Live Review: Joey Bada$$ x Pro Era @ XOYO

Hip Hop is alive and well, as evidenced at XOYO last night, where New York hailing Joey Bada$$ and his Pro Era strong entourage well and truly proved any disbelievers to be, without a doubt, wrong.

Having been steadily garnering a following since his emergence onto the scene some few months ago, Bada$$ touched down in London town where he showcased the lyrical ability and depth he has become so well known, and loved for.

“A lot of UK artists think it’s all about being nonchalant with it. No. We want to see you performing like it’s the last show of your life.” tweeted co-founder of music blog SME following Joey’s bada$$ performance (sorry, I couldn’t help it.) “Fun is cool,” he continued.

And if ever there was any doubting the matter, watch a Joey Bada$$ performance.

Repeatedly diving into the packed out crowd that read like a who’s who of the music industry and a ‘Where’s Joey?’ type Wally book, the desperation and need for someone to reaffirm the original principles of hip hop were acutely felt with the urgent, almost angry – were it not for the broad smiles on the protagonists faces – way in which bar for bar was spat through overexcited lips.

Performing a catalogue of previously released songs (Survival Tactics was energetically played out twice), the trio then erupted into an impromptu freestyle, seemingly as a thank you to the audience who were witness to their “best show ever.”

And if ever there was any doubt of the extent of their charisma, the loving crowd swelled and broke like waves against the stage, all too happy to obligingly sing “happy birthday” to Pro Era’s Kirk Knight.

Gallivanting their way around the stage, charming the crowd and pulling up girls left, right and centre to wipe their sweating brows and lovingly pour water down their parched throats, like true veterans, it will most probably come as a surprise to learn that Bada$$ and crew are not even legal in the UK, let alone the US.

A trawl of the internet failed to deliver me the quote I was looking for but it goes something like: “Don’t praise the youth for being young, it’s the only thing they have no control over and will inevitably lose.”

But for Joey Bada$$, the praise comes fast and thick. Regardless of age, gender, colour, nationality or planet he hails from.

In a world of the try hard, overdone and redundant, Joey Bada$$ and his too big (and too on show) boxer shorts are effortlessly cool.

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Interview: Tinchy Stryder

Having predicted his future with his first number one single, the aptly titled ‘Number One’, 26-year-old musician, music executive and CEO of Takeover Roc Nation, Tinchy Stryder is currently prepping the release of his fourth studio album ‘Full Tank.’ The Star in the Hood sat down with The Wrap Up’s Alya Mooro ahead of the release of the album to talk expectations, pressure and what the next step entails…

The Wrap Up: Your first studio album was released in 2007. How do you think your sound has evolved since you first began?

Tinchy Stryder: I was actually listening to my first album ‘Star In The Hood’ the other day… it feels more raw, you can hear some held back anger, you can hear the fire and the hunger in me. From that to the next album ‘Catch 22’ I had grown more as a person and as an artist; I’d been through different things in life and [was] working with different producers. That was the most successful album I’ve had and that’s where I got all my chart hits. People might have been like ‘woah he’s actually changed’ but that’s like telling someone, ‘I remember you when you was this year old’, and a few years later you’re exactly the same. It doesn’t make sense, you have to grow and evolve.

TWU: Can you tell us a bit about what we can expect from your next album?

Tinchy: I feel like I’m starting again. It feels fresh and I feel that how I’m delivering and what I’m speaking about… I’m more sure of myself now. I’ve learnt, I’m still learning. Every time I’ve been in the studio recently I feel it is something powerful, and sometimes it’s a good problem because we’ve got too much to pick from. But I’m going to be real harsh with myself this time.

TWU: Where did you draw inspiration for your tracks for the upcoming album?

Tinchy: I’m talking about things like when everything looked down in music… where people are doubting and thinking ‘well, he’s done, what’s he gonna do now?’ Or even relationships. I’m opening up because a lot of people might think, ‘oh, what’s happening with you and her, what’s happening with them, what’s happening with music?’ I’m just laying it out and letting people know that we can all relate to each other in one way or another.

TWU: Having already had quite a few number ones, do you feel a pressure with your upcoming offering?

Tinchy: I did on my third album. I feel like it is not just me personally, but a lot of people on the team. Say I had a track and my first single got to number 10, they’d be like, ‘okay that was cool but maybe we need to do something else’ and I’m thinking ‘whoa! Where I come from we don’t even dream of top 40’s…’ You learn more from failure than success, which I’ve been told and experienced.

