Celebrating the best in the business with a garden gala, the American Society of Composers, Authors and Publishers (ASCAP) did not disappoint with their annual pre-GRAMMY nominee luncheon. Despite intermittent threats of historic rainfall and chaotic road conditions, there’s was a flawless, fun, and classy event enjoyed by all.

President and Board Chairman Paul Williams, CEO Elizabeth Matthews. and ASCAP Senior Vice President of Membership (and ASCAP Foundation Executive Director) Nicole George-Middleton were all on hand to celebrate GRAMMY nominees including Lenny Kravitz (on the heels of receiving a Global Impact Award at the third annual Recording Academy Honors), Kelsea Ballerini, Carly Pearce, Dan Nigro, Theron Thomas, Deputy, and others. Guests included Ashley Gorley, Autumn Rowe, Blessing Offor, Cimafunk, Fito Páez, Emily Warren, Natalia Lafourcade, Patti Austin, Shawn “Clown” Crahan of Slipknot, and many more. Deejays D-Nice and DJ MOS did a fabulous job and had the room grooving and shaking, with spontaneous singalong moments sprinkled in that added to the jovial energy of the space.

With membership at almost 1,000,000 global songwriters, composers and music publishers representing the leading creative talents of today, ASCAP remains the only non-profit performing rights organization in the United States. Licensing a repertoire of over 19 million pieces of work to streaming, television, radio and satellite, platforms, as well as retail, hotel, club and bar businesses, ASCAP puts creators first by collecting licensing fees, and matching and processing annual performances in the trillions.

Following the annual nominee celebration, ASCAP members won GRAMMY Awards in 52 categories. More at: https://bit.ly/3SBldAM

• Andrea Beenham

Photo Credit: Lester Cohen / Getty Images for ASCAP

For two-time GRAMMY® and multiple award-winning musician-engineer-composer-songwriter Nadeem Majdalany, music was a passion before he knew how to play an instrument. “I could plunk out what I wanted, match the pitch where it was, then figured out reading the staff on my own,” he says. At age eight, he began formal training with Colin Mack, who taught him piano, theory, and composition, and began shaping him as a musician. Between pitch writing, scoring movies to Director specifications, writing songs for placement and inspired from his own life, and compositional works, Majdalany has never been one to take ‘no’ for an answer and represents the epitome of creating his own opportunities. 

His first commission was for the Athens Symphony at just 19 years old while studying at Berklee. Overhearing a conversation in the hallway mentioning that the artistic director and maestro were looking for a new rehearsal conductor (and with no one willing to write him a recommendation, saying he was too young), Majdalany submitted a VHS demo (conducting musical theatre) with just a cover letter. He was accepted with the feedback that “We know you don’t have any recommendation letters. You must be really good because that means you’ve already started upsetting people.” Majdalany says that these words would ring even more true over the years, and that the experience in Greece shaped his conducting. “I was being complimented by orchestral members that the energy I give is very inspiring [and] helps them play better. I always try to put that energy into things.” The Artistic Director commissioned him to create an orchestral piece during his tenure (“Gloria Et In Terra Pax”). 

While still in school in Boston and flying back and forth to Greece, he scored his first feature film (Hopeless) in 2010, which brought him to Los Angeles. Later contracted for three separate films— none of which moved into production— Majdalany says he always makes sure to get a deposit upfront for all of his work. 

The move to Los Angeles was not easy and there were challenging times— including a stint as a jazz pianist at three separate clubs (before finding himself replaced by deejays). Looking back, he says, “there’s a downfall but, to rise up again, you have to have the light and dark. Life is being strong enough to cut people out from your life entirely: it takes a lot not to play the game. I think the biggest thing you could do is be okay with who you are.” 

Starting out, Majdalany had a broken laptop and an Oxygen 8 keyboard with two missing keys. Needing a desk, he stole a milk create from Walgreens and a piece of plywood from a back alley. He worked that way for three years. “It didn’t stop me from making music,” he says. “You make use of the tools you have. If you can’t afford a $2,000 mixer, don’t put yourself in the poorhouse trying to make something.” Majdalany is also quick to stress the importance of work ethic. “We’re great excuse-making machines,” he says. “Whether you’re too hungover, too tired, or too sick, there’s always something that’s going to make you not want to do that thing, which means that you just genuinely don’t want to do it. Get off the bench and move over for someone else.” 

