the feelings she manages to convey every single time with her unique voice and very personal musical arrangements.

Throughout her career, the versatile artist has collaborated with the likes of Austrian jazz guitarist Wolfgang Muthspiel, with whom she toured the New York City nightclub scene in the early 2000s, poetic jazz singer and pianist Julia Hülsmann, giving birth to a jazz album, “Scattering Poems”, with lyrics inspired by the poems of E. E. Cummings, German jazz saxophonist Christof Lauer, and Norwegian folk singer Sondre Bratland, who were all able to recognize her talent and singular voice early in her career. Though she was acknowledged by talents in the industry early on, commercial success came after her return to Europe.

Since then, she has released several successful albums, each and every one of them marked by her wonderful musical abilities as well as her very unique style. That’s what makes her fans want to listen to her music over and over again. With every song, she pulls us into a world of her own creation, singular and inimitable, and invites us to discover it album after album.

Rebekka Bakken has cultivated her artistic identity for years, both through the influence of artists she admires and connects with, and through her own experience, both professional and personal. Whether she composes her own songs or covers the songs of other artists, she always manages to make them her own. Thanks to her talent as a composer and musician, and the maturity and range of emotions she can infuse in her rich voice, she can finely tailor the songs she covers without depriving them of their original soul.

And this is exactly what she does with “Always On My Mind”. In her newest release, she pays homage to the artists who helped her find her voice and are always on her mind when she creates new music. Inspired by legends such as The Beatles and Peter Gabriel, as well as more contemporary artists, like Finneas, she signs a collection of fifteen tracks that are as widely known to the public as they are intimate to Rebekka Bakken.

Her orchestrations – masterful yet minimalist – give each song a fresh breath and a sense of renewal that only highlights their original popularity. Accompanied by some of the finest musicians in Norway, her soulful voice invites us on yet another journey through her private musical landscape.

A classic amongst all, Elton John’s “We All Fall In Love Sometimes” is number eleven on her tracklist. The legendary British singer is forever associated with the heydays of pop music, sentimental lyrics, and flamboyant orchestrations. His voice is as recognizable as his songs. Yet, Rebekka Bakken manages to turn this iconic piece into her own. Her version is less lively and more melancholic than the original, with minimalistic musical arrangements dominated by a soulful piano and jazzy percussions. The lyrics, both somber and comforting, almost mystical at times, suit her voice that can give off warmth and sadness with the same ease. It’s not an easy task to go toe to toe with Sir Elton John, but Bakken sings a beautiful cover that is both, homage to a singer who has inspired her and a pure reflection of her inner world.

She takes on another massive challenge with a cover of “(Everything I Do) I Do It For You”. The swoon-worthy song became immensely popular when it appeared as the lead single of the soundtrack of the movie Robin Hood: Prince of Thieves. In Bakken’s deft hands, the power ballad takes a more reflective intonation, as if the lyrics were private thoughts rather than a sweeping love declaration. The electric guitar in the background is a melodic red thread that reminds us of the ballad’s more romantic version, but once again, the Norwegian singer managed to put her stamp on the song, producing an elegant and personal rendition that has no difficulty standing on its own.

Not one to make things easy for herself, her entire album is made of songs that have found great success on their own – who hasn’t heard “Yesterday” by The Beatles? Yet, Bakken manages the tour de force of making us believe that these songs could have been written for her, without glitz or fanfare. She doesn’t use cheap tricks, she simply opens up through each one of these songs to let us catch a glimpse of who she truly is, as an artist and as a person.

Time and again, the singer has composed and produced beautiful music. Her talent has been recognized both by professionals in the industry and by the public. The longevity of her career speaks for itself. With this album of covers chosen from all those who have inspired her journey, she sings one of her most personal albums. It’s a stirring portrait of the music on her mind. Rebekka Bakken doesn’t have anything to prove anymore, yet she still has so much to express, and when it’s said in a voice as beautiful as hers, we can only be grateful that she does.

 
Written by Camille Hourtane for Pop Magazine

Camille is a bilingual freelance writer with an unending passion for storytelling. She writes pieces in English and in French, with an emphasis on food/travel/society articles and fantasy/gothic/supernatural stories. She likes nothing more than to explore new places, whether in body or in mind.

