Friday, 26 June 2015

DIGITAL WORDS / Juno Calypso Interview

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Juno Calypso is the name you need to know on the London art scene. 
The artist and her staged alter ego, Joyce, is making waves with her self-portraits that examine Americana suburbia, consumerism and ideas around beauty and femininity – all with a distinctively unsettling and compelling vision.
Ahead of her upcoming exhibition as Artist of the Day at Flowers Gallery (21 Cork Street, London, W1S 3LZ) on July 2, we spoke to Juno about her life, art and style. 
Check out what Juno had to say and some of her best work below…
Hey Juno! We can’t decide if we think of you as a photographer or an artist… Which title do you prefer? 
I like artist because taking the photo is only the last small step in a long process of prop making and set building. And because it let’s me off when I forget how to use a camera properly! 

How did you get started in your line of work? 
I studied photography at London College of Communication where the course was very fine-art based and they really taught me how to make a career as a fine-art photographer. After I graduated I was nominated for the Catlin Art Prize and I’ve been hitchhiking around the art world since then. 

Tell us about your character Joyce. Where did she come from? What does she represent?
Joyce was an accidental child. I used to only photograph friends and models but I’d always use myself as a stand-in model to test out the lighting a few days before a shoot. I’d pull ugly faces to make the experience less awkward and one day I brought the pictures into uni just to have something to show my tutor for our weekly deadline and she loved them.
My face made her laugh and that was an interesting reaction that changed everything. Before, all I wanted to do was make hyper-alluring glossy images of women looking sexy and dangerous. Now I use my weird face to make people laugh but also to explore the exhaustion women often feel while bearing the weight of constructed femininity.  

What is the proudest moment of your career so far? 
I think being awarded first prize and full marks for my degree show is still my favourite because I had no idea if my work was any good then and I’d worked so hard for it. I’m a born and bred Londoner so seeing my work on the underground was cool too. 

What’s coming up for you next? 
I have a solo exhibition at Flowers Gallery on Cork Street on Thursday July 2nd where I’ll be showing a new body of work that I shot at a couple’s honeymoon hotel in America. I went by myself and it was a very awkward experience but I can’t wait for people to see the images. 

Written for MY FLASH TRASH

Thursday, 18 June 2015

Sunday, 31 May 2015

DIGITAL WORDS / Bebe Rexha Interview

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Think you don’t know Bebe Rexha? Think again.

She co-wrote ‘The Monster’ and gifted it to Eminem and Rihanna – which is one of the Slim Shady rapper’s best-selling No. 1 hits of his career, just FYI. And you will also be familiar with her roaring vocals on the chorus of David Guetta and Nicki Minaj’s latest radio banger ‘Hey Mama’, as well as Cash Cash’s ‘Take Me Home’.

The 25-year-old New Yorker is a huge pop star just waiting to explode. Her edgy look is a refreshing antidote to pop’s overtly bubblegum flavour at the moment, and she writes songs that every girl can relate to (please see ‘I Don’t Wanna Grow Up’ and ‘I Can’t Stop Drinking About You’).

Bebe grew up watching TRL, checking her local Toys R Us on the daily in the vain hope that the Baby Spice doll would be back in stock, and freaking out about seeing the video for ‘…Baby One More Time’. Essentially, she’s just like us!

We caught up with  Ms Rexha backstage at a recent live showin Shoreditch, London where she tore the joint up. In between sips of herbal tea to soothe her vocal chords and showing us the eclectic collection of jewellery she had packed in her luggage – a scented coin necklace from Turkey, a gifted necklace from her record label, a body chain, statement earrings and shell rings from Israel –  Bebe chatted to My Flash Trash about her musical upbringing, fashion and beauty tips, life advice and gave us some preview info on her upcoming debut album…

Hey Bebe! Let’s get straight to it. You’ve described your look before as “grunge glamour”. How can we emulate your look?
Mix cool expensive stuff with cheap shit. I’ve got Doc Martens on today but I have a pair of Vesaces that I travel with too. A really good leather jacket is essential. I recently bought a real leather motorcycle jacket, it’s so heavy, it’s about 20 pounds. Tons of jewellery is good too, as well as jeans and lots of t-shirts to switch up underneath. Layer shit – layering is key. Get the basics together and then add to it.

How about your makeup? Your eyeliner is always perfect.
I’m very simple. I bounce between two classic looks. One is clean winged eyeliner and really pretty lashes, and a red lip. The other is a smoky eye and nude lip. Sometimes I just take an eyeliner and smudge it, lashes on and apply a bit of bronzer.