Good music balances light and dark, and delivers honesty in the melody and lyrics, Majdalany shares. To keep himself honest, he writes his newest ideas using a pen and paper, explaining that the physical connection represents energy leaving the brain and sending an impulse of an idea, which is lost in translation when using a keyboard. 

Best known for his album Phoenix of Atlantis, placements on FOX, MTV/ MTV2, OWN, HBO, NBC, and instrumental contributions on two GRAMMY®- winning albums, new films, American Suicide Mass Murders and Waterpot are coming soon, with a conductor tour towards the end of 2024. Majdalany is also working with the Art Heals Foundation highlighting their artist community in his performance series, Pandora’s Box. 

For more information, visit nadeemmajdalany.com 

Label: SideOneDummy Records 

Band Members: Chris Colasanto, guitar, vocals; Tommy Eckerson, guitar; Milo Duhn, bass, vocals; Alec Westover, drums, vocals 

Type of Music: Punk 

Management: Dan Doyle and Trevor Chesler - 918 Management 

Booking: Jason Parent - Sound Talent Group 

Legal: Henderson Cole 

Publicity: Daniel Cooper - Lucky Bird Media, daniel@luckybirdmedia.com 

Web: carpoolny.band 

Label Manager/A&R: Phil Bender-Simon 

Says Chris “Stoph” Colasanto of Carpool’s signing with SideOneDummy Records, “I’ve been buying shit from SideOne since I was 11 years old. It’s a very full-circle, wild moment to be on that label now.” The band has also signed with Sound Talent Group. 

With phenomenal friends and family supporting them, Colasanto says “Rochester's the number one city on Earth. They picked us up and put us on their shoulders, so it means a lot.” Releasing their 2018 EP independently (re-released with Old Press Records, now part of Acrobat) they performed in-studio at Audiotree in 2020 for wider promotion. Summer 2023 brought a tour supporting Cliffdiver (also on the SideOneDummy roster). Cliffdiver and manager Dan Doyle pushed for them to be heard. 

“I could go on forever about how much I love our team,” says Colasanto. “They’re great people. Referring to Doyle as a “true Western New York cat—cordial, kind, and cooperative,” Doyle ran a venue where 

 Carpool played frequently and the band invited him to join them on tour. Manager Trevor Chesler is a “nose to the grindstone, locked and loaded, man on his game,” and Colasanto describes label manager Phil Bender- Simon as “one of the realest people I've ever met in the industry, an absolute blessing and a dream come true. It’s a pure, genuine interaction every time.” 

The shift in momentum is already obvious. “Marketing, press, rollout— everything is official,” emphasizes Colasanto. “The song [“Can We Just Get High?”] is streaming better than any other song we have released. SideOne [gave] us an avenue to be ourselves and do our own thing, while pushing and marketing so people can latch on.” 

Bender-Simon shares that Carpool have great energy and felt like close friends immediately. “Their music has been stuck in my head for three years. It’s that incredible wide-eyed feeling when you hear something truly great.” 

The signing included an advance and one-album commitment, with an option for two more. Album My Life In Subtitles is scheduled for release in March. – Andrea Beenham 

Friend, Rich Waller (a member of his childhood band) was also an early mentor, explaining important elements of arranging (drum drops and song bridges), and leading Harding (albeit unknowingly) to create memorable, attention-grabbing songs. Realizing that every CD he owned listed offices in Los Angeles, Harding secretly fled to California, landing a job at Tower Records (counting on landing a record deal). Music Connection’s former editor Kenny Kerner (d. 2014) encouraged him to add additional verses and A&R Rep Brian Koppelman (who he met at Tower) got Harding his first deal. When the record wasn’t released, Harding shopped his material around. Recruitment by a touring rock star as an assistant brought a whirlwind of international five-star adventures, a request to assist Linkin Park, and a publishing deal with Jonathan Daniel (of Crush Management). 

Moving to Nashville (on Daniels’ suggestion), Harding met Rusty Gaston (now head of Sony), who signed his next publishing deal. Harding says to knock on doors and keep meeting people, even after signing a deal.

Describing himself as a basic guitarist, Harding usually starts his songwriting with a title. “Someone will say something, or I read something (Jake Owen’s “Alone With You” was originally inspired by the book Running With Scissors), I start strumming the guitar—a melody, lyric, and chord—kind of like a sneeze. Sometimes it appears, but it's usually the title.” At a recent wedding, a man was waiting for his wife hugging everyone goodbye and said, ‘she can't stop saying goodbye.’ Harding turned it into “We Can't Stop Saying Goodbye.”

