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D'Angelo  

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• Upcoming 2024 concerts: none

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D’Angelo (born 11 February 1974) - otherwise known as Michael Eugene Archer - is an American R&B and soul singer originating from Richmond, Virginia in the U.S.

From humble beginnings Michael Archer started playing piano when he was three, moved on to playing his Father’s Hammond organ when he was slightly older, to when he was 18 where he dropped out of school and moved to New York to develop his music and talents.

D’Angelo’s first substantial success was his co-writing and co-producing of the song “U Will Know” for the all-male R&B supergroup Black Men United, which featured heavy-weight artists Usher, R Kelly and Boyz II Men amongst others.

Michael Archer’s debut album entitled “Brown Sugar” released in June 1995 had a slow commercial start but eventually managed to sell 500,000 copies within five months. The release turned D’Angelo into a household R&B name whilst promoting the neo-soul movement of the 1990s with the likes of Maxwell and Erykah Badu. He even appeared as a guest vocalist on the track “Nothing Even Matters" on Lauryn Hill’s genre-defining album “The Miseducation of Lauryn Hill”.

Five years later after a significant hiatus in his music career D’Angelo returned to release the album “Voodoo” in the year 2000. Known as D’Angelo’s finest work, the album is universally acclaimed for it’s sprawling, visionary approach seemingly so before its time yet inclusive of many of D’Angelo’s influences including Marvin Gaye and Stevie Wonder. Commercially the album sold over 320,000 copies in its first week, debuted at number one in the US Billboard 200 Chart and has since sold over 1.7 million copies. A year later in 2001, along with his recording engineer Russel Elevado, D’Angelo won the Grammy Award for Best R&B Album.

In 2012 he announced a 11-date tour throughout Europe and performed his first American gig in over 11 years at The House of Blues Hollywood.

Live reviews

It’s 3 February 2012. D’Angelo walks out on to London’s Brixton Academy stage and within minutes it’s clear what all of the fuss is about. Those that missed out on the Voodoo World Tour are treated for the first time to a set that showcases D’Angelo’s talent as a bandleader and performer. Some ‘new’ music is thrown into the show, and everyone’s happy. No one knows for sure what the tour is in aide of, although there’s been talk of D’Angelo finally releasing a follow-up to ‘Voodoo’, tentatively titled ‘James River’.

‘James River’ never comes; instead the album’s been named ‘Black Messiah’ and it gets rush released at the tail end of 2014 by D’Angelo and the Vanguard. It follows a release to blogs of the CD quality version of ‘Suga Daddy’ - a song that went down well with the Brixton Academy crowd back in 2012. The album’s a gem. One that everyone hoped for, but not even the most diehard of fans would have expected. For an album recorded over 14 years, it’s unbelieveable that time hasn’t affected the quality or relevance of the collection of songs that made the final cut.

It’s against this backdrop that expectations for D’Angelo’s 2015 tour have been made. This is not like the Wu Tang Clan performing 36 Chambers at Rock the Bells, or Outkast reuniting at Coachella, where fans are treated to throwback sets from their idols. Little mention is made of the 2012 tour, which it could be argued fell more into this aforementioned category. In fact, 2012 is all but dismissed. D’Angelo and the Vanguard are now embarking on the ‘Second Coming Tour’.

Saturday’s show started perfectly. Hip-Hop and R&B shows are notorious for booking unknown acts to perform warm up sets to extremely unsympathetic crowds, with the headliner usually turning up half an hour after their set time and stoking the crowd’s restlessness even further. On Saturday, fans were instead treated to Voodoo sessions era J Dilla productions and a playing of Dilla’s masterpiece, ‘Donuts’ in full. No breaks, no hypeman rapping over the beats; just Donuts on a good soundsystem, played in the order it was intended (Note to self: Do not stop pestering the members of the Vanguard on Twitter until it is confirmed or denied that they had a part to play in this). This was followed by a 10 minute break for the stragglers to get into the venue, before D’Angelo and the Vanguard walked on to stage at 21:00. The next two hours were a whirlwind of perfect entertainment, with the Vanguard (led by the indomitable Chris ‘Daddy’ Dave and Pino Palladino) recreating their energy from the album recording sessions, and D’Angelo’s voice matching them for power and professionalism throughout. Album cuts never strayed far away from their studio arrangements, but the band were allowed to showcase their talents in accompanying funk bridges. The audience were invited to join in at every opportunity (used to full effect on ‘Brown Sugar’) and were held captive for the entire two hour set. D’Angelo led the Vanguard with assurance and swagger. Yes, the album and live show would not be the same without this collective of extremely talented musicians, but at no point could it be said that the band carried D’Angelo. His falsetto never faltered and he didn’t shy away from showing off his entire vocal range.