TWU: Having already achieved so much, what’s your next goal?

Tinchy: One of my main goals in my music career is to have a world arena tour. Just going around the world and everyone knowing your music… That’s one of the biggest goals I’d love to one day hopefully achieve. I don’t know how long it will take but you never know. Hard work pays.

TWU: You’ve worked with many artists. Who has been your favourite artist to work with so far?

Tinchy: I’d have to say Dappy. My first number one was with him; we did another track, ‘Spaceship’ and that got to number 5… it’s just fun. We’re friends, we get along, we speak about things other than just music. The connection and the natural chemistry is there when we work together. People keep asking us ‘maybe you should do another track or do an album together…’ you never know. Maybe we should get in the studio again.

TWU: If you could work with anyone in the future, who would you want it to be?

Tinchy: I’d have to say Kanye West. I think he’s just a genius – everything he does. When I listen to his tracks I feel like I’m watching a movie. Not many people can do that.

TWU: Who’s your guilty pleasure, music wise?

Tinchy: Ooof! I don’t know if it’s a guilty pleasure, maybe some people wouldn’t expect me to like it but… Taylor Swifts’ latest song. I saw her performing it and I was like ‘oh! This is your song I’ve been singing along to on the radio.’

TWU: When’s the last time you were star struck?

Tinchy: I don’t really get star struck but when I saw Jermaine Jackson, I guess you could call it star struck… I was in a hotel in Dubai, everyone was talking normally but it felt like the place went silent. Everything felt like it was in slow motion then I just turned and I see him coming through. When he came and shook my hand I felt like ‘whoa!’ Some people just have that presence… I guess the only person who I’d have been star struck in front of would be Michael Jackson; rest in peace. When I was young I didn’t think he was human, everything seemed too perfect.

TWU: It’s pretty hard for urban artists to chart in the UK. What do you think makes you so different?

Tinchy: I think when I first came through I was doing something no one else was really doing. People love music but they have to like you and your whole character, your image. I was just being myself and people naturally connected; I’m just showing that it can be done; you can go from nothing to something. People can have great songs that might not chart, or songs that might not be as good that chart and it’s like ‘what’s happening?’ But it’s deeper than that. Everyone’s special in a way but not everyone’s chosen. I’m still trying to work out if I’m chosen or not.

TWU: What can we expect from your upcoming tour and what are you most excited by?

Tinchy: I want to keep it intimate. I like when it’s closer and they’re few venues. As the year is ending I was like, ‘you know what, there are a few shows I want to do but no more than a certain amount… and after that I’m not doing anymore.’ Next year everything’s fresh so I thought I might as well do a mini tour and just have fun with it. [I’m most looking forward to] being on stage. I actually love performing.

As written for MTV WrapUp

Tinchy Stryder x Alya Mooro

Interview: Angel Haze

Cocksure and seemingly dauntless, 21-year-old Angel Haze has an undeniable confidence in her musical offerings and abilities – a facet perhaps aided by the abundance of support and excitement surrounding her every move. Erupting onto the scene with ‘New York’ and accompanying mixtape, the ferociously spat offerings leave no doubt that a star is ascending. The Virginia hailing rapper recently sat down with The Wrap Up’s Alya Mooro to talk stereotypes, sexuality, and her duty to honesty…

The Wrap Up: Assuming your surname isn’t Haze, what is your birth name and what inspired your artist name?

Angel Haze: My birth name is Raee’n Wahya. The inspiration is just like metaphor – basically for being high, in every sense. And also because I thought; “if I were a porn star, what would my name be?” and that was just really the root of it.

TWU: The buzz around you right now is strong and steadily growing. Can you tell us a little bit about the steps leading up to this moment?

Angel: It was a lot of work! I feel like most of it was just cultivating and sculpturing and making my craft as good as it is now, so it can be recognizable to anyone… That took a lot of effort, and a lot of time where I spent being told by my manager, “you’re not good enough yet to come out, you’re not ready…” So I had to basically recondition myself and rework everything in my brain and just go for it from a different standpoint. Doing that and moving to New York, especially, and deciding to write and do my EP there, it made everything just a lot easier.

TWU: You haven’t lived there long but judging by your first single ‘New York,’ the city means a lot to you. How has it inspired your sound and what’s your favourite thing about it?

