World-renowned singer-songwriter BANKS has released her fifth studio album, Off With Her Head, via ADA Worldwide, the independent label and artist services arm of Warner Music Group.
Off With Her Head – BANKS’ Fifth Studio Album – Out Now!
Sonically reminiscent of her Goddess roots, BANKS shares, “In many ways, it’s a big sister album to Goddess. After a decade apart, I’ve reunited with the core musicians and producers who helped shape my debut. At the same time, it’s something entirely different—I’ve grown so much as an artist and a person, and the journey is documented in all these sounds.”
“When singer-songwriter BANKS delivers new music, there are a few things you can be certain of: it’s going to be beautiful, it’s going to be fire, and it’s going to be relatable.” – V MAGAZINE
BANKS has announced her upcoming “Off With Her Head” North American Tour, produced by Live Nation. She will be making stops in major cities including Los Angeles, Brooklyn, Boston, Toronto, and Chicago.
June 13 – ACL Live at The Moody Theater, Austin, TX
June 15 – Tabernacle, Atlanta, GA
June 17 – The Howard Theatre, Washington, DC
June 20 – Brooklyn Paramount, Brooklyn, NY
June 22 – Citizens House of Blues, Boston, MA
June 24 – HISTORY, Toronto, ON
June 26 – Riviera Theatre, Chicago, IL
June 27 – The Fillmore, Minneapolis, MN
About BANKS
California-bred singer-songwriter Jillian Rose Banks, aka BANKS, crafts moody, alternative pop with shades of contemporary R&B. Emerging in the early 2010s with her debut album, Goddess, she created a dark signature sound of downtempo, alt-R&B that gained a loyal audience.
Her highly anticipated sophomore album, The Altar, was released in 2016 and included singles “Fuck with Myself,” “Gemini Feed,” and “Mind Games.” BANKS returned with her third studio album, III, in 2019, followed by Serpentina in 2022. In 2024, she celebrated the 10-year anniversary of Goddess with the acoustic Goddess: Unplugged and a four-continent sold-out tour.
WILLOW’s empathogen, released on May 3, 2024, emerges as a captivating blend of genres, heavily infused with jazz and maintaining an edge with rock, R&B, and dark pop music influences. empathogen is deeply embedded in black culture and musical traditions while exploring human imperfection and mental health struggles. This album solidifies her place as a transformative artist in contemporary music.
The album’s opener, “home” (feat. Jon Batiste), immediately sets the tone with percussive prominence that seems to be channeling African music in combination with jazz. Collaborating with Batiste, WILLOW creates a vibrant and dynamic track that celebrates her cultural roots while pushing musical boundaries. It leaves the listener wondering what to expect with the tracks to follow, and frankly, whatever they assume is most likely incorrect.
Throughout empathogen, WILLOW explores a diverse range of sounds and styles, showcasing her impressive versatility. In an unconventional usage of the term – I want to call the album “chaotic good”. She infuses moments with her signature style, offering intriguing vocal flourishes that fluidly transition between head voice and chest voice. One of the album’s standout features is WILLOW’s impressive vocal range, which she fearlessly exercises throughout each track. Her voice carries a beautiful timbre, and from soulful melodies, powerful belting, to yodeling, she effortlessly navigates wildly diverse vocal techniques with excellent control. When combined, it underscores her undeniable talent, along with masterful honing of skill. In “ancient girl,” she deftly employs vocal flipping techniques while remaining monotonous for the most part, adding an intriguing layer to the track’s sonic tapestry.
There are a tremendously vast array of flavors of influence of a myriad of artists in empathogen, yet WILLOW asserts her distinct voice and identity. The fact that in many cases it is a bit of a challenge to put your finger on where you’ve heard some of these influences, in my opinion emphasizes how much she has taken them and made them her own, and they sound so well-executed and natural to her. The album’s musical atmosphere occasionally shares elements with Billie Eilish and BANKS. However, WILLOW incorporates experimental and ambient musicality that creates a unique sonic landscape.
Fun fact: WILLOW was actually slated to open for Billie Eilish on her “Happier Than Ever World Tour” in 2022, but had to let go of the opportunity due to production limitations. Can you imagine the power of the combination of these two artists in a line-up?!
