After performing at 10 other city stops across North America, K-pop group ONEUS returned to Los Angeles to conclude the U.S. leg of their second world tour, “La Dolce Vita.” On April 10, the five-member boy group, which consists of HWANWOONG, XION, SEOHO, LEEDO, and KEONHEE, put on a show at the Wiltern Theater. During this final concert, they gave fans a memorable night full of live vocals and raps, captivating choreography, and fan interactions. 

ONEUS’s Juniors Kick Off the Show

Before ONEUS graced the stage with their presence, RBW Entertainment’s newest boy group, NXD, opened the show with two pre-debut songs. Dressed in ripped jeans, graphic tees, and a basketball in hand — the very image of a youthful group — NXD began their performance with “JUMP.” The energetic dancing and singing was matched by the crowd hyping them up. After the first song, the NXD members (JAEMIN, HIROTO, HYEONGGEUN, DAEHYUN, and YONGJOON) took an intermission to introduce themselves to the audience as well as to ask fans to look forward to their debut. The group then proceeded with their second song, “Giddy Up,” a lively arranged track that accentuates the youthfulness of the members. Their stage presence made such an impression that some TOMOON, ONEUS’s fandom name, commented that they might just have to stan.

ONEUS Create a “Beautiful Memory” in L.A.

Dressed in blue jewel-adored jackets and white pants, ONEUS started off their stage with the Latin-inspired song “Baila Conmigo” and techno-sounding song “Erase Me.” Meanwhile, fans sang and cheered along enthusiastically with their Moonlight lightsticks in hand. After the intro songs, ONEUS took a break to catch their breaths and to say hi to their audience. They introduced themselves with their signature group greeting, “Hello, we are ONEUS!” Their greeting was followed by the hand signs of a one and a circle, which signifies ONE EARTH, the meaning behind ONEUS’ name. 

To keep the energy up, the members asked TOMOON, “As this is our last stop, we want to spend the day without any regrets. You guys are going to help us to create a beautiful memory, right?” In response, their fans screamed in agreement. The lights then dimmed and chairs were brought out for ONEUS’ performance of “Simulation.”

Throughout the rest of the night, ONEUS showcased their versatility by having a range of outfit changes, choreography, and songs. Tracks such as “Luna,” “No Diggity,” and “Twilight” brought high energy, which the crowd reflected back to the members. While their tracks such as “Halley’s Comet” and “Epilogue” calmed down the vibrancy in the room and into more of a melancholic and heartfelt atmosphere. 

“Life is Beautiful” With ONEUS

For the last portion of the show, ONEUS walked out in Dodgers jerseys to perform “Black Mirror” and “Bbusyeo.” Following these two tracks, the members took a moment to capture a group picture with their dancers and fans, solidifying this show as a memory. To continue with the joyous energy, the members then moved on to sing “Life is Beautiful” and “Shut Up Crazy Hot!” 

During these songs, the group brought out bubble and money toy guns, pointing them toward the ecstatic audience. ONEUS also took this time to go out into the crowd to interact with TOMOON. The members made hand hearts, high fived those around them, even blew kisses to fans’ cameras. ONEUS ultimately bid farewell to the fans with “Last Song.” The track’s lyrics of “Let me do it again, love you once again” evoke the need for ONEUS to return in the future with more comebacks, more U.S. shows, and more time to spend with their TOMOON. 

Did you become a TOMOON? Be sure to follow ONEUS on Instagram, X, YouTube, TikTok, and Spotify.

Interested in reading more concert recaps about your favorite artists? Read more here! 

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Friday night’s show in Brooklyn has been a long time coming for Reality Club. The Indonesian indie quartet was previously due in the U.S. for their first North American tour back in 2020 but were postponed due to COVID. This month saw them finally embark on that tour, hitting cities across the U.S. and Canada and closing it out with one packed night at Brooklyn’s Music Hall of Williamsburg.

The “Reality Club” Club

Made up of four members – vocalist and pianist Fathia Izzati, vocalist and guitarist Faiz Novascotia Saripudin, bassist Nugi Wicaksono, and drummer Era Patigo Rizky – the band is touring in support of their most recent release, 2023’s Reality Club Presents… Fans were treated to a dynamic set including the entirety of Reality Club Presents… alongside hits from 2019’s What Do You Really Know? and debut album Never Get Better.

Deftly swinging between highs and lows, Reality Club (accompanied by touring guitarist Gerry Roithart) turned the Music Hall of Williamsburg into their own club for the night. Whipping into a red-light bathed frenzy for rock-heavy “My Arrowhead Man” and “All Along All Things Were Wrong,” they were still able to pivot into the mid-tempo. Swaying in the dotted reflections of the venue’s disco ball, they crooned “I Wish I Was Your Joke,” with ease.

The middle of the set slowed in tempo and feel, introducing some of Reality Club’s more somber heartbreak songs like “You Let Her Go Again” and “A Sorrowful Reunion.” The latter, explained guitarist Faiz Novascotia Saripudin, is about seeing the person you thought you would be with forever after a long time separated. It’s not all power ballads, as they brought energy back up quickly with the slick guitar based “The Ultimate Rush” and dance-worthy, indie pop “Telenovia.”

Goddess Rockstars

Their artful skill at moving between genres within their set is clearly part of their draw as a group, as fans danced gleefully during upbeat songs and gently rocked and joined hands to the softer tracks. But it’s not the only part. 

Fans turned out for the community Reality Club offers. While many in the crowd were Indonesian themselves, a fair number were not, having discovered the band through streaming platform algorithms. Yet the band welcomed everyone with open arms, with bassist Nugi Wicaksono sagely dubbing everyone in attendance into their exclusive fan club of “goddess rockstars.” “It’s very easy to join,” he joked, “all you have to do to be a goddess rockstar is come to a Reality Club show. So now you’re all goddess rockstars!”

