kelela tour australia

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Kelela - special one-off Sydney show in two weeks!

MELBOURNE, AU (AUG 14, 2023) – American electronic/R&B artist KELELA has announced her return to Australia in two weeks for her special one-off Sydney headline show at Metro Theatre.

Tickets go on sale 9:30am Tuesday August 15

For complete tour and ticket information, visit: livenation.com.au

ABOUT KELELA:

Skilfully straddling the frequencies of R&B and dance/club music, American singer, songwriter and producer Kelela has established herself as an artistic interpolator of music, art and fashion.

In 2017, Kelela’s debut album, Take Me Apart , accelerated her inevitable rise to mainstream acclaim in both pop and underground culture. In the years prior, Cut 4 Me (2013) and Hallucinogen (2015) – among her other remix projects and features – cemented her artistry as a leading force in the alternative, underground R&B world. With a personal style as visually kaleidoscopic as her genre-wielding music, Kelela has established herself as a vanguard of sonic and aesthetic innovation. Thoughtfully intermixing elegance, futurism, divinity and sensuality, Kelela’s unique perspective has carved a lane that demonstrates style as both a component of art, and art in and of itself.

Kelela’s long-awaited sequel to her debut album drops early 2023. The album is preceded by singles “Washed Away” “Happy Ending” and “On The Run,” and is slated for release February 10th.

AUSTRALIA 2023

METRO THEATRE, SYDNEY - TUE AUG 29

  TICKETS ON SALE 9:30AM TUE AUGUST 15

For all tour-related enquiries, contact:

Live Nation Australasia

Marie Lebourdais

+61 420 359 558

[email protected]

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Kelela  

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Kelela is a singer and songwriter hailing from Washington D.C, United States who was born in 1983. Since her debut in 2010 she has released one mixtape along with one EP, becoming one of the most exciting acts in alternative R&B in the process.

There are very few genres which Kelela Mizanekristos haven't tried her hand at singing. She's sang jazz standards in coffee shops, sang indie rock with the band Dizzy Spells and even tried her hand at progressive metal after fell in with Animals As Leaders guitarist Tosin Abasi. However, after relocating to Los Angeles, California in 2010, she found her niche singing an esoteric spin on modern day R&B. After she moved to L.A, one of the key contacts she made was with the group Teengirl Fantasy, and while singing on their debut album “Tracer”, she met one of the execs from their label Fade To Mind. After striking up a friendship with him, he introduced her to the sounds of Fade To Mind's sister imprint Night Slugs, a London based label specialising in the most interesting and out their sounds in U.K dance music.

Inspired by what she was hearing coming out of the U.K, she started incorporating influences of it into her music, and in October 2013, she released her debut mixtape “Cut 4 Me” for free onto the internet. It ended being one of the most acclaimed independent releases of the year, hailed by both critics and contemporaries like Solange Knowles and Björk. Ever since then, she's remained one of the most exciting R&B artists to come along in a very long time. With a new EP coming up in the form of “Hallucinogen”, and a debut studio album coming afterwards, Kelela is an artist with the world at her feet. For that, she comes highly recommended.

Live reviews

Beyonce and Bjork are already singing 31 year old American singer songwriter Kelela's' praises. Seemingly coming out of nowhere, she released her debut 'Cut For Me' mixtape in 2013. The phrase "future R&B" get's thrown around a lot of late, with the rise of female singer's Banks and fka Twigs, but Kelela is certainly giving her contemporaries a run for their money and her sound fits the term perfectly.

Kelela also happens to put on one of the most engaging live shows I've ever seen. Performing to a relatively small crowd of music savvy fans during her Nottingham debut, she wastes no time in showing off how strong her vocals are. Clearly influenced by female singers like Aliyah, her soulful tones shine throughout the set. Dressed in a black jumpsuit she glides effortlessly across the stage. Showcasing tracks from her blog-favorite debut 'Cut 4 Me' which she gave away for free online, are given life, one after the other. The boundary pushing bass-y production of the Night Slugs label are clearly evident during highlights, 'Guns and Synths', 'Cut 4 Me' and 'Fade To Black' with each word sung back from the baying crowd. 'Melba's Call', a collaboration with Night Slugs co-founder Bok Bok sounds equally as brilliant. The Washington born songstress commands the stage, putting real emotion into each track and later performs alongside Hudson Mohawke during his set.

It's impossible to take your eyes off of her. your review of Kelela here...