Photo by Gregor Hohenberg

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After numerous awards, performances all around the world, and 14 albums, one could think Rachael Sage cannot have much more to say and do. But that would be misjudging the talented artist. She has just released “The Other Side”, her 15th studio album, to the great joy of her loyal fan base. That album is the story of a journey, both for the singer and for humans as a whole. A cancer survivor, Rachael Sage knows what it feels to fight tough battles and live to tell the tale, and she was able to recognize that very same struggle in what the world had to face during the Covid pandemic. But as she did, the world came out to the other side with a new appreciation for life and the time spent with their loved ones.

Filled with her trademark style of blended musical genres and poetic lyrics, the album offers 15 songs and each one has something to say to your ear and your heart. The title track “The Other Side” has beautiful arrangements of horns, piano, and guitar, which carry Rachael Sage’s nuanced and heartfelt voice through the optimistic folk-pop song. Written during a painful separation and the illness of a family member, the song has a touching innocence and sincerity: “Meet me in the valley of eventually / I’ll be on the thing by the walnut tree / I hope you’ll be with me on the other side of this / The other side of this is an angel’s kiss / Pure in intention and no expectation”. The support the singer has felt from her loved ones and creative community, her angels, during these dark times has helped her emerge on the other side.

The song “Breathe” is a pop ballad with intriguing country and Celtic undertones. The lyrics are as eerie as they are loving: “I will let you breathe through me / I will let you be with me / Whenever I’m alone and you’re lost out there / I feel you breathe ‘cause our lungs we share”. Tender declaration to a loved one or ghost story, it is hard to decide, but the song, filled with passion, mystery, and raw talent, takes us on an emotional journey that we don’t want to end.

It’s impossible to pick a favorite track on this album – all 15 songs are worthy offerings. Not many singers can enjoy continuous success for nearly thirty years, but with her experience and her natural talent for the arts, Rachael Sage proves once again that she’s a voice that can’t be ignored. She doesn’t shout, nag, or try to grab attention with flashy gimmicks. Instead, it’s her love and her uniqueness that naturally makes us listen. With a personal understanding of the unseen battles everyone must face in their own lives, her new album feels like an extended hand after a long journey – a moment to rest, to heal, to feel, and to listen to the soothing sound of her poetry.

 
Written by Camille Hourtane for Pop Magazine

Camille is a bilingual freelance writer with an unending passion for storytelling. She writes pieces in English and in French, with an emphasis on food/travel/society articles and fantasy/gothic/supernatural stories. She likes nothing more than to explore new places, whether in body or in mind.

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While Legend’s success story had humble beginnings – playing piano and singing in nightclubs around New York City and selling his self-produced CDs – it was his introduction to Kanye West that helped him to jumpstart his career. Working with Ye was a catalyst for the development of his brand and career, including the name change from Stephens to Legend. Ye became his manager, helping Legend to get his first record deal with Columbia Records. Executively produced by Ye, Legend’s debut album, “Get Lifted”, earned him three Grammy Awards: Best R&B Album, Best New Artist, and Best Male R&B Vocal Performance for the single “Ordinary People”.

However, for the past seven years, Ye and Legend have had a public feud, which came to a head in 2016 following Ye’s approval of then presidential candidate Donald Trump, a complete contrast to John Legend’s support for Hillary Clinton. Legend called this difference in political opinion a moment that ended their storied friendship, stating that he and Ye are in different places. Despite his friendship with Ye finished, the singer now has eight studio albums to his discography. Legend explained that his career exemplifies persistence and opportunity-meeting preparation. During an interview with Insider, Legend stated, “Part of it is just being prepared and working on your craft, and then, when opportunity comes along, you’re able to seize that.”

In terms of success, Legend’s career consists of an upward trajectory, constantly shifting between successful albums and radio hits such as the ever-popular “Green Light” and “All Of Me”, both of which earned a Platinum certification in the US. Legend’s career has also thrived outside of the studio. He’s been starring in the live concert version of the award-winning musical “Jesus Christ Superstar” and has become a mainstay on the popular television singing competition The Voice, serving as a coach for seven seasons so far.

At this point in his career, Legend is a cemented icon who still has a passion for music and songwriting. This passion is on full display on his latest album, “Legend”, as he created a double album that represents the evolution of his artistry. “Legend”, his first release via Republic Records, was executive produced by himself together with another prolific artist, OneRepublic’s Ryan Tedder. With 24 songs, this is his most extensive project to date, an album that allows him to showcase the full spectrum of his arsenal as a musician. The brilliance of “Legend” is the pacing of the album. Its first half showcases a loose, partyesque tempo and features a number of rappers, such as Rick Ross with a relaxing verse on the opening track “Rounds” that borders on poetic, and JID who delivers a show-stopping verse on the song “Dope”.

