Noname is one of the most striking rappers in the game right now, and she’s back with a new track today called “Song 32.” She wowed us last year with her gorgeous self-released debut album Room 25 — so much so that we had to include in both our Best Rap Albums Of … More »
Seasoned crooner Anderson .Paak just doesn’t seem to ever run out of steam. Mere months after dropping his highly acclaimed LP, Oxnard, in November 2018, .Paak is back, and eyeing his next album release. The followup to Oxnard bears the name Ventura, and as in the case of Oxnard, Ventura too accredits Dr. Dre as the project’s executive producer. Slated to arrive on April 12, Ventura is the fourth and final installment in .Paak’s narrative series of albums.
“Growing up in Oxnard gave me the grit and the church to find this voice of mine. One town over, I went further and found my depth,” .Paak said in a release. “The duality of each place inspired me greatly and from that I made two albums at the exact same time, but held one back because that would have been too many songs to perform live for you all! I like ending things on an even number, so welcome to Ventura.”
Post-Ventura release, .Paak will embark on a 21-date tour in support of the album. Thundercat will assist at each stop on the tour, while Earl Sweatshirt, Noname, Mac DeMarco, and Jesse Reyez will appear as openers on select dates. The tour, entitled “Anderson .Paak’s Best Teef in the Game Tour,” will take the artist through a myriad of major U.S. cities, spanning New York, Toronto, Chicago, and more. Tickets to the tour will go on sale on March 8. Each ticket purchase comes with either a CD or digital edition of Ventura.
Anderson .Paak’s Best Teef in the Game Tour Dates
May 17 – Nashville, TN @ Ascend Amphitheater
May 20 – Cleveland, OH @ Jacobs Pavilion at Nautica
May 21 – Philadelphia, PA @ The Met Philadelphia
May 23 – Uncasville, CT @ Mohegan Sun Arena
May 26 – Westbrook, ME (Portland) @ Maine Savings Pavilion at Rock Row
May 28 – Baltimore, MD @ MECU Pavilion
May 30 – New York, NY @ Madison Square Garden
June 1 – Toronto, ON @ RBC Echo Beach
June 2 – Detroit, MI (Rochester Hills) @ Meadow Brook Amphitheatre
June 4 – Chicago, IL @ Huntington Bank Pavilion at Northerly Island
June 6 – Raleigh, NC @ Red Hat Amphitheater
June 7 – Atlanta, GA @ Cadence Bank Amphitheatre at Chastain Park
June 8 – New Orleans, LA @ Bold Sphere Music at Champions Square
June 11 – Houston, TX @ Revention Music Center
June 12 – Dallas, TX (Irving) @ The Pavilion at Toyota Music Factory
June 14 – Denver, CO @ Red Rocks Amphitheatre
June 16 – Las Vegas, NV @ Pearl Concert Theater at Palms Casino Resort
June 19 – Vancouver, BC @ PNE Forum
June 20 – Seattle WA @ WaMu Theater
June 22 – Portland, OR @ McMenamins Edgefield Amphitheatre
June 27 – San Francisco, CA @ Bill Graham Civic Auditorium
Late-night musical performances are not, by and large, all that exciting. For the most part, the artists on those shows have done plenty of those shows before. Sometimes, they’ve done the same songs a bunch of times on a bunch of different shows. It’s just a part of the job. But sometimes, you happen to … More »
Welcome to 2019! We’re starting the year out on an excellent note with a new track from Noname. “Song 31,” the Chicago rapper’s first release since September’s transcendent Room 25 — one of 2018’s best albums — picks up right where she left off in terms of substance and quality. More »
Noname has been on late-night TV before. Two years ago, when her friend and collaborator Chance The Rapper was a musical guest on Saturday Night Live, he brought Noname to the stage, and they performed “Finish Line/Drown” together. Noname’s entrance — giddy and self-conscious and embarrassed, grinning huge while doing a little two-step … More »
Last month, the Chicago rapper Noname released Room 25, her full-length debut. It’s a great record. But because of recent events, Noname is making a significant change to the album. The artist responsible for the Room 25 cover was Giles Bryant. Last week, as DJ Booth points out, Chicago … More »
“Um, hello everybody. I’m Noname,” Fatimah Warner softly announces over rapturous applause after the first song of her 2017 Tiny Desk Concert. “I’ve watched so many of these, so I’m like, ‘Man, I just wanna be as good as T-Pain,’” she giggles before graciously introducing her backing band. The Chicago rapper Noname is modesty incarnate. After quietly releasing her debut mixtape Telefone in the summer of 2016 to widespread acclaim, Noname kept a relatively low profile, working on a handful of collaborations that year without any hint of a debut studio album to come. But though she lay low in the studio, Warner embarked on a tour that legitimized her career. Instead of the paltry sums she would typically receive for contributing a feature to another artist’s work, Noname was now seeing a newfound windfall that allowed her to emigrate from Chicago to the West Coast and focus on a music career without the fear of destitution. Yet in spite of her financial and artistic success, Warner remains humble, and on Room 25, the rapper’s full-length debut, she finds humility in introspection and explores her identity unencumbered by the compulsion of politics.
