When I opened an email with music from iconic gospel quartet group The Igramettes, I immediately took note of their record label. By its name, I knew that it had little to do with gospel music, though it had everything to do with this great group who’s existence has spanned the better half of a century. Though I’d only heard of the ladies, they are and have been quite a big deal over time. Their album “Take a Look in the Book” released last Friday and carries the hallmark of a classic gospel quartet album. Stay tuned for my forthcoming review of the latest chapter of their storied run.
In traditional and especially quartet music, there’s a phenomenon in America that has adopted many great groups of yesteryear. It’s not uncommon to discover new acts in what is close to their final act. Many times, their catalogs are revisited, their classics remastered, and their careers rejuvenated. You wouldn’t see The Rance Allen Group on an Americana label or performing at a folk festival, nor the likes of Pastor Shirley Caesar, but gospel quartet has a connection to Americana/folk music interest that deserves some conversation.
I’ll concede that though Americana/folk audiences seem interested, there is a longstanding divide (save Bob Dylan and a few others) in that demographic that is part of the oppressive past gospel artists sang their way through.
In the past, I have encouraged quartet groups to take interest in the Roots Gospel category at the GRAMMY Awards. One such winner is The Fairfield Four (2015), gospel icons in their own right. Research will indicate that their ascent to the helm of the Roots Gospel category in 2015 wasn’t within the gospel industry. In fact, the gospel industry doesn’t seem too concerned with quartet and traditional gospel music, these days.
Days Gone By…
Perhaps, it’s time to move on from the traditional sound to a more contemporary sound, but what about the people that want to hear traditional music? What about artists with traditional music in their hearts and hands? Some of them are just as bad at contemporary music as some contemporary artists would be as a traditional artist. And furthermore, what about the songs that got us over? Have we gotten so “over” that we don’t need to look back or even work to preserve the sound…our sound?
It’s happening in many genres, though. Jazz is disappearing from the airwaves, except for the movement of the Gaithers, Southern gospel would be a thing of the past, and even country music looked its demise in the face and altered course before it was too late. Country music facing its mortality actually led to its resurgence. This led to its recent resurgence, but what will happen for gospel music who now solely relies on its contemporary sound that’s more “gospel worship” rhythm and blues and pop than soul?
Country music may not look like it used to, but it certainly isn’t dead.
Nina Corcoran, Consequence of Sound, January 31, 2020
Years ago I asked a question, “what happened to the Hammond organ in gospel music?” I asked this because though you could clearly see an organ on the bandstand being played by world class musicians, they were inaudible on the recording. As an audio engineer, I get how to “mix out” certain instruments and frequencies, but it’s hard to understand why this staple of the gospel sound has lost its relevance. There’s no organ on the recording, yet churches full of listeners still have an organ as the main instrument, furthering the divide from the industry down to its consumers.
Months later, I discovered that what we lost (the Hammond organ) in gospel music was found in R&B and Neo Soul! Contemporary arrangements make songs less playable for smaller churches and instrumentation, they’re not singable to average singers and because A&R (artist and repertoire) are a thing of the past, many of the songs are simply undesirable.
We have contemporary “anthems” and spirituals, sure, but there was never a need to replace what was. The gospel industry owes it to itself to hang on to the traditional sound before it’s coopted by those with the resources to do what the gospel industry has long been unwilling to do. Want proof that the gospel industry is coming up short by overlooking traditional artists?
Go to a quartet concert and look at the line before and after the concert. People want it and will stay as long as they can to see their favorite artists. Then, they’ll stand in line for a picture and buy a cd on their way home. If quartet artists kept better track of their numbers, it would upset the charts and topple the current hierarchy in place, now. Because the festival circuit isn’t widely encouraged, you only see mainstream gospel artists at a handful of festivals. But traditional and quartet artists have been long been booked on jazz festivals, touring foreign countries regularly and back at home, working quite regularly singing their music.
In 2015, the Jones Family Singers were huge news because of their unlikely with an atheist journalist who loved their music. He loved their music so much that he wrote about them which led to them linking with a producer (Alan Berg) who recorded a CD and DVD of their journey. Following the release of their CD, the family group was featured at SXSW, toured Russia, performed at the Playboy Jazz Festival, the Monterrey Jazz Festival, the Newport Folk Festival, the Winnipeg Folk Festival, the North Sea Jazz Festival and really made a huge splash at home and abroad in addition to the release of their film which at one point could be viewed on Netflix.
