jessie reyez concert nyc – Jessie Reyez Concert Tickets & Tour Dates

If you were watching the 2018 MTV VMAs, you’ll have seen a bit of the incredible Jessie Reyez. As you can see, nothing but greatness and beautiful things have come out of that. There wasn’t a blueprint.

jessie reyez concert toronto – Jessie Reyez’s Magnetic Voice Pulls Us Into Her Orbit

JESSIE REYEZIf you are a casual listener to pop radio you have probably heard the song Figures. The only other guest on Fever is Juicy J on Simon Says,” where he also supplies a beat that sounds like a house party in the middle of a home invasion. Simon says bust it open like a freak,” Megan raps like a nursery rhyme, a fitting match for the originator of Slob On My Knob.” The song was the center of a minor controversy over the album release weekend when singer Wolf Tyla implied she had a writing credit and drew an indignant response from Megan. The facts became harder to parse from there. Maybe Tyla wrote the hook, or maybe Juicy did and asked her to record a reference track. (A just okay hook to go to bat for as an unknown ghostwriter, frankly.) In an era where the world’s biggest male stars snipe at each other about fragments of songs they’ve written for one another, this shouldn’t be a story, but a rising female rapper can’t allow any question of her bona fides.

The 24-year-old born Megan Pete started rapping in childhood after accompanying her mother, Holly Thomas aka rapper Holly-Wood, to recording sessions in Houston. Megan’s career began with freestyles at college parties, and she released three mixtapes in three years with her mother as her manager, building her buzz while still completing courses. The rapper is slick and authoritative on the mic as she channels alter egos like Hot Girl Meg, who she calls the party girl, the polished girl, the turn-up queen.” Her debut album Fever, released last week, is a showcase for this alter ego. Hanging with Hot Girl Meg makes for a fun 40 minutes.

You know, people are entitled to think what they want to think. I’m not worshipping Beyoncé and I’m not encouraging anyone to worship her. I’m very clear that this is a Christian worship service and we’re just using the music to tell a story about black women and to provide an alternative vision of who and what the church can be and we know that can be intimidating to people.JESSIE REYEZ

While passing her offstage, the legend whispered “You’re great” to the uber-emotional starlet and kissed her hand for confirmation, causing a viral stir. “That sht was nuts. Steven Tyler came up to me, and it was just so unexpected. Dude, I can’t even,” Reyez laughs , now settled on a piano bench at the VIBE office. She unravels her bun and kicks a pair of white Under Armour slides towards me, to better seat herself with her legs crossed. A dense crown of waves tumbles from atop her thickly arched brows to below the waistline of her cutoff Wrangler shorts. One thing is clear: Reyez’s beauty is as effortless as the likely success of her soon-to-release EP, Being Human in Public and its 29-date North American tour.

Her forthright openness last year took the shape of ‘Gatekeeper’, which graphically recounted in verbatim the sexually predative threats she received from a famed producer. All this time later, despite channeling her ordeal on paper and furthering the #MeToo movement by enabling the spotlight to be shone on sexism in the music industry, sadly, while offenders and accusations continue to rack up in disgusting regularity, there’s unlikely to be any conclusion to the trauma she suffered.

Looking forward, Reyez recoiled at the suggestion that she’d “made it.” She won’t feel that way until she can hand (at least) one Grammy award to her father. In the meantime, she’s focused on getting her tracks on the charts (“Figures” has over seven million Spotify streams to date) and selling out shows. Her tour kicks off at the Governors Ball music festival this summer, and her parents will be there to see her perform.

The introspective Latin record is lyrically etched with Reyez’s need to break free from societally imposed gender-normative roles. This unwillingness to assemble herself in ways that feel unnatural is taking shape throughout Being Human in Public. The vocalist’s take-it-or-leave-it approach towards sexuality on anthems “Fk Being Friends” and “Imported” champions for alpha women who do not crave attachment. Her flourishing self-awareness and ambition position themselves on earworms “Saint Nobody” and ” Dear Yessie ” further amplifying Reyez’s love for her journey and culture.