It’s a bit of banter between band and fans, but it’s also a representation of how Reality Club treats their fans: there’s no barrier to enjoying their music. There’s no fan club fees or gatekeeping – if you’re there to see them, you’re in the club.

And it’s a fun club to be a part of. The previously mentioned disco ball spun overhead, while members encouraged fans to join in the hand choreo for the bubbly “Am I Bothering You?” Singer Fathia Izzati even handed the mic into the audience a few times, allowing a lucky fan named Simon to sing a few verses for her. There was dancing, singing, a brief moment of Saripudin sitting on the edge of the stage to sing to fans, and maybe even a few tears. Reality Club may have had their initial tour delayed, but they’ve built a community of fans more than willing to wait for them.

On The Rise

Reality Club are rising stars in the scene, bagging themselves two AMI (Anugerah Musik Indonesia) awards last year for Best Alternative Album and Best Alternative Group. Their U.S. tour was preceded by an Asia tour with stops in Singapore, Thailand, and the Philippines, as well as a planned stint at SXSW (which they pulled out from in support of Palestine and in protest of SXSW’s partnership with the U.S. Army).

Sonically, they slot right into the current alt rock scene. Saripudin’s voice holds the same deep, smooth tone as the likes of Alex Turner, while Izzati’s bright charisma and vocal prowess put her squarely in the company of other rock frontwomen like Hayley Willaims and Karen O. Their discography is an impressive quality for its size, with each of their three albums being strong, distinctive pieces of work.

Though there is no news currently of what is next for the band, based on their performance and albums, one can only assume it’s only up from here for Reality Club.

For updates on the band, follow Reality Club on Instagram, YouTube, and Spotify.

Want more concert reviews? Check out our recap of Palestinian rapper Odetari’s NYC show here!

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Last year, Palestinian-American rapper and producer Odetari hit the hyperpop and Dance scene with meteoric success. Entries like “NARCISSISTIC PERSONALITY DISORDER” and “GOOD LOYAL THOTS” became the soundtrack to the lives of many Gen Z and Gen Alpha netizens. Meshing sonic and kingdom hearts memes with his knack for punchy, distorted “video-game” music, Odetari has been launched to the forefront of the EDM and Dance space. And it’s clear that he is dedicated to furthering that success in 2024. 

On February 28, Odetari brought his “Door To Dusk” tour to Racket NYC. This follows his 2023 record of the same name, which featured performances from artists like Don Toliver, Homixide Gang, jnhygs, Kanii, and 9lives (to name a few). The nearly hour-and-a-half concert saw a stacked bill of artists like Atlanta-based rapper Nimstarr, Kanii, Riovaz, and 10zenn. 

Hearts Racing With Nimstarr 

Even before his entrance to the stage, it was hard for hearts not to race with excitement for the first performer of the night — Nimstarr. Hot off the release of his 2024 EP The Heart Racers, fans were excited to hear the latest music live. The rappers’ music meshes dance music and pop, with passionate delivery to offer bouncy soundscapes. Aside from the playful nature of his production, Nimstarr is able to switch lanes from the smoother and more sensual vocal performances like his 2023 entry “Skin” to angst records like “Please Stop Screaming.” 

As Nimstarr went on stage, he was filled with energy. His ability to command audiences left concert-goers feeling like they were at a nightclub. When he wasn’t jumping up and down in between singing and rapping, he was taking time to engage with fans by taking selfies on their phones. It was clear that he adores his fans, like when he brought them up on stage to dance to PSY’s 2013 hit “Gangnam Style.” And though he was not the headliner for the night, Nimstarr’s performance was certainly headliner worthy. 

KaniI, Riovaz, and 10Zenn Make Special Appearances 

Kanii and Riovaz made special appearances during both Nimstarr and Odetarii’s sets. The two musicians collaborated with Nimstarr on their 2024 hit “Heart Racing.” They brought a playful energy to the stage, dancing amongst one another and interacting with fans at the front of the stage. Their inclusion made the already immersive show feel like a superconcert, as they are both making waves within the hyperpop and dance space. A welcome inclusion to this electric set was Odetari’s budding talent 10Zenn, who was able to hold his own during an already stacked performance.

Hypnotic Performances 

Despite the punchy and braggadocious nature of his music, under it all, Odetari is a relatable yet caring musician. Coasting through his set with little quips and pauses to check on the wellness of fans, the one word that best described the night was energy. As he entered the stage, fans erupted into cheers with a mix of hysteria and joy. Racket NYC was quite the intimate venue too, meaning that regardless of where you stood, Odetari and his oversized orange sweater with a beanie — his signature style — was visible. 

He started off the night with tracks like his 2023 hit “I LOVE YOU HOE,” He continued with records like “HYPNOTIC DATA,” “YOU’RE TOO SLOW,” and “GMFU.” It was quite the stacked setlist. Phones were in the air as fans screamed the lyrics, with not a single word missed. It was hard not to want to replay each song so that the show could last a bit longer. The infectious production and harmonies with the backing vocals added newfound treasure to the night. And as the song concluded Odetari said, “We about to get this sh*t turned up are y’all ready?” The night was a party. Even on a Wednesday, he was able to give fans escape into his musical world. 

Part of what makes production on Odetari’s songs so fun is the rawness of it. Because of the inclusion of crushing samples, impactful drums and distorted sounds, hearing the records live created an unforgettable experience.   

Want to keep up with more Palestinian artists making waves in the industry? Read our recap about Saint Levant’s “Deira” here!  

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On February 16, 21-year-old Puerto-Rican American singer ericdoa channeled his inner rockstar at his sold out New York show. Bringing the rockshow to Irving Plaza, he boasted confidence throughout his mesmerizing set. 