Legend makes it his mission to use the first half of this album to collaborate with a plethora of A-list artists. The result is a series of standout tracks, some of which can rival Legend’s greatest hits. While the first half of “Legend” resembles the tempo of a Saturday night ballroom, the second half shows him taking on a more sensual stride in his songwriting. Songs like “Nervous” give Legend his moment to operate with a sexier tone. “That existential feelin’ when you wonder what you are / Got a wild wind in my head / but the butterflies in my heart make it worth it”, he sings with a reserved smoothness. While not chalked to the brim with braggadocious rappers, the second half of the album offers guest appearances from other standout artists like Rapsody and Muni Long, as well as dancehall queen Jada Kingdom.

“Legend” is the culmination of John Legend’s discography, reaching its peak evolution. While earlier projects featured heavy piano play ushered over soulful Ye samples, on this album, Legend, at times, forgoes the piano altogether, collaborating with different producers to reach a mature R&B sound. In terms of his singing, Legend’s voice always stood out in the contemporary soul music scene. This album is no different. Legend continuously provides rippling vocals and intimate lyrics, creating a project that projects its sensuality to the listener.

Legend’s career has always been relevant to the landscape of music. This album is another great example of that. Legend explores his versatility of sound and openness to adapt to the current music culture. With features from soulful vocalists like Jasmine Sullivan and Jhene Aiko to rap stars like Ty Dolla Sign and Saweetie, “Legend” finds a way to remain fun, captivating, and musically infectious in its catchiness throughout the entire length of the project. John Legend’s songwriting remains immaculate, and he again provides reason why he’s one of the all-time songwriting greats. There may be critics of the album’s consistent sex talk and its overtly sexual themes. However, Legend provides an invigorating project which offers a sound that reminds fans of why they fell in love with his music in the first place.

 
Written by Antonio Cooper

Antonio is a freelance reporter. His coverage of music festivals and interviews with local celebrities appeared in the Detroit Metro Times, E-Current Magazine, and RichMagDigital. You can find more of Antonio’s work on his website: ayesharp.com

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Tank And The Bangas are a New Orleans based band with Tarriona “Tank” Ball as the main vocalist, Albert Allenback on flute and saxophone, Joshua Johnson on drums, and Norman Spence on keyboard, bass, and guitar. Their style of music is hard to pin down to one genre because of their uncanny ability to blend multiple genres seamlessly. Their music is an alchemy of jazz, funk, hip-hop, soul, and spoken word.

In 2013, Tank And The Bangas dropped their debut album, “Think Tank”. This album was a chance for the band to explore and find their sound. It featured seeds of their current sound with Tank utilizing her silky smooth vocals and switching to her high-pitched rap-like vocals from time to time. On songs like “Rollercoasters” and “Human” we get the classic spoken word-inspired songs that have become one of the staples of their sound today. On “Eggs Over Easy” the band dips their toes into the classic reggae sound.

In 2019, they dropped their second studio album, “Green Balloon”. On this album, Tank and Bangas began to grow into themselves a lot more. The album is the best of everything from exploring the trap sound on songs like “Spaceships” and “Dope Girl Magic” to a more melancholic piano-driven tune like “Mr. Lion”. They recruited the legendary jazz pianist, Robert Glasper on “Lazy Daze” where Joshua Johnson’s laid-back drum beat provides the foundation for a hypnotic cascading chord progression.

After dropping “Green Balloon”, Tank And The Bangas got nominated in the Best New Artist category at the Grammy Awards 2020. Sweet success knocked at the door, but despite a growing audience the band stayed true to their fusion sound and thought-provoking lyrical themes. In early 2022, they delivered a slew of new singles, including the song “Black Folk” featuring Alex Isley and Masego, where Tank pulls out her spoken word skills as she poetically describes her love for Black people and Black culture.

This week, Tank And The Bangas dropped their third studio album, “Red Balloon”, which addresses America’s pressing issues, inspired by the Capitol siege on January 6th. The album is an oxymoronic masterpiece. The juxtaposition of joyful beats, cheerful chord progressions and silky smooth vocal harmonies with heavy issues of racism and injustice that plague America is bound to leave you pleasantly conflicted.