The show, and everything that it entailed, was encapsulated in its final song. Predictably, ‘Untitled (How does it feel)’ was chosen to see out the night. Chris Dave’s drum solo at the end of ‘Till it’s Done (Tutu)’ rolled into Jesse Johnson’s guitar lick to kick the final song off, which was heart wrenchingly sang out. As the crowd thought it was coming to a close, the band continued to repeat the refrain, but dropped off stage one-by-one, allowing each to individually receive the audience’s appreciation. We were left with D’Angelo at a piano, singing ‘How does it feel?’ to him, and him singing ‘It feels so good’ back. Saturday’s show felt more than good; it felt great. What fans had been praying for was teased in 2012, fuelled in 2014 and proven in 2015. D'Angelo is back from the dead. Black Messiah indeed.

Best Song: ‘Charade’

Minutes late for set time: 0

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Late night conversations about music were not uncommon when I lived in San Francisco. Sometimes these conversations would turn into arguments. Take a love of music, add a bottle of Jameson whiskey, a double shot of ego and ice. Shake well. Scrape all pragmatism off the top and overserve. Words were wasted as they merged with dead brain cells…going up in smoke before ever fulfilling their purpose. We would all speak over each other until the only people who could follow our conversations were those who weren’t a part of them. Most of the content was forgotten by the time the sun punished us for our sins. One of those conversations has always stuck with me though. I don’t remember the context, but one of my friends blurted out that D’Angelo was one of the best shows he’d ever seen. He then went on to say that the R&B singer (turned recluse) was once slated to be the next Prince. I believe my response was “that naked dude from that one video?” I know that sounds ignorant now, but I didn’t know anything about D’Angelo back then. I was listening to a lot of punk in ’95 and a lot of Radiohead in ’00. Brown Sugar and Voodoo didn’t even exist in my world. D’Angelo could have been one of the members of Jodeci for all I knew.

I know better now. When Black Messiah dropped from the sky like a dirty bomb in late 2014, reducing every premature year-end list to irrelevant words on blog, I did my homework. I learned about D’Angelo’s collapse under the pressure of his newfound fame. His sex symbol status was just too much for him to take back in 2000. The man who had literally exposed himself to the world, turned his back on that world in favor of darkness. Drugs and alcohol fueled his all-to-common fall from grace. But instead of becoming a media fixture of failure, D’Angelo disappeared almost completely. After many years went by, people stopped speculating on when the next album might come. D’Angelo seemed to be another ‘what could’ve been’ footnote in a century that was on the fast track to becoming ancient history. But like a superhero who only comes out of his super-secret hideout in times of need, D’Angelo decided he couldn’t stay quiet against the deafening rally cries of those who felt they were being unjustly treated by a police force with seemingly unlimited power to detain, abuse, beat…and even kill with impunity.

- See more at: http://ilistensoyoudonthaveto.com/2015/06/11/dangelo-and-the-vanguard-ogden-theatre-06-10-15/#sthash.OHy6jEjx.dpuf

D'Angelo is an example of neo soul music at its finest. Most people are familiar with him from when he hit the mainstream with "Brown Sugar," but he's been making music and performing since then and he is just as incredible now as he was then.

A D'Angelo concert will have him singing, playing the guitar, playing the piano, playing the trombone and there are backup singers, too! D'Angelo is a musician on every level and his concerts are truly an experience. He is an innovative artist and his concerts reflect just that.