Ericdoa released his project DOA on January 19, which was met with critical acclaim for the budding musician. Standing at the forefront of the youthful, DIY hyperpop wave, ericdoa mixed trap with elements of rock in his latest record. Clearly, it resonated with his diverse Gen Z audience as showgoers piled into the venue bursting with excitement. Since then, fans have been waiting in anticipation to hear the music live — even before the show started, fans were moshing, dancing, and hyping themselves up. 

A Strong Start From Bixby

Coasting through his set with effortless vocals and swagger in his performance, opening act Bixby is certainly an artist to watch in 2024. Nonchalant yet charismatic, it should come to no surprise that he’s captivated the hearts of so many. He started the show with songs such as his 2023 record “easy.” As if that wasn’t enough for concert-goers, he also gave everyone a treat by performing his unreleased track “Distance.” Despite the short set, it was a rousing start to the night.

Dancin’ with ericdoa

Showing his love for Puerto Rico, fans could see a metal fence with a large Puerto Rican flag attached. Boxes and a large rock formation were also part of the elaborate set, emanating a grunge feel.

Gracing the stage with “kickstand,” ericdoa was off to a strong start, setting the tone for an unforgettable night of dancing and moshing. While watching him perform, it’s hard to remember that he is only 21 years old. Despite his recent entry into the music industry, ericdoa performs with the comfort of an artist who has had years on the stage. And though he makes glitchcore and hyperpop music, his energy on stage is reminiscent of the lead singers one would find in a rock band. Commanding the stage, making the venue his own, and captivating audiences came easy to ericdoa. Fans across the venue screamed their hearts out to records like “imcoolingoodimstraight.” 

And when ericdoa wasn’t losing himself in the music, he got candid with fans about his manifestations as an artist. Near the end of his set, he reminisced on a time where he spoke into existence the possibilities of him playing sold out shows during 2020. “This place means a lot to me ‘cause i was always here as a f***** child and… it’s right next to home. New York again, I know y’all got me.” 

With sold out shows across the nation and a rising career, ericdoa shows no signs of slowing down. Tickets for the “Dead On Arrival” tour can be bought at Ticketmaster. 

Can’t get enough of ericdoa? Read our review of the genre-bending singer’s DOA here!

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In the heart of New York City, Japanese solo artist Vicke Blanka made his entry on the final stop of his first North American tour. Fans welcomed the musician at the famous Palladium Times Square venue on February 20, 2024. 

Love At First Sight

With many seeing the artist in person for the first time, the crowd cheered at the surreal view of their favorite performer as they were filled with everlasting excitement. Facing the tight pit and the packed mezzanine in the back, Blanka greeted the crowd with a smile and an exciting EDM-esque opening track, “蒼天のヴァンパイア (Soten No Vampire).”

Blanka performed a variety of songs in his oversized white outfit, from fan favorites to more underground tracks. At the start of each song, fans were able to immediately catch on and react, screaming with joy. For the first handful of songs, Blanka bounced to the rhythm of upbeat selections like “Slave of Love,” raising the energy of the venue to the roof. The crowd jumped along with him with smiles on their faces.

Versatility Runs Through Blanka

After such hyper selections, including a bumping techno-house track called “Death Dance,” Blanka caught his breath by walking around the stage for a moment stating, “There’s so much space on this stage, I don’t want to waste it,” making the crowd laugh. Blanka used this as an opportunity to segue into a calmer section of his diverse discography, or “vibing songs,” as he described. These moving tracks included a calming experimental track “Sad in Saudi Arabia” and a more emotional ballad titled “Lucky Ending.” Upon this performance, the crowd watched him sing with a wide vocal range. Fans waited for each song to finish before giving Blanka a long, loud applause.

After recovering his energy, Blanka sent the crowd into a whirlwind as he continued to perform their favorite songs, including those featured in the popular anime, Black Clover. Due to the popularity of the anime, many Western fans discovered Blanka through these tracks and were excited to hear them live.

Blanka also wanted to test the audience’s engagement. “This worked at every show, I wonder if it will work here,” Blanka said before chanting “Aha!” As he expected, the crowd followed his lead. They repeated this bonding call-and-response as Blanka began “Want You Back,” the song that features this chant.

An Audience Blanka Won’t Forget

Despite only making his American debut this year, Blanka’s audience proved themselves to be dedicated and exceptionally loving of the singer. Blanka told his audience he re-recorded every song’s instrumentals for this tour, and this made the fans feel especially appreciated. Throughout the show, the singer made conversation with the crowd – even little details like telling them about his new watch. He was astounded by his audience’s dedication, exclaiming that they made him feel very comfortable on stage here in New York City for the very first time.

Just like we record videos of concerts to capture memorable moments forever, Blanka wanted to save this memory forever, too. After waving at every corner of his audience, he pulled out his phone and began to record himself with the crowd. It’s rather sweet to think that he can look back on his first-ever New York show, and we were a part of it!

After the crowd called for an encore, Blanka promised that, using his “very long visa,” he would return to New York City in the winter or the following year. After performing two encore songs of the crowd’s choice, “Black Catcher” and “Black Rover,” he said goodbye to the audience. Until next time, Blanka!

Are you interested in more Vicke Blanka? Read EnVi’s interview with him here!

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It was almost like a sleepover. Taking respite from the chill of the New York winter outside, fans huddled around the stage of Brooklyn Roulette, bathed in a warm low light. They strewed their heavy coats across the floor and mingled and giggled with each other while sharing bags of chips and drinks. 