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Such a beautiful and genuine person with a perfect voice. Good vibes all around..no hostile pushing or anything, just a bunch of people having a good time at her show. Her backing band and singers were just as fantastic as she was, and I could tell they were all enjoying the music. Her set was LONG-more Kelela for us. She did almost all the songs off Take Me Apart as well as goodies from Cut 4 Me and Hallucinogen. Probably one of the best concerts I've been to!

Absolutely superb. Her voice is angelic and brings raw emotional and ethereal energy to the crowd. The set was paced very well - only wished she could have performed for longer, though she did perform for the standard 90 minutes.

She was amazing! She sounds exactly like her records, which I really value in a artist. Even her backround singers are bomb! The concert was colorful, and entertaining. She's truly a beautiful person and singer.

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• UPCOMING TOURS

Headline Show January 2018

With great excitement, Handsome Tours and Frontier Touring present Kelela ’s first ever Melbourne headline show, with a performance at 170 Russell this January in addition to appearances with The xx . Kelela will be joined on the night by local Melbourne electronic duo  Fortunes , who will open the show.

Kelela’s debut album emerges as an epic portrait of an artist spanning the past and future of R&B. In her hands, however, the genre knows no boundaries and so Take Me Apart exists as an absolutely singular and fearless addition to a canon of recent classics. From her very earliest work, honesty and vulnerability have been cornerstones of Kelela’s art – even when clad in the armor of the avant-garde electronics she so deftly inhabits – and Take Me Apart sees her double down on both the emotional intensity and resonance of her message as well as the sonic seeking she is renowned for.

The process of crafting Take Me Apart embraced the approach of widely collaborative R&B, hip-hop and pop production while roaming a strange and wonderful path. Working with a cast of peers including Arca , Jam City , Kelsey Lu , Terror Danjah , and The xx ’s Romy Madley-Croft (just to name a few) – Kelela deconstructs many results of their collaborations and builds them back up into pieces of a cohesive whole, effectively orchestrating these multitudes in aid of her singular vision. “It’s this tapestry I’ve knitted together that attracts different types of listeners and challenges them at the same time, often within the same song.

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The xx announce australian tour.

The band will be joined by American electro/r’n’b singer Kelela and US rapper Earl Sweatshirt on all dates. The xx will be donating $1 from every ticket to LBGT+ programs in each city through PLUS1 .

This will be The xx’s first Australian headline tour since 2013, see the dates listed below.

Saturday January 13 – Sidney Myer Music Bowl, Melbourne, VIC

Wednesday January 17 – Riverstage, Brisbane, QLD

Saturday January 20 – The Domain, Sydney, NSW

The xx, Kelela, and Earl Sweatshirt will tour Australia in January 2018.

FAIRGROUNDS FESTIVAL DROPS LINEUP

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Kelela Review – A Dance Party Rooted in Softness and Vulnerability

• Oops! Something went wrong. Please try again later. More content below

Kelela performed at the Royal Exhibition Building in Melbourne/Naarm on Sunday, 27th August. Billy Burgess reviews.

Kelela had been to Australia before, playing at Sugar Mountain and Meredith Music Festival in the wake of her 2016 breakout EP, Hallucinogen , and returning for support slots on The xx’s festival-sized I See You tour in 2018. But the emotion in the crowd had never been as devout as this.

Kelela – ‘Contact’

The final event at Carlton’s Royal Exhibition Building for the Now or Never festival was attended by masses of eager, kind-spirited Kelela fans, ready to dance, sing and shower the US artist in waves of loving emotion.

Constructed in 1880, the World Heritage-listed Royal Exhibition Building is regarded as the world’s oldest surviving exhibition hall. For many Melburnians, it’s the ornate and somewhat mysterious structure that separates Carlton Gardens from the Museum. I’d only been here once before, for my first shot of AstraZeneca after spending 18 months indoors. I wore trackies.

Now or Never brought music and lighting displays back to the hall after a two-decade drought, and a feeling of privilege and good fortune permeated as we anticipated Kelela’s first Australian show in more than five years.

Kelela’s work has distinguished itself from the dance-R&B and electronic-pop mainstream going right back to 2013’s ‘Bank Head’ – a collaboration with NY producer Kingdom that later featured on Kelela’s debut mixtape Cut 4 Me . “This is an oldie by a goodie,” Kelela said, introducing the song in the middle of the Melbourne performance.