He plays a lot of jazz festivals, but he definitely has a more youthful vibe compared to other jazz musicians. To put it in context, one of his most recent releases, as well as performances, have heavily involved the musician Questlove, who is the front man and the drummer for the band The Roots.

The way the audience gets into the performances definitely makes gives it a communal atmosphere, which I think elevates the music even more. D'Angelo was once written about in Q Magazine and they listed him as "one of the 50 Bands to See Before You Die." D'Angelo is a musical treasure and is someone every person should see at least once.

D'Angelo, Michael Eugene Archer is often referred to as the modern day king of funk due to the influence on his R & B sound being taken from a variety of different classic genres including soul, funk and jazz. A performer in every sense of the word, Archer knows how to work a crowd and from the moment he steps onstage he is in the zone to entertain.

It also helps that his own brand of neo-soul is of such a high quality that the audience cannot help but to get enthusiastic when seeing the man perform. Supported by a brilliant selection of live performers, D'Angelo performs a short set in terms of track numbers yet the way in which he has extended them all is a credit to his craftsmanship. 'Chickengrease' sounds refreshed and renewed with a new jazz influence.

Breakout single 'Brown Sugar' receives a huge reaction from the audience and the band clearly enjoys performing this classic piece of soulful R & B to an adoring crowd. This level of fun remains throughout the show and the audience leave feeling they have experienced a world-class musician.

I travelled from London to see him in Birmingham. He did not disappoint.

He was amazing in B'ham from start to finish, so much so that I hired a car & drove to Manchester to see him again the next day :)

Absolute genius!!

He did most of the songs off new album 'BlackMessiah, they were extended versions and the musicality was epic.The Vanguard were flawless, His vocals were flawless.

Definitely a man in a league of his own and he should be well saluted.

He is one of the most under-rated artist of our generations, he deserves more accolades and more exposure. Those of us that appreciate his genius, will continue to support him.

I will look forward to his Second Coming.

Thankyou D'angelo, it was an honour!

Long awaited artist that I've always wanted to see. I felt like I'd been to church and I was redeemed. His aura, music and most importantly messages through the music spoke to me. Just gutted that I don't feel that the Manchester audience 'got' him. The reactions from the audience was a bit lack lustre and put a dampener on the event a little for me, because he was AMAZING. A true artist. The lady back up singer WOW, she was an angel. None stop dancing, stunning voice with wicked moves. D'angelo was in form and I have fulfilled one of my dreams of seeing one of my music idols perform live. Thank you D'angelo and the vanguard for bringing my faith back into real music and real performers.

It was worth waiting 15 years. D'angelo and Band needed a few songs, but then had the audience in their grip. Great band, great sound, great groove, great entertainment. And they played more than two hours (!), including a nice medley of old and new material in the first encore. Also, a lot of old songs got rearranged, so he presented some nice interpretations of material.

D'Angelo and his bands performance were legendary ! Such a great gig and the whole audience were on their feet for the whole show ! The new album tracks sounded way better live and he threw in some of the old classics too including a very Funk performance of Brown Sugar! Based on this gig I wouldn't hesitate to recommend seeing him live !

Great night out, great vibes from the crowd. D'Angelo is the new James Brown/Prince combined. Period. Go and see him. The encore smashed it. D'Angelo's band were tight in everything they played and the backing singers danced soo much it was infectious. Not a single person stayed seated the whole gig. I still have a huge smile on my face.

Oh man what a concert,I've always been a fan but this just blew me away. From the minute he walked out on stage with his troupe of funkerteers D'angelo had the whole crowd up on their feet for almost 3 hours.

It felt llike you were in the presence of one of the funk gods on a level with James Brown or Prince.

Wonderful night.thanks.

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• New York (NYC) (10)
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• Los Angeles (LA) (5)

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• D'Angelo and The Vanguard (21)
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• Melanie Fiona (16)
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• Aloe Blacc (7)

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Boutwell Auditorium | Birmingham, AL

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D’Angelo Announces U.S. Dates This Summer for His Second Coming Tour

D'Angelo? is hitting the road this summer for the U.S. leg of his Second Coming tour alongside his band The Vanguard. The long-dormant R&B singer is supporting his latest album Black Messiah with 14…

By Natalie Weiner

Natalie Weiner

D’Angelo is hitting the road this summer for the U.S. leg of his Second Coming tour alongside his band The Vanguard. The long-dormant R&B singer is supporting his latest album Black Messiah with 14 live dates across the country, following a sold-out series of shows in Europe and New York City.