While the Jones Family enjoyed a great run in the mid 2010’s, this didn’t translate to overwhelming success in the gospel industry which further fuels the thought that most gospel and traditional music is comprised of independent artists and labels, with what can be perceived as little to no interest from mainstream labels.
In 2017, Melvin Williams independently released what I felt to be one of the greatest traditional and quartet music tribute albums (“Where I Started From”), lately. Perhaps it was sales, perhaps it was timing, but I was quite disappointed that it wasn’t considered for a Roots Gospel GRAMMY Award. His documentary “Down Home Gospel” aired nationally on PBS Stations and received a 2018 EMMY nomination.
The labor of love is fueled by his mission to “PTGM” (Preserve Traditional Gospel Music). The Gospel Roots category is the best placement for traditional gospel as the category considers folk gospel southern gospel albums. The 2020 winner in this category is Gloria Gaynor whose breakout album “Testimony” shocked doubters and even fans who had no idea she was now a gospel recording artist.
So, there’s no room in the gospel industry for traditional gospel music, who’s making room for the sound the got us over and brought us through…to this place of success and recognition the gospel industry currently enjoys?
Before we end this conversation, what happened to choirs? They didn’t disappear, in fact many choirs of varied sizes are forced to go the way of independent artists. They’re just no longer a bigger part of the current gospel music landscape. The Brat Pack in gospel is still going strong, but who else? Their longevity shouldn’t be punishment to the next generation of choirs who aspire to be heard globally as well. It’s clear that the industry shifted from choirs to duos and as it stands now, solo artists. But, why? Each week listeners go to church to be a part of something…a choir or praise team depending on the membership. What God gave in the form of gospel music to black people is ours to steward. Business is business but that doesn’t have to be a bad thing!
Mishandling the Business
In Matthew 25:14-30, Jesus tells a parable about a businessman who gave his servants “talents” or “minas” to watch over while he was gone. One servant had five, another two and the last had one. Each of the servants with more than one were able to provide a return on what was entrusted to them. The servant with only one talent hid his and had nothing to show for when the master returned. He was harshly judged because he hid it and provided no return-not even the bare minimum he could’ve gotten from the “exchangers”. His punishment was not only to be cast out, but he lost what he had and it was given to the servant who doubled his five. What does this mean for gospel music? It’s unfathomable to think that traditional gospel will sit on a shelf and that traditional gospel artists will continue to “wait outside the gate” for an industry that has seemingly turned their backs to them.
As The Fairfield Four, Blind Boys of Alabama the Ingramettes and a growing list of talent have discovered, their gifts were better suited in “other” hands! If the doors of gospel music remain closed to traditional gospel music, don’t worry, there’s always Americana!
When Gloria Gaynor wanted to record a gospel album, she couldn’t because her management disagreed with the decision to do so. When she was ready to record it, no label wanted it. After self-funding the project and winning the 2020 GRAMMY Award for Best Gospel Roots Album, the singer hasn’t only survived, she’s thriving! I spent a few moments with Gloria Gaynor to talk about the project, life and as the album is aptly titled, her incredible testimony.
When you think of Gloria Gaynor, you immediately think of the disco hit “I Will Survive”. Both the singer and the song have stood the test of time and as fate would have it were a match made in Heaven! When Gaynor encountered the song, she was in a back brace. After suffering a horrific fall and multiple surgeries, she was on the mend and set to record a new single for her record company. When she inquired about the B-side of the single, destiny took over. When she read the lyrics, she knew that she wanted to record and after going over it with the writers, they felt that she is who they’d been waiting for (two years) to sing it!
Gaynor had recently lost her mother and coupled with her recovery from back surgery, she had the perfect motivation to inspire survivors everywhere! The fight wasn’t over once the song was recorded, however. The label still felt that their original choice for the A-side was optimal and continuously rebuffed Gaynor’s protests about “I Will Survive”. After dropping it off at Studio 54 and putting it in the hands of disc jockeys in New York, the world had a hit on its hands. In the wake of its success, the label fielded numerous calls about the song’s whereabouts. Much to the chagrin of the execs, they had to concede that the song was closer than they thought…it was on the B-side.
As is common with many superstars, life was not without complication and challenges. Personal and financial challenges could have derailed the heralded disco diva, but she is a survivor! After visiting several churches and reconnecting with her mother’s bible, she made a commitment to Christ during while the music played on in discos around the world! Her commitment to Christ is widely unknown because few people ever get to know the artists behind the songs they love and for many, it’s so much better that way. When I asked about how “Testimony” came about, Gaynor had this to say: “I’ve wanted to record a gospel album for years but management that I had back then didn’t really want me to do it.“
After all these years, she was finally ready to put her faith on record but because no record company wanted to do the record, she funded the album herself and co-wrote each song.