So how has your European tour been going so far?
The crowds have been very respectful and listen to everything I say. In the US they’ll be a little more crazy, but I’ll get to a slow song and I’m like, “Shut the fuck up!” That happened once. I told everyone to shut up and they wouldn’t listen. I was being dead serious but they just kept cheering me on. In Finland yesterday I cried. It was the first time there has been an audience that knew every word to all my songs. I got emotional. There was a little nine year old girl there, crying, she was singing every word, including all the swear words! She had a little leather jacket on and she said, “I’m wearing my leather jacket for you.” It was the cutest thing in the world. Playing my own smaller shows but to people who know all the words is way better than bigger shows supporting someone else. These people are coming to see me – it’s amazing.

Do you like London?
Everybody dresses so cool here. The fashion here is ridiculous. It sucks to say but you cannot compare London fashion to New York. Europe is so much cooler. I wore some creepers in my video and you can’t do that in L.A. or New York, they don’t think it’s cute at all.

You’ve already filmed some epic music videos. Did you grow up watching a lot of MTV?
Yes, TRL! And I will always remember seeing Britney Spears’ first music video. I haven’t had that same feeling since.. All her videos are insane and I’ve never had that strong feeling for anyone other than Britney. I want to make bigger videos in the future. I wanna burn shit down!

You’ve previously cited Alanis Morrissette as a key influence for you…
Once we were blasting her CD at the studio and Glen Ballard was there – he produced Jagged Little Pill. That album is insane, and even though she had the songs she refused to be the fashion girl and didn’t fit the mold. You can do whatever the fuck you want!

Who else did you grow up listening to?
I only started liking the Kanyes and Lauryn Hills, or Tracey Chapman – all these more credible artists as I’m getting older because I can see what they’re saying and it means more to me. But when I was little I was listening to Destiny’s Child and Britney Spears and Christina Aguilera. I was a total pop junkie. I liked ‘80s stuff too, like Madonna and Duran Duran. My aunt bought me my first tape, it was ‘Genie In A Bottle’.

You’ve worked with Max Martin already… Can you tell us something about him that no one knows?
He’s very nice but also very gangster. When I was working with him he had two sessions going on at the same time, he would come in, doctor the melody, do it himself. Oh, and he has a great voice! A really fucking good voice. Like, superstar voice! His ear is incredible. When he listens to a song it’s  mathematical to him. It was very different working with him because I just do what I feel.

How does it compare hearing other artists’ recordings of your songs to listening back to one of your own releases?
Hearing your own song is more epic. I can see Eminem and Rihanna perform my song in front of a million people and it feels awesome but if I see 200 people singing the words to my own song, that’s incredible. When you write a song it’s like part of your soul. You put your spirit, soul and energy into creating a song from thin air.

The songs on your EP are very relatable. Is that something you aim for?
In the end I ultimately want that but it usually starts out as just therapy for myself. But when I try to help myself as a form of therapy it does help others too. I do take it into consideration and I’ve been writing about women and empowerment recently – a song called ‘24/7’. It’s about letting a girl have her moment. If she wants to cry, or put her lipstick on,  or go dancing and feel sexy… It’s not easy being a girl or a woman.

You’ve spoken really openly about losing your first record deal. You’ve written about the negativity that followed it too. What advice do you have for anyone feeling knocked down?

There’s this saying I like: “In the end it will be okay. And if it’s not okay, then it’s not the end.” I tell myself that. You have to remember that things will get better. I wrote a song called ‘Die A Little’ – a line of it says, “You have to die a little to know what it’s like to be alive.” And if you ever feel down, go for a walk. Walk for miles – that’s what I do – it clears your head. 

