Natalie Prass wrapped up a tour supporting Kacey Musgraves just a few days ago, but she’s already planning on heading back out on the road. The Richmond-based singer-songwriter just announced a string of headlining dates this spring in support of her recent album The Future and the Past, including a show at World Cafe Live on April 18. Becca Mancari of Bermuda Triangle will open all dates. Continue reading →
Having witnessed the magic of East Texan singer-songwriter Kacey Musgraves on an earlier turn through Philly country (the Trocadero, 2015), there were certain elements of her live showcase that I was prepared for when she hit the stage at the Fillmore for a waaaay sold out gig on Friday night. That she would be sassy and foul mouthed. That her well-dressed band would hit any joint passed up to the stage from the audience. That she would chattily interact with the audience. That there would be hats, and not all of them cowboy. That she and her ensemble would spend lots of time backlit and in the dark so to create an air of mystery that has little to do with her forthright songwriting skills and salted caramel vocals.
Touring then after the release of the sugar honky tonk modern classic, Pageant Material, required all toes and several fingers tucked into the tones of traditional country, skiffle rhythm and rockabilly to go with her sophisti-cosmopolitan take on C&W pop.
What a difference, however, several years, emotional and aesthetic growth and maturation, marriage, a shimmering new Golden Hour, and Grammy noms for Album of the Year make. The Musgraves & Co. that took that Fillmore stage on Friday night were a smoother, shinier lot with far fewer detours like the raw “Family Is Family,” the acoustic fairy tale “Merry Go ‘Round,” and the tender lyrical pragmatism of “We get bored, so we get married / Just like dust, we settle in this town.”
What was the order of the night — played to a super hyped-crowd, several ‘rainbow yeehah’ fans up front, and even a marriage proposal in VIP (congrats Navy serviceman Daniel Caton and Avery Davis) — was a set of love and like songs that was gentler, smoother, sleeker and even in tone. Continue reading →
Natalie Prass found herself in Philly so often in 2018, following the release her sophomore album The Future and The Past, that we were beginning to forget that she isn’t a local. Thankfully, the Richmond-based singer-songwriter will be back in town next Friday, January 18, for a show at the Fillmore supporting Kacey Musgraves. And ahead of the show, she has a new song for us to hear.
Prass has shared a new cover of “Wild Horses” by 80s Britpop band Prefab Sprout for Amazon Music; it’s available to stream and purchase exclusively at Amazon, but you can see a video of the song filmed live at Seattle venue Chop Suey below. Continue reading →
Among her blue-clad band members stood Natalie Prass, front and center wearing a bright yellow dress and big white sunglasses. If an abstract artist looked at the outfit they might envision a flower, yellow with blue petals surrounding the center. Between the look and the sweet tunes coming from the stage, the band may have attracted a few unwanted listeners in the form of bumble bees to their set. Despite the brief disruption, Prass and company shook it off and provided sweet tunes to the festival-goers at the River Stage Saturday, sharing hip-shaking grooves and trance-inducing tracks throughout the afternoon. Continue reading →
Decked out in a sparkling yellow ensemble and backed by a full band, Natalie Prass performed songs from her new album The Future And The Past as well as some older songs. Prass opened with “The Fire,” a song that shows off her unique blend of neo-soul and power pop. Her music is full of infectious rhythms and on-a-dime key changes, expertly handled with her signature soprano. She mentioned the lack of their touring keyboardist, resulting in a more stripped-down set, but still perfectly and polished and executed with style. Continue reading →
Richmond-based singer-songwriter Natalie Prasshas returned with her sophomore album, The Future and The Past, available to steam now through NPR’s First Listen series.
Prass kicks off her latest effort with a funk-soaked banger in the form of “Oh My.” Lyrically, she weaves sociopolitical verses throughout the track, opening with “I can’t believe the things I hear / What is truth and what is fear.” Second track and lead single “Short Court Style” is the Juno-bass thumping, XPN-fave we’re all familiar with. Prass closed her NonCOMM set with the track, a fan favorite from the night. Continue reading →
If there’s one thing I learned from Natalie Prass’s NonCOMM set, it’s that she knows how to groove.
Playing new songs off her upcoming album, The Future And The Past, the performance ranged from slower, smoky jazz ballads (“Hot For the Mountain,”) to bluesy disco jams (“Sisters,”) and a funky pop party (“Short Court Style.”) Throughout each, Prass and her snazzy, jazzy band had a blast as they danced and smiled along to the infectious rhythm. Continue reading →
77 more days, 11 weeks left, a little over two months to go – however you want to say it, you better believe XPNFest is coming up quickly! Kicking off on Friday, July 27 across the river in Wiggins Park, NJ, the annual festival is returning for its 25th rendition. Today, we’re pleased to announce four more artists set to appear at the fest.
Joining the Wiggins Park crowd on Friday is Brooklyn’s The National Reserve, who just wrapped up a Free at Noon set earlier this afternoon. The Brooklynites show off their bluesy brand of Americana rock on their latest album, Motel La Grange, which just so happens to be out today. Give the album a spin if you missed the band’s set, or relisten to some of the tracks the band played earlier on air. Continue reading →
Richmond, VA-based artist Natalie Prass is back with her third single, “Lost,” set to appear on sophomore LP The Future and the Past, out June 1. “Lost” shows off Natalie Prass’ jazz and pop vocal prowess, from breathy, staccato chops in the verses, to the full and sweeping chorus. The piano ballad comes off melancholic, the perfect backing track for Prass’ narrative. Continue reading →
Over the last decade, Natalie Prass has done everything from playing keys in Jenny Lewis’ touring band to releasing two EPs and a full-length under her own solo project, gliding into instant indie acclaim. Now, the folk-turned-pop singer-songwriter can add performing on national television to the list. Continue reading →