The atmosphere didn’t change once mxmtoon, the epitaph of singer Maia X. M. T., entered the stage. It was a stripped down, acoustic set, so all there was to listen to is Maia and her instrument of choice. There was very little of a barrier between fan and artist, literally and metaphorically. She chatted with fans as if we’re all old friends, teasing crowd members for filming on a Nintendo 3DS and gossiping about how Boston fans didn’t get some of the lyrics right during their show.

Plum Blossom Revisited

The concert was an intimate retrospective of Plum Blossom, her debut EP, written when Maia was 18 years old. In November, she revisited her project, re-recording some tracks from the album, like “cliche,” “the idea of you,” and “hong kong” through the lens of her personal and musical growth in the last five years. When talking through her setlist, she seamlessly wove from humorous reminiscing on her past crushes to raw honesty about her teenage insecurities.

mxmtoon’s Slumber Party

This was where the sleepover feeling comes in. By “fever dream,” the show began to feel more like the stage of a sleepover where it’s more early than late, when you’re talking solemnly with your friends about fears and insecurities and the future. There’s an overarching sense of girlhood — the fear of being seen as ugly; the desire to be noticed by a crush; the youthful dream of a perfect prom. But there’s also a feeling of hope, like the act of sharing these fears lightens their burden. As mxmtoon laid bare her feelings, so did her fans, embracing one another or holding hands to sway to the soft ukulele notes of songs like the tender and sensitive “porcelain.” As Maia herself said at one point, “We can all cry together.”

It wasn’t all heavy — some lighter moments include sage advice to not go viral for ukulele music, lest you end up associated with the “toxic gossip train.” She set up the romantic number “i feel like chet” with all the ways people mishear “chet.” Some heard it as “I feel like shit” or as the Vietnamese translation of chet, which is “death.” But she takes it all in stride, saying that however one hears it, it can still be relevant: “Maybe you speak Vietnamese, maybe you had a bad day.”

You Are Enough

A true standout moment was during “stuck.” The relationship between mxmtoon and fans is far from one-sided, and fans wanted to return some of the comfort they receive from Maia’s music. “Stuck,” a rumination on self-identity, includes the lyrics “am I enough?/ I don’t know / am I enough?” As mxmtoon sang them, fans coordinated to hold up paper signs that read, “you are more than enough for us.” 

Mxmtoon reacted in a charmingly funny yet heartfelt mix of swearing, laughter, and even a little moment of choking up. She even joked, “I literally cry when I see a pigeon alone in a park,” to explain her reaction. But Maia did take a moment to pause and recognize how lucky she feels to be a musician and do what she loves, saying, “It’s not a job; it’s a privilege.” This was followed up by, “I was gonna teach kindergarteners; guys, I was gonna be miserable” to keep things light.

Wrapping up with “prom dress,” clearly a fan-favorite song, fans and mxmtoon sang in emotional unison about the fears of not living up to the perfect all-American expectations of high school. The song was a perfect summation of the night, packaging the sting of insecurity with assured notes of hope.

What makes mxmtoon stand out from fellow indie peers is this intimacy with the audience, the reciprocal feeling that as happy as she makes fans, they do the same in return. This concert was more than just a look back at an important album in her career — it was also a clear example of why her future as an artist is blindingly bright. 

Be sure to follow mxmtoon on platforms like Twitter, Instagram, YouTube, and Spotify for updates on future tours and music.  

Want more concert recaps? Check out our review of Sarah Kinsley in Brooklyn here!  

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Samara Joy is a 24-year-old Gen Z artist that is breathing new life into jazz music. This winter, she took her “A Joyful Holiday” tour across the nation, to perform tracks off her A Joyful Holiday EP. And though she is part of a long list of musicians creating Christmas records, she ties in her church upbringing and gospel influences to add a unique touch. 

On December 15th, she took the stage at New York’s iconic Apollo Theater. Samara Joy was met with ferocious applause as she entered the stage. Donning a black sequin dress from the brand Theory, she exuded starpower impossible to ignore. Sparing no time to rep her borough, Bronx, she thanked the crowd for witnessing her “first time at the legendary Apollo theater.” Many artists dream of playing at the Apollo. Samara Joy joins legends like Ella Fitzgerald whose names have been on the Apollo Theater’s bill. This near two-hour set was a must see for jazz fans across New York. 

A Golden Voice with Spirit Like No Other 

“I’ll Keep You Warm” was the first song of the night. This track was oozing sensuality and with each vocal run, it was hard not to get lost in the rich sounds of Samara Joy’s voice. Despite being so young, her hunger and vocal prowess are reminiscent of Black vocal greats that came before her. When she wasn’t singing, she would stand off to the side of the stage, emoting admiration toward her band playing beside her. She was joined by Shedrick Mitchell on the piano, Chally Mikes on drums, and Eric Wheeler on bass. 

The crowd was in for quite the treat. Many found themselves screaming variations of “Yes, girl!” throughout the night, while others covered their mouths in pure awe of the performance. There were times where I even found myself almost getting up out of my seat to burst into applause. 

Family Is Where the Heart Is 

The highlight of the night was undoubtedly the inclusion of the McLendon family. Shortly after “Have Yourself A Merry Little Christmas,” Samara Joy announced that she would be bringing out special guests. “Now, I was very fortunate to grow up in a musical family… To the point where […] I thought everybody’s family just started spontaneously singing together in perfect harmony after we ate our food.” Fans got to see her father Antonio, her cousins Lovey and Tommy, and her uncle Laurone. She explained that her family members had talent across singing, writing, and playing instruments. And it was clear where the Grammy winning singer got her talents from. Each and every member of the McLendon family was able to shine, and surprise the crowd with a controlled and supported vocal performance. Their ability to harmonize and hold complex notes especially left many in awe. 

