Who is santigold touring with

Needless to say I was more than annoyed. Lauryn Hill was boring and her songs drone on, mostly just repeating words over and over. Had I known Santigold was canceled, I would not have gone to this show. It was a waste of my time, money, energy, etc. Read more. Report as inappropriate. She never disappoints, with her perfect back up dancers and show routine and eclectic grouping across her career.

Santigold is one for the books. She really lets you know what a show is all about. I couldn't stop dancing. Truly excellent show! Every song was performed fantastically and sounded great, along with the live backup musicians and dancers. There was also something so appropriate about the choreography, so fitting to Santigold's music and messaging.

Even the costuming had that same "What you looking at? Ridiculous, but not trying to make you laugh - more like they were making a point about stereotypes, but without hitting you over the head with it. The show was also fun - they brought a bunch of audience members onto the stage to dance with them, and I think there was an audience participation song, but I'm a little fuzzy on that. Verdict: Santigold is a must-see.

I was confused so I started googling. Come to find out, via an obscure twitter exchange between santigold and a fan, I realized Santigold had been canceled from the show by Lauryn Hill. Needless to say I was more than annoyed. Lauryn Hill was boring and her songs drone on, mostly just repeating words over and over. Had I known Santigold was canceled, I would not have gone to this show. It was a waste of my time, money, energy, etc. Truly excellent show!

Every song was performed fantastically and sounded great, along with the live backup musicians and dancers. Costume changes and video backdrop added to each song and the overall production value. Really a great show with tons of energy! Highly recommend! There was definitely some people that had too much to drink and ran into us but they were kicked out. Their lost because the show didn't even start yet.

She never disappoints, with her perfect back up dancers and show routine and eclectic grouping across her career. Santigold is one for the books. She really lets you know what a show is all about. I couldn't stop dancing. See all videos 1. See all photos See all posters View all past concerts. Want to see Santigold in concert? Santigold is not due to play near your location currently - but they are scheduled to play 1 concert across 1 country in View all concerts.

Get your tour dates seen by one billion fans: Sign up as an artist. Live streams Chemnitz Your artists Popular artists. Santigold On tour: yes Santigold is not playing near you. And so it makes sense that "Pretty Green" was her favorite song because you just hear it and it just fucking sounds cool because of your voice and all that shit. I remember recording that with you in your studio in New York and just moving all around the room screaming and you're like, "Double dutch plus.

That was really fun. I liked that song. I didn't know how to do a gang vocal. So I was like, "Well, how can we make it sound like a group? I'll just keep asking you to move to different places in the room because maybe spacially that would It totally changes. Or just a little bit from the mic, but changing your voice each time slightly. You're so good at changing your voice. You really are a master of that. You just can make all these different personalities.

I've been doing a little bit of animation voiceovers just a little bit. I just But the cool thing is the ones I've been doing involve comedy singing, which is the funnest thing. And you're just yelling at people.

I'm on this one called Centaurworld. I think it's Netflix. I think it's for teenagers or grownups, this one. But I'm the moltaur judge. So I'm a mole, but a taur. So everybody's a centaur. And I had sexy, disgusting, but not sexy. It's so fun because it's all about your voice and being able to change and do all this fun stuff with your voice. And I think that's always been something that, because I've never thought of myself as a singer really.

That's crazy to me because I know what you mean. You're not going to get up and probably sing the National Anthem at the playoffs. But you definitely are singing, you have great pitch. You have really a unique tone, but sure, I kind of get it. But it's just more about being an instrument player of your voice.

Because I can't play any other instruments very well at all. I can write on any instrument, but I'm terrible at playing instruments. But I can play my voice. And that's kind of it. I've taken a little bit of vocal lessons over the years just to try to figure out how to retain my voice on tour and stuff like that. But I don't know how to do all kinds of stuff. But it's just what I do know how to do is make cool, funny sounds with my voice and on demand.

But it's funny because when you went in on the first time to do "Creator" with Switch, there's something that probably has grown in the confidence a little bit of doing that a few times, everyone going, "That's the shit. Oh and if I do a little funny voice on this one, shove it. Then Jay-Z and Kanye are going to sample it. Are you talking about that little bit in the beginning of Creator?

I've always done little squeaks as I'm Especially from Stiffed. I think I started doing that probably influenced by Missing Persons. And it just became a thing I couldn't stop doing. It just became something. And he probably heard me doing that and he's like, "Do some cool thing.

He goes, "Do some Kate Bush sound in the beginning. It made no sense. And then it's also completely not in pitch or anything, cracking. And he's like, "That's great. But it's kind of awesome that it's so crazy. Also when you said it like that, it made me think of do you remember that classic dancehall song, "Kuff?

Well see, you know, Mark, those are my hugest influences. All that stuff, Sister Nancy, Sister Carol. I forget who that is, but I've actually like-. I remember talking about it on social media and her relative hit me up and was like, "You know that's my aunt?

I saw and he just kind of really sadly passed away earlier this year. I did, yeah, but I didn't meet him. I wasn't in studio with him unfortunately. I did it in LA. It was just amazing to just be able to be on a track with him and He kind of helped start rap music. I mean, Jamaican toasting was pre-rap.