“Stolen Fruit” is a perfect example of this. It’s a politically charged song, talking about the struggles of Black people in America over a slightly haunting drum beat and strings in the background, with spiritual vocal harmonies that all come together in a sweet, optimistic melody in the hook. “It’s talking about literally waking up in America, and still expecting to do something amazing with your life despite all the odds against you, being Black in America”, Tank told NPR.

“Mr. Bluebell” is another of those songs that sound very happy, eclectic and churchy until you hear the lyrics, addressing the siege at the Capitol and the problem of school teachers being underappreciated and underpaid. The song is guaranteed to make you think and move your feet at the same time. “Cafe Du Monde” is a nostalgic tune that pays homage to the cafe in New Orleans where they recount the moments they shared. They are joined by Jamison Ross, Rachel Robinson, and Trombone Shorty on this one. The song is laid-back with jazzy chords and an infectious hook that can transport anyone into Cafe du Monde even if they have never been there.

“Red Balloon” is a masterclass in fusion music and fans around the globe will enjoy the new record. But their live performance is what really defines Tank And The Bangas. It doesn’t matter whether they are at NPR’s Tiny Desk, The Tonight Show, or their own concert, they always come out with high energy and infectious enthusiasm. With a national and international touring schedule, their stagecraft has been refined over and over again since they first came together at the local open mic show.

Tank And The Bangas have a bright future in the music industry, even with a sound that may not be synonymous with radio or mainstream music. Their versatility, relatability, and sheer musical talent will continue to build them a loyal fan base, who is sticking with them for years to come.

 
Written by Leslie Addo

Leslie is a writer, guitarist, and music producer from Accra, Ghana, with a Bachelor of Arts degree in Economics, and a very unimpressive track record of making terrible smoothies. You can find him on Instagram @_lesplay, where he is either trying too hard to look cool with his guitar or posting videos of himself making bad smoothies and tasting them with a frown.

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In early 2011, Birdy’s cover of “Skinny Love”, a well-known song by Bon Iver, reached number 17 on the UK single charts and later that year, she released a full album of covers, simply titled “Birdy”. The debut LP reached the top of the charts in Australia, the Netherlands and Belgium. It’s good to remember that, she was just 15 years old at that time. 2012 was a big year for Birdy. In June, she featured on “Learn Me Right”, a song by Mumford & Sons for the soundtrack of Pixar’s animated film Brave, earning her a Grammy nomination. Two months later, her EP came out, containing the song “Just A Game”, that she wrote and performed for the soundtrack of The Hunger Games blockbuster. That same month, she sang at the opening ceremony of the London Paralympic Games. It was the same year she celebrated her sweet 16.

The following year, Birdy released the album “Fire Within”, the first one made of mostly original songs. The personal songs expressed a depth of feelings that could have belonged to someone twice her age. The single “Wings”, a melancholic indie-pop track, was featured in numerous films and series, including the trailer of A Winter’s Tale and season finales of Game Of Thrones and The Vampire Diaries. Birdy continued to work on several film soundtracks, such as Beyond The Lights, The Fault In Our Stars, and The Edge Of Seventeen.

In 2016, she released her third album, “Beautiful Lies”, once again making us wonder at the depths of her heart and the beauty of her talent. When it came out, she said it was the album she was “the most proud of”, finally feeling confident enough to assert her own ideas rather than letting others influence her. With a unique eastern influence, inspired by the film Memoirs Of A Geisha, and a rich, textured vocal performance, Birdy stamped her very own twist on the usual staples of indie-pop. Her work was positively compared to other successful alt-pop artists such as Lorde and Lana Del Rey. The single “Wild Horses”, the pop-rock anthem of a teenager becoming a woman and declaring her independence, was featured in the international trailer of the film Last Christmas.

This would be a very respectable career for any artist. But Birdy was only twenty years old by then. She had already toured all over the world and earned recognition from the music industry and the general public. Then she decided to take a break. It’s always a risky move for a young artist, as there is no guarantee that the audience will welcome them back. But Birdy felt that she needed to “live a little”. Not as an artist, but as a person and as a woman. She travelled to India, stayed in a log cabin in California, explored the world and her own feelings, fell in love, and got her heart broken. She did what any of us get to do because we have not been in the limelight since our early teens. She put the shooting star of her career on hold, only writing when inspiration hit her rather than trying to force it, and took the time to breathe.

