I knew very little about female rapper Psalm One when I arrived at the Englert. I’d never heard a song of hers and I had no clue what to expect, but as the theatre filled up with twenty-somethings, I knew I was in for something great.

As Psalm One’s DJ for the evening, Angel Davenport, got on stage, there was immediate applause. As she introduced Psalm One, the audience automatically seemed happier.

As she strolled on stage, one of the first things she said was “if you’re ever feeling the mood in here and want to dance or move, please do.”

Then she began rapping and I was instantly entranced. As I watched her start her set, I thought to myself “she was really born to rap live”. She is clearly in her element.

Psalm One’s music reminds me of a combination of Princess Nokia, Missy Elliot, and Noname, but it was still all her own. It was rhythmic, it was impactful, it was moving.

Both Angel Davenport and Psalm One made a point to engage the audience as much as they could in a fun way. It wasn’t just a thank you three or four times through a set. There was something personal about how they chose to interact with the audience.

At one point, Psalm One explained that she doesn’t rap or sing, but instead she “saps.” She and Davenport also interacted with the little girls dancing to their music in the front row, which was entirely too cute.

The chemistry between Psalm One and Angel Davenport fueled the performance. It created an empowering, positive environment that filled the theatre.

They were constantly hyping each other up like they were best friends dancing around their room at a sleepover. It felt like as they were getting more comfortable on the stage, the audience was more comfortable expressing themselves.

The notes I took during the performance confirm it: “Something emotional happened here.”

There was an entire audience standing and dancing. There were two women on stage owning their presence, confidence, talent and sex positivity. It was like magic watching people interact with the moment.

If women could live in a world that was just like Psalm One’s concert, I think it would be a much better place.

While I thought that the venue would be a barrier for the artists performing, it never was. The Englert gives each attendee a seat, and all the artists that night make moving music. Still, people still got up to dance and move along with the music, but it was sometimes odd to remember we were in a theatre.

She has also performed at The Mill, Gabe’s, the Blue Moose, and the Yacht Club in the past, so it’s likely we’ll see her again in one of these venues.

This year’s Mission Creek was an incredible success and I already can’t wait until next year’s!

Make sure to listen to some of Psalm One’s albums below and watch for her to come back to Iowa City in the future!

The post Mission Creek Festival: Psalm One @ The Englert 4/8/2018 appeared first on KRUI Radio.

Emmylou Harris is a country singer and has released 26 studio albums alongside 11 compilation albums and three live albums from the 60’s up until 2011. “Wrecking Ball” is her 18th studio album and widely considered a point of new direction for her music.

When country radio stations began giving airplay from traditional country music artists to “new country” geared toward youth in the 90’s, Harris began working with Daniel Lanois. Lanois is a producer that has worked with artists like U2 and Peter Gabriel. While this pushed her further away from those country radio stations, it gave her a huge push into the alternative-country, Americana, and alternative country sphere.

It’s easy to hear this shift in style between her previous albums and the music she makes post “Wrecking Ball.” The way she sings has much less twang and isn’t nearly as the acoustic guitar-banjo combo. While some of these traditional country elements still make their way into her atmospheric, airy alt-country music, it’s easier to dig deeper into.

All but two of the songs on the album are renditions of other artists’ songs; similar to Joan Baez’ “Diamonds and Rust,” which I wrote about in the last edition of Stella. These songs include Neil Young’s “Wrecking Ball,” Steve Earle’s “Goodbye,” Julie Miller’s “All My Tears,” Jimi Hendrix’s “May This Be Love,” Anna McGarrigle‘s “Goin’ Back to Harlan,” and Gillian Welch’s “Orphan Girl.”

Some of these songs were previously covered in the banjos and twangy voices that used to cover Emmylou Harris’ music, specifically “Goodbye,” “Goin’ Back to Harlan,” and “Orphan Girl”. However, these songs have an entirely different emotion when given to “Wrecking Ball.”

Harris sounds like she’s singing across miles. It’s like she’s singing back a few years. Like her voice is sailing through wind or through envelopes. The beautiful production also doesn’t hurt this feeling. Windows were opened throughout Country and Americana genres because of this new feeling. There was finally another way for this kind of music to sound and it was doing exceptionally well.

While she only contributed her writing to two songs on the album, “Deeper Well” and “Waltz Across Texas Tonight,” the touch she puts on each of the songs is worthwhile and opened up a few genres to more amazing, expansive possibilities.

My personal favorites from Emmylou Harris’ “Wrecking Ball” are “Where Will I Be,”  “Goodbye,” “Wrecking Ball,” “Goin’ Back to Harlan,” “Every Grain of Sand,” “Sweet Old World.” “May This Be Love,” “Blackhawk,” and “Waltz Across Texas Tonight.” In other words, basically the entire album.