Even after we were done, we tried to take if to different record companies and nobody wanted it. I think probably because they think of me as a disco artist and just couldn’t imagine that I would do a gospel album- that I was sincere about it.
Gaynor has found a way to share her faith and connect with her throngs of fans across the world. In 2000, she released a book entitled, “I Will Survive” detailing her life’s challenges and how she overcame them with faith. In 2013, she released “We Will Survive” with Sue Carswell that featured stories from fans detailing how the song impacted their lives. The audio book version garnered a 2015 Grammy nomination for Best Spoken-Word Album (in audio formats). Even with all that to take into consideration, the gospel album was still a hard sell.
We take different paths to the Lord and mine was different as well, so they for whatever reason couldn’t see it.
Gaynor persevered beyond each closed door and rejection to get the project done on her own and heard a comforting confirming word following her appearance with Bill Gaither.
A girl came up to me in church right after I got the Gaithers and she didn’t know anything about the album. She didn’t even know I’d recorded an album and she came up to me and she said, “Gloria, I believe I have a message for you from the Lord” and I said, “really?” She said, the Lord said there are going to be people saying, “what did we do?” and I couldn’t imagine what she was talking about. I’m like, “ok, thank you!” And so, I imagine that some of those companies and labels that turned down the record are probably saying just that after it’s won a GRAMMY, “what did we do?”
Considering her life’s story, I asked the disco diva if “Testimony” is a legacy project for her, to which she emphatically replied, “YES”.
I do because, it’s so much. It’s aptly named “Testimony” because it is my testimony- of the mercy, love and grace…the goodness and the faithfulness of God! I feel so blessed and so honored to have won this GRAMMY, to have been able to work with all these people-these wonderfully talented people and then to be recognized by my peers as having released something that is worthy of the GRAMMY.
Gaynor’s GRAMMY wins have come 40 years apart and each in fairly new categories. Her 1980 Best Disco GRAMMY win is the sole win in the category and by a woman. The Best Gospel Roots Album category was introduced in 2015 and Gaynor joins the likes of music icons Reba McIntyre, The Fairfield Four and Jason Crabb as past winners of note. In her acceptance speech, Gaynor said this win would ‘balance out her piano’, and with the newest win, Gaynor is back on top- a sentiment she shares in a song on her album.
Yeah, I’m back on top! The word of God is true! He promotes, He knows when you’re ready for it and He brings it to pass. I just feel so completely blessed that He has used me in the way that He has with this album because people are writing to me telling how the album has encouraged, uplifted, inspired and empowered them and that was my purpose so I feel that I am fulfilling my purpose. I hope and believe that God has more for me to do, but I think I’m on the right path.
Gloria Gaynor, Testimony
Testimony was recorded in Nashville’s historic RCA Studio A by Grammy Award winning producer engineers F. Reid Shippen and Christopher Stevens.
Testimony was recorded live in analogue sound format, highlighting the warmth and soul in Gloria’s legendary voice as well as the top tier musicianship of all the players involved. Duets on Testimony include a who’s who of contemporary Christian singers Jason Crabb, Yolanda Adams, MercyMe’s Bart Millard, and Mike Farris, who performed with Gloria on “Man of Peace” by Bob Dylan.
Testimony Track Listing: 1. Amazing Grace 2. Back On top 3. He Won’t Let Go ft. Bart Millard 4. Joy Comes In the Morning 5. Only You Can Do 6. Singin’ Over Me ft. Jason Crabb 7. Talkin’ Bout Jesus ft. Yolanda Adams 8.Take My Hand, Precious Lord ft. Jason Crabb, Mike Farris and Bart Millard Man of Peace ft. Mike Farris 10. Day One
Listen to the full interview with Gloria Gaynor on SP Radio “On the Record”
THE CELEBRATION HONORING THE GROUNDBREAKING PRODUCER WILL KICKOFF GRAMMY® WEEK ON JAN. 22 AT VILLAGE STUDIOS IN LOS ANGELES
Dr. Dre Photo Credit: Garia Skew
Revolutionary producer and recording artist Dr. Dre and the music industry’s most revered producers, engineers, and artistic professionals will gather on Wednesday, Jan. 22 at the iconic Village studios in West Los Angeles for the Recording Academy™’s 13th annual Producers & Engineers Wing GRAMMY® Week celebration. Known as the official kickoff to GRAMMY Week, the signature event will pay tribute to the artistic achievements and innovations of Dre—one of the music industry’s most groundbreaking producers of all time.