It seems Birdy is as talented to manage her career as she is to write music. This much-needed break turned out to be a great idea. In April 2021, Birdy released her fourth studio album, entitled “Young Heart”. Departing from the flourishes of her previous album, “Young Heart” is pure emotion, stripped to its most honest and raw expression. The 16 tracks, all written by Birdy herself, have folk, pop, and rock undertones and cannot be called simple. The delicate take on love, loss, loneliness, the world ahead, and the home that we leave behind, is too complex and soulful to apply such an adjective. But, in the artist’s own words, the music is “stripped back – anything that didn’t need to be there, isn’t. There’s no decoration.” This restraint allows for the feelings of the singer to shine through with innocence and sincerity.

The album was inspired by Birdy’s heartbreak, yet there is not a single hint of cynicism in its lyrics. There is pain, love, bittersweetness, doubt, hope, and a whole whirlwind of feelings that seem to describe, line by line and song by song, the trials we’ve all had to face at some point in our lives. As if Birdy’s heart was connected to our own. Because this is what her musical talent allows her to do: to use the broken pieces of her heart to write songs so beautiful that it allows ours to heal and to put them back together.

The first song on the album, “Voyager”, is the beginning of the journey she undertook as a person, offered by Birdy the artist. It tells of her decision to break up with the man she loves (“I know our days are numbered / But you don’t know that I feel like that / You don’t hear solitude calling me away / And the hardest part is part of me wants to stay”). The folk-pop song speaks of her need to press on with her life (“I won’t wait for you / I’m already gone / Like moonlight leaves with the dawn”), despite the desire to stay where it’s comfortable and familiar. This song is about courage, and only a courageous soul like Birdy could have crafted it.

“Surrender”, the lead single of the album, takes us even one step further. After the breakup, the artist still aches for what she had and wishes she could surrender to that longing: “Sometimes I try so hard to fight / When all I want to do is fall / Into the night / Into your arms, surrender”. The unknown is frightening, loneliness is terrifying. We’ve all thought of going back to an ex, of moving back home, of retracing our steps. The soulful song that begs to be listened to in the difficult hours of the night when doubts are aplenty lets you know that she understands how you feel. That it’s okay to feel this way. But also that doubt, fear, and loneliness shouldn’t keep you from looking ahead and living your life.

The very first song she wrote for the album is the very last track, the one that gave the album its name. The song is not only impressive in its length but also in the power of the feelings Birdy expresses. Touching by its candid vulnerability, yet filled with strength, the song speaks of lost love (“I have to say goodbye for now / It doesn’t mean that I don’t love you anymore”), youth (“I’m still a young heart”), and growth (“There’s so much I don’t know and I’m changing”, “It’s time that I let go”). It’s perhaps the most personal song for Birdy. The lyrics are a blueprint to what she’s had to go through in recent years. The singer has always shown maturity beyond her years, but this song is her most lyrically accomplished work. Love doesn’t falter but people grow apart: “Told myself I was fine / I could keep holding on / Oh oh whoo / Oh, I’ve tried but there’s nowhere to hide anymore / I can’t stay where we are / I won’t stay where we are / Goodbye my love, no crying / Let’s not leave each other like this / ‘Cause even though our hearts are breaking / And through everything that’s changing / I’ll keep on loving you”.

From the heartbreak, the writer’s block, the transition to a young adult, the career break, and all the challenges she’s had to face in her young years, Birdy has emerged an even brighter star. Perhaps the bird after which she is named is a phoenix. The singer received well-deserved praises from the beginning of her career. Yet, every time, she has managed to outdo herself and reach a new level. Her latest album “Young Heart” is a wonderful journey through her heart and her best work to date. And I, for one, really look forward to seeing what she can create next.

 
Written by Camille Hourtane

Camille is a bilingual freelance writer with an unending passion for storytelling. She writes pieces in English and in French, with an emphasis on food/travel/society articles and fantasy/gothic/supernatural stories. She likes nothing more than to explore new places, whether in body or in mind.

Photo by Lotta Boman
 

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Desi Valentine is a London native based in Los Angeles where he’s been paving the way for his bluesy, soulful sound to blend with today’s modern pop world. He worked as a backing vocalist for Elton John and Gloria Estefan and starred in West End and Broadway shows. Valentine moved to L.A. in 2012 and had, at first, some trouble finding his niche in the local musical scene, not wanting to be stigmatized and labeled as “another black guy doing soul stuff”. It took him some time to shape his unique style and Adele’s album “21” had a deep impact on his next steps as an artist.