The Making of D’Angelo’s ‘Black Messiah’: A Q&A With Engineer Russell Elevado

The Vanguard features a number of musicians who are legendary in their own right, including Soulquarian stalwart bassist Pino Palladino and Mint Condition veteran Chris “Daddy” Dave. Tickets for the tour go on sale May 1 , though the Forest Hills Stadium tickets are available now.

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June 7     Oakland, CA            Fox Theater June 8     Los Angeles, CA     Club Nokia June 10   Denver, CO             Ogden Theater June 11   Kansas City, MO     Arvest Bank Theatre at the Midland June 13   Manchester, TN      Bonnaroo Music and Arts Festival June 14   Atlanta, GA             Tabernacle June 16   Dallas, TX               The Bomb Factory June 17   Houston, TX            The Warehouse June 20   Norfolk, VA              NorVa June 21   Forest Hills, NY       Forest Hills Stadium June 23   Philadelphia, PA      The Keswick June 25   Washington, DC      The Fillmore June 27   Royal Oak, MI          Royal Oak Music Theatre June 28   Sayreville, NJ           Starland Ballroom

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News: D’Angelo And The Vanguard Announce Dates For ‘The Second Coming Tour’

(US) D’Angelo and The Vanguard will take their mesmerizing and powerful “The Second Coming Tour” back on the road this summer on a series of US tour dates. Kicking off June 7th in Oakland, CA, the 14-city jaunt will make stops in cities including Los Angeles, New York, Atlanta, Philadelphia and more. Tickets will go on sale nationwide on May 1 at 10:00 AM local time. The Forest Hills Stadium concert on June 21st is on sale now. Please visit here for further ticketing information.

D’Angelo and The Vanguard’s recent sold-out European tour and NYC dates received an overwhelming response from fans and media alike. Rolling Stone called the performance at NYC’s Apollo Theatre “stunning… a master class in soul,” while the New York Daily News cited that D’Angelo “emerged at the Apollo with his skills undiminished and, compared to his contemporaries, still untouchable.” The New York Times summed up the night – “when the lights came on, there were no takers, only dazed fans chilled by what they’d just seen.”

Serving as the bandleader, singer, guitarist and keyboardist, D’Angelo is accompanied by an award-winning group of musicians, collectively known as The Vanguard. Masterfully replicating the live instrumentation heard on Black Messiah , The Vanguard consists of world-renowned bassist Pino Palladino (The Who, Eric Clapton), legendary and stellar guitarists Jesse Johnson and Isaiah Sharkey, veteran drummer Chris “Daddy” Dave, keyboardist extraordinaire Cleo “Pookie” Sample and vocal virtuosos Kendra Foster (long time member of George Clinton’s P-Funk), Charlie “Red” Middleton and Jermain Holmes.

This past December, D’Angelo and The Vanguard made music purists readjust their playlists with the surprise release of Black Messiah (RCA). Nearly 15 years in the making, Black Messiah debuted at No.1 on Billboard’s R&B Albums chart, No. 3 on the R&B/Hip-Hop Albums chart, No. 5 on the Top 200 Albums chart and topped several of the Best Albums of 2014 lists including Billboard, Noisey, Washington Post, and more.