“Dr. Dre is an influential force in music,” said Deborah Dugan, President/CEO of the Recording Academy. “Dre breaks boundaries and inspires music creators across every genre. His evolution as a producer solidifies him as a leader of the pack within our industry, and we watch in amazement as he continues to shape the future of music.”
In addition to celebrating Dre’s legacy, the event will also salute the overall industry influence of the Producers & Engineers Wing’s more than 6,400 professional members and their commitment to creativity and technical prowess in the field of recording. Year-round, the Producers & Engineers Wing continues to advocate for excellence and best practices in sound recording, audio technologies, and education in the recording arts, along with proper crediting, recognition, and rights for music creators.
GRAMMY Week culminates with the 62nd Annual GRAMMY Awards® on Sunday, Jan. 26, 2020, airing live on the CBS Television Network, at 8 p.m. ET/PT.
ABOUT DR. DRE Six-time GRAMMY Award-winning artist and producer Dr. Dre was born in Compton, Calif., as Andre Young and began his music career as a member of the World Class Wreckin’ Cru. Shortly after, Dre co-founded the legendary group N.W.A. with Ice Cube, MC Ren, DJ Yella, and the late Eazy-E. They brought the rage and intensity of life in South Central Los Angeles to a global consciousness with their landmark album, Straight Outta Compton. In 1992, Dre released his solo debut, The Chronic. Dre also co-founded Death Row Records that same year, where he worked with artists like Snoop Dogg and Tupac, establishing West Coast hip-hop.
In 1996, Dre launched Aftermath Entertainment, where over the years he discovered hip-hop superstars such as 50 Cent, The Game, Kendrick Lamar, and Eminem, whose 1999 debut, The Slim Shady LP, sold nine million copies, with Anderson .Paak up next. He continues to be one of the most influential and sought after producers and voices of today’s generation. He followed it with a second solo album, the six-time platinum 2001.
In 2008, Dre co-founded Beats Electronics, the audio consumer electronics company, with Jimmy Iovine. In January 2014, they launched Beats Music—a subscription streaming service. Apple acquired both in July 2014. In 2013, Iovine and Dre gave a $70 million endowment to the University of Southern California to create the USC Jimmy Iovine and Andre Young Academy for Arts, Technology and the Business of Innovation—a new model for training and inspiring young innovators.
He also produced the Oscar nominated feature Straight Outta Compton (2015), a film that tells the true story of how Dre, along with his N.W.A. counterparts, formed this revolutionary group and spoke the truth that no one had before, pushed back against the authorities and ignited a social revolution that is still reverberating today. In 2016, the group’s immense influence and reach was once again confirmed as they were inducted into the Rock & Roll Hall of Fame.
In 2017, Dre and Iovine partnered once again to help create the four-part GRAMMY Award-winning and Emmy nominated HBO docuseries The Defiant Ones. The series told the decades long story of Dre and Iovine’s innovative and transformative partnership.
ABOUT THE RECORDING ACADEMY The Recording Academy represents the voices of performers, songwriters, producers, engineers, and all music professionals. Dedicated to ensuring the recording arts remain a thriving part of our shared cultural heritage, the Academy honors music’s history while investing in its future through the GRAMMY Museum®, advocates on behalf of music creators, supports music people in times of need through MusiCares®, and celebrates artistic excellence through the GRAMMY Awards—music’s only peer-recognized accolade and highest achievement. As the world’s leading society of music professionals, we work year-round to foster a more inspiring world for creators.
For more information about the Academy and its Producers & Engineers Wing, please visit www.recordingacademy.com or @ProdEngWing on Instagram. For breaking news and exclusive content, follow @RecordingAcad on Twitter, “like” Recording Academy on Facebook, and join the Recording Academy’s social communities on Instagram, Tumblr, and YouTube.
MasterClass expands catalog of music courses for aspiring musicians with first online class from ‘SexyBack,’ ‘Drunk In Love’ producer, Timbaland
Timbaland, Courtesy of MasterClass
MasterClass, the online education company that enables anyone to learn from the best in the world, announced today that prolific producer and artist, Timbaland, will offer his first online class exclusively through its platform. Timbaland will provide students insight into his uniquely creative and collaborative process inside the studio, while reflecting throughout on his approach to some of his most iconic hits. Timbaland’s class is now available at www.masterclass.com/tmbd. Students can enroll in the class with unlimited access for a one time purchase of $90, or subscribe for unlimited access to this class and all new and existing classes through the All-Access Pass for $180 per year.