Desi Valentine also looked back on his childhood, listening to Ella Fitzgerald, Bob Marley, Sam Cooke, and classical composers like Mozart and Bach. This experience has shaped the artist he is today. In 2016, Valentine went on tour with Andra Day, whom he credits as a major influence in the next chapter of his career. When “Fate Don’t Know You” landed on Spotify’s viral hits playlist, he had just been laid off from a bartending job. While the song went up on the charts, he was rehearsing to open for Blondie, making plans for Bumbershoot festival, and buying cheap dinners at convenience stores.

His eight-track EP, “Shades Of Love”, was released in 2019, drawing influence from soul, blues, jazz, and pop music. The title song was originally written to be a creepy stalker song but ended up being a deeply vulnerable love song. In the wake of the Charlottesville riots, Valentine wrote “Love Is Love” in response. The single was released in 2020 and is “less about politics and more about humanity”, according to the artist.

Desi Valentine’s first full-length album, “Through The Lens”, was released earlier this year. The LP is 18 tracks strong, including the singles “Asylum”, “Love Is Love”, “Higher Heart”, and “Fate Don’t Know You” which remains to be his most popular song with over 10 million streams on Spotify. And he didn’t stop there, following up with three more singles since the album came out. “One More Touch”, “Smile”, and “Why’d You Wait So Long” are all worth listening to.

On his Instagram, Desi Valentine presents himself as “artist, shamanic healer and clairvoyant transformational coach”. He is the founder of DV Elemental healing practice and has a line of handcrafted products intended for healing, self-care, and personal empowerment.

 
Written by Jo Correia

Jo Correia is a Brazilian journalist based in Berlin, who loves music and arts and believes we don’t live by words alone, we sustain through them.

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Through soulful music, a healthy dose of humor, some outside-the-box creativity, and words that speak directly to one’s heart, she wants to help people find their own power and reach their full potential. DeBose speaks openly about her experience being a woman and being a person of color stuck between two worlds as a daughter of a black mother and a white father. She shares this experience in hopes to inspire others in her one-woman show, Mulatto Math. She also puts those themes so important to her in music on her new album, “You Are The Sovereign One”.

Nowhere is it as obvious as in the soulful and powerful song “Brown Beauty”. The lyrics are poignant. It’s a call from a girl of two worlds (Collision of worlds / Breaths this beautiful girl / Division of mind / Bridge to that sweet sublime) to not only accept those features and those personality traits that are not always valued and enhanced in everyday representations, such as the media or advertisement, but to make them a strength (Take a look at yourself / See the queen that I see / You have everything you’ve ever needed / No one can touch what you’ve got / Brown beauty). This song informs all the girls who do not know where they fit (Walking the line / Master of which face to show) that they are worthy of love (Make no mistake / I love you, I really do / Brown beauty). In a divided society where people get rejected or put into pre-made categories, Monique DeBose offers a place for everybody.

On the punchy track “More”, she explores another theme close to her heart: what it means to be a woman. What it means to have the burden of social expectations on how to be a mother, a wife, a lady, and a lover, to be quiet or loud, assertive or passive, a career woman or a housewife. She wants women to find their voice because they are too often ignored (They say this life is completely my choice / And though I try to believe I can’t hear my voice). She encourages them to pursue their dreams despite the naysayers (I’m dreaming big / I’m holding nothing back / And people run the other way / They say I’m way off track / They try to make me small / So they can just feel big / I chose rage, rage).

Each track of this album is infused with life lessons on important themes that still divide our society. And yet, DeBose has even more to offer. The album is paired with an interactive experience designed to help you step into your power. The seven-week program gathers a group of women who want to find their voice and learn how to be true to themselves. Monique DeBose doesn’t only entertain with her words and her songs. She transforms those who are looking for their place in the world. If you ever feel overwhelmed by the conflicts in the world and your own mind, listen to her voice. She will guide you, help you get in harmony with yourself, and finally reach the potential she knew you had all along. Because she believes in you, and it’s time you do too.

 
Written by Camille Hourtane

Camille is a bilingual freelance writer with an unending passion for storytelling. She writes pieces in English and in French, with an emphasis on food/travel/society articles and fantasy/gothic/supernatural stories. She likes nothing more than to explore new places, whether in body or in mind.

