Tour Review: Janet Jackson: Unbreakable World Tour Orlando

The first real concert I went to was Janet Jackson’s. I saw the Janet tour. For those of that don't’ know, this is when she lost weight (allegedly by having ribs removed?) and was all about a crop top and being sexy. I’m guessing my mum didn’t know what the concert was about, or was just cool and knew that I was more into her hair than getting in her pants. (mothers ALWAYS know) That show was amazing and has always held a special place in my heart. I have continued to be a fan of Janet’s through the years. When her titty popped out and people turned on her, I stayed along for the ride. When she fell out of the media’s eye and married a rich dude, I still kind of hoped to myself that she would come back and snatch a couple wigs before hanging hers up.

SO just imagine my surprise when I saw that Miss Janet Damita Jo Jackson was not only giving us a new album but also a new tour?! I can’t quite remember my reaction, as I blacked out and woke out days later confused, and wearing a Rhythm Nation outfit and key earring. I decided that I was NOT going to let this concert pass without me being there on the floor. I’m too old for shitty seats, so I found a friend who was equally as excited and we got tickets during a presale.

A few months passed and yesterday the concert finally happened. I avoided all reviews and clips on social media so it would all be new to me. Luckily, I did research and figured out that there was no opening act, so I decided to not be Jamaican as hell and get to the concert on time. My uber apparently was unfamiliar with THE FUCKING AMWAY center and got us lost and cut into the cushion of time I had set aside. I got there a few minutes before 8 and was ready to be slayed.. Then I wasn’t. Unlike Justin Timberlake who started at 8pm SHARP, Damita Jo was like 39 minutes late. I forgave her, as there was a DJ who was playing nothing but Janet. Kind of risky for a concert that was sure to be about her catalogue, given her album hasn’t come out. Luckily for him, he was armed with a bunch of hot ass remixes that served to only add to my excitement.

The house lights went black and then the show began. There was an animation of birds/eagles flying around and Janet was talking. They played her “Oh I can’t believe what I saw when I turned on the TV, this evening…” from “Scream” and then she appeared behind the screen. Her iconic shadow appeared and whipped ALL of the gays into a tizzy. She launched into her high energy single “Burn”? which featured Missy Elliott via video screen. I don’t think anyone knew the song, but everyone was so hyped that they didn’t care. They were just happy to see the queen return to bless her subjects with her dance moves and her expertly laid weave.

Janet came out covered head to toe in white. She had on these exaggerated drop crotch pants, that I would probably make fun of on someone other than her. Her weave was from the “Janet” era and was just as amazing now as it was then. It was a complete 180 given her last album was about catsuits and bondage gear. I remember writing that she was starting to remind me of your old auntie who steals your forever 21 skirt and smokes your weed. Her overt sexuality felt like she was trying too hard. (Yes, I’m looking at you, Madonna) I was kind of waiting for her to rip off her something and expose some skin but that never happened. There was only a change from white to black, but Janet always remained covered. Funny enough, she looked amazingly radiant, and still sexy as hell. It just goes to show that less can be more, ladies. (and zestlemen..)

All white Janet gave us her upbeat set. “Escapade”, “Pleasure Principle” and “All 4 U” were all among this set. She literally smacked us all upside the head with hit after hit. I thought I didn’t know the lyrics to her hits from the 80s, but I was wrong. She’d start the lyric and I’d finish the WHOLE DAMNED SONG. She didn’t take any breaks. I was kind of hoping she’d slow it down as I was getting winded from performing so hard. Her dancing was ON POINT. Anyone who knows me knows that I am a Bey stan, but watching Janet move reminded me that Bey can hit the choreography, but Janet is just such a smooth dancer. Even her vibing out to a song looked cooler than most artists out today.



All black Janet slowed down the tempo and gave us “Anytime Anyplace” “I Get So Lonely” and her latest single, “No Sleeep” (I still don’t get why we need extra the excess of e’s) I typically am not here for slow songs, but I was just as into the slow jams as I was her up tempos. J Cole (via video screen) made an appearance during the set and she even gave us a bit of their duet. It was funny because everyone around me was like “Oh, that’s right! I totally forgot about that song they had together!”