“Where Will I Be” and “Goodbye” display the differences between her previous work and her sound after “Wrecking Ball” really well and better than any other songs on the album.

The lyrics from “Waltz Across Texas Tonight” are lovely: “We folded out cards when the hand wasn’t strong’ and ‘You’ve crossed over bridges and bridges they burn/So many rivers and so much to learn.” Since she wrote some of the lyrics to this song, it makes me wish that we’d been able to see more of that here, in the album she used to transform her sound.

I’m not the largest fan of “Deeper Well,” “May This Be Love” (other than the guitar, I just believe that the drums take away from the rest of the song) and “Orphan Girl” (the original by Gillian Welsh is preferable).

This weeks Woman Who Didn’t Get a List is Quay Dash: a rapper and trans woman of color from the Bronx. She was discovered by the same people who discovered Azealia Banks and was signed to an independent label. After releasing several singles she released her first EP titled “Transphobic” last September on her 24th birthday.

My favorite songs of hers are “Bossed Up,” closely followed by “Decline Him.” Both, which are on her EP. She calls her song “Wilin'” a big “f*ck you to transphobia,” and also shows how rhythmically involved she is. Her music is very body confident and sex-positive alongside the amazing production put into her EP. The world needs more of Quay Dash and her music since she’s speaking out for the rights of trans women of color and also just makes really cool songs.

Listen to Emmylou Harris’ “Wrecking Ball” and Quay Dash’s “Transphobic” below!

Stella is a column surrounding analysis and appreciation of the 150 albums chosen by The National Public Radio (NPR) as the best created by women thus far. Every other week I choose an album from this list I’ve been wanting to listen to that either peaks my interest or seems like an essential piece to listen to and write about. The column’s goal is to provide female identifying readers with the empowerment that can only be obtained through a badass woman and her amazing music.

The post Stella: “Wrecking Ball” by Emmylou Harris appeared first on KRUI Radio.

Sunday November 2, Atmosphere brought their “North of Hell Tour” to Blue Moose Tap House.

Emcee Slug’s highflying rhymes more than pleased the eager Iowa City crowd—one that felt like home for the Minneapolis bred tandem. DJ Plain Ole Bill joined the group on stage, trading off tweaks & scratches with DJ/producer Ant.

The Rhymesayers extravaganza bill included Dem Atlas and Prof, both Minneapolis born, as openers for the legendary hip hop act.

Dem Atlas was the first to hit the stage. Positivity, screaming, and flailing dread locks created an electric energy on stage. The 22 year old emcee’s material consisted mostly of his Charlie Brown EP, culminating in a passionate performance of “All We Got”—a call to arms to today’s youth to stand up and fight for all that’s good and just in the world.

Rhymesayers Entertainment’s second act of the night was Prof who made sure to bring the party. Dressed in a honey badger t-shirt, his tenacious demeanor reflected that of the vicious mammal. Playing his energetic tracks “Farout” and “Me Boi,” his passionate storytelling meshed with DJ Fundo’s mixing were nothing short of hype. 

Wasting no time at all, Ant and Plain Ole Bill spun the crowd right onto Lake Street, literally. The house lights went black and a piano-driven beat dropped. Slug emerged from the corner of the eerie lit stage–stepping into Hell possibly? Or maybe a little North of it? You be the judge:

Atmosphere didn’t pause to chat it up with the crowd as Slug jumped quickly into their lyrical history. Covering everything from their days before Rhymesayers Entertainment with “God’s Bathroom Floor,” to their latest single “Kanye West,” Slug’s poetic lyricism meshed with the cohesion of Ants classic mixes created an exciting evening. 

Rooted in northwest hip hop culture, Atmopshere’s music consists of heavy lyrical content over alternatively influenced beats. No better example would be the track “Flicker,” from their eighth studio album Southsiders. Written in memory of label mate, fellow rapper, and close friend Eyedea, Slug’s emotional performance was met with a see of flickering lighters and cell phone screens. While the rest of the show Slug is backed by Ant and Plain Ole Bill on the 1s and 2s, Slug is left alone for this one with just the background track playing. This choreographed move makes for a meaningful tribute to their lost Minneapolis brother.

Closing the night, Dem Atlas joined Slug center stage to trade off freestyles–A signature move that is the mark of this true hip hop legend.

Checkout some photos from the show below.

The post Show Review: Atmosphere @ Blue Moose 11/2/14 appeared first on KRUI Radio.