Written for MY FLASH TRASH

[Insert caption]: Me

Friday, 22 May 2015

DIGITAL WORDS / Brandon Flowers Live Review

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Photo by Torey Mundkowsky

Like any really good album, Brandon Flowers’ latest solo release, The Desired Effect, is too short. Ten supreme tracks that flash by and leave you wondering, “Wait, what just happened there?” The same can be said for the opening night of Mr. Flowers’ tour debut in support of his new LP.
Admittedly, he does make a noticeably late arrival on stage but all is forgiven when he appears and suitably begins with The Desired Effect’s expansive opener ‘Dreams Come True’. It’s a rousing start that’s upped by an immediate transition into what is arguably his best composition yet, ‘Can’t Deny My Love’. It’s dark, powerful, intense, glossy – in essence, pop perfection. And Flowers is looking and sounding better than ever too. Dressed in skinny black jeans and fitted tee, topped off with a golden blazer, his vocals and stage presence are faultlessly commanding.
Not that he has to do much to win over an unexpectedly dedicated audience. Flowers encourages the occasional call and response and espouses some genuine sentiments of thanks, but the power is all in the music. “Remember this one?” he asks before kicking into ‘Crossfire’, and the appreciative reception it receives answers Flowers with a resounding, “Hell yes.” ‘Only The Young’ and Flamingo album cut ‘Magdalena’ go down equally well. “Do you know this one yet?” Flowers faux humbly wonders before playing another one of his crowning recent singles, ‘Lonely Town’. The Bronski Beat-sampling ‘I Can Change’ is yet another winning performance moment.
Photo by Torey Mundkowsky
In fact, attaching a chorus of ‘Smalltown Boy’ to the end of ‘I Can Change’ is just one of many unexpected and pleasantly surprising additions Flowers inserts into the set. So robust is the strength of Flowers’ solo material that he doesn’t have to, but he does, obligingly, play some Killers’ hits. ‘Jenny Was A Friend Of Mine’ is stripped down to an acoustic ballad and ‘Mr Brightside’ pared back to slithers of synth. Regardless, the crowd belt out the lyrics true to the original recordings and their enthusiasm is rewarded with a full-on rendition of ‘Read My Mind’.
Similarly unexpected is an appearance from Chrissie Hynde. Flowers reveals that he’s pissed off that journalists have failed to recognise the influence The Pretenders have had over The Killers, so decides to make it clear by teaming with Hynde for a run through of ‘Don’t Get Me Wrong’ – during which the pair of them sweetly try but fail to co-ordinate a shoulder dip dance. Chrissie stays for a further duet on the touching ‘Between Me And You’. A final guest appearance comes from Mrs Brandon Flowers and two-thirds of the couple’s off spring, who has to be coerced to coming on stage to give an awkward wave to the audience ahead of her beaming husband dedicating his ode to fidelity, ‘Still Want You’, to her.
Photo by Torey Mundkowsky

The slow burning ‘The Way It’s Always Been’ makes for a strange parting number. It effectively returns the crowd and performer alike to a state of calm after an elongated singalong to ‘Still Want You’. But it feels like it all ended too soon. Even after the house lights come up, some fans stay awaiting more, convinced that there simply has to be something else coming. Nope, that’s your lot. Dumbfounding flawlessness that leaves ‘em begging for more is apparently what Brandon Flowers is all about now. The desired effect? We think so.
Written for FMS

DIGITAL WORDS / Bebe Rexha Live Review

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Wednesday night saw the debut London show of – we’re saying it – our (and by extension, your) favourite new pop star, Bebe Rexha.
In a former musical life the 25-year-old New Yorker sang alongside Pete Wentz in his Fallout Boy side project, Black Cards. She also previously had a contract with Island, but it fell through. Island’s loss was Warner Bros. gain, but the emotional fallout from this let down has proved instrumental in the rise of Ms Rexha.
Succumbing to depression and self-doubt, Rexha’s time spent being prescribed pills and bad advice from a therapist feeds directly into her defiant single ‘I’m Gonna Show You Crazy’. In fact, raw, first-person narratives are what drive many of Bebe’s best songs to date. Her two-man band leave the stage whilst she concentrates on the fragile delivery of ‘I Don’t Wanna Grow Up‘ and she positively drowns the stage in energy and attitude when it comes to ‘I Can’t Stop Drinking About You‘.
Oh and then there’s just the small matter of ‘Monster Under My Bed‘ – just a little track inspired by Charles Darwin a quote she found on Tumblr ("We stopped looking for monsters under our bed when we realised that they were inside us") that she co-wrote and donated to Eminem and Rihanna, which they re-named ‘The Monster‘ and took to No. 1 on both sides of the Atlantic.
Bebe also performs the other major league chart hits she already has under her belt: Cash Cash’s ‘Take Me Home’, David Guetta’s ‘Yesterday’ and the Nicki Minaj featuring ‘Hey Mama’, plus Pitbull’s ‘This Is Not A Drill’. Whilst she performs these club bangers with aplomb and shows off that she can twerk, grind and slut drop as good as the rest, it’s when she performs her EDM pop-meets-actual sentiment numbers that she sincerely bursts with passion.
Opener ‘Pray’ sees her vocal chops and intensity immediately proven, and so excited is she about an empowering feminist anthem called ’24/7′, taken from her upcoming debut album, that she can’t stop herself from airing an A cappella preview (FYI it’s as sassy as anything on her ‘I Don’t Wanna Grow Up’ EP but sees her moving past the heartbreaks and disappointments of times gone by).
Bebe stomps her patent Doc Martens, thrashes and whips her hair tirelessly in an effortless display of confidence, as if getting up on stage is the most natural thing in the world – as any decent performer should.
Amongst the music, Bebe talks extensively and honestly with the audience and makes a quick connection, particularly with female members of the crowd who can be heard whispering to one another, “I love her” at the close of each song. And we’re inclined to agree. Bebe Rexha is a true talent and personality unafraid to say and sing exactly what she thinks and feels.
Written for FMS