The show wrapped up, but not before we got “Rhythm Nation” and “If” and I lost my damned life. The show was everything I wanted: ALL the hits with a some new music sprinkled in. She sounded great, but I’m guessing she was lip synching for her life. Actually I caught her off at one point, but I didn’t care. I wasn’t there for her vocal acrobatics. Oddly enough her encore songs were two songs. Instead of her last moments on stage being about reminding us about her biggest hits, she took it to talk about social injustice. I found that very telling about the new era of Janet.

So announcing an arena tour for an album that is yet to be released is ballsy as fuck. Beyonce toured just cause she wanted to and did a few select songs. Janet hasn’t really been on the throne for a minute, so it was even riskier. I do think that Janet pulled it off expertly. I left being reminded of her greatness and excited to see what this next album has in store. Based off the wardrobe and the general vibe, this could really be another socially conscious album like “Rhythm Nation 1814” During that era, she was also covered up (more probably due to her body image issues) and it was more about talking about social issues. Whatever it is, I am here for it. I doubt it’ll be a commercial smash (once again, looking at Madonna more than Taylor Swift) but hey, that’s just the state of the world today. If you have the chance, I would strongly recommend this show. Hell, I am kind of pissed I didn’t buy Tampa tickets. Then again, I had to do some ho shit to pay for the floor seats I had for this show, but that’s for another blog post…

New Album Review: Jordin Sparks: RIght Here Right Now

So Jordin Sparks was on American Idol after I stopped caring. “No Air” was catchy and all over the radio, but I never fancied myself a fan of hers. “Battlefield” came out and I loved it, but I chalked it up to Ryan Tedder’s great writing. I still thought she was kind of boring. The only reason I actually listened to this album was because she’s signed to Salaam Remi, the producer who has works with legends like Amy Winehouse. The man worked on “Hotstepper” so he CLEARLY knows good music. If he saw something, I figured let me give her a listen. Ok Jordin, you have my ear, DON’T F THIS UP!



Work from Home: This song features B.o.B. and starts out all slow and sultry and then builds to a chorus with hand (I think ;) claps and it has a nice knock to it. Even though it’s a slower song, I could totally imagine a dancer at Magic City clapping along to it. (no hands)

1000- Her “Oh yeah” at the beginning made me think this song was gonna be lame as hell. The beat is actually kind of fun. Basically keeping it 100 is for the birds and Miss Sparks is now keeping it 1000. Girl, you’re so innovative! I am not quite sure who or what a J-Doe is, but he’s featured on this song. It’s not the worst rap, but it’s kind of forgettable to me. This song is the first glimpse of her speaking urban slang and it feels weird to me. I don’t take her as a girl that says “ain’t worried bout nuthin!”

Right Here Right Now: The beat once again has a nice knock to it and there is an overall airy and sexy vibe to the song. The chorus feels kind of a letdown given the beat for the verses. I think they could have done more with it, but a decent song nontheless.

Double Tap: I can’t wait for people to look back on this song and laugh the way people laugh about Britney’s “Email My Heart” It’s all about doing it for THE GRAM, which all the kids are loving these days. It’s a fun and silly song that teeny bopper girls (and me) will play when getting ready in front of the mirror. Funny side story: I had to explain to my boss what she was talking about. Yes, she’s talking about Instagram, but we see that it’s a jeu de mot on sex as well when 2 Chainz drops his verse. I love Jordin singing “Double tap that ho” It gets me every single time.

Boyz in the Hood: A piano driven track that wastes little time before dropping the clapping and drums that by this point has become standard for this album. I’m willing to bet good money that the choreography for this song will include a stripper kick or 12. Jordin is talking about wanting boyz from the hood. The guys that wear J’s and whatnot. Girl, I guess… Even though lyrically, it’s kind of trite, I actually like the piano on the track. It gives it a bit more soul

Silhouette: This song is a welcomed pause to all that upbeat trap-pop. It’s sexy and I like the lyrics. The track is perfect for setting the mood. It feels like Jordin is most comfortable in this lane and it feels natural for her

They Don’t Give: This is a song written by Babyface and definitely has a 90s R&B feel to it. It’s not vocally challenging, but Jordin delivers the song quite well and doesn’t try to do too much. I almost feel like I could see Tamia singing this song back in the day. This song is actually able to give throwback but still keep a modern feel to it.

Left, Right: I love how whoever wrote this song uses the play on words with “left, right” Jordin gives a convincing delivery of the lyrics. I don’t know how much of them come from her own experiences, but I’m believing her when she sings.