The 27-year-old Toronto native returns with Body Count,” an acoustic anthem filled with not-so gentle reminders that the sex lives of women aren’t up for debate. It’s about body count, like your kills: who have you slept with, who have you fucked, and about how sometimes in this society as females we don’t have as much freedom to be proud of that without having to be shamed or criticized for it,” she tells Noisey. Crowning it an anti-shame, anti-judge anthem,” is fitting as she belts I dodge dick on the daily,” over guitar strings. Body Count” picks up the baton where Kiddo left off, and Reyez isn’t done being relentless in her truth.

Much of her latest EP, which dropped Friday (Oct. 19), pertains to the wide range of emotions that come with romantic appreciation. Thanks to her animated performance ability, Reyez encapsulates the complex gamut of the strong emotional state; there’s longing, anger, confusion, confidence and so much more. The 27-year-old songbird’s vocal versatility has gained fans like Kamikaze collaborator Eminem and Aerosmith’s Steven Tyler , and her attention-grabbing abilities are showcased throughout the multi-dimensional seven-song project.


Jessie Reyez ‘s smoky, sweet vocals might be familiar thanks to one of this year’s behemoth hits: she co-wrote and features on Calvin Harris and Sam Smith‘s recent No 1, Promises Her 2016 Kiddo EP made waves over in North America (she won best breakthrough act at Canada’s prestigious Juno awards), and her new EP, Being Human in Public, looks set to push her further into the limelight.


This rawness begins with the opening track, aptly titled Fck It.” On this song, Jessie discusses the anger which comes after a difficult breakup, a theme continued throughout the release. The production here is extremely sparse, doing wonders to put Jessie’s voice front-and-centre. Lyrics such as You’re lucky I didn’t blow your brains out” serve as an uncompromising display of Jesse’s aggression. The next song, however, is a lyrical and tonal 360, as a vulnerable Jessie scratches and cries her way through the emotional drain of an unhealthy relationship. Her vocal performance is a revelation and illustrates her range and diversity.

Earnest and raw, Jessie’s music comes from a genuine place. Born in Toronto, Canada to Colombian immigrants – Jessie’s story is one that constantly weaves worlds together. A vocalist from birth, Jessie Reyez was first introduced to the guitar by her father as a young girl and soon became inseparable with the instrument.

Jessie released her critically acclaimed debut EP ‘Kiddo’ in 2017. Caption: Jessie Reyez with an American singer-songwriter, Romeo Santos. There are few artists who can fill an empty room in an uncut music video. We can think of Alanis Morrisette, D’Angelo… and Jessie Reyez.

Three years ago, Jessie Reyez was in Sweden at a songwriting workshop, crafting hits to pitch major artists and making her own music on the side. Today, the 26-year-old is headlining her first tour, building off of the April release of her commanding yet vulnerable debut EP Kiddo (FMLY), in which she announced herself as an artist all her own, not just for others.

Well, Reyez is a powerhouse in her own right, and whatever help she’s getting, she deserves it. The major-label system is teeming with artists churning out generic bullshit, lunging at whatever trend is popping that week, sacrificing their identity in the hopes of scoring a hit. Reyez has avoided that trap and cultivated a contagious sense of self. Sorting through mediocre track after mediocre track is wearisome, so when a voice like hers comes bursting through the speakers backed by such richly conceived music, it’s a real sunshine-through-clouds moment. Such a convergence of talent and personality is rare. Reward it with your attention, and you’ll end up rewarding yourself in the process.

I’d be lying if I told you I sat there and had a blueprint thinking about how people were going to receive it. Thinking about who was going to believe me. Thinking about who it was going to resonate with. Who would play the song, who wouldn’t? Who would get pissed, who would be sad? I didn’t. It’s crazy because people always say it’s perfect timing but it wasn’t. I equate it to if I walked out of this room and I broke my leg, tomorrow I would sing a song about breaking my leg. It’s just something natural. It’s like breathing. It wasn’t until after the song was made and we would go into meetings and certain female A&Rs would get in their feelings and you’d see a girl start tearing up. We’d play it in another meeting and we’d see some guy in a room go tense after hearing the song. You could almost read someone’s energy response to that and be like you’re on this side of the argument. There wasn’t a blueprint. It was just the way it was received after the fact.