“The Second Coming Tour” Dates:

June 07 – Oakland, CA | Fox Theater June 08 – Los Angeles, CA | Club Nokia June 10 – Denver, CO | Ogden Theater June 11 – Kansas City, MO | Arvest Bank Theatre at the Midland June 13 – Manchester, TN | Bonnaroo Music and Arts Festival June 14 – Atlanta, GA | Tabernacle June 16 – Dallas, TX | The Bomb Factory June 17 – Houston, TX | The Warehouse June 20 – Norfolk, VA | NorVa June 21 – Forest Hills, NY | Forest Hills Stadium June 23 – Philadelphia, PA | The Keswick June 25 – Washington, DC | The Fillmore June 27 – Royal Oak, MI | Royal Oak Music Theatre June 28 – Sayreville, NJ | Starland Ballroom

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D'angelo Tour Dates

R&B singer-songwriter D'Angelo and his band The Vanguard have announced they will be going on tour this summer supporting his latest album 'Black Messiah' . Kicking off June 7th in Oakland, The Second Coming Tour will visit cities like Los Angeles, Denver, Atlanta, Dallas and Philadelphia before heading to Europe in July. Later in August, D'Angelo will be making an appearance at the Outside Lands Music & Arts Festival in San Francisco.

D'Angelo released his third studio album 'Black Messiah' on December 15th, 2014 via RCA Records. The album debuted at #5 on the Billboard 200 selling over 117,000 units in its first week. His previous 2000 album 'Voodoo' reached #1 and was certified Platinum in the U.S. D'Angelo's band The Vanguard consists of Jesse Johnson, Isaiah Sharkey, Pino Palladino, Chris Dave, Cleo Sample, Kendra Foster, Charlie Middleton and Jermain Holmes.

D'angelo Concert Schedule

No events =(, about d'angelo tour albums.

D'angelo appeared on the R&b / Soul scene with the appearance of the album 'Cruisin'' published on October 3, 1995. The song 'Cruisin'' quickly became a fan favorite and made D'angelo one of the newest emerging talents at that time. Afterwards, D'angelo released the extremely beloved album 'Voodoo' which features some of the most beloved tracks from the D'angelo discography. 'Voodoo' contains the single 'Playa Playa (Clean Version)' which has become the most recognized for followers to enjoy during the gigs. In addition to 'Playa Playa (Clean Version)' , many of other tracks from 'Voodoo' have also become well-known as a result. A few of D'angelo's most popular tour albums and songs are seen below. After 21 years since the release of 'Cruisin'' and having a major impact in the business, music lovers continue to head to experience D'angelo appear live to perform songs from the full catalog.

D'angelo Tour Albums and Songs

D'angelo: Voodoo

• Playa Playa
• Devil's Pie
• Left And Right - fea...
• Chicken Grease
• Spanish Joint
• Feel Like Makin' Love
• Greatdayndamornin'/B...
• Untitled (How Does I...

D'angelo: Brown Sugar

• Brown Sugar
• Jonz In My Bonz
• Me And Those Dreamin...
• Sh*t, Damn, Motherf*...
• When We Get By

D'angelo: Black Messiah

• Ain't That Easy
• 1000 Deaths
• The Charade
• Sugah Daddy
• Really Love
• Back to the Future (...
• Till It's Done (Tutu)
• Betray My Heart
• Another Life

D'angelo: Ultimate D'Angelo

• Lady (Radio Edit)
• Brown Sugar (Radio E...
• Cruisin' (Radio Edit)
• I Found My Smile Again
• Girl You Need A Chan...
• She's Always In My Hair
• Can't Hide Love
• Heaven Must Be Like ...
• Devil's Pie (A Cappe...
• Left And Right (Clea...

D'angelo: Unshaken

D'angelo concert tour questions & comments, d'angelo tour and concert ticket information.

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D'angelo might soon come to a city near you. View the D'angelo schedule above and press the ticket link to see our big selection of tickets. Check out our selection of D'angelo front row tickets, luxury boxes and VIP tickets. After you track down the D'angelo tickets you need, you can buy your tickets from our safe and secure checkout. Orders taken before 5pm are normally shipped within the same business day. To buy last minute D'angelo tickets, look for the eTickets that can be downloaded instantly.

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D’Angelo Concert Setlists & Tour Dates

• D’Angelo ( US soul singer, songwriter & producer )
• D’angelo ( Brazilian jazz/samba group )

D’Angelo at Netflix Is A Joke Fest 2022

• Babies Makin' Babies
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D’Angelo at Apollo Theater, New York, NY, USA

• Cruisin'
• I Love Music
• Me and Those Dreamin' Eyes of Mine
• Left & Right
• Break Ups 2 Make Ups
• 1000 Deaths
• Back to the Future (Part I)
• Sugah Daddy
• Devil's Pie

D’Angelo at The Tonight Show Starring Jimmy Fallon, New York, NY, USA

• Sometimes It Snows in April

D’Angelo at PACIFICO Yokohama, Kokuritsu Dai Hall, Yokohama, Japan

D’angelo at byron bay bluesfest 2016.