Interestingly, despite missing out on that collaboration, WILLOW and Eilish are currently on somewhat synchronistic paths. WILLOW released her album this month, and she is gearing up to tour across North America with Childish Gambino starting in August. (WILLOW tour dates & tickets here)
Meanwhile, in the same month – today, in fact – Eilish released her latest album, entitled HIT ME HARD AND SOFT. She will be kicking off her tour in September, and it will journey across North America, Australia, Europe, the UK, and Ireland and span into 2025. (Billie Eilish tour dates &tickets here)
Beyond her celebrity status, WILLOW (Willow Smith) proves herself as a formidable artist, transcending preconceptions of being a “nepo-baby.” Her musical journey spans years, marked by phases of visibility and brilliance. WILLOW has released six studio albums and one album under the moniker THE ANXIETY in collaboration with Tyler Cole, demonstrating her continuous evolution. empathogen solidifies her place in the industry, showcasing her growth and maturity as an artist.
This album is incredibly divergent from the genres of her past work, such as the more heavily rock n’ roll <COPINGMECHANISM> (2022), as is her band’s self-titled album THE ANXIETY. Her debut album ARDIPITHECUS is more classifiable as indie. The difference in her sound throughout each album release was mentioned in a recent interview between WILLOW and Jimmy Fallon. This is a testament to those chaotic good, continuous switches in genre. WILLOW keeps her music fresh-sounding and full of dopamine-triggering, enthralling surprises.
As empathogen unfolds, listeners are treated to an auditory journey that defies expectations. Tracks like “symptom of life” highlight WILLOW’s ability to seamlessly blend genres, at the same time delivering introspective lyrics that resonate deeply with listeners. It never sounds out of place or inauthentic when WILLOW changes things up. When the upbeat, summary chorus hits, this particular track also makes you want to put on yellow heart-shaped sunglasses and enjoy a particularly cheerful-toned view while cruising down the road. Unlike her previous electric instrumentation-heavy work, empathogen initially relies on a lot of acoustic instrumentation, adding a raw and organic quality to her musical repertoire. The piano work in “symptom of life” is simply lovely.
Similarly, the introspective track “the fear is not real” captivates with its ethereal soundscape and emotive vocals – at times breathy, and others, executed in a way that gives the song a tone that tells a story of tension. The lyrics indicate the inner battle experienced when left alone with one’s thoughts – the intensity of aversion to allowing oneself to do so, while making an effort to accept it is an important process:
In the silence, I can hear inside my mind In the silence, I can’t wear my disguise In the silence, in the silence,
In the silence, I can hear inside my mind In the silence, I don’t know what I’ll find In the silence, in the silence,
Don’t really wanna feel the freedom ‘Cause the parts of me I can’t see, they Wanna come out and fuel the fire, I don’t wonder why Never want to let me fall to pieces But it’s funny ’cause I think I need it
With another dive deep into herself, “False self” emerges as a standout on empathogen. Here, WILLOW bares her soul, with vocals that outcry with raw emotion, and a chorus that rips. The musicality of the track resonates with angsty dark pop elements, further adding to its depth and intensity. It features lyrics like, “My false self must die, it’s no surprise” and “Feel the answer change, I don’t wanna change, but I need to change.”
A guest appearance from St. Vincent in “pain for fun” adds an exciting dimension to the song, showcasing WILLOW’s ability to collaborate with other talented artists. St. Vincent, a stalwart in the music industry since 2003, brings her distinctive blend of indie rock and avant-garde pop to the track, enhancing its richness. Known for her innovative sound and acclaimed tracks like “Los Ageless,” St. Vincent’s collaboration with WILLOW adds a layer of depth and sophistication to empathogen. In parts, WILLOW utilizes her head voice, lending the track a softer, more effeminate quality. Honestly, an entire article could be written on all of the nuances of this 1 track alone.