The McLendon family was the gift that kept on giving. Near the end of the show, Samara Joy brought her 93-year-old grandfather Elder Goldwire McLendon to the stage. Her grandfather led the Savettes, a Philly-based gospel ensemble. Despite his age, his voice was strong, holding years of singing experience with it. And as he finished singing, the crowd was once again brought to their feet, offering the McLendon family another standing ovation.

If it wasn’t already clear just why Samara Joy is a leader in jazz, her performance at the iconic Apollo Theater solidifies her title. At just 24, she harkens back to the old jazz greats of the ‘50s. A generational talent that clearly studies the masters of gospel and jazz who came before her! 

Want to read more coverage on musicians making waves? Read our interview with Leon Thomas here!

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From winning Album of The Year with Mañana Sera Bonito at the 24th Latin Grammys to embarking on her first stadium tour in the United States and becoming one of the most streamed artists on Spotify, Karol G has made headlines throughout 2023. This year has been a turning point for the Colombian star, who cemented her place as one of the most prominent musicians in the Latin American musical scene. Recently, “La Bichota” — as she’s best known — painted her hometown, Medellín, pink with the Mañana Será Bonito Fest. 

Karol G brought the high-octane festival to her hometown in Colombia on December 1-2. The last time she took over the town was back in 2021 with her Bichota Tour. This time, however, she turned the two-day show into a festival. The event provided food services, cultural and entertainment spaces, and an interactive experience called “El Mundo de Carolina.” From beginning to end, the two-date show — which took place at the stadium Atanasio Girardot — was packed with colorful, eclectic energy and unforgettable surprises. 

Painting Medellín Pink  

No place was more fitting for Karol G to conclude a successful year than her hometown, Medellín. The city served as the first stop for the Latin America leg of her tour, Mañana Será Bonito, which will run from February to May 2024. As a unique homage to her town and its people, the singer brought two shows in the shape of a “Fest,” as she calls it, making it the first time she implemented this concept. 

Although her shows are known for their high production level, Karol G took things to the next level. From the moment the festival doors opened at 10 AM, the audience had the chance to immerse into “El Mundo de Carolina,” a space filled with photo-worthy locations, interactive experiences, and games. The entire section was decorated in pink, with mermaids and animations, which are her latest album’s representative colors and designs. Fans waiting to enjoy Karol G’s performance in the evening could also ride a Ferris wheel and claim gifts from brands.

Fans Were in for a Ride

Nevertheless, none of the fest’s surprises prepared fans for Karol G’s performance. As soon as she stepped on stage, the stadium was filled with the singer’s vibrant colors and music, setting the tone for a night of fun, catharsis, and incredible surprises. 

La Bichota opened the concert with “TQG,” her collaboration with fellow Colombian singer Shakira. The audience was euphoric, singing and dancing along to the lyrics. From beginning to end, the festival explored the singer’s discography, diving into her most recent and popular records such as “MI EX TENÍA RAZÓN,” “Tusa,” and “PROVENZA.” But the Colombian star also took a trip down memory lane with several early tracks including “A Ella” and “Mi Cama.”

On both dates, the artist allowed the audience to enjoy collaboration stages with several Latin American musicians. On the first day, she shared the stage with renowned bachata singer Romeo Santos to perform their track “X SI VOLVEMOS.” Karol also brought Puerto Rican rapper Young Miko on stage to sing “DISPO.” Fellow reggaeton stars Cris MJ and Ryan Castro made a cameo to perform “UNA NOCHE EN MEDELLÍN REMIX” and songstress Becky G took the stage for “Mami.”

For the second date, Karol G mixed things up, taking DJ Tiësto to perform “PROVENZA REMIX” and closing the concert with an upbeat EDM track. Day two of the Mañana Será Bonito Fest also featured a collab stage with Mexican star Peso Pluma, who performed “QLONA” alongside Karol G for the first time. Then, fellow Medellín musician Feid stepped up for “FRIKI,” a special performance that caused a frenzy among fans as both artists turned it into their own dance show. 

A Love Letter To Fans 

Karol G concluded this two-day event by thanking her fans for their love and support. In an emotional speech, she expressed how proud she is of her origins and the happiness she felt performing in Colombia. “I know who we are, I know the type of people we are, the type of people that come from Medellín, from Colombia,” she said in Spanish. “[I know] how hard we work and that’s the only thing I want to present to the whole world, and [I want] Colombia to feel proud of what we have here.”

Photography by PHRAA

Carolina Giraldo Navarro, best known as Karol G, has always taken pride in her country and culture. The first Mañana Será Bonito Fest was no exception. To show gratitude for the love and support she has received over the last 10 years of her career, the 32-year-old singer wanted everyone in Antioquia (the department Medellín belongs to) to enjoy the concert, rejoice with her songs and take part in the Mañana Será Bonito era. The artist let the municipalities across Antioquia enjoy the second day of the concert for free, setting up screens to broadcast the show in 23 public squares. Karol G wanted this event to encapsulate what it would be like to experience her concerts, and for the whole department to relive and resonate with the message of her record-breaking tour. 

From Colombia to the World

Mañana Sera Bonito Fest celebrated Karol G’s message of femininity, empowerment and starting all over again after letting go of the past. With the two-day event, the singer continues to break barriers in the industry and cement herself as a music powerhouse. She is also setting the tone for the Latin American leg of her tour, which will arrive in 15 cities, including Mexico City, Santo Domingo, Lima, Buenos Aires and Bogotá.

Needless to say, the festival marked the start of a new era. La Bichota made a statement about her influence, ultimately encapsulating the pride of being Colombian. And there’s no doubt that even after traveling around the globe, her home, Medellín, is always ready to welcome her with open arms.

Interested in more Latin American stars? Check out Danna Paola’s latest music release here.