“Timbaland has had some of the most influential and unforgettable hits of the past two decades,” said David Rogier, co-founder and CEO of MasterClass. “His creative process is both innovative and judgement-free and his delight in making music is infectious and inspiring. With his MasterClass, aspiring musicians have the opportunity to learn music production from a multi-platinum, Grammy Award-winning recording artist through an intimate and fun behind-the-table experience.”
Courtesy of MasterClass
With a discography spanning the world’s most influential recording artists across a range of musical genres, Timbaland’s inventive approach to music and production has set a gold standard in the industry. For over two decades, Timbaland’s distinctive style has led to platinum-selling collaborations with leaders in the industry including Beyoncé, Justin Timberlake, Sam Smith, Jay-Z, Missy Elliot, Aaliyah, Rihanna, Coldplay and more. His unparalleled ability to create compelling beats and unforgettable hooks has been recognized across the music industry, with his work having received dozens of nominations and awards including recognition at the People’s Choice Awards, ASCAP Awards, BET Hip Hop Awards and Grammy Awards, among others. Beyond his various accolades, Timbaland’s industry influence transcends himself, as the iconic producer has dedicated much of his career to the mentorship and support of other producers and aspiring musicians.
“When it comes to music production, the key is believing in your own ideas and finding collaborators that can help those ideas breathe,” says Timbaland. “In my MasterClass, students will walk away with the essentials to bring their own beats to life, giving them the confidence to find collaborators that believe in their vision as much as they do.”
Courtesy of MasterClass
Timbaland’s course is designed for aspiring recording artists and producers at any level and offers invaluable insight into the production processes that have defined his music. The course lays a foundation from creative inception to final production, giving students a chance to develop their own unique styles with a firm understanding of how to manifest that rhythm. Starting with the basics, the course teaches students foundational processes such as building a beat from scratch, working with a vocalist to create a melody, and layering in samples. As students progress, the course builds upon these lessons by delving into sound mixing and design, ultimately establishing a process for creating complex musical compositions. Going beyond instruction, each lesson is colored by first-hand accounts of Timbaland’s own industry experiences. Timbaland and his co-producers also create two new songs from scratch throughout the class. The songs are available for download to those enrolled in the class along with stems that students can use to remix into their own tracks.
MasterClass continues to expand its catalogue into new categories, bringing leading instructors to its engaged base of subscribers. MasterClass provides educational, inspiring, and engaging classes taught by the world’s greatest minds. With more than 50 classes that dive into processes, techniques and philosophies, MasterClass helps students progress more rapidly towards their own mastery, explore new passions, and learn new skills. It offers a unique learning experience, including video lessons, interactive exercises, course materials, peer interaction, and more. Students can subscribe for unlimited access to all new and existing classes through the All-Access Pass for $180 per year, or enroll in an individual class with for a one time purchase of $90. The course can be accessed online at www.masterclass.com, the MasterClass mobile app for iOS and Android and Apple TV.
ABOUT MASTERCLASS Founded in 2015, MasterClass started with the idea that everyone should have “access to genius.” The online education platform provides affordable, engaging, and inspirational online classes taught by world-renowned instructors, making it possible for anyone to learn from the best.