She expressed gratitude for her “day-ones”, her “OGs”, multiple times in the course of the show, but the setlist revolved around this year’s Raven , her second official album and a triumph of personal-is-political songcraft, progressive electronic production and vocal performances that connect listeners with the beating heart of its creator.

“Some people just got here,” Kelela said, referring to fans who’d joined her community in the wake of the D&B-, breakbeat- and garage-inclined Raven . But everyone was welcome, and the crowd met Raven standouts ‘Contact’ and ‘On the Run’ with as much enthusiasm as Hallucinogen ‘s ‘Rewind’ and ‘Waitin’ from her 2017 debut album, Take Me Apart .

“Thank you for turning up,” Kelela said, “and thank you for turning out.”

After 90 minutes of pulsing sub-bass grooves and exquisite displays of vocal dexterity, Kelela said her goodbyes before returning to the stage for an encore. Prior to the night’s closing song, ‘Cut 4 Me’, she took a moment to emphasise that her music comes from a place of tenderness and vulnerability – and that these qualities characterise her interactions with her fans.

Her songs and live performances are oriented towards a possible future where softness and vulnerability are qualities expressed by all, she said, a world where we meet each other with empathy and mutual affection.

There’s a lot of work to do if we’re to reach this ideal, a point reinforced by Raven ‘s bucking-against-the-patriarchy focus. But the body-and-mind reinvigoration produced by a show like this was a reminder of the powerful – and tender – feelings that unite us.

Further Reading

American Producer Kelela Returns With New Single ‘Washed Away’

Kelela, Autechre Lead New Melbourne Festival Now or Never

The XX Announce 2018 Australian Tour With Kelela & Earl Sweatshirt

The post Kelela Review – A Dance Party Rooted in Softness and Vulnerability appeared first on Music Feeds .

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Kelela Announces Exclusive Australian Headline Show

By Sam Murphy

Future R&B artist Kelela has announced a one-off Melbourne show for early 2018.

The singer, who released her debut album Take Me Apart this year, will be in the country supporting the xx on their national tour and has decided to gift Melbourne with a headline show too.

The xx’s tour will start in mid-January and also includes support from Earl Sweatshirt who is yet to announce any headline dates.

Kelela was last here in 2016 for Melbourne’s Sugar Mountain festival. It will have been almost two years by the time she touches down here next year and will also be the first time she’s playing the album in the country.

The US artist opened for the xx on their North American tour earlier this year too and by all reports it’s been pretty special.

Check out the details below. Tickets are on-sale now.

Kelela Australian Headline Show

Monday, 15th January 170 Russell, Melbourne Tickets: moshtix

Also appearing on the xx’s Australian tour.

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Our top headlines in style, culture, and more, in your inbox, daily, we respect your privacy. all data captured will be used in accordance with our privacy policy, kelela: “i’m everybody’s favourite secret”.

After a six-year hiatus, the R’N’B disco artist Kelela is back with a new record (and a new look). She talks to BAZAAR about breaking out of IYKYK status, her six-year hiatus and her friend Maximilian Davis’ history-making Ferragamo debut.

Words by GRACE O’NEILL; Photographed by LUCIE ROX; Styled by ANATOLLI SMITH

THERE WAS A question that kept occupying my mind as I prepared for my interview with Kelela. It first occurred to me when I looked at the photographs of the shoot for this cover — the R’n’B singer resplendent in cherry red Ferragamo, her cropped hair and eyebrows newly bleached. And again, when I listened to her new album, Raven (her first in six years, but we’ll get to that), an ethereal, transcendental experience that feels a little like bathing in a sonic pool of liquid silk. And again, watching the music video for the album’s first single “Washed Away”, as the singer walks across an endless horizon looking like some kind of ancient goddess. Kelela’s sound is so influential that music critics have paved a clear pathway between her early work and the disco-inflections of Beyoncè’s Renaissance album. The Guardian called her “one of the most groundbreaking artists of the last decade”. So my question is this: why isn’t Kelela more famous?

This, as our conversation proved, is a question with no easy answer. Kelela (pronounced Kuh-luh-lah), born Kelela Mizanekristos to Ethiopian American parents, burst onto the music scene with 2013’s mixtape, Cut 4 Me , which was followed in quick succession by 2015’s EP, Hallucinogen , and in 2017, her debut album, Take Me Apart . Her signature blend of R’n’B, dreamy vocals and disco inflections were heralded as a “template for how to innovate pop” and loved by Björk and Solange . She paved the way for a whole new generation of cerebral pop stars: FKA twigs , Banks and Tinashe among them. Club bangers such as “LMK” featured on Take Me Apart , with “Rewind” on Hallucinogen . Both tracks have the dance-inducing instant grab of a major pop song — the kind that shoots to number one and makes the artist a household name — and yet both have less than four million YouTube views apiece. The comments section of both are awash with variations on the same theme: why was this song not a huge hit?