This wasn’t WILLOW’s first time coacting with a widely-acclaimed artist in her music. Another instance was in her lately I feel EVERYTHING (2021) album tracks “t r a n s p a r e n t s o u l” and “Gaslight” featuring Travis Barker of Blink-182. “Gaslight” is very pop-rock and made me think about Avril Lavigne. Momentarily, I questioned whether my musical ear was serving me well, until I scrolled down the track list and saw the track “G R O W” featuring Avril Lavigne and Travis Barker. It simply cannot be overstated that WILLOW’s discography is delightfully unpredictable, but all of it is incredibly appealing. It’s ear candy, and I am confident that many existing fans will continue to enjoy her, despite the significant diversity in her sounds.
I apologize for the digression. Let us return to the review of empathogen…
“Down,” a brief down-tempo track, serves as a transitional piece leading to the solidly contrasting sound of “run!” – a single from the album that starts with a high chest voice like a yell, “I CAN’T GET OUT!” “Down”’s melancholic tone and Beyoncé-esque vocal quality provide a moment of introspection before the album’s energy shifts. And then, “i know that face.” is a very jazzy track.
One thing that has pervaded throughout all of her albums is apparent emotional maturity that continues to crescendo with each release, along with wisdom beyond her years, and high overall intelligence. She was just 15 when she released ARDIPITHECUS, and sometimes she sounds her age – such as when shouting with a higher pitch, yet in many other instances, she sounds grown up due her deep voice and her solid abilities. I cannot deny that is another way I draw a connection between Eilish and Smith – that “old soul” vibe.
That is not to say WILLOW has never released less mature music, or that a 10-year-old child should be required to. Her musical debut was in 2010 with the Billboard-charting “Whip My Hair” – you’ve probably heard it. I had, not knowing who the artist was. And while her father’s music was enjoyable in its own right, and it’s like comparing apples to oranges, his daughter’s music truly makes his songs sound like child’s play in comparison.
WILLOW’s clout may ebb and flow with public reception and industry dynamics, seeming to evade consistent well-deserved attention to her work and character. Yet, empathogen stands as a testament to her artistic vision, evolution as a musician, and unwavering commitment to her craft. With this album, she invites audiences to join her on a transcendent musical experience, where vulnerability meets strength and authenticity reigns supreme. WILLOW is poised to leave an indelible mark on the music industry for years to come.
PHOENIX — Talking Stick Resort Amphitheatre hosted the aptly-named “Hot Summer Nights Tour” last Friday, featuring Shaggy, TLC, En Vogue, and Sean Kingston. The tour’s July 7th stop in Phoenix was a 90s-infused R&B/reggae/hip-hop flashback enjoyed by a multi-generational and multicultural audience. The sexy and sometimes PG-13 rated gyrations on stage may have bumped that heat index up a notch or two, but the crowd was there for it, and the artists delivered.
Miami, Florida-born Sean Kingston took the stage and promised to “take everyone to Jamaica on a first class trip”. Born Kisean Paul Anderson in 1990, he was raised in Kingston, Jamaica and brought not only his professional name but also his reggae-rich upbringing into his career. Kingston was not yet born when the other artists in the lineup were household names, but with his DJ Nyce Hitz driving the music and sharing in the vocals, he primed fans with a brief 17-minute set. Included in the setlist were the 2007 Teen Choice award-winning song “Beautiful Girls”, and his 2010 Justin Bieber collaboration “Eenie Meenie”.
Oakland divas En Vogue opened the set with the classic ladies-empowerment anthem “My Lovin’ (You’re Never Gonna Get It)”, stunning fans with on-point harmonies and forceful solos. Founding members Terry Ellis and Cindy Herron, along with longtime member Rhonda Bennett, looked stunning in short-length tiered floral dresses showcasing long legs, sporting retro-inspired updos and bling. The former foursome, now a trio, thrilled the audience with sultry choreographed dance moves and a fierce presence.
Next up was “You Don’t Have to Worry” from their debut album Born to Sing – a fittingly titled album as these ladies were undeniably born to sing. As if twenty million records sold worldwide is not proof enough, throw in three Soul Train Awards, seven Grammy nominations, and two American Music Awards, and it’s no surprise we are sharing their songs with future generations.