MasterClass’s current roster of courses includes:
Business: Howard Schultz (Business Leadership)
Culinary Arts: Gordon Ramsay (cooking), Alice Waters (home cooking), Thomas Keller (cooking techniques), Wolfgang Puck (cooking), Dominique Ansel (French pastry), James Suckling (wine appreciation)
Film and Television: Werner Herzog (filmmaking), Martin Scorsese (filmmaking), Ron Howard (directing), Spike Lee(filmmaking), Mira Nair (independent filmmaking), Jodie Foster (filmmaking), Ken Burns (documentary filmmaking), Helen Mirren (acting), Samuel L. Jackson (acting), Judd Apatow (comedy), Aaron Sorkin (screenwriting), Shonda Rhimes (writing for television)
Music and Entertainment: Steve Martin (comedy), Christina Aguilera (singing), Usher (performance), Reba McEntire (country music), Herbie Hancock (jazz), Deadmau5 (music production), Armin van Buuren (dance music), Hans Zimmer (film scoring), Tom Morello (electric guitar), Carlos Santana (art and soul of guitar)
Writing: James Patterson (writing), David Mamet (dramatic writing), Judy Blume (writing), Malcolm Gladwell (writing), RL Stine (writing for young audiences), Margaret Atwood (creative writing), Dan Brown (writing thrillers)
Photography: Annie Leibovitz (photography), Jimmy Chin (adventure photography)
Design and Fashion: Frank Gehry (architecture), Diane von Furstenberg (how to build a fashion brand), Marc Jacobs(fashion design)
Sports and Games: Serena Williams (tennis), Stephen Curry (shooting, ball-handling, and scoring), Garry Kasparov (chess), Daniel Negreanu (poker)
Politics and Society: Jane Goodall (conservation), Bob Woodward (investigative journalism), Karl Rove and David Axelrod(political campaign strategy), Paul Krugman (economics and society)
Science and Technology: Chris Hadfield (space exploration), Will Wright (game design)
Ella Mai Announces Second Leg Of The Debut Tour (PRNewsfoto/Interscope Records)
Grammy-winning songstress Ella Mai (10 Summers/Interscope Records) will be extending her wildly successful, sold-out The Debut Tour. The tour will now run through May 22nd before wrapping in Nashville, TN. The tour is in support of Ella’s self-titled album, which was executive produced by 10 Summers’ label head, Mustard. The album features Ella’s latest single, “Shot Clock” as well as the record-breaking hits, “Boo’d Up” and “Trip.” Tickets for The Debut Tour will be made available to the public on Friday, March 8 at 10:00 am local time.
THE DEBUT TOUR
Mar 5 – Cleveland, OH – House of Blues
Apr 19 – Indio, CA – Coachella
Mar 6 – Toronto, ON – The Danforth
Apr 23 – Oakland, CA – The Fox
Mar 7 – Montreal, QC – Club Soda
Apr 27 – Washington, DC – Broccoli City Festival
Mar 9 – Boston, MA – Royale
Apr 28 – Columbus, OH – Express Live!
Mar 11 – Brooklyn, NY – Brooklyn Steel
Apr 29 – Indianapolis, IN – Egyptian Room
Mar 12 – Brooklyn, NY – Brooklyn Steel
May 1 – Cincinnati, OH – Bogarts
Mar 13 – Philadelphia, PA – The Fillmore
May 4 – Tulsa, OK – Cain’s Ballroom
Mar 15 – Silver Spring, M.D. – The Fillmore Silver Spring
May 5 – St. Louis, MO – The Pageant
Mar 16 – Baltimore, MD – Baltimore Sound Stage
May 7 – Louisville, KY – The Mercury Ballroom
Mar 18 – Atlanta, GA – Tabernacle
May 8 – Pittsburgh, PA – Stage AE
Mar 19 – Atlanta, GA – Tabernacle
May 11 – New Haven, CT – Toad’s Place
Mar 20 – Orlando, FL – The Plaza Live
May 12 – Providence, RI – Fete Ballroom
Mar 21 – Fort Lauderdale, FL – Revolution Live
May 14 – Norfolk, VA – The NorVa
Mar 23 – New Orleans, LA – BUKU Festival
May 15 – Raleigh, NC – The Ritz
Mar 24 – Houston, TX – House of Blues
May 17 – Charlotte, NC – The Fillmore
Mar 26 – Dallas, TX – House of Blues
May 18 – Columbia, SC – The Senate
Mar 27 – Austin, TX – Emo’s
May 19 – Gulf Shores, AL – Hangout Festival
Mar 28 – San Antonio, TX – The Aztec Theatre
May 21 – Memphis, TN – Minglewood Hall
Apr 12 – Indio, CA – Coachella
May 22 – Nashville, TN – Marathon Music Works
Apr 17 – Los Angeles, CA – The Novo
Ella Mai Announces Second Leg Of The Debut Tour
Chart-topping success aside, Ella Mai has also had an amazing reception on the awards circuit. In 2018, she took home the Soul Train Awards for Best New Female and Song of the Year (Boo’d Up) and, last month, “Boo’d Up” yielded her Best R&B Song at the 61st GRAMMY Awards. Ella has been nominated for three iHeartRadio Music Awards and four NAACP Awards, including the prestigious Outstanding Album. The UK native will vie for Best Rnb, Hip-Hop & Grime and Rising Star at the 2019 Global Awards. In addition to her newly announced tour dates, fans will have the chance to catch Ella Mai performing live at Coachella this April. Ella will also be joining Ariana Grande on the European leg of her Sweetener tour which kicks off in London on August 17 at the 02 Arena.