And the idea of being the MC, but making that a rhythmic delivery interaction and over records. What were some of his super kind of iconic recordings and stuff that people should check out?

Is there one? Just Google U-Roy everybody. And what's the name of the song you guys did together? I think I liked the Dennis Brown version. But I knew that song so much with all the harmonies and everything.

So when they were like, "You want to sing it? But that's totally like, those women are my heroes. So we do have some friends. Do you think that these birds like reggae? Do you think that-. Oh yeah, totally. They heard you toasting and they're like Growing up in Philly, I know you listened to a lot of hip hop and you've talked about, what was the thing?

The school dance where you wrote the rap where you told me you once did for me. I'm not going to make you do it here. Your first ever verse. And it had this kind of amazing like sort of You had a verse that you spit for me one time that definitely sounded like it was written in peak high school. Because we started doing the toast thing.

Okay so tell me about "The Last Party. I had this party and I'm telling you, I used to write raps. That's how I started writing songs. I used to write raps. My first song I think I wrote when I was nine after watching one of Breakin' or Beat Street or something and it was called "City Streets" because I always wanted to talk about people, the culture. It was like "City Streets.

City streets. People need our help out there and no one's there to listen. But anyway, I had a billion raps. I used to write raps and poems all the time throughout my teenage years. I don't know if I remember any more. Do you want me to try? Let's see. I just remember when it went that, that, that, that was. Oh, here it goes, it comes back. Called some friends to come over and stay for awhile. Only people with style because my parents were home. Didn't want it to be wild so I went to school and tried to keep it a secret.

Despite my efforts, everyone seemed to hear it. It goes, "Then the night finally came and I won't be the same because that night is the night I got the fame of my name, which remains to be widely known.

All these people call me up on the phone to tell me that they were still coming. But I didn't know anyone by the name of Chris Money. And actually both those rappers are from Philly. So that's kind of weird. So I mean, obviously you're not aware of it when you're 10 or 11, but was there a feeling that Philly that there's hip hop happening.

Obviously you're not in New York. Philly was fucking amazing. And so it was when I was And was the year. It was one of the most exciting years of my life, honestly, because the fly girl thing was off the hook in Philly. So all the girls had asymmetrical haircuts and gold and leather trench coats.

And Starter jackets and so I was at an all girls private school, all white private school and then started seeing all this. I worked downtown that summer, I was 12, for my dad at his law office. And I saw all these people and I was like, "Oh, I want to be that. I was in the pyramid scam. So I got some money and I bought myself all this stuff and I went back to school and I talked different.

And everybody's like, "Santi, is that you? And I left after that year. I was just like, I went to public school for a year because I was wanting more. I mean it was whack. I mean, also, at that time, that was when you start liking boys and the boys were like, "I would like Santi, but she's black.

It was like, it was just why? As a New York DJ in the early 90s, it was easy to feel like the sun rose and set in the east. We were the seeming hub of the music universe, Biggie, Nas, Wu Tang. Even D'Angelo and Erica had made it their home. But then Philly happened in a big way. I was always so fascinated with what was going on in Philadelphia at that time, the Roots, the Neo soul movement that followed, Jill Scott music, Soul Child, Bilal.

I remember driving to Philly for the first time to record strings with Larry Gold, the go-to arranger for everyone from Justin Timberlake to the OJs. I actually felt stupid when I hit the turnpike and realized it was only 90 minutes from my apartment. A place whose music scene seems so exotic to me was less than miles away. I got to Larry Gold's studio and I found that it was also where the Roots recorded and the rapper Dice Raw had just been in the night before. I asked a hundred questions about it.

I found it all so exciting. During breaks in recording, I would stop in and visit Santi in her loft apartment around the corner and she told me that she had a friend Wes, AKA Diplo, who lived down the street. She told me about Spank Rock. Again, all this felt so thrilling.

The fact all this cool shit was happening, but it wasn't New York, made it seem all the more interesting. I'm always so fascinated with scenes and how they pop up. Obviously, this is nothing new. All these cities have created as much great music as a London or LA, certainly pound for pound. Darryl Hall once told me it's the toughness of the city, the slight chip that you're not from New York, the need to make it, and the chance to take in all these disparate influences and form your own thing.

And with all her styles and this incredible new sound, Santi definitely formed her own thing in a way that might not have happened had she come from anywhere else.

I brought in a lot of things and they were like, "Nah, thanks. It was really good. I don't remember. I remember there was a song, "Got," that didn't end up because it was his most poppy thing, and I loved it.

I was you. I was trying to push him to do this. I was like, "Everyone will love this song. They had this record called "My Kung Fu" that I remember really loving as well. So you brought in Mos to the Powers That Be. I did. And even with Res, that's why I signed Res.

And you hooked up with Doc [McKinney], who we've said went onto, obviously, The Weeknd's early stuff. Brilliant producer. And at that point he had only done Esthero, which I liked. And I brought it into Epic and they were like, "This is great. Maybe we could put her in Groove Theory. And signing anybody who had anything to do with him. It was interesting. So it was interesting. It was so unfair and so crazy. But I brought it in because I had spent a summer in London and they were, you know What do they call it?