Angel: The craziness of the city, the boldness – you can walk down the street and see a girl sitting on the bench with her boobs out. It’s unexpected, it’s always something – it’s always something different and the culture is crazy and – you hate it but no matter where you go when you remember New York you remember loving the parts that you love.

TWU: You were raised in the Greater Apostolic Faith, a church you described as “a cult.” What impact do you think those experiences have had on your music?

Angel: I think overall it’s made me a more observant person. It made me learn quicker through experience… my own experience and those of others…. It was a bad experience but some really good things came out of it. Now, I just develop my own opinions on everything, and rework everything for myself instead of trusting what someone says just off that.

TWU: Your lyrics tend to be very honest. Do you ever have to tell yourself ‘hold up, that’s too deep?’

Angel: No, and you’ll see that in about a week when I release a new song. You’re gonna be like “Woah! Okay wait…”

For me it’s really important to be honest because if you’re selfish with your truth you’re also selfish with like, the light you can present to another person. It’s always important to be honest about everything because people in the world are going though exactly what I went through like… three days ago. And I could say “hey you shouldn’t walk over that thing you might fall in a ditch and die,” or, I could say nothing and then let them walk there and die… It’s always about being honest so that people know that they’re not alone in the world.

TWU: You recently said the Angel Haze persona is, in a way, the thing you don’t have the guts to be. How would you describe the other side of your personality?

Angel: It’s very shy and timid and standoffish. I like to be alone a lot – I’m really introverted. When I’m Angel Haze you see a totally different person, and that’s the person I want to be all the time but it takes too much energy and too much fearfulness to be like that… All I have to do is say “Angel Haze I summon you’ and then she comes and… it’s a problem.

TWU: We hear an Azealia Banks collaboration is in the works – when can we expect that? And do you have any other collabs lined up?

Angel: Our schedules have been so cluttered lately… I like to do in studio recording with people that I work with so… whenever the time presents itself; I think it’ll be a great collaboration. [Other than that] I don’t know if they’re ones I can necessarily speak on, but… I did one recently with Rita Ora… I’ve actually done something for Vince Kidd’s album… so that’s going to be really cool. I want to work with Adele, but everyone knows Adele does not work with people.

TWU: Female artists of the 21st century such as yourself, Azealia, Gaga, Ke$ha and others have reportedly come out as bisexual. Why do you think this is happening now and what impact do you think it will have on people’s mentalities?

Angel: I think it’s just the world we’re living in, it’s shifting, it’s changing… It’s more okay to be who you are than it ever has been… I think it resonates the fact that you can really do and be anything you want. And really sexuality doesn’t define you, it doesn’t limit your talent, it doesn’t limit your skill set. Just be you. And that’s the best way to be.

TWU: A UK female rapper named Lioness has a song called “Good for a Girl,” inspired by her annoyance of always being told she’s ‘good for a girl.’ Do you think feel that that is a reality of the music industry? Or have artists like Nicki Minaj facilitated the path for women like you?

Angel: At the end of the day it’s more difficult to break through because of the stereotype that some females have allowed males to set for them. The “sex sells,” the, “I have to be overly, hyper sexualized all the time.” … It’s so hard for a female to be taken seriously because that’s the tone that’s been set. Even though Nicki Minaj may at times talk about “oh I like bad bitches,” or “I’ll suck your dick” or something like that, she always comes with real lyricism. Or like, Jene Grae or Nitty Scott or people like me… I don’t talk about sex because, it’s not important to me and it’s none of anyone’s business… It depends on the people who are tastemakers now in this day and age to change what the perception of female rap is.

TWU: What’s your definition of success, in terms of achievement?

Angel: I think mostly, the only thing I really care about is affecting the lives of the people I touch… changing them in positive ways, and just continuing to be me, and have that be enough. That’s all I really care about in life and… obviously being super rich.

TWU: How was performing in Hoxton last week? Do you feel UK audiences receive your music differently than in the US?

Angel: F*cking insane. Insane. I was like wait… I have to breathe. I was signing f*cking ticket stubs and pictures and taking pictures… I feel like the UK, you guys genuinely f*ck with something because you f*ck with it, not because its been force fed to you. It’s like if I like it, I like it, if I don’t, oh well – I’m not going to waste my time saying all these negative things or whatever… I feel like the embrace that you’ve given me has just been incredible. Versus America, versus any other place its like; this is the place that’s the best.