“I've had success [because] I've always been myself,” says Harding. “Camping to me is a hotel and a hairdryer. If you are writing songs that mean something to you, it makes all the difference.” 

You also have to write something the artist hasn’t done yet. “'Somewhere With You' was passed around like a vape pen at a Willie Nelson concert - everybody turned it down,” he shares. “But when Kenny Chesney heard it, he knew it was different. It became a monster hit.”  When it comes to songwriting, Harding suggests:

 • Keeping a positive attitude and being on time;

 • Finding a space to create freely (not forcing yourself to work around roommates);

 • Changing things up to avoid repeat sound and feel (co-writing helps artistic growth);

 • Flipping concepts around (Douglas/Shamblin’s “The House That Built Me“ flips the idea of a house you build, building you).

“The world is always going to need new hit songs. Artists don't exist without songs. Sports teams are going to run out on the field to a song. Movies are going to have a song. It's going to be somebody… Make it be you!”

Penning hits for Darius Rucker, Keith Urban, Dierks Bentley, Blake Shelton, Kenney Chesney and Uncle Kracker, Harding’s memoir, Party Like A Rockstar, is out now.

Contact Morgan Canclini-Mitchell - morgan@twopr.com; 

Experience J.T. Harding at instagram.com/jtxrockstar

Contact: Gillian Driscoll @ Gillian Jean Creative / gillian@gillianjean.com

Web: jessicacarteraltman.com

Players: Jessica Altman, vocals; Vanessa Bryan, backing vocals; Michael Herring, guitar; Alex Burke, keyboard; Brandon Brown, bass; Dylan Elise, drums

Material: Playing to a tight-knit, supportive crowd, Jessica Carter Altman shared yet-to-be-released music from two coming EPs during her intimate Hollywood show. As a gentle lilting opener, the song harmonies in “Fake It” shone through, with stellar backing vocals and beautifully blended instrumentals that continued throughout the evening. Between gently honest lyrical stories and a clean, tight band, Altman showed the makings of something truly special

Musicianship: Backed by a phenomenal group of some of Los Angeles’s best players, “Aftermath” revealed a great bass sound (courtesy of Brandon Brown), with a funky build that landed with yummy warm vocals. “Naïve” brought a more theatrical style, with a sensitive rhythm section underpinning, more great harmonized voices, and rich organ sounds from the keys (added by Alex Burke). Room favorite, “Pieces” delivered a post-breakup shakeup, with great guitar licks from Michael “Fish” Herring, and more fabulous bass lines and organ sound. “Lucky One” (from 2022’s EP For You) saw things switching gears to a lullaby-feeling country ballad.

Performance: Stepping things up a notch with the Ashford/Simpson/Armstead classic “I Don’t Need No Doctor” (previously covered by Ray Charles and John Mayer), the group added a great guitar intro, heavier funk bass, edgier vocal sound, and solos from each of the musicians on stage, while “Bad Energy” shared a grungier-sounding guitar intro. Altman’s open, transparent lyricism made for a relatable performance, and her down-to-earth approach with her audience—especially on “Clumsy” (speaking to her quirkiness when she first met her now-husband) and newest release “Naïve” (referencing how her dad used to describe her), helped form a genuine connection with the room. 

Summary: Sincere and sweet, Jessica Carter Altman brings an unusual softness to the stage. Clearly appreciative of the opportunity to share her artistry with a crowd, her demeanor shares a level of gentleness and humility rarely seen in performance circuits. Altman’s stories of resilience and vulnerability, along with her quirky and relatable personality, make for a refreshing combination inside a comfortable evening of authentic storytelling.

Photo by Ted Cohen

Rain, Hollywood protests, and ongoing freeway closures did nothing to stop a passionate room of musical aficionados from heading out to support some of 2023’s most incredible musical creatives. About the 14^th annual celebration, organizer Brent Harvey shared, “It’s great to have so many music pros in one place at the same time. Ultimately, how the attendees feel while they are there – and when they leave - that’s what it’s all about.”

Kicking off with a beautifully edited opening video montage, the evening’s highlights included a fun musical opener from OK GO, Diane Warren’s performance of “The Fire Inside” (from Flamin’ Hot), and a masterful rendition of “Summertime” by Ashley Tamar Davis that shifted between funk and straight-ahead jazz. Tony, Grammy, Emmy, and 5x Oscar winner Marc Shaiman delivered an incredible rendition of ‘Which of the Pickwick Triplets Did it?” (from Only Murders In The Building) alongside Benj Pasek and Justin Paul, with the song receiving the HMMA for Song-Onscreen Performance-TV Show/Limited Series (for Steve Martin’s performance). Shaiman was also awarded the HMMA for Outstanding Career Achievement.