Monday, 18 May 2015


In the newly re-launched issue of Notion magazine you'll find interviews conducted by yours truly for a feature titled Punk LDN which looks at a set of Londoners "who embrace the modern ethos of punk". 

Pick up a copy and check it out. 

Please note this magazine cover is one of four (the others feature Adam Lambert, Lindsay Lohan and Pixie Lott). This one is my favourite because, well, Carly Rae Jepsen is alright, isn't she? And she's eating a burger. What's not to like?

Sunday, 17 May 2015

DIGITAL WORDS / Quick Fire! Q&A w/ Emilie Nicolas

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Currently a favourite artist at FMS HQ is Emilie Nicolas and her chill dub-pop vibes. The Norwegian vocalist’s upcoming single ‘Pstereo’ has a bewitching Scandi sound and the video boasts an equally remote and enchanting look.

We shot some quick questions to the upcoming talent and she fired her answers right back, managing to cover language translation issues, her forthcoming album and some of her favourite artists.
‘Pstereo’ is a cover of a song by the DumDum Boys – why did you chose to record this track and are you a fan of the band?
It was actually by request from a festival in Norway. So I just made it for  them and then it became my first single.
Umm… What does ‘Pstereo’ actually mean?
Good question! I have no idea! The original song is as vague as my version  since I just translated the lyrics to English. I think the only one who knows  this is Dumdum Boys.
Your album, Like I’m A Warrior, is soon to follow. Is ‘Pstereo’ symptomatic of the LP’s sound?
I believe ‘Pstereo’ might be the more of a “hit” than the rest of the tracks on the album. Since I wrote it for a festival and didn’t think it would be a single, it is maybe not as personal for me, but the sound and the electronic vibe to it is the same.
Which musical artists did you grow up listening to?
I listened to Bossa Nova and Keith Jarrett, and then Sade, Jeff Buckley and Radiohead etc.
Are there any particular artists or albums that you’re really into at the moment?
I don’t listen to that much music, so when I first find something I like, I listen to it a lot over a period. Right now I don´t have any but I listened to a lot of Popcaan in the winter.
What do you think are the defining characteristics of Scandinavian pop music?
I don’t think there are any, but I believe that if you give something your  undivided attention, in this case music, that things will blossom.

Written for FMS

Monday, 27 April 2015

DIGITAL WORDS / Why did Britney Spears just quietly drop an album then take it down again?

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When Beyonce won the universe by dropping her fifth album with no prior announcement in December 2013, I never thought that less than two years later I’d be bemoaning “surprise releases”. But let’s face it, they’re getting really fucking boring.

It was impossible to get even vaguely excited about Bey serenading Jay Z in their latest corporate romance Tidal-exclusive video. Nobody I know signed up to 'Dubsmash' to access Rihanna’s surprise drop of “Bitch Better Have My Money”. And Madonna’s decision to shock premiere her latest video on the Meerkat app was a bombshell on mute.

But even in my jaded state, I had a deep well of shitting hells reserved for the surprise album that dropped a few weeks ago on Good Friday. The very same day Jesus died for our sins, a mysterious new Britney Spears album rose from the void, and - despite being placed on both Spotify and iTunes - hardly anyone outside of her most dedicated fans even noticed. Not even the gutter-end of pop music managed to drop a single news story.

Titled Life Is a Beach: Live in Miami, this Britney live album appeared to be released via SnapShot Records and distributed by Interra Music Publishing. It was available to purchase via iTunes and Amazon, and to stream on Spotify.