TWU: Following ‘Reservation’, what’s next and when can we expect a debut LP?

Angel: I have a new mixtape coming out on the 25th [of October], and then after that there are going to be six or seven four song EPs. And then the album comes out next year in May. Working hella hard, man.

As written for MTV Wrap Up

Alya Mooro x Angel Haze

Use of the ‘n word’ in hip hop music – Does it perpetuate racism?

“A word is only harmful when used to intentionally offend someone,” wrote Jay Z in “Decoded” – a book that accumulated the lyrics of many of his most famous offerings, and the meanings behind them. “Words are only as powerful as the context you place them in.”

But does this apply to the use of words such as “n*gger?” One that for years has been used to denounce black people – in particular African American slaves? Many – shockingly perhaps – argue that yes, it does.

The prevalence of the use of the word in hip-hop music has arguably greatly increased over the years. And with the crossing over of hip hop culture into the mainstream, one in which the majority of its consumers are white, middle class kids who in attempting to sing or rap along will undoubtedly use the word their ancestors would have once used to castigate the proprietors of the music – the question of why and how and should it be so prevalent, is an increasingly important one.

KRS-One, an American rapper that prides himself on his brand of conscious rap supports Jay Z’s ideology that a word only means what you want it to. “You’re confusing ‘nigger’ with ‘nigga,’ he said at a recent debate in London which asked the question of whether hip hop, as a genre, enhances or degrades society. “Nigga in the dictionary comes from the word negus – which means King.”

But not all agree with his point of view. “The whole issue of the n word being a term of endearment is asinine,” argues journalist Chris Williams. “It is not a term of endearment. It is the continuation of a 500 year old racist ideology.”

Dean Atta – a London based poet who recently went viral with his poem ‘I am nobody’s nigger,’ – a piece inspired by the death of Stephen Lawrence – agrees. “I just think it’s regressive,” he argued. “Using that word I still think most white people will hear you and just think you’re stupid. Because you’re still referring to yourself in a derogatory way. And a lot of black people will hear you use it and think you’re stupid because you are disrespecting the pain and suffering that our ancestors have been through.”

Dean goes on to liken the word to “bitch,” or “faggot,” adding “if a woman wants to call herself a bitch, if a black man wants to call himself a nigger, if a gay person wants to call themselves a faggot, that is their choice… but I wouldn’t really think they understood the extent of the word.”

DJ Snips – a hip hop DJ who also hosts his own, supremely popular hip hop club night in London disagrees with Atta on this aspect of the word and its usage. “I think that essentially in anything if you try and demoralize somebody and are derogatory against them, eventually people take ownership of what you threw at them. For example if you call a fat person fat for so long, eventually she’ll come out and be like ‘ya fuck it I’m fat, I’m proud to be fat.’”

But the question of who is using the word and the intentions behind it is an issue that was raised time and time again. “I have white and Asian friends who grew up around black people – some of whom actually act blacker than me – so can we blame them for using it amongst their peers?” argued music journalist Joseph Patterson.

Fem Fel – an up and coming UK based rapper who often uses the word in his own music, argues the same: “If I was to meet another group of friends and be like these are all my niggers and that’s Tom… you can’t do that,” he explained, “… my niggers are my niggers in that kind of sense.” But how each individual’s intentions could possibly be assessed is a question that cannot be so easily dismissed. And if the doors are left open for the word to be used in every day language, where are the locks that can stop its progression into other realms?

This is particularly poignant in light of the case of Iggy Azalea – a white, female rapper and her use of the n word in “Hustle Gang.” “Obviously it’s not a problem for rappers to use the word,” argued Snips, “but to a certain extent you have to look at the industry and think well, what did you expect? If you’re going to use the word so freely and acceptably and then target a majority white audience to sell your music, you can’t really be that surprised when they retake that word and think it’s acceptable to use it.”

Snips went on to argue that when he was younger and listening to the likes of A Tribe Called Quest he would never even have thought of utilizing the word, “because the music itself educates you in a way that you knew the origin of certain words and why you couldn’t say them,” he explains. “Nowadays I don’t think the music educates people.”

In speculating on why the word is so inherent in todays hip hop music, Chris Williams suggests that for many rappers who grew up in some of the poorest urban communities in the United States, the word was being used “ad nauseum,” infiltrating itself into their natural vernacular, this then trickled down into younger generations of rappers who followed their lead.

