By Ladan, Contributing Writer

Dear Ms. Lauryn Hill...

Thank you. I want to start there. As a matter of fact, I think it's important I start there. You're one of the dopest MCs to ever grace hip-hop and I remember feeling inspired to sing because you made alto singing popular. You blessed us with The Miseducation of Lauryn Hill and for this we are forever grateful. 

So now, here we are in 2016 and I'm crossing off an item on my bucket list because I've just witnessed your concert at Chastain Park in Atlanta, GA. The park was filled with those like myself who respect and adore you. With that being said, Lauryn, I need to ask why you would make us wait 2 hours and 35 minutes for this moment with you? I'd hope you would respect your fans and supporters-who are still fervent after 15+ years and just 1 studio album-more than this. This was a commitment you made, this was your word. Our time and money is valuable, and I'm sure you would agree that like any relationship, respect should be the reciprocal gift that keeps on giving.

Moving forward, with no apology or acknowledgement, you jumped right into "Perfect Peace." You are still beautifully talented and your voice is as I remember it...mostly. This was your opportunity to make-up for your tardiness. As a fellow alto, I noticed you struggled with mid-range notes. Your stage presence and energy, or lack thereof, was low-level from the start and I think we all expected more from you. As for the choice of opening, we like "Perfect Peace," but we were all waiting for one of your songs that gave us that nostalgic feeling. We wanted Miseducation in motion. You gave it to us 2 songs later, but the music paced faster than we remember the lyrics moving, making it hard to recognize anything. We couldn't sing along. This was your chance to make us feel like family again. It didn't happen. Not helping matters, we couldn't see you well. The stage lighting was poor; we couldn't catch true glimpses of you and the creative power your dancers brought to your performance. Even the screens weren't very clear due to the dimness after 10pm. I'd do you a disservice by dismissing these things Lauryn, but in fairness, amidst the boo-ing from my peers, I should tell you what you got right.

As an independent artist, your production was exceptional. Your band delivered!! I commend your ability to find and recognize talent that is truly outstanding. I don't want to breeze by that lightly, because I know they are a reflection of you and I need to thank you for that. The atmospheric lights that projected into the theatre brought elements that we fans needed. It felt warm, uplifting and it kept the crowd engaged...as much as could be done. Finally Lauryn, about 30 minutes into your set, the venue operators cut your microphone off (there's a strict noise ordinance at 11pm) and as much as I love you, I think it was best. When I returned home from Chastain, I showered to The Miseducation. I needed to remember the Lauryn and the artistry we all knew. The person I saw was essentially still Lauryn, but without the heart, respect, nobility and love for what she does.

Signed,
Nostalgically Disappointed, but Still Yours Truly

​Live in Nashville: Ascend Amphitheater
Show Date: September 27, 2015
Opening Act: N/A
 
I'm sure it seems ridiculous to do a concert review for Janet Jackson, who's known for live entertainment excellence, but nevertheless, it must be done; especially when certain trademarks were absent.
 
One of my favorite things about pop shows are the dramatic openings. Three sheer screens projected a band of wild crows (or ravens?) forming a large, single one, which eventually morphed into Jackson's silhouette and naturally caused hysteria. With the help of a digital Missy Elliott, Jackson stepped out to current song, "Burn it Up!" and proceeded to perform a rather epic opus of a hits medley, which included "Nasty" and "Miss You Much." The setlist was extremely well-ordered and inclusive; it astounded me how she was able to mash a 30-year career into 2 hours without there being any shortchanges, lulls, abrupt endings, forced or odd transitions. Even the new songs fit right in; there were no awkward "What is this??" moments. I'm personally offended that my favorite song, "You Want This" was a part of the medley and not performed in its entirety though, haha. An awesome surprise was the addition of "Scream;" the only song Jackson recorded with her late brother, Michael. "Get it Michael!" she shouted over his verse. When it came time for the iconic dance break, I was prepared to pass out. She didn't do it, but went into "Rhythm Nation," which totally worked. If you're curious as to whether the 49-year-old missed a beat or an 8-count, she didn't. Vocally, Jackson met expectations, with the best showcase being the ballads section, where there was more girth than many might anticipate.
 
Now, for those missing trademarks. Unbreakable Tour goers who have seen Jackson live before or any of her concert DVD's might notice a difference in stage production. There's usually a bold, consistent theme with elaborate, expensive-looking sets and visuals, and a bevy of cool costumes. The set pieces shined like obsidian rock, but were few and pretty simple overall (2 stair cases and a scaffold block for the band were primarily used). Though the video graphics and lights were neat, they didn't connect, have concept or emphasize the message of "unbreakable." We didn't see anything much in relation to that until the end, when the bird reappeared and was unfazed by arrows shot into it. Jackson left the stage a handful of times, but never changed attire. The dance-team's wardrobe was giving me Janet. era, while the background singers were giving Velvet Rope Tour. Given the paucity of a premise, I didn't know if that was an intentional homage or just another incoherency. For Nashville attendees, the production wasn't the only thing that was retrenched. Jackson's energy was subdued in comparison (not to be mistaken, she was in no way lazy or cavalier) and majority of the audience interaction was placed at the end. In shows past, she's a mix of hyper and intense, and addresses the crowd frequently. She's notorious for being hands-on in a very literal way, bringing guys onstage to be tied up and tantalized for her rated-R cuts. Not this time, fellas. I prefer to hear from an act throughout a concert, but when Jackson took time to speak, she gave heartfelt thanks for support given to her and her family, which was memorable. There weren't many unique band arrangements, but when a crucial part of your show is nostalgia and catering to long-term fans (as one should), it makes sense not to tamper with classics. No one wants to hear a hip-hop or rock version of "Again" or a jazzy rendition of "I Get Lonely."
 