It’s a thin distinction but a very real distinction. I’m clear that in the reception history of the Hebrew Bible, black women, in particular, have been excluded. So my work is to retrieve a voice for black women. It’s just a matter of doing that in the ways that I feel is the most faithful to the scholarship and my discipline.

Jessie’s best-known song, Figures,” appears at this EP’s midpoint. While the beat and instrumental are somewhat conventional for a heartbroken ballad, Jessie’s vocals, unsurprisingly, save the song from mundanity. I wish I could hurt you back,” she laments during the song’s chorus, Love, what would you do if you couldn’t get me back.” These lyrics, as well as those of the EP’s next song, Gatekeeper,” speak to Jessie’s powerful songwriting abilities. The story of Gatekeeper,” for instance, details the abuse and mistreatment of women in the music industry, particularly of Jessie’s own experiences with sexism and harassment.

Jessie Reyez’s new music video for ” Far Away ” shines a light on the realities immigrants face at the U.S.-Mexico border. The Colombian singer hopes the video educates her fans on what’s happening at the southern border.

In 2017, get ready to see and hear a lot of Jessie Reyez. The soulful singer has already been added to the impressive line up for The Governors Ball alongside fellow Torontonians Majid Jordan and The Strumbellas.

Perhaps the song that best displays Reyez’s tender core is Sola (Interlude),” which is sung entirely in Spanish. She coos over an acoustic guitar to a lover about how she’s not necessarily the type of woman they should be with—she would be better off sola (alone). The result? A heart-wrenchingly relatable track that could have served best as the EP’s stunning finale.

So important, so crucial. I mean, for me, it’s incredible that people do it without that. That’s admirable, that’s crazy. For me, I feel like I had an ally, having those day one’s be like, okay, that’s what you wanna do, okay.” My mom was even the kind to like, I didn’t want to go to school for it. I just didn’t think that going to school for music was going to affect me. I always that it’s who you know and all that shit, so I was like, No, I just gotta keep hustling.” But my mom was like, Go to school for music!” And I was like, Nah, I gotta go for Kinesiology, or English, or something tangible.” Cause that’s what you’re given since you’re a child, that idea that you need to have something, sturdy, you need to have this, you need to have that. But I had my mom in my ear, telling me, if you wanna go, go headfirst. Blessings.


Because it wasn’t what people thought. I met some of my best friends inside. I got a lot of rest the first two weeks, I was tired because I was working. I learned a lot. It was like going to a very, very, very, very bad boarding school. (laughs) I learned a lot, and I got to get closer to God. It wasn’t as bad inside as it was when I came home, the things I had to go through, to be honest with you. I had worse times outside of prison than I did in prison. I had to go through some really really dark, deep things.

A lot of thought goes into it. Shoutout Daniel Daley. He was one of my mentors in The Remix Project He was like, ‘The first line matters a lot. It’s like I got you by the gut. That’s your bait.’ He also told me another piece of advice that I’ll never forget. He’s like, ‘Jessie, the world’s been around for so long. There’s nothing new under the sun that hasn’t already been talked about.’ The key to having something beautiful is being able to convey a normal human emotion but say it in a way that’s never been said.

The 24-year-old born Megan Pete started rapping in childhood after accompanying her mother, Holly Thomas aka rapper Holly-Wood, to recording sessions in Houston. Megan’s career began with freestyles at college parties, and she released three mixtapes in three years with her mother as her manager, building her buzz while still completing courses. The rapper is slick and authoritative on the mic as she channels alter egos like Hot Girl Meg, who she calls the party girl, the polished girl, the turn-up queen.” Her debut album Fever, released last week, is a showcase for this alter ego. Hanging with Hot Girl Meg makes for a fun 40 minutes.

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