Photo by JQ Williams

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The album’s title is reminiscent of his summer childhood years and is seemingly used as a signpost to simply do what you want in life, rather than what you are told to do. During the warmer months, McMorrow’s mom would make him eat grapefruit, saying they were good for him even though he didn’t enjoy them. This album highlights the ideology that what is good for you may not be a pleasurable experience. “Grapefruit Season” touches on embracing the chaotic paths that can arise in life, even if you’re not feeling any wiser in the end. Through this album, McMorrow has come to an understanding and acceptance of himself and life on a deeper level. He’s found that it’s not like everything in life now suddenly makes sense, it’s more about making peace with the given circumstances.

McMorrow has been very open with his mental health struggles over the course of his career and has embraced them for the creation of his new album. He has stated that “Grapefruit Season” isn’t a concept album, but a reality album, where he truthfully reflects on his feelings, goals and perspectives. This album takes a poignant turn on reality, differing from his past releases. An artist known for his falsetto voice for over a decade, McMorrow has established himself as a multi-faceted musician and songwriter. Gone are the days of him being confined to the indie folk genre. With his ability to play multiple instruments, tackle different styles, produce his own music, and collaborate with creatives from all over the music spectrum, he is a force to be reckoned with.

Throwing it back to his earlier music and sound, tracks like “Grapefruit”, “We Don’t Kiss Under Umbrellas Like We Used To” and “Poison To You” have a folk-like charm with beautifully layered harmonies, vivid imagery and raw emotion. They have a vulnerability to them that delicately highlights cracks in a relationship gone downhill. They could easily become the soundtracks for broken relationships the world over.

Showing that he isn’t just a one-genre man, “Gone” bring a hip-hop feel, while “A House And A River” bring some R&B vibes with repetitious drum and synth beats over a beautiful piano track and layered vocals. It’s a catchy and memorable edition to the album. “Planes In The Sky” is a song I could easily see being recorded by Foster The People or Glass Animals. It has that nice, well-known pop structure, yet a grittiness that you can only find in indie rock. It’s funky and different without being blatantly overbearing.

James Vincent McMorrow is tricking music fans that may be more conservative in their listening habits into enjoying something a bit outside of the mainstream and he certainly feeds the eclectic music lover. “Grapefruit Season” is a beautifully versatile album. Adding different genres nicely plays to the idea of it being a reality album, not a concept album. It’s raw, it’s real, and instead of following one sound, it rises and falls, changing its path along the way, kind of like life itself.

 
Written by Ria Loveder

A lover of music, scuba diving and avocados. Ria loves telling a good story just as much as she loves avocado and feta on toast. When not freelance writing, you can find her in the ocean being a professional mermaid, as Mermaid Ria, or creating her customers dream hair at Ocean Dreads.

Photo by Emma McMorrow

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With “Working Woman”, Grace Pettis delivers a love letter to women all over America. With mastery, she jumps from country to folk, from soul to rock and gospel. She has never cared for labels. Carried by talent and hard work, Pettis delivers her message of support to all the hard-working women, whether at home to care for their family or at the workplace to forge a better life for their loved ones. “Working Woman”, she states, “is about recognizing and honoring the work that women do in every space in our society. It’s about claiming our own power and place in the world. This record is about the work women do and valuing that work.”

Her message is powerful because she knows exactly what it means to be a hard-working woman in a man’s world. “As a feminist, I can’t complain that the industry is unfair to women if I’m not actively working on whatever level I’m at to change it for others”, she says and affirms that, “fact is, women like me work our tails off. We have to, to carve out our place in the world. It’s past time to recognize and honor women’s contributions. This is our time and we will make the rules. We are not asking for respect anymore. Now, we are demanding it.”

Grace Pettis leads by example. Her passionate praise is dedicated to everyday people, those who are not afraid to roll up their sleeves and dirty their hands to reach for their dreams or just to make ends meet. She sings the virtues of the women, girls, mothers, daughters, and wives, of all those who, once clocked out at work, start their second job: homemaker. Those women who will turn groceries into a meal, a house into a home, and who will put the needs of others before their own. The unsung heros who shape America without the recognition they deserve.

“Working Woman” was published today and it’s time to pay attention to the talent, the voice, and the message of this rising singer and songwriter. Grace Pettis has something to say and she will fight tooth and nail for her right to say it. She doesn’t pound her fist on the table. She doesn’t parade or shake her booty to the sound of feminist shouts. But she picks you up, gives you a warm embrace, encourages you to be who you are, to be proud of yourself, to love with all your might, to reach out for your dreams, and to keep up the hard work. She doesn’t pump her fist in the air, but she keeps on fighting for the working woman.