The title Room 25 is part allusion to the string of hotel rooms she occupied during her tour for Telefone. The hotel room, after seeing enough of them in a short stretch of time, becomes a thing of monotony and near-imperceptible change. Those rooms are more or less identical, save for the number on the door. This is the subtext of 25: personal growth is indistinguishable in the short term — it takes a long view to parse any substantive development. So Noname’s triumphs tend to consist of small victories instead of sweeping ones. On “Window,” she recognizes the ennui of an old flame: “Everything we was was empty/ Empty fucking, cussing, I know I’m your bitch/ But you’re my bitch too.” It’s a bittersweet feeling she’s describing, solidified in the ironic opening line “Me so happy now, me so Mississippi,” but it’s also a measure of maturity that she can concede a toxic relationship, even if she undercuts herself with the song’s concluding line: “Everything is everything, just know that I love you.”
Part of Room 25’s introspective mood comes courtesy of producer Phoelix, Noname’s aide de camp with whom she collaborated on Telefone. His beats are busy and nuanced, stunning and occasionally relaxed. On tracks like “Blaxploitation,” his hyperkinetic jazz instrumental crackles against Warner’s dizzying flow. The dreaminess of “Regal” lies in his sumptuous backing track. In Phoelix, Noname has found a partner willing to push her and to be pushed back against.
Jazz-inflected hip-hop is saddled with the unfortunate burden of implied social responsibility. It seemingly demands intellect and deliberation; it requires that its subjects become a kind of preacher, waxing socially astute and morally superior while acknowledging their humble place at the grand intersection of two of Black America’s most enduring art forms. And as the legacies of Golden Age artists like Tribe and Digable Planets grow manifold with each passing year, the bar raises for contemporary artists to reach that same level of social consciousness.
But 25 doesn’t seem all that concerned with meeting or surpassing its forebears; it’s a decidedly more personal album than political. Most of the social grousing is short-lived and serves to play into Noname’s own personal narrative. There’s the rapid-fire contemplation of immature mumble rap, globalization, and Morgan Freeman’s impervious career on “Ace” that quickly turns its focus back toward Warner not two lines later. On “Regal,” Twitter sensationalism and gun control policy are sandwiched between choruses supplicating for her spiritual exaltation and atonement. And on the album opener “Self,” she teases political furor, referencing Reagan and the 80s crack epidemic only to shrug it off: “Nah, actually this [album] is for me.” In this line is Room’s thesis; no matter the political climate, this is an album about the interiority of its artist above all else.
That’s not to say that the record isn’t invested in maintaining social awareness, however. This is perhaps most prominent in “Blaxploitation.” In the song, Noname ponders feminism, black authenticity, and white complacence and condescension, rapping with staccato precision and resolved calculation over an equally intricate jazz funk instrumental. Warner’s verse finishes with a moment of optimism: “Who wrote the movie Coming to America? It’s still coming soon,” while the song itself ends with a monologue from the 1973 film The Spook Who Sat by the Door. The excerpt finds its African-American monologist anticipating his own demise in the form of white violence: “I was born black, I live black, and I’ma die probably because I’m black!” It serves as a reminder of the alarming frequency of black pride being misconstrued as hubris and the danger of white anxieties in America.
At 35 minutes, Room 25 is more of a mission statement than a treatise on Noname’s self-examination. Its 11 songs leave us wanting more. But brevity is one of her greatest assets on the album; as a snapshot of Fatimah Warner’s artistic individuality, Room accomplishes everything it needs to, allowing Warner to say her piece without stumbling into indulgence or, worse yet, running out of subjects to rap about. Nevertheless, the unanimous acclaim the record has seen so far seems to be an indication of Noname’s ability to spark an astoundingly disproportionate response to her humble offering here. It is, to borrow a couple of lines from “Don’t Forget about Me,” the eternal soul transcending Warner’s fragile body made of clay.
Fatimah Warner wasn’t a music person as a kid. In a recent FADER profile, we learn that she grew up with her grandparents and that music wasn’t that big of a presence in her life through most of her childhood. The rapper known as Noname didn’t fall into rap through the sort of … More »
I know traditionally most Americans like to wait until the moment the ball drops at 00:00 EST on January 1 to plan out the entirety of their year, but you might need to take the shrink-wrap off your 2019 calendar a little early for this: starting bright and early on January 2, acclaimed singer/rapper Noname is headed out on tour across the U.S. But don’t worry! I’ve consulted a host of academic scholars, scientists, criminal defense lawyers, and corporate executives, and they all agree: there’s no reason why the holidays have to end after January 1! These are one-percenters, people — they know what they’re talking about!
The tour kicks off in snowy Detroit and concludes in sunny Oakland in March. For the full list of dates, as well as a fancy embed of Noname’s new album, Room 25, which just dropped today, look below.
01.02.19 – Detroit, MI – Majestic Theatre
01.03.19 – Toronto, ON – The Danforth Music Hall
01.04.19 – Montreal, QC – Corona Theatre
01.05.19 – Brooklyn, NY – Brooklyn Steel
01.06.19 – Brooklyn, NY – Brooklyn Steel
01.09.19 – Washington, DC – 9:30 Club
01.11.19 – Boston, MA – Royale
01.12.19 – Philadelphia, PA – Union Transfer
01.14.19 – Carrboro, NC – Cat’s Cradle
01.17.19 – Orlando, FL – The Beacham Theater
01.18.19 – Tampa, FL – Ritz Ybor
01.19.19 – Tallahassee, FL – The Moon
01.21.19 – Nashville, TN – Cannery Ballroom
01.23.19 – St. Louis, MO – The Pageant
01.24.19 – Omaha, NE – Waiting Room
01.25.19 – Minneapolis, MN – First Avenue
01.26.19 – Madison, WI – The Sylvee
02.21.19 – Los Angeles, CA – The Wiltern
03.15.19 – Oakland, CA – Fox Theater