Each En Vogue “funky diva” was given the spotlight on “Give It Up”, allowing them to showcase their individually stylized solos. Herron said, “Ladies with a good man, raise your hands!” as the group jumped into their Salt-N-Pepa collaboration “Whatta Man” while fans joined them in an electric slide dance. “Free Your Mind”, their hit song about racial tolerance, followed next.
Their 40-minute set also included Prince’s “Let’s Go Crazy”, complete with air guitar, followed by a dynamic version of Curtis Mayfield’s “Something He Can Feel”. Showing appreciation to fans, Herron said, “It’s been 33 years now. Thank you for all the love and support.”
Multi-platinum artists TLC brought a dose of nostalgia to the stage. T-Boz (Tionne Watkins) still sports her asymmetrical locks, while Chilli (Rozonda Thomas) seems like she has not changed a bit. Four dancers and a live band provided support for the 90s R&B legends.
T-Boz said, “It’s hotter than h-e-double hockey sticks”, appealing to the compassion of the audience as they slowed things down a bit while she stood in front of a cooling fan. Their set kicked off with their debut hit “Ain’t 2 Proud 2 Beg” off their 1992 album Ooooooohhh, and included previously recorded raps by Lisa “Left Eye” Lopes (the “L” in TLC) who tragically passed away in 2002.
“Baby-Baby-Baby” was next, and T-Boz’s signature gravelly voice transported the fans to the decade when MTV still played music videos and TLC was everywhere. Chilli sang while keeping in step with the four high-energy male dancers, showcasing dance styles from both the 90s and present day, while sporting iconic parachute pants from that era. To lead into the 1999 hit “Unpretty”, T-Boz remarked that social media is full of people trying to make everyone feel bad about themselves, and said the song should be listened to again. “Creep” was next, followed by solos from all of the dancers. While TLC took a cooling break, a DJ provided entertainment, playing mixed versions of Michael Jackson’s “Don’t Stop ‘til You Get Enough”, Black Eyed Peas’ “I Gotta Feeling”, and the Dirty Dancing soundtrack hit “(I’ve Had) The Time of My Life”.
On the stage’s backing screen, a video showed a guy riding as passenger in a car, along with a girl he aims to impress. Clearly leading up to “No Scrubs”, this hyped the crowd for the megahit from 1999’s Fanmail. T-Boz and Chilli turned their microphones to the concertgoers for the line “Can’t get wit’ a deadbeat ass” that they enthusiastically delivered. The screen then segued to footage of a high-contrast waterfall before their set ended with a performance “Waterfalls” from the CrazySexyCool album, which was released in 1994. Hearing the recording of Left Eye’s signature rap during this classic song while her bandmates performed it live was emotionally evocative.
While many expected TLC as the headliner, Shaggy was the final act on this night. His set kicked off with “Mood”, after which he apologized for his obviously hoarse voice in his thick Jamaican accent. The charismatic reggae-rapper, born Orville Richard Burrell, burst onto the music scene in 1992, winning 2 of his 7 Grammy nominations, and is known for collaborations with various artists in multiple genres, including Sting from The Police. Still over 100 degrees at 10 p.m. in Phoenix, Shaggy quipped, “I’ve never had to perform in this much heat in my life,” as he tossed his trademark oversized sunglasses to the side stage.
His set included samples of Bob Marley’s “One Love” and UB40’s “Red Red Wine” before he exclaimed, “We’re going to turn this bitch up” and transitioned to “In The Summertime” from Boombastic. He then grabbed his phone and turned around, taking a selfie with the crowd to “put y’all asses on YouTube”. Shaggy’s dance moves included ample provocative hip grinding, at one point suggestively stroking his microphone.
He delighted the crowd with “Angel” (his reimagining of Juice Newton’s “Angel of the Morning”), along with “Boombastic”, “Strength of a Woman”, and “It Wasn’t Me”. Fans especially loved his reggae version of Frank Sinatra’s “That’s Life” from the Sting-produced album Com Fly Wid Mireleased May 2023.
90s music enthusiasts, filled with nostalgic memories of MTV videos, cassette tapes, and oversized baggy clothes, braved the heat in full force while passing on their love for the “old school” to younger generations. This Phoenix stop was, hands-down, the epitome of everything the “Hot Summer Nights” tour represents.
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