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A weeknight show did not stop excited concertgoers from filling the Music Hall of Williamsburg in Brooklyn, NY on November 13. On Monday night, fans lined up outside the venue to see Chinese American singer-songwriter Sarah Kinsley perform her 1.5-hour set, focused on her new EP titled Ascension.

Walking into the venue, previously known as Northsix, fans were met with an aesthetically lit-up brick hallway leading to two sets of stairs. The sound of muffled music from either side hit their eardrums, bringing forth a nostalgic feeling like walking into the memory of what a classic music bar felt like back in the day. 

Just as doors opened at 7 p.m., a quarter of the floor was filled with Sarah Kinsley fans, while others gathered on the balconies above. As the clock approached 8, more and more attendees filled the space, antsy to see the artist.

Great Opener for a Great Show

Say Hello to Sarah!

A familiar instrumental filled the room after a drummer, guitarist, and keyboardist entered the stage. Immediately, fans were able to recognize the tune and turned their heads to the band. Kinsley ran up to the mic to begin the performance. The crowd erupted with excitement, cheering like this was the moment they’d been waiting for their whole lives. The energy of the room was uplifted as she graced the venue with her presence. 

Kinsley seemed to know her audience too well; from what they wanted, to how they felt. While she performed upbeat hits like “Oh No Darling!” and “Karma,” the audience connected with Kinsley — jumping in the crowd with their hands in the air as she twirled and danced on stage. She also approached the keyboard to perform her downbeat, melodic tracks such as “I’m Not a Mountain,” or “Ascension” — the title track of her latest EP.

The Queen of Fan Interaction

During the concert, Kinsley walked over to a piece of equipment similar to a sampler MIDI keyboard and began to create a beat. She turned the microphone to the audience after telling them to sing a specific note. The frequency filled the room and she got her sample. The crowd gasped and cheered after she began playing her song with the voices she had just collected, transitioning into the next tune. Kinsley made a lot of eye contact and gave out many cute smiles at fans throughout the concert, taking advantage of such an intimate venue. 

Witnessing Kinsley perform on stage, you can truly feel the connection she has with her audience. Her music has a way of hitting you in the heart — right where it needs to. When the music slowed down, the audience did as well, singing along. When it picked up, fans smiled and danced together. Every word of each song was sung by the entire audience as they held each other and rhythm took over their bodies. Seeing this in her crowd, Kinsley’s face lit up — presumably due to experiencing a feeling incomparable to any other. 

Once Is Never Enough 

After a few last songs, Kinsley and the band ran off stage very quickly — but fans wanted more, chanting “Encore! Encore!” for nearly two minutes! Granting their wish, Kinsley ran back on stage with the instrumentalists to sing a special encore of her song “Oh No Darling!” from the Ascension EP. This performance was exceptionally hyper — with louder instrumentals from the band and more energy from the audience. It marked a fantastic end to the show, leaving fans with one more taste of what they came to the venue to see. 

Enchanting the Crowd

Writing and producing the music herself, it is clear that Kinsley’s work comes from the heart, similarly traveling to the hearts of the listeners. The dedicated crowd expressed both excitement and sadness throughout the show. Couples attended the concert with their arms wrapped around each other, and friends hugged and jumped up and down together during the upbeat tunes. Attendees were captivated by Kinsley’s onstage motion as she twirled, jumped, and even went on the ground at times. 

Many fans were impressed by Kinsley’s live vocals. Outside of the venue, one fan stated that the vocals were “nearly identical” to the studio recordings and that they appreciated the way her songs were arranged to be on the rawer side. Fans began to make their way home, anticipating Kinsley’s future return to NYC, post her second show at the Music Hall of Williamsburg scheduled the next day. 

Be sure to follow Sarah Kinsley on Instagram and Twitter! 

Want more of Sarah Kinsley? Check out our recent Artist Spotlight with her, here!

The post Concert Recap: Sarah Kinsley Leaves New York City in Awe appeared first on EnVi Media.

What do school uniforms, pineapple sunglasses, and bass-pounding electronic music have in common? 

They could all be found at the New York City stop of ATARASHII GAKKO!’s “The SEISHUN Tour,” which had the Music Hall of Williamsburg on their feet all night. This 10-day tour is their first venture across North America, hitting cities like San Francisco, Washington D.C, Chicago, and Toronto. Despite New York audiences having had the rare chance to see them earlier this summer at 88rising’s Head in the Clouds festival, the Brooklyn stop was still sold-out in anticipation. 

Flowing seamlessly between jazz, punk, and EDM influences, the four members of ATARASHII GAKKO! – Mizyu, Rin, Suzuka, and Kanon – treated New York City to an exciting, hypnotic, and truly next-level show.

Free Your Mind

ATARASHII GAKKO! are a masterclass in showmanship, and their show on Saturday was a prime example. From the first notes of the opening song, “SEISHUN WO KIRISAKU HADO,” they had the crowd in a frenzy. Everything in their set worked together to create a near manic feeling of excitement: strobing LED lights, bold, chanting choruses, and lively, acrobatic choreography.

Known for their genre-bending sound, ATARASHII GAKKO!’s set covered a variety of feelings, from the upbeat “CANDY” to the Sukuna-dubbed “sexy song,” “Otona Blue.”  “Suki Lie” added a jazzy, music-box sound with a matching doll-like choreo, while “The Edge” mashed up a rock chorus with a retro 8-bit bassline. Some songs even mixed genres throughout them, including “Pineapple Kryptonite,” which jumped from an upbeat, repetitive chorus to an eerie, melodic post-chorus. And in a fun twist for their American audience, they added in a cover of the Beastie Boys’ “Intergalactic.” It fit so well with ATARASHII GAKKO!’s existing songs that it took some concertgoers a moment or two to recognize that it was a cover.