There were no preliminary performers (which was great; I just want to get to who I paid for), so be sure to be on time. Jackson had a DJ play remixes of her songs to get people pumped up instead. Typically this is annoying, but it was actually a satisfying appetizer. Hardcore fans were doing choreography in the aisles and making friends with strangers that were just as excited as they were. Many came wearing flawlessly intact old tour gear and make-shift Janet-like outfits. The atmosphere was beautiful and giddy. While I was visiting the exhibit of Janet artifacts they had available (which is incredible and must-see), I was surprised with upgraded tickets to front row!! I still can't believe that happened and it's been more than a week. I have no idea what made them choose my friend and I, but I'm not asking any questions. I've never seen anyone of Janet's status before or been front row, so for both of those things to happen at the same time was mind-blowing to say the least. Pyrotechnics, smoke and lights are amazing from a distance; seeing it front row is an out-of-body experience and brings out your inner child. It's like "Wow, Mommy! Look!!" Hands-down one of the best moments of my life. Putting that aside and being objective, there might be some bells and whistles missing, but none of the upmost important ones. "Ms. Jackson if you're nasty" is incomparable and still lives up to her performance standard.

Live at the Houston Rodeo: NRG Stadium 
Show Date: March 17, 2015
Opening Act: N/A

There was a lot going against fairly new starlet Ariana Grande going into her 2015 Honeymoon Tour, particularly on its stop at the Houston Livestock Show and Rodeo (HLSR) in Texas. On her end, she had some major sprucing to do with her stage presence, choreography and vocal delivery (i.e. diction, emotionality, unique styling). In the television performances I've seen, she frequently appeared to look petrified and/or apathetic, and very "I'm more of a natural singer than a dancer" uncomfortable. This was patently noticeable anytime she did hit single "Bang Bang" live with Jessie J, whose presence and vocals are nothing short of ferocious and supersede hers. On the end of the HLSR, the turning stage is small in circumference and is in the middle of a dirt base in a round stadium. Acts are often driven out to the scaffold. This means no convenience for costume changes or room for elaborate sets. There's a video backdrop, but it doesn't help much because the way things are set up, no matter where you sit (unless it's directly in the middle section), your eyes will rely on the jumbo screens above for decent viewing. The final kicker is that the contracted time allotted is usually an hour, which is pretty aggravating when the cattle show beforehand runs 2 hours, starting at 6:45pm. I know, I know, it's a rodeo and animals/cowboys would naturally would be a focus, but I'd bet my right hand that most of those who purchase tickets have music primarily in mind. All of this into account, I didn't expect much but to enjoy hearing live versions of my favorite songs from Grande's 2 albums, Yours Truly & My Everything. However, the 21-year-old pleasantly surprised me.

August 26, 2010- Chattanooga, TN-Mckenzie Arena

This was hands down the best concert I’ve ever been to (next to Destiny’s Child, of course). It was my first “rock concert”; if you can classify Maroon 5 as such, which is one of the band’s strong points- they almost CAN’T be classified as their sound is a well-blended one, using elements of rock, R&B and pop, among others. They didn’t fail to show their eclectic taste during their show, as they incorporated Alicia Keys and Tina Turner hits into their own. Unlike many other artists, Maroon 5 changed the musical arrangements to most of their songs, instead of playing the songs exactly as they are on the record. The arrangements were energetic, creative and left you desiring a live album. Not knowing much about the members of the band, I was impressed at their musicianship (by the way, all of the members play an instrument) and their vocal abilities (they harmonize soooooooooooooo well together; it was pretty darn sexy lol). They didn’t spare their instruments as they made an epic rock-out session out of every song. They were well received; the audience stood to their feet for ovations frequently and the roaring demand for an encore was searing (and very cool). They interacted well with the audience, using tongue-in-cheek humor and sing-along-sessions (front-man Adam Levine successfully got the audience to sing in 3-part harmony for “She Will Be Loved”-also very cool). My throat was beyond sore from screaming and I had a smile on my face for at least a week afterward. I would recommend seeing Maroon 5 live to anyone, even if they’ve never heard of them. I left wanting to buy all of their albums and do my research.

U.K. sprung artist V.V. Brown and “American Idol” Season 8 winner Kris Allen opened up for the band, putting on equally diverse-sounding shows. I thoroughly enjoyed Allen’s cover of Michael Jackson’s “Man in the Mirror,” and V.V.’s relaxed, friendly and uninhibited stage demeanor.