Casual Love: Apparently Shaggy isn’t dead! Let’s all take a moment and clap for that. I love the island vibe of the song. In the era of the flag waving side chick, it’s nice to hear a girl saying she doesn’t want to be just another girl or a casual love.
Unhappy: I like the pairing of her and Elijah Blake on this one. It sounds like a record Drake would make if he were to make R&B. Then at the end, they stop being restrained and both kind of just snap and give the kids out there a few runs to give them LIFE.

Tell Him I Love Him: a piano driven song that has Jordin talking to her man’s new chick. The subject is dramatic as hell, and lends itself to vocal stunts and shows. Jordin takes advantage of this when the chorus comes around. The last minute she delivers some powerhouse vocals that I honestly never knew she possessed. The first time i Heard it, she literally gave me chills.

11 11: This has Jordin back in that Drake lane. That’s no shade, I actually like the chill vibe to the song.

100 Years: This song feels like one long interlude to me. It kind of overstays its welcome and becomes boring.

It Ain’t You: MUSTARD ON THE BEAT, HO! “Need a pack of gum doo doo breath” and “you ain’t an OG, you an OMG” make this song feel kind of lame. It feels like an update to “No Scrubs” but lyrically it just falls flat. The beat sounds like all other generic Mustard beats.


Overall, once I got used to Jordin having a more “urban: swagger to her, the first half of the album became a lot easier for me to get into. She’s a young girl and I’m sure she wants to make music she can hear in the club. Plus who wants to be pigeonholed into “No Air” and “Battlefield” territory. Well then again, those were her two biggest hits, but I get that people mature and change. She gained my attention with the hood-pop (I’m really trying to make this term stick) but kept it when she got to the R&B. This album aims to please both the ratchet and the rhythmic. Overall, I’d say it’s pretty damned successful.

New Album Review: Ciara: Jackie (Deluxe)

I know I like to joke about Ciara, but I’m actually a big fan. I have all of her albums and even liked her albums that flopped on the charts. I think it’s interesting that she’s had THREE consecutive albums perform crappy on the charts yet still has a contract and is still putting out music. I also think it’s interesting that she’s a pretty woman, who can dance her ass off AND (kind of) carry a tune, yet she doesn’t seem to resonate with masses. She was supposed to be Janet Jackson’s successor, y’all!! Clearly that didn’t happen. Why? Marketing? Videos? Single choices? BEYONCE? So many factors but no one seems to know why. She’s back at it with Jackie, named for her mother, so let’s hope she makes Mama Jackie proud:

Jackie (B.M.F)- So the song starts out with a dramatic string arrangement and lyrics about her mother being a mother and going through mom things. I was mid yawn when she decides to switch the beat up. She goes into an ultra cocky, swagged out version of herself and goes into popping shit. (and cussing BMF stands for Bad Mother Fucker in case you aren’t cook)I quite enjoy it. After about 1:40 seconds the beat switches up again. AGAIN. LIke does she think she’s Justin TImberlake with these beat changes and long ass songs? I think the best description came from Twitter and was “This is Ciara’s ‘Bow Down’” I mean, it does have the same cocky vibe and beat change mid tempo. I won’t bother comparing the two beyond that, as people should not be compared to Bey. It’s just not fair.

That’s How I’m Feelin’: This song features Pit Bull (damn) and Missy (yay!) Polow produced it and it has a 1, 2, Step vibe to it. It feels very Atlanta/Ghost Town Dj’s to me and I actually like the summer vibe of it. The chorus is kind of lackluster and it doesn’t have the same magic of 1, 2, Step.

Lullaby: The song reminds me of Nelly and Kelly’s “Dilemma” in the very beginning and at the chorus. This track would have felt right at home on Ciara’s debut album. It’s cute and may be fun to roller skate to, but kind of forgettable.

Dance Like We’re Making Love: She starts out singing over a sparse track that is snap heavy. Her voice has never struck me as particularly sexy, but I think the production and the lyrics help make this song be a bedroom banger. I kind of wish the bridge was a bit better thought out.

Stuck on You: She starts name dropping designers and destinations. The beat drops and I don’t really understand it. It reminds me of “Love Sex and Magic” but a bad version. The repetition in the chorus that worked in the previous song just sounds lazy in this song.