Each song had an accompanying complicated choreography. But unlike many other choreographies, ATARASHII GAKKO!s involved pyramids, lifts, tumbles, and cartwheels. The choreos shown weren’t just movements to accompany the lyrics: they added a rich, visual experience to each song that could only come when watching the group live. “Pineapple Kryptonite,” for example, featured dramatic, emotive “fight scenes” and mimed murder to complement its haunting “before you die/sing a lullaby” post-chorus. On the other hand, more playful songs like “Fantastico” had lighter elements — including a mid-song limbo game — to complement the track’s gibberish lyrics.

Tokyo Calling

Perhaps the most impressive of the night was the level of passion from the audience. Despite the group asking a few fans to say something in Japanese, it was not likely the whole crowd was fluent in the language. But that didn’t stop fans from singing along with “Tokyo Calling” and “NAINAINAI,” jumping so hard the floor shook.

ATARASHII GAKKO! did an excellent job keeping this energy high. Member Suzuka could be found randomly popping up in the audience, from standing on the barricade to sneaking up onto the balconies. Rin, Mizyu, and Kanon held down the stage, pointing their mics to fans to sing and gleefully waving to the adoring crowd. During pauses in the set, they played around with fans, handing over the mic and asking them to say something, anything, in Japanese.

It was clear why fans liked ATARASHII GAKKO!, language barrier or not. The songs were exciting, perfect for amping up crowds and keeping them at that level. The members themselves were charismatic beyond belief: they had complete control over the stage yet never overpowered one another. As a concert, it was pure, unadulterated fun. 

Not Your Typical Girl Group

Positioning themselves as representatives of Japanese youth, ATARASHII GAKKO! rebel against the “norms” of Japanese society through expression and individuality. While many could consider them J-pop, it’s not a title they embrace, instead preferring to be known as a performance unit.

And performance is definitely the word for it. From the costumes to the genres to the facial expressions, every aspect of ATARASHII GAKKO! is crafted to be the antithesis of a girl group. They contrast their innocent, schoolgirl-esque appearance with decidedly “unladylike” movements. It’s a delight to see them on stage, doing all the things young women are often scolded for doing, such as squatting, high kicks, jumping over each other, making faces, and rolling on the ground. There’s a youthful joy to their performances, reminiscent of a childhood before growing up and being told to “act like a lady.” It’s freeing. And during their set, fans were given that freedom, too. Freedom to dance, jump, sweat, scream, all in tandem with ATARASHII GAKKO! 

The only complaint? An hour-long set wasn’t nearly enough time, leaving audiences still clamoring for more at the end of the night. While this may have been ATARASHII GAKKO!’s first U.S. tour, it seems like it’s far from their last. 

For more from their tour, be sure to follow ATARASHII GAKKO! on Instagram, TikTok, and Youtube. 

Want more ATARASHII GAKKO!? Check out our artist spotlight of the group here.

The post ATARASHII GAKKO! Lead Their Audience Through an Electric New York City Concert appeared first on EnVi Media.

Last Saturday night, New York City’s Mercury Lounge looked unassuming from the outside. Yet behind the double doors at the back of the bar was a pop wonderland, with Chinese American singer Emei at the helm.

During the first of two New York City stops on her largely sold out “Cynical” Tour, the energy and excitement in the room was palpable. Opening the show were pop acts Lulu Simon and Lilyisthatyou, both putting on vibrant sets that set the tone of the night.

From the first notes of “Backtrack,” the crowd was ready to go, singing along with a fervor normally seen in much larger crowds. But the enthusiasm is infectious — the passion Emei’s fans have for her and her music makes the show all the more fun. It was a joy to see the relationship between the two; the more excited the audience got, the more spirited Emei became. She showed a real bond with the audience, and it made for a really strong performance.

Backed up by a live band, Emei kept fans jumping and dancing through a set of high energy pop tracks like “711” and “Irresponsible,” and dramatic swelling anthems like “Better People to Leave on Read.”

She blazed through her set with all the makings of a true pop star, from the cheeky “Picky” to the more somber “Regrets” and the bouncy “That Girl.”

The fans passion seems to come from her balance of relatable songwriting and catchy hooks. The chorus of “Scatterbrain” may have the snappy, lilting “sca-a-a-tterbrain” that first captures people’s attention. But it’s the rest of the lyrics describing feelings of being lost and overwhelmed that keep it.

Hold It All Together with A Little Duct Tape

Other songs like the pop-punk influenced “End of an Era” and the burnout anthem “Ferris Bueller” garnered similar reactions from the crowd. The music stylings and lyrics about sending emails for hours or “holding on like an autumn leaf” bring up feelings of exhaustion and frustration that the largely early 20s crowd knew all too well.

Artists will always try to be relatable, but Emei brings a level of approachability to her performances that makes it all feel genuine. In between songs, she took time to goof off with the audience about being from Central Jersey, not North Jersey, or South Jersey. She tossed shirts to fans, and a drumstick, promising to sign them after the show.

At one point in the set, she paused. “I’m going… there,” pointing to the middle of the crowd. Once there, she asked everyone to sit. As a daughter of Chinese immigrants, she grew up speaking Chinese and listening to Chinese music, so she wanted to sing a Chinese song for us. She then, from the floor, sang a soft, soothing cover of Mavis Fan’s “我要我们在一起 (I Want Us to Be Together)”, mashed up with Maroon 5’s “Sunday Morning.” That moment felt like the summation of the entire concert, and of Emei as an artist: a humble, yet undeniably captivating performance that combined culture and language, all while surrounded by dedicated fans.

