Jill scott love rain suite
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The electric guitar wailed and Scott let out all her rage, her voice booming from the gut, with added distortion, more like a metal show than an R&B concert, in a moving tribute to her murdered peers. We want this mess to end.” She brought the lights down and a video montage played of Black Americans killed by the police like Philando CastileĪnd Aiyana Jones, amongst many, as well as a segment of Castile’s mother, Renee Jones Schneide shouting at the police. “Please know,” she said, “That we don’t like what’s going on back home it is not ok.
Dancing women spilled into the aisles and screamed in praise of Scott.Īs the concert ended, and the audience roared for more, Scott returned for a fiery political performance and a message for Canadians. The crowd knew all the words to Scott’s songs, singing rounds as Scott pointed the mic at each section of the auditorium. ”įans packed every level of Massey Hall, dressed to the nine and dancing. ” Jill cautioned, in one of her many monologues, “And if you aren’t living the exact life you want, you better take notes on the people around you, cause many of us are living that life, I know I am. “Don’t give up your goodies to just anyone, cause ya might not know who you are dealing with. With two drummers, a keyboard player, a bass player, a guitar player, a sax and a trumpet, Scott moved into faster power-ballads, belting out empowered pieces like Hate on Me, and Getting’ in the Way, with bold messages for the audience about female empowerment and career advice for all sexes alike. Eliciting howls and cheers from the crowd, she tickled imaginary male body parts at the shaft of her mic stand.
Questlove invited her to join the band in the studios, which resulted in the live version of 'You Got Me' in 1999. She was discovered by Amir 'Questlove' Thompson of The Roots. Sweet and sultry, Scott performed Wait, The Way, He Loves Me, and Crown Royal, while she massaged her own body like a lover. Born Jill Heather Scott in the North Philly neighborhood of the City of Philadelphia, PA on April 4, 1972, Jill Scott began her career as a performance poet. The first portion of the evening focused on love songs, accompanied by three, male backup singers, dancing in the doo-wop style of the Supremes. From old favorites like Love Rain, to a bold political performance of her own version of the US National Anthem Oh Say Can You See the Blood in the Streets, Scott’s show did not disappoint. Proving that big is sexy and bold is the best way to be, Scott brought the audience into her bedroom, crooning suggestively under crystal chandeliers in a black-patterned body suite, while she sipped pink Champagne. The queen of neo-soul, Jill Scott, serenaded Massey Hall Tuesday night to a packed and hyper-fashionable crowd of Toronto.