Worldwide, hardcore Britney fans started buying into it. It broke into the Top 30 on iTunes in various South American countries, Mexican Britney fans had it charting at #20, and in, erm, Costa Rica it went top ten! There wasn’t as much enthusiasm in the UK mind, where it languished in the uncharted waters of #747. Still, the Twitter hashtag #buylifeisabeachonitunes became a rampant social beast for at least 48 hours. And the more I listened to this bizarre pop artifact, the more I became overwhelmed by its many WTF aspects.

Let's just take a second to consider the mere concept of a Britney Spears live album. Understandably, she’s never released one of these before. Don’t get me wrong, I adore her key vocal ticks – the breathy/raspy sex kitten delivery, the way she goes “baaaaabaaaaay” and “meeeeeh” – but vocal prowess has never been her USP. I’m not saying Britney should be seen and not heard, but her theatrical performances are a major part in turning her songs into visual experiences. On my deathbed, I will regret how many hours my teenage self spent watching Britney Spears: Live and More! on VHS. You don’t get that on a live record.

But, even weirder than Britney’s decision to release a live album, was the tour it commemorated. The album recording was taken from the March 28, 2004 Miami date of Spears’ The Onyx Hotel Tour, or as we call it now: The One That Went Horribly Wrong.

Frolicking around a satin bed with a dancer while dressed in lingerie for “Breathe On Me” and performing her ode to masturbation (‘Touch Of My Hand’) while appearing naked in a bath tub, The Onyx Hotel Tour was marketed at an older, pornier audience than Britney’s dependably loyal teenage following. As a result, ticket sales took a big hit. After she sustained a knee injury, it was eventually cancelled after just three months. Britney had to sue a number of insurance companies to try and regain over $9 million in failed reimbursement payments. Commemorating this tour was like celebrating the day you sharted on the way to work, got laid off, and then returned home to find your significant other's belongings boxed up by the front door.

The moment Life is a Beach tries to capture, in 2004, was the beginning of pop music's biggest ever freefall. The few instances when Britney speaks to the crowd serve as uncomfortable reminders of where she was at. During "(You Drive Me) Crazy" she jokes about her 55 hour Las Vegas marriage that had taken place just a couple of months before: “I’m seeing a lot of cute fellas in the audience tonight. Are any of you guys feeling lucky? Who knows, maybe if you’re really lucky... *creepy stage whisper* I might marry you.” She even slags off her own back catalogue: “I have to go? I haven’t even sung ‘Sometimes’ yet… Oh God! I never liked that song anyway!”

Then, just as I was kind of getting into this Britney record, Life is a Beach was quietly yanked into extinction by the shepherd’s crook of a higher power. Its digital footprint was all but erased, aside from scattered YouTube uploads that were done in time. It was gone.

When questioned about the mysterious release, Britney's publicist could only say that despite it clocking sales and charting around the world, the release was unofficial. But she had "no idea" if Spears' label, RCA, had been behind the clean-up process to delete it from digital stockists. (And on a similarly unhelpful note, Sony, RCA's parent company, stated that only the aforementioned PR rep was at liberty to comment). 

But this is 2015 and the media is no longer a truly top down operation. In order to get some real dialogue going I spoke to Jordan Miller, the owner and editor of pop music website/the Internet's greatest Britney resource, Breathe Heavy. Some facts: Jordan works full-time on the website; his favourite Britney era is Blackout; he’s seen her current Las Vegas show six times - and on one occasion was pulled up onstage to dance with and be spanked by Britney.
Miller discovered the album's existence via the shared-knowledge cavern that is Exhale – the fan forum section of his music site. He also wrote the only English-language news post that ran about it. "It's interesting that it was being packaged and marketed as an album,” he explains, “because it landed on iTunes and Spotify. I streamed it there myself. I listened to the whole thing. I thought it would sound mastered but to me it didn't sound like anything special."

Even if it was just a professionally marketed bootleg, it serves as a reminder that Britney's no titan when it comes to recorded music sales anymore. I mean, even her 2013 record Britney Jean only peaked at No. 34 in the UK. Spears admitted in a recent interview with Billboard when asked about new music that whilst she is aiming to produce "an amazing album" it is just not her "full priority right now." 

When you really think about it: why would it be? Spears' Las Vegas residency show, now in it's eighth leg, is still killing it at the box office. Her Intimate lingerie line has now been extended to swimwear. Her latest fragrance (number 17), Rocker Femme Fantasy, is in stores now. Britney’s music is now her business card. 