Fly: I assumed this was going to be a sad break up song but the beat starts to build and I assumed she was going to venture back into Fist Pump Nation. She actually takes it back to the A. This is another Ghosttown DJ sounding track but it feels a little bit more modern. I kinda wish the lyric content matched the fun bounce of the track. It’s kind of a downer.

I Bet: This was the lead single off the album which surprised me given Ciara is not known for her vocals or ballads and she can’t really Matrix on this track. I guess this was supposed to make her a bit more vulnerable and relatable given her recent breakup. People always gave her criticism for being so cold and guarded, so maybe this was to help with that. I like the track but could kind of do without the random guy ad libbing in the background. It’s hard for me to get into my emotions with someone yelling “yeah!” “You trippin!” messing up my vibe. Vocally she has shown some growth, which is always good.

Give Me Love: Up tempo track. I like the song and it feels like Ciara is in her comfort zone when she’s singing songs like this one.

Kiss & Tell: I just don’t feel much about this song. It’s not a bad song, I just don’t think it a good song, or a song that one should put on an album that is “do or die” File this under “Cute for Her”

All Good: This song is a shout out to her hometown of Atlanta. Maybe I’d like it more if I was from there? I don’t care for the track and the lyrics are kind of VERY basic. If you’re repping your town, you’ve got to come harder than this. This track doesn’t evoke Atlanta in my mind. I would think of something with a bit more of a trap sound or even some old school bounce, but not this.

Only One: It’s a decent track. It’s album filler to me. Ciara is really trying to expand her vocal chops and I have to commend her for that.

One Woman Army Into: This was supposed to have been the title track of her album but was scrapped. I don’t know why she kept this intro, as it doesn’t seem to fit in with the rest of the album.

One Woman Army: This is an amped up, high energy song that I think she could really perform and dance her off too. I bet she’s pissed she wasted that choreo and concept on “Gimme Dat”

I Got You: She has her son giggling on the song. I’m not gonna be that asshole that hates on it. Kidding. I don’t like babies like that. I’mma speak my mind. I believe this is a Diane Warren song and it is really beautiful. The woman really does write touching lyrics.


I really wanted to like this album. *Tyra voice* I was rooting for you! We ALL were rooting for you!! After four listens all the way through I’m left underwhelmed. She gave us a taste of her old “Princess of Crunk and B” days and tried to do some new things, but nothing stuck to the point where I’m humming it or trying to Google the lyrics so I can sing along. After leading with “I Bet” I was optimistic, but I can’t really see very many singles or hits on this album. This is feeling like her last album with one breakout single and then nothing after. (although “I Out” was and still is the jam, okay?) On a positive note, I think the cover is beautiful. I think she’s starting to get her confidence as a singer and performer back. She’s actually going on tour again to promote the album, which I think can only help her grow as an entertainer. As she owns that title of entertainer, I’m hoping she will go into the studio and produce a cohesive project that deserves the title of “comeback project” I’m starting to tire of her comebacks at this point. Hell, Miss Jackson may just come out of retirement to snatch that wig if you keep on playing games, Miss Ciara. You’ve been warned.

Album Review: Dawn Richard: Blackheart

So Danity Kane couldn't hold it together. I mean, I get not liking someone, but don’t let the next broad mess up those checks, ladies! Anyway, that ship has sailed. Aubrey and Shannon have taken to Instagram and Dawn immediately went back to her flourishing solo career. I think when DK reformed, people were kind of puzzled why Dawn would bother, since she was doing alright on her own. She was getting critical acclaim and probably making decent money, as she went the independent route. Dawn has blessed us with the next installment of her trilogy and I think it also comes with a side of “You know I didn’t really ever need you bitches anyway, right?”

I’d be lying if I said that I have always thought of Dawn as a star. I watched her on making the band and she kind of reminded me of a black Shannon. (read: she could execute the dance steps and hold a tune) Her tone was something that actually had to grow on me. After the second album, I was pretty certain that she was quickly becoming the heart and soul of the group. Then, seeing her explore her sound with Dirty Money cemented my love of her. She’s been a Dirty Money member and has been in three different versions of the group Danity Kane. Is Dawn bringing enough to the table on her own as a solo artist? I think with Blackheart, Dawn aims to silence any questions that may linger about her. So let’s dive right on in track by track:




Noir: Dawn starts out singing acapella and it kind of demands all of our attention. The beat drops and she starts singing about how she’s trying to find her way. This might be related to the fact that she says that this album represents some of her most eclectic music to date. Or maybe it just made for a good lyric.