Was it jungle? Was that what it was called? Oh yeah. Well, there was jungle and there was 2-step, and there was the different tempos. So it was this amazing music that none of us had ever heard. Now jungle means whatever else, but at the time, it was, this is in the late nineties, Jungle was people doing crazy beat mixes. And it was amazing. And so I was trying to tell them about it, and I was like, "We need to do this.

We need to do this. And they did it. And I was like, "Look. And I was like, "This is not for me," and I left. Then I went and I did the Res record, which was hard because I really had a vision in my head and to have it go through somebody else's mouth and somebody else I didn't want to be an artist, you couldn't even pay me to be an artist at that time, but I was so connected to the art and when it wasn't coming out the way that I want it, after that, I was like, "Well And with "Golden Boys.

It wasn't me. And it had to feel like her because she was singing it. When I listen to that record I mean, I'm like this anyway. When I listen to old stuff, I cringe a lot anyway. Not with Santigold, not with the first record. But whether it's pictures of me or anything, I look back and cringe. But I definitely do that when I hear that record because it was like I mean, it was such a push and pull of trying to get somewhere that I never really got to, you know? You're kind of like, "I had to get out of there because I realized that I needed to be a business lady.

I mean, you know. You learn a lot. I was like 21 when I was working on this stuff. So you learn a lot about relationships or learn about boundaries and contracts, and all kinds of stuff. I mean, I've had so much years and perspective of being a woman working in this business with loads of men and how to navigate that. I mean, so many times where people come in and try to talk to you a certain way. And I'm funny because I come across a little bit I don't want to say ditzy, but a little bit tuned out sometimes.

And then my dancers and my band mates who know me so, so well in so many different ways, they've got two things they say.

One is, my dancers say I have truth Tourettes. You do. I'm going to remind you of something that you said to me right after this. I'm going to remember that. But yeah, I do, right? If I think it and it's true, just say it. And that's something I get from my old southern upbringing and my family, where, you know, you could also take the time to think of a way that it would be well-received, I never learned that. I'm working on that now.

And the other thing is, my band, they call me "the cheetah", and sometimes they just go, like if somebody comes in and they don't know me and they start and somebody's about to jump in, they'll be like, "Let the cheetah run. But it's a very utilitarian It's not going to come out only when it's needed. But I learned that, as a woman in this business, you take, take, take, and then you're like, "Hold up. Oh shit. Because it's so interesting, the things that you run up against as a woman in the music industry, especially a woman not doing the typical style and music that women like to do in this industry.

The truth Tourette's thing just gave me this I remember this. And I think that you always had big trucks. I loved it when you would come by and pick me up, whether it was in the studio or whatever, even before you kind of hit it, you would always have like a Yukon or a Denali or something crazy. And I remember playing you I had the demos of Version , I think, the rest of the songs.

In your car, I played it. And you kind of just gave me a polite start. And I knew it wasn't really your type of music, so I wasn't taking anything too hard, but you were like, "I don't really get all the horns. It's a little elevator-y. It's not like you're not a fan of jazz, because there's a very different thing where jazz can be avant-garde and cool and amazing.

I listen back, don't worry, and cringe at quite a few of those things, but yeah, I just remember you had truth Tourettes. I remember there was a tiny compartment in my brain that was thinking, "I'm going to make something that Santi and Naeem are going to have to say that they like this time.

No, it's good. It's good. Because we all have that, and we all have Listen, Mark. You have something that we don't have, right? You've got this pop ear that's so You're like, "Okay, I know what to do. Shut up. But I can't do that. My ears don't work like that. And when I hear something sometimes that sounds like a pop hit, I want to change it. I'm like, "nu-huh. It's almost like too straightforward, and I'm like, "It's not interesting enough.

But also, back on the horns thing, I do have a thing with horns and brassy things. I'm really funny about them. But when we went on tour and you had the horn section, I loved it. I was amazed. When horns are done right, they're so powerful and so interesting. Did you see the Fela! Broadway show? And the horn section. I have horns on several of my records. I had them come in and play. But I always have to take all the bright out and make them sound almost It's just a thing.

Of course horns can be cool. Miles Davis is the birth of cool. I was also so green, and you know when you just discover a new color and musically you just throw it over everything? It's a little gaudy, but I guess it's more known as The Go-Go's song, but yeah So I guess I wanted somebody I had met Terry Hall, he was a hero and he was almost an English national treasure, and I was like, "Yeah, maybe Santi'll want to sing that song.

I told everyone, I have a visual of that day, but I don't remember what the song sounded like. I must have learned it really fast. I get really nervous about singing songs that aren't mine, that I have to learn really fast, because I'll mess up. So I don't get to actually perform them good. So then I'll have a block and then I don't remember. I did the David Byrne tribute at Carnegie Hall. And I got to do my favorite song, but I didn't take enough time to learn it.

I thought I knew it. I bought the Columbia tape for a penny, you know?