Sure, she's currently prepping for her standalone “Pretty Girls” single release in May and has even drafted good-for-chart-bait-and-little-else Iggy Azalea to add to the hype, but this isn’t a ‘comeback’. These days, her Elizabeth Arden perfume lines have won her more beauty awards than Grammys, and her fragrance sales are currently estimated to total $1.5 billion. She might not hold rank on the Billboard chart anymore, but Britney puts the likes of Rihanna, Katy Perry and Beyonce on the bargain shelf next to Stacey Solomon, Ashanti and Tulisa when it comes to battling in The Perfume Shop.

So while her record company and PR team seemed happy to innocently shrug off and ignore a bootleg album that managed to chart globally, you can bet that anyone daring to release a phoney Eau De Britney would get shutdown quicker than a sex party in Times Square.

Written for NOISEY

Monday, 30 March 2015

DIGITAL WORDS / Nicki Minaj Live Review

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It’s sad but it’s edifying: whilst one rap pretender, who shalt remain nameless, postpones an entire tour due to “production delays”, Nicki Minaj presses on with her Pinkprint arena shows in the wake of her tour manager’s murder just a month before the premiere date.
She’s said it before, but it bears repeating: Nicki Minaj is the best. And all these bitches is her sons. It’s not egomaniacal delusion. It’s cold, hard proven fact. The Pinkprint Tour is further conclusive evidence.
Support comes from Minaj’s ‘Touchin’ Love’ collaborator, Trey Songz.
Trigga Trey gets the warm kind of reception that most opening acts would donate an organ for. He’s made in the R&B heartthrob mould – all glistening tattooed muscles, a solid voice, and, yes, his vest top comes off whilst trilling on about “swimming in your body” (‘Dive In’). He’s a definite contender for those looking for a new infatuation more relevant than Usher and without the endless moral implications of Chris Brown.
It was a bold move to open The Pinkprint album with three intensely personal slowies, and it’s even bolder for Nicki Minaj to begin tonight’s set with that same trio. ‘All Things Go’ and ‘I Lied’ show off that rap rarity of vulnerability, and add a whole new shade to Minaj’s already established lyric and performance mastery. These emotionally intimate tracks are clearly important to the rapper, as a person and an artist, not a sales-baiting star.
Jessie Ware turns out for a guest appearance to provide the rousing chorus for Nicki’s most effective rap ballad to date,’The Crying Game’. So sublime is the show’s opening that it makes a later set of ballads seem slightly laboured in comparison. ‘Pills N Potions’, ‘Save Me’ and ‘Grand Piano’ are all excellent fare but the hammy ‘Marilyn Monroe’ is overkill.
The flipside to all this is the fiery as fuck, “abusive by nature not, cause I hate ya” Nicki that everyone is more accustomed to. And she holds nothing back. ‘Moment 4 Life’ is the first true “moment” of the night and typifies the life-positive attitude Nicki effuses.
For the easily distracted the girl-power-on-steroids strength Minaj preaches, embodies and encourages can get lost in translation, what with the cartoonish silhouette and unapologetic delivery. But if womankind could muster up the balls Nicki has when spitting the lyrics of a single line from ‘Lookin’ Ass’, ‘Did It On ‘Em’ or ‘Beez In The Trap’, feminism would be an open and shut case. The way that the crowd hollers en masse the opening lines from ‘Only’ (“I never fucked Wayne, I never fucked Drake/On my life, man, fuck’s sake”) implies that progress is already in motion.
Whilst it’s worth noting that Nicki Minaj doesn’t patronise her audience to do anything as vacant as scream or clap or whatever, and instead tells us all to come back with new accomplishments the next time she plays London, there is plenty of playfulness during the 27 song set too.
Her choreography, for example, is better than ever; slick and assertive, she’s playing (and beating) pop’s biggest stars at their own game. Now the face of Cavalli and being styled by Rushka Bergman, Minaj’s personal style is chicer than ever, but she still keeps her look ultra risqué on stage with various bejewelled undergarments layered with mesh and lace body stockings. Huge hits like ‘Anaconda’, ‘Super Bass’ and ‘Starships’ are tireless crowd-pleasers. And whilst the RedOne-moulded likes of ‘Whip It’ and ‘Pound The Alarm’ are banger fodder, Minaj’s latest party anthem, ‘The Night Is Still Young’, shows her stepping up her pop credentials once again.
The Pinkprint Tour is a concentrated distillation of everything that makes Nicki Minaj the all-conquering queen of all she sees. She’s a multi-faceted force for good. Any girl idolising a female music star other than Minaj is doing both herself and Nicki a grave disservice.
Written for FMS