Kelela has spent much of her career as an IYKYK (if you know, you know) artist. Dropping her name and owning her records connotes a certain cultural credibility — “I feel like I’m on a lot of major artists’ moodboards,” as Kelela puts it. But cultural credibility doesn’t pay the bills, and Kelela has rightly spent the past few years wondering why she is constantly billed as an “underground” artist. “I’ve always felt sort of obscured and marginalised, like I’m everybody’s favourite secret,” she says on Zoom from London, where she’s preparing for the Raven tour. When Take Me Apart came out, “I was experiencing these feelings simultaneously. On one hand, being very embraced as everybody’s favourite thing when they’re in their car by themselves or in the club, but then there’s this other side where I’m relegated to the underground. It’s like I’m pushed into and kept in this small, secret place. It’s a weird, in-between swirl.”

The reasons for this are both complicated and bleakly predictable. Let’s tackle the first: the music industry is just that — an industry — and in an era when most audiences can be found on social media, the nature of music creation and distribution is changing. Last year, artists including Charli XCX, Halsey, Florence Welch (of Florence + The Machine) and FKA twigs spoke out about pressure from their record labels to amass followers on TikTok. (Charli XCX even went as far as to suggest her label was withholding the release of her album until she grew her fanbase.) Within this paradigm, the goal is punchy, five-second hooks (think Sam Smith’s “Unholy” and Taylor Swift’s “Anti-Hero”), and general brevity. The average length of a pop song has dropped from four minutes and 10 seconds in 2000, to three minutes and seven seconds in 2021. “[The industry today] feels very much about diluting, cutting out the complexity, and my perspective as a songwriter is inherently rooted in articulating complexities. I’m interested in layered feelings, you know: ‘You are being terrible to me, but I also keep participating in it,’ or, ‘I don’t like this, but I also know I did this.’ I think that’s the more truthful and honest perspective, but a lot of songs today are just like, ‘You’re hurting me,’ and there is this push to simplify in a way that compromises what we’re actually feeling.”

Kelela’s work may be nuanced, but it is far from inaccessible. Which is where we confront the unavoidable question of race. The past century of modern music has been defined by white people co-opting (and profiting from) Black sound and aesthetics, from Buddy Holly and Elvis Presley in the ’50s, to the Rolling Stones and Eric Clapton in the ’60s and ’70s, to NSYNC and Britney Spears in the ’90s, to Ariana Grande and Billie Eilish today. Rap and R’n’B were considered unserious artforms by the music establishment until white artists such as Eminem entered the fray and began making serious money. P!nk was marketed as a white alternative to Aaliyah and Faith Evans, the R’n’B princesses of the late ’90s and early ’00s (no points for guessing who sold the most records). Black artists unquestionably have to work harder than their white counterparts — have the best style, the best music videos, the most un-ignorable songs — just to get, as Solange so perfectly put it in her 2016 album of the same name, a seat at the table.

Kelela is acutely aware of this. “I have never seen a manifestation of a darker skinned, Black femme artist who makes R’n’B and was on an indie label breaking through that ceiling,” she says. “You literally cannot find one person who has done that [aside from me], not one. And it’s very discouraging. If you go through all the artists, you begin to see this pattern emerge: that you can be light-skinned and on an indie label and create a certain type of success, or you can be dark skinned and on a major label. It’s very literal.” Kelela speaks frankly about intersecting power structures — colourism, patriarchy, misogynoir — that have influenced her career, and she’s just as honest about the emotional impact involved in fighting back against them. “When I think about this in the context of the music business, it’s less motivating to serve.”

I ’ve always felt sort of OBSCURED and MARGINALISED, like I’m everybody’s FAVOURITE SECRET

otivating to serve.”