Calypso: To say this track has a LOT going on is an understatement. It basically starts out smacking you upside and head and doesn’t ever really let up. At one point there is a nod to the percolator and I about lost my damned mind. This track begs for some Chicago footwork. She kind of sings on the end, but this track is dominated by the instrumental. Her vocals kind of serve as a pause point where we can get water, catch our breath, and fix our wigs.


Blow: This song is a bit calmer than the last. The beat still has a knock and bounce that keeps it interesting, but here Dawn’s slinky vocals shine. I really enjoy the way she attacks the verses with ease.


Billie Jean: This has nothing to do with the tennis great nor does it talk about that hussy that MJ sang about. For some reason, this song makes me think of Drake and him waving his hand as he talks his shit over the beat. Speaking of the beat, I love it. This song has such a great flow to it.


Adderall /Sold (Outerlude) : Taking a cue from Justin TImberlake, she has decided to bless us with a song that is almost seven and a half minutes. I’m not sure what an outerlude is or why it’s not at the end of an album? Girl, you so different! This doesn’t do much for me on first listen and kind of overstays its welcome. I do like the last minute and a half when the beat switches up.

Swim Free: A simple track, driven by percussion with repetitive lyrics makes for a surprisingly ethereal and interesting song.

Titans: I love the beat and the vocals on this interlude. It actually left me wanting more, which is a good sing.

Warriors: This song feels like it’s uplifting, inspirational, and dramatic. I feel like SIa would be proud. (or not. I don’t even know her like that) I wish the vocals were clearer and less muddled.


Projection: This song makes me feel like I’m on something. It feels like everything is moving in slow motion. Maybe like running in water or trying to navigate the DMV. I don’t mind it at first, but then it feels a bit long. I get this being “Zone out” music but I think I would have preferred this as an interlude.

Castles: I’m not sure if this song knows what it wants to be. Is it a slow jam or a mid tempo? THat chopped and screwed voice in the background make it sound a bit like a trap banger. I almost wished they would have peeled away a few layers. I get that you know how to use Pro Tools, but I don’t need to hear EVERY sound that it’s capable of making on one track.

Phoenix: This is the song that people are saying is about the breakup of DK3. IT starts out “you wanted me gone, like the stars hidden by the glowing sun” over a piano. Later Dawn says “I see the only way to fly is freeeeeeeeeeeeeeeeeeeee” I didn’t listen to it until today and just assumed people were being messy, but I can totally see it. Or, it could apply to any relationship… I like the track even though it kind of feels like a generic David Guetta wannabe at times (mainly when it builds up to the triumphant chorus) . I miss hearing Aundrea’s voice and I’m sad they mess with it on the chorus.

Choices: After this Phoenix she just keeps on repeating “I choose me” over one of the album’s lighter tracks. It ties really well into the whole idea of “Phoenix” I usually don’t really endorse the abundant use of interludes, but this is one that makes sense.

The Deep: I like hearing her singing beautiful lyrics over a piano, as it kind of serves as a reminder as to how unique her tone and approach to music are. This is just a really good song, no two ways about it.


Blackheart (Outro): So when the track began, I was thinking “Oh no Dawn, don’t go out on a whimper!!” Whomever produced this track, went IN. This would be what we call musical FLEXIN (said like Beyonce) !


Overall, I think this is a solid album. Like her other projects, it feels cohesive and sticks to her theme. I’m not sure that I agree with Dawn on this being musically risky, as it seems like she is safe and secure in the lane. I mean, good for her for having/knowing her lane, but nothing here is game changing or ground breaking in my eyes. There are times when I feel that the production is so heavy that her voice becomes secondary. Maybe that’s the point, but I think a great producer can take big beats and find a way to make the artist shine (see: Timbaland and Aayliah) She doesn’t need all the effects on her voice and I sometimes feel like she falls back on them like a crutch. Although, I don’t really see much growth musically for Dawn on this album, I still do like it. I think she brings something unique to the table and I really enjoy her approach to her craft. I’m guessing that since this only part two of the trilogy, it may be awhile before we hear Dawn branch out into a new sound. I totally think it’ll be worth the wait.