Winners included the Barbie movie, with an HMMA for its soundtrack, and another for Billie Eilish & Finneas’ song “What Was I Made For?”. Other top awards went to Olivia Rodrigo (for The Hunger Games: The Ballad of Songbirds and Snakes’ “Can’t Catch Me Now,” written with Dan Nigro), and Trolls Band Together (NSYNC’s “Better Place”). Eve Hewson, Joseph Gordon-Levitt, Oren Kinlan and Jack Reynor received the HMMA Onscreen Performance Award for “High Life” from Flora and Son and Nicholas Britell won best Score-TV Show/Limited Series for Succession, with Sam Ryder’s “Fought and Lost” from Ted Lasso winning best Song-TV Show/Limited Series. John Powell accepted an HMMA for documentary score composition for Still: A Michael J. Fox Movie and the award for Song – Independent Film went to Jake Miller’s “I Got You” from Holiday Twist (written by Michael Jay and Alan Demoss). Legendary Canadian songwriter Robbie Robertson received a posthumous award for Score-Feature Film for his work on Killers of the Flower Moon and the HMMA Music Documentary – Special Program award went to Immediate Family. Full winners list at: https://bit.ly/3G7ewAz

Concluded Brent Harvey, “The success of the show sits squarely on the shoulders on my team. I let them do their job and I have never been told to go away by so many people in one day. They know their gig and pulled off an immaculate show. I am just the coach and my team are the stars.”

Contact: Jessica.Nall@atlanticrecords.com

Web: site.tannerusreymusic.com

Material: Opening with his trademark gravelly country sound and gorgeous vocal timbre, Tanner Usrey played to an excited, happy crowd in a 30-minute set in Los Angeles (opening for Ian Munsick). “Come Back Down” brought a warm, vocal feel to ease into the set, with “Til The Morning Light” bringing punchier vocals and lyrics (including the line “You’re trouble with a Bible verse tattoo. I know you read about me and you know that I’m bad news”), stronger projection, beautiful bluesy melismas, and some more upbeat strumming. 

Musicianship: A down-to-earth demeanor made for an easy-to-invest-in show. Usrey has the songwriting goods, and a straightforward approach to the guitar, while bringing a unique vocal sound and feel to his singing, with a gentle country vibrato and great breath control. Melodic new ballad, “Who I am” shared great octave leaps and storytelling with lyrics, “self-destruction at best” and “do you like the way I make you feel…or just the way I sing?” Syrupy ballad, “Last Goodbye” added melancholy, while “Josephine” revealed fuller, rounder vocal tone and invitational storytelling with lyrics, “her veins they look like tracks all across her skin; she used to be an angel, but she traded that for sin.”

Performance: Having garnered millions of streams on Spotify following the release of 2019’s Medicine Man (“Come Back Down” and “Beautiful Lies” have reached almost 20 million streams each), 2021 brought the release of the SÕL Sessions EP (with “The Light” added to the Season 4 finale of Yellowstone). Usrey’s raw songwriting and lowkey, approachable attitude create a fun, engaging show atmosphere.

Summary: Show closer “Beautiful Lies” added lovely phrasing and control, highlighted with a long-held, emphatic vibrato note. Delivering relatable, transparent lyrics, like “Oh, I won’t beg you to stay, I guess you wouldn’t anyway. … I know you’re leaving, walking out that door, and I can see the heartbreak in your eyes,” he subtly commands attention from the audience. Between tales of heartbreak and addiction, deception, love, lust, loss, and redemption, Usrey’s vocals are gritty and soulful, and he is refreshingly direct in his lyrics and presence.

Photo by Josh Beech

Contact: Lorna Chiu, lorna@johnbeasleymusic.com

Web: johnbeasleymusic.com

Players: John Beasley, conductor-arranger-piano; Brian Swartz, Kye Palmer, Brandyn Phillips, Barbara Laronga, trumpets; Lasim Richards, Wendell Kelly, Ryan Dragon, Lemar Guillary, trombones; Bob Sheppard, Danny Janklow, Tom Luer, Kirsten Edkins, Tom Peterson, woodwinds; Reuben Rogers, bass; Terreon Gully, drums

Material: Introduced by incomparable jazz patron and founder of host Jazz Bakery, nonagenarian Ruth Price, John Beasley and the MONK’estra band shared their jazz stylings for over 90 minutes. In celebration of Beasley’s birthday, the anniversary of the birth of Thelonius Monk, and MONK’estra’s tenth anniversary, the group performed a collection of Monk arrangements, a Charlie Parker cover, and a handful of originals, enthralling the packed room of enthusiasts with their tight big band sound.