It’s been six years since she last released music, a fact her fanbase have been reminding her on Twitter, Instagram and TikTok almost daily since 2017. “What is Joe Biden’s plan to get Kelela back in the studio? His silence is deafening” read one 2020 tweet. Kelela quietly returned to the studio three years ago, recording what would become the track “Closure” in a studio in Berlin. Then came the pandemic, and the rest of the album was a slow creative burn, crafted in collaboration with some of her favourite artists and friends, including Asmara, Yo van Lenz, Florian T M Zeisig, LSDXOXO and Bambii. She’s excited to get on tour and share the music with the audiences — her first round of US shows sold out instantly, before the album had even been released. “I really enjoy all the parts — I love being on the road, I love making my set, I love being able to share my music and display my ideas. And I think the anticipation is going to fill the room with a lot of exciting energy — I can’t wait to have that exchange.”

One person who will be cheering her on is Maximilian Davis, the newly installed creative director at Ferragamo. Kelela first met Davis when he was still a design student in London, years before he launched his celebrated namesake label. “Fun fact, Max was in the ‘LMK’ video,” Kelela says with a laugh. “It’s one of those full circle moments when I’ve watched this person toil and just work on their craft, and I’ve seen this thing grow over the last five to seven years.” Davis’ role was announced in March 2022, in a history-making appointment. At 26, not only was the British designer the youngest person to ever helm the 96-year-old Italian house, but he also remains one of the (concerningly) few Black or non-white creative directors in Europe. Davis was hired by seasoned luxury CEO Marco Gobbetti, who is best known for his work in re-energising the Céline brand with Phoebe Philo .

Kelela was sitting front row for Davis’ debut in Milan last September, where he unveiled a more youthful vision for the brand, which included dropping the ‘Salvatore’, and creating a bold new house colour: Ferragamo red. The spring/summer 2023 collection was brimming with a new creative energy, keeping the brand’s recognisable motifs and silhouettes (sharply crafted tailoring in muted tones of beige, navy and black) with thoroughly modern details: skirt suits with hemlines slashed razor short, sheer tie-dyed separates (in an homage to the artist Rachel Harrison), sharp high-necked day dresses in perfectly cut suede. Workwear was radically rethought — trousers were made of thousands of sparkling pailettes and paired with sheer turtlenecks — and the eveningwear included regal gowns artfully draped across the body, some with Grace Jones-esque hoods.

When the show finished the front row gave an uncharacteristic cheer. “I think everybody was just emotional because we’ve all been supporting each other for so long,” Kelela says. “[Moiselle de G Moreira] did the hair, Mischa [Notcutt] did the casting, Ib Kamara did the styling — these are all people I know and who have extended me support in my work. I think for all of us to see something that big manifest for one of us, it was like a win for all of us. It speaks to the possibility for those of us who have not yet been able to create that security or have that moment. It was relief and gratefulness, and so much hope.”

Raven is out on Warp Records now.

T his story appears in the March 2023 issue of Harper’s BAZAAR Australia/New Zealand, available for delivery  here .

Hair by Mideyah Parker at Bryant Artists; makeup by Raisa Flowers at Ethan David Miller Agency; manicure by Dawn Sterling. Set design by Jill Nicholls.

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Kelela Announces Tour Dates, Shares New “On the Run” Video: Watch

By Matthew Ismael Ruiz

Kelela has shared a new clip for her latest single, “ On the Run .” She’s also announced a short tour in support of her forthcoming album, Raven . Find her schedule and the Lee Wei Swee –directed video below.

Raven is out February 10. In addition to “On the Run,” the Take Me Apart follow-up will feature “ Washed Away ” and “ Happy Ending .”

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03-16 Atlanta, GA - Terminal West 03-17 New York, NY - Webster Hall 03-18 Chicago, IL - Thalia Hall 03-23 Washington, D.C. - 9:30 Club 03-24 Toronto, Ontario - The Opera House 04-01 Los Angeles, CA - The Fonda 04-07 London, England - Outernet

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Kelela Is ‘On the Run’ in New Video and Upcoming Tour

• By Tomás Mier

Kelela is sharing a new taste of her upcoming album Raven with the release of the visuals for her song “On the Run,” as she announced a set of tour dates in the new year.

The video follows the vocalist sitting in the passenger seat with Bambii, her co-producer, in the driver’s seat as Kelela rolls a joint and the two begin to cruise. The video splices the car clips as the two women sing along to the lyrics, with close-up shots of Kelela’s face.

The dream sequence visual takes a sexy turn as the pair of women move things to the backseat and remove their clothing as Kelela sings in the chorus, “Open up, babe, to the sun/Open up, babe, we ain’t done/Come out and touch the rays.”