“It’s just what we grew up listening to,” agrees Fem Fel, adding “we grew up listening to it when we were having good times, when we were in a club… and 50 Cent or whoever else is talking… it wasn’t used in a derogatory way.” The rapper justified its use in his own music, arguing: “I don’t know who it offends anymore… It doesn’t offend my peers, I don’t know how it could offend white people… so that’s why I use it.”

Chris Williams goes on to explain that understanding where most of these MCs grew up makes it easier to understand why they use the word… “I can see why it’s hard for them to break a bad habit,” he adds, “but it can and must be done.”

The lack of education that is a common facet of much of todays mainstream, commercial hip-hop is part of an issue that is arguably inherent in the society itself. “What people think as black, what they want to be like when they say they want to be like their black mates is being niggerish,” argued Akala – an English rapper, poet and journalist who is most known for his positive influence within hip hop music.

“They don’t associate it with anything positive,” he went on to add. “So when they want to be clever they don’t copy the little Nigerian kids who get straight A’s… when they say they want to be like black people they don’t want to be like Malcolm X… they want to be niggerish. And we have to be clear on that difference.”

This discrepancy between being black and being ‘niggerish’ is something that needs to be tackled from the root up. The fact that there even is a distinction between the two arguably makes it all the more important to reassess the use of the word in hip hop music, and the argument that its use is reclaiming a word which once had negative connotations. In particular as evidently, to many, it still does.

Having grown up in the Southern states of America, Chris Williams reveals that the word stirs up many negative emotions for him. “I’ve been called that word to my face on numerous occasions,” he explains, adding “feelings of anger, frustration and sadness come over me when I hear the word.”

Its use is argued to be all the more baffling by the fact that no other ethnicities that are known by derisory euphemisms have ever turned one of those colloquial terms into something that they refer to themselves by. “No people in history have spoken about their children like hip hop does,” argued Shaun Bailey – David Cameron’s advisor on youth and crime – at the recent hip hop on trial debate. This is a stance shared by Akala, who argues that black people talk about killing black people all the time, whereas if a white person were to do it, it would be considered shocking, wrong and immoral.

“White terrorism essentially makes people scared, it make them nervous,” he argued. “But black deaths are entertaining. Rap music shows that.” He went on to illustrate by explaining how while in the studio with young black boys they often write lyrics the likes of “nigga, nigga, nigga, I’m killin’ ‘em, I’m killin’ ‘em.“ He goes on to explain how he’ll often ask these kids what the word nigga means, and what its origins are, to both counts they’d reply with the same monosyllabic response – “dunno.”

To this respect, many argue education to be an important aspect in changing attitudes. In particular if the word really is to be reclaimed. But the extent to which not all believe in that stance is evident in the response Atta received for his poem. “In a day it was like 8,000 people had listened to it and now its come up to 40,000… I’ve been written about in the Guardian, the Huffington post and been featured on the radio, as well as contacted by the Stephen Lawrence trust.”

So if so many people feel so strongly about it, why is nothing being done? “The music industry in general is all about what sells,” explains Atta. “And if it keeps selling then they’ll keep saying it.”

To those that argue that the word has been reclaimed, Chris Williams says: “that’s a complete cop out and bullshit for those who aren’t strong enough to change the environment that perpetuates this nonsense… enough is enough. The madness must stop.”

Should artists have their music released after they die?

At a time where technology allows the resurrection of musics late, great artists, the likes of Tupac to reappear unblemished before us via hologram, and posthumous albums emerge seemingly from nowhere, is there anything left sacred? And should Drake – or anyone, for that matter – be releasing music on someone else’s behalf?

With the emergence of ‘Enough Said’ several days ago – Aaliyah’s ‘duet’ with Drake on the Noah “40” Shebib produced track – the interwebs erupted and divided into two very clear sects; those who believed the track is awesome, and those who believed that Drake’s Aaliyah super fan status did not attribute him worthy to executive produce her posthumous album, and that someone like Timbaland or Missy Elliott should instead be awarded the honour.

But, the question of who is the reverse grim-reaper aside, perhaps it’s more important to consider if it’s ever acceptable to release someone’s music after they die. After all, isn’t their music the gift awarded to them, and us in turn? Shouldn’t they be the ones to decide how to package and present it?