That Girl

The ardor from Emei’s audience was, in a word, unrivaled. The crowd knew every single word to every single song- including the unreleased “Human Being,” which had only been played once before. As the show went on, it became clear that fans had traveled from all over to be in that room: New Jersey, Washington D.C., and even Virginia. 

Two fans, Maddie and Ray, drove over ten hours to be at the show. Speaking to EnVi, they walked through their quick trip to New York: “We drove up last night,” explained Maddie, “and we have to go back tomorrow morning. We came just for Emei.” When asked if it was worth it, Ray didn’t even have to think: “Of course.”

Watching Emei live, it’s easy to understand where the devotion comes from. Her music is a perfectly packed punch of relatability, wit, and catchy hooks. Her stage presence is bubbly and fun, echoing the likes of Olivia Rodrigo and Paramore as she jumps around the stage, tossing beach balls into the crowd. An Emei concert is a fun night out with plenty of singing and dancing, but it’s also a reminder, heard in the in-unison singing of lyrics like “Why do I have to be so / Cynical” from closing song “Cynical,” that no one in the room is alone in what they feel.

Pop is not a genre hurting for artists. But Emei stands out from crowds of TikTok sounds and wannabe viral lyrics with a bright, energetic yet honest take on the genre. Her stage presence and joy of performing elevates her as an artist even further, proving she can sustain beyond the TikTok sound bites. And with a majority of her first U.S. tour being sold out, and two shows announced at larger venues in the new year, it’s clear that her only direction is up. Word of advice? Try to squeeze in a show before she hits the stratosphere.

Emei’s “Cynical” Tour continues across the U.S. throughout November, and again in April with further stops in New York, Los Angeles, and Europe. Be sure to follow Emei on Twitter and Instagram for all the latest news, and even join her Discord server for more updates from the tour.

Want more Emei? Check out our coverage of her recent single “Cynical” here!

The post Concert Recap: Emei is “That Girl” in New York City appeared first on EnVi Media.

It’s been a busy year for Madison Cunningham. In 2023, the American folk singer opened the year winning a Grammy for Best Folk Album and ended it as the supporting act for Irish singer-songwriter Hozier on his largely sold out Unreal, Unearth tour.

On Sunday night, however, Cunningham stepped out from the opening act slot to headline her own show at New York City’s Bowery Ballroom. Playing songs from her most recent release Revealer and her debut album Who Are You Now, Cunningham kept a full house captivated with cool vocals and a dynamic live band.

An Emotional Journey

Opening with the soft, crooning notes of “Something to Believe In,” Cunningham took the audience on an hour and half long journey through her successful discography and a range of genres and subjects.

Fans cheered for the lilting opening notes of “L.A. (Looking Alive).” Bopping along in a delightful tandem, they matched the cheery cadence of the song. Other upbeat folk songs like “In From Japan,” “Anywhere,” and “Common Language” got similar treatments, keeping spirits high. The crowd fed into the lighter energy with playful calls of “We love you!” and “You’re so good at music!” between songs. Cunningham called back in good fun, in-between her own jokes of being her own (underpaid and not-so-great) guitar tech.

Cunningham also took fans through edgier routes with the twangy guitar riffs of “Hospital.” The song’s “I am always one man down” post-chorus had fans sing-shouting along in earnest. Bass-heavy and funky “Pin It Down” and deluxe album addition “Death by Suspicion” followed, taking a more angstier approach to Cunningham’s musings on fragility and anxiety.

But it was the softer acoustic sets that really showcased Cunningham’s power as both a songwriter and a performer. Alone on stage with just her guitar, Cunningham took the audience through the fan-requested “Sarah and the Silent Crowd,” the loss-centric “Inventing the Wheel,” and the COVID-era “Broken Harvest,” leaving the audience silent in their reverence. It’s a near religious experience. Not in a literal sense, but more in the way that it feels both Cunningham and the crowd are singing for something greater than themselves. By the time she finishes the last, heartbreaking “Once your girl, I’m always your girl” line of “Life According to Raechel,” a song inspired by Cunningham’s grandmother, much of the audience (and the author) is in quiet tears.

A Powerhouse Performer

Cunningham’s latest album Revealer is a turbulent one. Sifting through difficult emotional states while also experiencing difficult external ones, the record describes a state of limbo. Her show also created this feeling for fans, contrasting Cunningham’s solid, stoic figure as the frontwoman with a psychedelic swirling tree branch backdrop and rolling, vivid stage lighting. Combined, this made a show that felt both mystical, yet entirely down to earth.

Cunningham’s presence on stage was enchanting. Donning a sheer black cape and draped in dramatic lighting, her haunting vocals rang out clearly across the crowd. But between songs, Cunningham was an approachable, charming 25-year-old woman, joking about this performance being tougher than her previous night’s opening act at Madison Square Garden since she “could see everyone’s faces. And pores.”

Cunningham is a charismatic performer, resulting in near silence from the crowd as they watched raptly as she picks and croons through an emotive set list. She doesn’t need to whip and whirl around the stage to command attention, she simply has “it” — the kind of onstage presence that makes the comparisons to Joni Mitchell and Fiona Apple seem so clear.

With a loaded performance — a full band, a vigorous lighting display by the incredibly talented Ben Factor, and even a string quartet — it could be easy to be overpowered. But through it all, all eyes were only ever on Cunningham. And with this level of performance and her strong body of work, it seems that attention will only grow.

Madison Cunningham is continuing her fall tour with dates in Austin, Seattle, and Los Angeles. She will also be continuing as the supporting act for Hozier on the rest of his U.S. tour dates through December. Be sure to follow Madison Cunningham on Twitter, Instagram, and YouTube for more updates from her tour.

Want more concert recaps? Check out our coverage of SE SO NEON in New York City here.

The post Concert Recap: Madison Cunningham Enchants New York City appeared first on EnVi Media.