Her new project is set to be supported by several tour dates across North America and a show in London next March and April.

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Kelela Rave:N Tour Dates:

Mar 16 – Atlanta, GA @ Terminal West Mar 17 – New York, NY @ Webster Hall Mar 18 – Chicago, IL @ Thalia Hall Mar 23 – Washington, DC @ 9:30 Club Mar 24 – Toronto, ON @ The Opera House Apr 01 – Los Angeles, CA @ The Fonda April 07 – London, UK @ Outernet

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About Kelela

Kelela is an Ethiopian-American singer-songwriter, producer, and visual artist. She was first recognized in the early 2010s through a series of high-profile collaborations with artists such as Solange, BJ the Chicago Kid, and Teengirl Fantasy. In 2013, she released her first commercial mixtape, Cut 4 Me, to widespread critical acclaim. The following year, she released a free EP, Hallucinogen, which featured remixes from producers like Kingdom and Jamie xx. In 2017, she released her debut studio album Take Me Apart to even further critical acclaim. Her second studio album, Juno, was released in 2020 and the single, "On the Line" featured more experimental production and singing. Her music draws on influences from R&B, hip hop, and electronic music, resulting in a hybrid style which has been met with great critical praise.

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Rave:n tour, kelela at terminal 5, new york, ny, usa.

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Kelela at The Cause, London, England

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Kelela at Public Records, Brooklyn, NY, USA

Kelela at primavera sound são paulo 2023.

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Kelela at KANDA SQUARE HALL, Tokyo, Japan

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Kelela Announces 2023 RAVE:N Tour

Supporting her upcoming sophomore album. .

Today, Kelela announced her 2023 RAVE:N Tour in support of her forthcoming sophomore album.

  View this post on Instagram   A post shared by KELELA (@kelela)

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Kelela Announces ‘RAVE:N Tour’ 2023 Dates

It will support her sophomore album, "raven.".

Kelela. (Photo Credit: Justin French)

Kelela has unveiled dates for her headlining RAVE:N Tour , which kicks off March 16, 2023, at Terminal West in Atlanta, Georgia.

The tour will cover cities such as New York, Washington, D.C., Toronto, and Los Angeles, before it concludes April 7, 2023, at Outernet in London.

“Get in stink, we goin for a ride!!!” Kelela wrote in an Instagram caption.

Tickets go on sale this Friday, Dec. 9. 

Kelela’s upcoming tour will launch a month after she releases her sophomore album, RAVEN , which drops Feb. 10, 2023, via Warp. The album is the follow-up to her 2017 album, Take Me Away . 

“I started this process from the feeling of isolation and alienation I’ve always had as a black femme in dance music, despite its black origins,” said Kelela. 

“ RAVEN is my first break taken in the dark, an affirmation of black femme perspective in the midst of systemic erasure and the sound of our vulnerability turned into power.” 

Kelela has shared several songs from RAVEN , starting with its lead single “ Washed Away .”

Released in September, the soothing tune was said to have been recorded “in the midst of uncertainty.” She added , “A lot of my first takes made it to the final.” 

“I really didn’t think I’d hit on anything that would resonate out the gate, but I can see now that it was my willingness to try that paved the way for self-belief and renewal. Hope this makes you feel the same,” Kelela wrote on Instagram. 

Kelela followed with three additional songs, including “ Happy Ending ” and “ On the Run .” She co-produced the latter track with Yo van Lenz, Kaytranada and Bambii. Asmara also contributed on the production. 

            View this post on Instagram                         A post shared by KELELA (@kelela)

Kelela’s RAVE:N Tour 2023 Dates

Mar 16 – Atlanta, GA @ Terminal West Mar 18 – New York, NY @ Webster Hall Mar 18 – Chicago, IL @ Thalia Hall Mar 23 – Washington, D.C. @ 9:30 Club Mar 24 – Toronto, CA @ The Opera House Apr 1 – Los Angeles, CA @ The Fonda Apr 7 – London, UK @ Outernet

Get tickets for Kelela’s tour on her official website .

Masego Announces ‘You Never Visit Me Tour’ 2023 Dates

Anderson .paak and smokey robinson’s ‘make it better’ now certified gold.

Antwane Folk

Antwane joined Rated R&B in January 2013 after graduating from the University of South Carolina. He is the assistant editor. His niche is seasoned R&B acts, along with radio stats on urban and R&B formats.

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