This question is all the more important with new information which reveals that Aaliyah’s family have denied any and all involvement in her posthumous album. ”There is no official album being released and supported by the Haughton family,” said the late singer’s brother, Rashad Haughton.

Having obtained some of Aaliyah’s previously unreleased vocal tracks, Young Money’s Drake added his own verse in which he brags about his watch, laments various first world pains and appears to further diss Chris Brown after their brawl in a nightclub several months ago.

The extent of or lack of Drake’s prowess is not something that particularly needs to be covered in this discussion but, who said Aaliyah wants any of that on one of her tracks?! (Who said she was happy with those vocals to begin with or that she wanted them heard by the world?) But more importantly – who is Drake to change the legacy Aaliyah left behind?

Music producer Flying Lotus appears to feel the same way, saying “When I’m dead, don’t mess with my music. Don’t be having whoever ‘finish’ my demos n shit. Fuck that.”

Someone once said: “art is the desire of a man to express himself, to record the reactions of his personality to the world he lives in,”and as such, what emerges his wholly personal, and special, and private. That art and the people who bare their souls to provide this art become stars and phenomenons should not take away from the heart of the matter. Namely, that art is a form of expression, and as such, that the power, or the meaning, or the substance behind it should not be borrowed, or lent, or stolen.

Written for SB.TV

Does hip hop degrade society or are its flaws ours?

Films and video games have long since been scapegoats for the demise of our society. Since its emergence into mainstream popular culture, hip hop has also oft been hailed as a cause for its degradation.

“Hip hop doesn’t enhance society, it degrades it,” was the question brought to life by Google+ and Intelligence Squared at the Barbican this past Tuesday. With a host of big name speakers the likes of KRS One, ?uestlove, journalist Toure and Jesse Jackson, the panel proceeded to thrash out various elements of the genre – with half arguing for, and half arguing against the motion.

But arguably, is it really a cause, or more of a consequence? “We don’t make things up,” argued Egyptian “Arab Spring” rapper Deeb at the conference, going on to argue that rap deals with a bad reality. To this respect, it would be hard to argue that themes such as violence, misogyny, sexism and homophobia have not been present since the beginning of mankind.

It could also be argued that if anything those are no longer the values that commercial, mainstream hip hop are promoting, with rappers the likes of Lil Wayne choosing instead to appraise values like consumerism, and others the likes of Drake and even Kanye West at times giving an insight into the softer side of the male psyche.

If gangster rap is what has traditionally been linked to violence in society, arguably its presence in the genre is not as strong as it originally was. To a certain extent, gangster rap has reflected US society. It is no coincidence therefore that it was most common during the late 1990s with the likes of Public Enemy and NWA. At a time where there was still severe racial dissatisfaction, gentrification and tension, these artists used the medium that was accessible to them, namely music, to express their anger – these issues are arguably not as prevalent in todays society.

But is todays hip hop – the kind that talks money, fame, glamour, girls, cars and the ‘good life’ any less dangerous to society than one that preaches violence? Not really. In fact, it could be more so. Why? Because it creates a reality that for the vast majority of its audience, is unattainable – thus making them all the more frustrated, desperate and reckless to reach it.

Does this mean hip hop is degrading society? Not really. As argued above, it’s only reflecting its truths. Whether or not those are too ugly to look at is an entirely different situation and can’t be tackled by blaming a genre of music.

As argued by Estelle in Tuesday’s debate, “stop looking to hip hop to raise your kids!” Perhaps the closest thing to a solution is to educate ourselves, our peers and our children in understanding the difference between what is real and what is not real – across the board – and investing more in an education system that strengthens our minds to the extent that we can decide for ourselves, rather than taking our favourite rappers word for how we should live our lives.

As written for SB.TV

Joss Stone performs at Londons Under The Bridge | Live Review

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By track two of her sold out, intimate show, powerfully soulful singer Joss Stone inspired a school boy crush on every single member of the audience at London venue Under The Bridge on June 6. Having sold 11 million albums by the age of 24, the Devon-raised songstress seems to be secure in the knowledge that she’s got us whipped; with bare feet, untamed hair and a show which may have been deemed unprofessional, had it not been so damn enchanting.

“I’ve had a bit of a wardrobe malfunction,” laughed Joss within minutes of the show starting. “I hope you don’t mind but I’m going to sing this song holding my boob.”

Read the review in full over at SoulCulture