 
Written by Camille Hourtane

Camille is a bilingual freelance writer with an unending passion for storytelling. She writes pieces in English and in French, with an emphasis on food/travel/society articles and fantasy/gothic/supernatural stories. She likes nothing more than to explore new places, whether in body or in mind.

Photo by Nicola Gell

“I am forging my own authentic path rather than following the pack of what others think I should be. I am a Jackson but I must be me.” – TJ Jackson

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Since embarking on his solo career in 2019, TJ Jackson has released several singles, two EPs, and a number of music videos. His solo venture began with the song “Insomnia”, a perfect taste of what this artist is capable of. With a voice that will draw even the most skeptical of listeners in, TJ delivered a debut single of R&B style and soulful harmonies, revealing his musical creativity. His first EP, “Obsession”, was released in March of 2020. It includes amazing songs like “I Can’t Stand It”, “#1 Fan”, and the title track “Obsession”. Following up with his second EP, “Damaged”, in November of 2020, he made an even bigger step in the direction of a successful solo career.

Opening track “Last Night”, which is one of the artist’s most popular songs so far, is the perfect piece for anyone to start with if you are yet to hear TJ’s music. Take a laidback, traditional hip-hop beat that immediately has you hooked, mix that with a catchy retro bassline and an infectious, syncopated funk guitar track, and you have one of his best songs to date. “Last Night” deals with the theme of spending the night with a particular someone and wanting desperately to return. TJ Jackson perfectly combines different musical elements into this track, making it a song that really has something for everyone. The music video for “Last Night” adds individuality to this already overflowing pot of musical dynamics. In the music video, TJ keeps it simple, with a chic and somewhat cool undercurrent. By simply showing the artist performing alongside a 7-piece band, this video gives us a clue of what his shows might entail: a stripped-back, raw performance, including only the necessary musical features to produce an unforgettable experience.

Although TJ’s solo efforts are fresh and new, this is not his first time in the limelight. Like MJ, TJ Jackson started his musical career in a band with his brothers. Along with Taj and Taryll, he formed the group 3T. The three sons of Tito Jackson were highly successful in the mid-90s. Mentored by Michael Jackson and signed to his label, the group sold over 3 million copies of their first LP, “Brotherhood”, which helped to establish 3T as an international success. At one point, they were ranked as the biggest-selling group in Europe behind the Spice Girls. The fame of 3T has certainly equipped TJ for a lifetime of musical endeavors.

Following the death of Michael Jackson, it was TJ who was handed the guardianship over his uncle’s children. Under his guidance, Paris Jackson’s musical creativity has blossomed, resulting in the successful release of her debut album, “Wilted”, in November of 2020. The daughter of the greatest pop star in history certainly hasn’t missed out on the music gene. In a strong departure from the catchy tunes of her father, she delivered an acoustic indie-pop album through and through. Taking a much more mellow approach to songwriting, Paris seems determined to be portrayed in her own light and style. “Wilted” is an 11-track collection of some of the most emotional and laid-back tunes out right now. Upon listening, you definitely wouldn’t think those esoteric vocals come from an artist so closely related to MJ.

Next to TJ and Paris, Jaafar Jackson is another notable member of the new generation, sure to be a musical hit in the future. He released his debut single, “Got Me Singing”, in 2019. Jaafar, a son of Jermaine Jackson, takes a slightly different approach to his music than TJ, incorporating Latin American flavors. Not only the production of “Got Me Singing” is based on a reggaeton beat, but the amazing music video was filmed in a favela in Rio de Janeiro. Jaafar’s younger brother Jermajesty has plans of launching his musical career soon, while older cousins Austin Brown and Siggy Jackson have worked as musicians for many years. They are all presenting a fresh take on music within the Jackson dynasty and other family members might follow this path.

TV shows including “The Jacksons: A Family Dynasty” and “The Jacksons: Next Generation” provide more insight into the new generation of Jacksons. For a closer look into TJ’s familial life, fans can check out “The Family Rules”, a channel hosted by him and his wife Frances where they are discussing all things marriage and raising a family. An insightful and entertaining creation worth watching and listening to. TJ Jackson is definitely one of the most dynamic stars to arise from the new generation.

 
Written by Jenna Mackle

Jenna is a creative researcher, content writer and music journalist based in London. Having studied Ethnomusicology to a Master’s level, she is passionate about music from various parts of the world.