Musicianship: “I Mean You” opened with Beasley on the grand piano alongside a growling tenor sax solo, followed by synthesized keys on “Locomotive,” adding on a warm saxophone solo, great drum tempo pull, and overall moodiness. Charlie Parker’s “Donna Lee” (Beasley’s arrangement won 2021’s Best Arrangement, Instrumental GRAMMY) added more sax section magic, intermittent tight band shots, great upright bass saunter, and fabulous stylistic transitions—in particular from the trumpet section. “Ruby, My Dear” included guest musician Ralph Moore in a beautiful sax solo, and closely harmonized trombone layering and slide sections.

Performance: A medley of “Let Them All Talk” (from Steven Soderbergh’s film, composed by Thomas Newman and arranged and orchestrated by Beasley) brought a gorgeous sway and suspenseful feel, delicious walking bass line underpinning, and a muted trumpet sound, for a blend that presented the epitome of musical escapism.     

Monk’s “Oska T” revealed a stunning bass/drumkit/piano section, soprano sax solo, fantastic drum fills and band shots for a true Old Hollywood sound. The stage was a who’s who of jazz players from around the Los Angeles area, and the evening included guest heavyweights Ralph Moore, Theo Croker and Greg Phillinganes.

Summary: The “Rhythm-A-Ning/Evidence” mashup shared an intense drum solo and two tenor saxes trading eight, then four, then two bar solos. Between interspersed solo embellishments, instrumental growling, punchy horn shots, and dreamy soprano sax interludes, juxtaposed with full band syncopation, spontaneous on-stage cameos, and audience finger-snapping, Beasley and MONK’estra delivered a delicious combination of polished sound and improvised celebration.

Photo by Bob Barry

Return to Her Roots

Born in Chattanooga, TN and raised in Dallas, TX, singing in church and school choirs, Shaylen (born Shaylen Carroll) seemed destined for a career in country music. Instead, an audition for a Christian pop group launched a 10-year career in pop (that included contracts with Cash Money, CAA and Universal Music). A move to Nashville on the heels of being released from her label, Shaylen’s sound has pivoted back to her country roots, and she has never felt more authentically herself.

 With vocal, piano, and guitar lessons from an early age, and filming The Wannabes television show from age 14 (as a member of the pop group Savvy), Shaylen moved to Los Angeles at 18 to grow her career. Unfulfilled by the music being released, 2020’s lockdown brought an opportunity to reevaluate her unfolding career, and a trip to Nashville to write for other artists brought clarity. Co-penning debut country single, “What If I Don’t,” Shaylen left the studio sobbing, recognizing that she was finally singing and writing the way she wanted to. “It's funny when you step out and let go of ego,” shares Shaylen. “I came here for other people, and found myself.” 

Returning to Los Angeles, she asked her label about switching genre, but ended up being released from her contract. Without a label or management, she moved to Nashville to start over independently.

 “Your big breaks are at the most detrimental, uncomfortable moments of your life,” says Shaylen. “Record deals have been awesome, but I think the most uncomfortable moments—making the choice you are terrified to make—level you up. You do it and create the next stepping stone for your path. Those are monumental. The stepping stone is just evolving as a person.”

Her experience with cadence, melody, and writing in Los Angeles helped to open doors in Nashville. Refraining from doing research on people before sessions helped Shaylen navigate Nashville less fearfully while pitching songs for writing rooms. Powerhouse trio Seth Ennis, Phil Barton, and Lindsay Rimes formed her first session. “I didn’t realize who I was in the room with,” Shaylen admits. After writing “What If I Don’t,” she knew it was big (it reached over 2.2 million streams in two months). Looking back, she had been writing country melodies all along. “I got more support than any days doing pop,” she says. “This is what I’m supposed to be doing.” Follow-up singles, “Roots” and “Do It Right The First Time” followed, each garnering over 500,000 DSP streams in month one.

“Other genres have become such a character-based thing,” says Shaylen. “It’s about the clip you post on TikTok that you hope becomes a trend. Country music… I love it. It’s just about the damn song. I respect everybody in pop that’s killing it. You have cracked a code that is hard. I fell out of love with it, but the knowledge I gained from writing pop? I wouldn’t trade it for the world.” 

Reframing the loss of major label validation, Shaylen says she now gets to choose how things look. Inspired by people in coffee shops, long drives, and Pinterest quotes, her music is all about building chords, confessing, “I’m a big melody girl. The lyrics come later.” A tattooed reminder on her hand about temporary feelings helps her navigate the conflicting ups and downs of being an artist. “I remind myself that maybe it’s not right now, but it has to be out in the world,” she says of her art. 

Referencing Kate Bush’s success with “Running Up That Hill,” she adds, “It doesn’t mean it’s not going to work one day.” 

Shaylen says her new management is incredible. “My work ethic has never changed, but it’s like a vintage car,” she says. “somebody sees trash, [but] somebody [else] thinks it‘s the coolest thing. Sometimes you have to put yourself in a different setting with different people to realize you’re valued.” 

Latest single, “Cowboys Never Cry” is out now. Additional tour dates and an upcoming full-length album follow shows in San Diego, Tucson, and Las Vegas.

Contact Taran Smith - Milestone Publicity, tsmith@milestonepublicity.com; Experience Shaylen: instagram.com/shaylenofficial

In a packed house of enthusiastic patrons at Hollywood’s Bourbon Room, an incredible ensemble of actors and musicians delivered a riotous show of political storytelling. Passionate and powerful vocal numbers (supported by flawless musicianship) highlighting Obama’s rise to office inspired the room, while nonstop laughs from ridiculous situational sketches (spurred on by characters of prominent American politicians on both sides of the aisle) had the room in hysterics.

Produced by Kevin Bailey (who also plays the part of Joe Boehmer) / MB Artists, Monica Saunders-Weinberg, and Eli Bauman, a former Obama campaign organizer who wrote the music, lyrics, and book and also directs, along with Hip Hop (yes, Hip Hop!) choreography from James Alsop, the show is absolutely brilliant! Including cameos from a host of political characters including Mitch McConnell, Hilary Clinton, Herman Cain, and Sarah Palin, the production blends a perfect combination of political history, Hollywood sparkle, and delicious, spicy comedy in a show for the ages (with shows running through Saturday, November 18).

T.J. Wilkins stars as Barack Obama, with Shanice as First Lady Michelle Obama. The show opens with a beautiful a capella introduction from Shanice, leading into a full cast chorus of “M.F.O.” (Motherf***ing Obama). The duo shared gorgeous, soulful duets, consistently powerful vocals, and an engaging, palpable stage presence throughout the evening. Shanice delivered an exquisite interpretation of a feisty First Lady including stunning projection and money notes, while Wilkins remained mellow and smooth before adding in some rap lines. In addition to Shanice and Wilkins, performers included Kevin Bailey, Celeste Butler, Larry Cedar, Marquell Edward Clayton, Ally Dixon, Kelley Dorney, Summer Nicole Greer, Scott Kruse, Jane Papageorge, Dino Shorte, Jeff Sumner, and Michael Uribes, with incredible group harmonies and precise cutoffs and transitions from all in the cast.

From Chad Dorek’s standout quirky, memorable portrayal of Joe Biden (eliciting roars of laughter and cheering without so much as a word), to a pole dance striptease from Sarah Palin, Herman Cain’s R&B ballad, and Mitch McConnell ‘morass’ posse (with their iconic Filibuster number), it was nonstop action for two hours (with a brief intermission). Including R&B and Hip Hop—with dancing to match—and poignant, heartfelt ballads (including “My Little Angels”), the cheering crowd was completely mesmerized, before being energized even more with the Abraham Lincoln ‘emancipation disco.’

The live house band, House of Vibe (performing as “The Andrew Jackson Five”) provided a perfectly blended backdrop, with fabulous and tight accompaniment, and musical direction from keyboardist and co-producer Anthony “Brew” Brewster. Showcasing fantastic energy and sensitive, smooth transitions between each act, they added phenomenal polish to the overall production. “Brew” was joined by Greg Raymond (also on keys), Kris Hawkins on Guitar, Corey Cofield on bass, and Phillip “Fish” Fisher on drums.

Quirky, political fun with a gentle undertone of inspiration, the 44 musical delivers a perfect comedic reprieve from the craziness of today, while speaking powerfully to poignant moments of impact in our collective history. An absolute gem.