• Red Hot Mama
• Feel Like Makin' Love
• Really Love
• The Charade
• Brown Sugar
• Chicken Grease

D’Angelo at Concert Hall, Sydney Opera House, Sydney, Australia

• Back to the Future (Part I & II)
• She's Always in My Hair
• Untitled (How Does It Feel)

D’Angelo at Palais Theatre, Melbourne, Australia

D’angelo at tsb bank arena, wellington, new zealand, d’angelo at first avenue, minneapolis, mn, usa.

• Ain't That Easy
• Vanguard Theme
• Betray My Heart
• Spanish Joint
• Claire Fisher Interlude

D’Angelo at North Coast Music Festival 2015

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Most played songs

• Brown Sugar ( 63 )
• Sugah Daddy ( 54 )
• Really Love ( 53 )
• The Charade ( 53 )
• Untitled (How Does It Feel) ( 50 )

More D’Angelo statistics

Andy Allo Bahamas BJ the Chicago Kid Adam Blackstone Midnight Breakfast The Cosmic Factory Cracker Dee Tree Candy Dulfer Erica Falls Flying Lotus Frazey Ford The Free Label GIVĒON Robert Glasper H.E.R. Nicolas Jaar Jvck James Tobias Jesso Jr. The Marcus King Band Hailey Knox Bill Laurance & Michael League Lee McAdams Amos Lee Maroon 5 John Mayer Pattern Is Movement The Potash Twins DJ Premier Prince ?uestlove The Roots Raphael Saadiq David Sanborn Emeli Sandé Caroline Smith Soulive Jazmine Sullivan SWV Robin Thicke Chris Thile Usher Virginia Coalition Joyce Wrice

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David Bowie James Brown Daniel Caesar Terence Trent D’Arby The Family Fishbone Roberta Flack Funkadelic Heatwave Lauryn Hill Wyclef Jean Curtis Mayfield Method Man Motherlode Ohio Players Parliament Prince Smokey Robinson The S.O.S. Band Slum Village Sly & the Family Stone The Wailers Bobby Womack Stevie Wonder

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342 people have seen D’Angelo live.

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D’Angelo Electrifies at Triumphant Second Coming Tour Opener

By Mosi Reeves

Mosi Reeves

When  D’Angelo last visited Oakland in the spring of 2000, he was steaming from the deafening acclaim given to Voodoo , and the impact of his glistening naked torso in the “Untitled (How Does It Feel).” Backed by a troupe that featured drummer Questlove and producer James Poyser, he thrilled a sold-out crowd at the Paramount Theater, but his burgeoning sex symbol status nearly overshadowed a masterful performance.

A little over 15 years later, D’Angelo returned to downtown Oakland’s Fox Theater for the first night of his U.S. tour in support of his lionized comeback album, Black Messiah . (Much of the audience arrived late after watching their hometown favorite Golden State Warriors lose a heartbreaker in Game 2 of the NBA Finals, and so they missed an opening set by promising Australian singer-songwriter Meg Mac.) This time, he didn’t strip off his shirt, instead opting for a series of modestly effective costume changes to complement his black T-shirt, pants and boots, like an assembly of hats, particularly a stylish white fedora, as well as a mud-and-lime colored trench coat and a white-ringed black shawl. His formerly glorious beefcake chest may have dissipated under time and age, but it wasn’t forgotten, if the frequently delighted squeals from women in the audience were any indication.

Backed by the 10-piece Vanguard, D’Angelo and his singers – P-Funk veteran Kendra Foster, Jermaine Holmes and Charles “Red” Middleton – took the stage with their arms raised in the air, paying homage to the icon “Hands Up, Don’t Shoot,” before launching into a feverish 12-minute rendition of “Ain’t That Easy.” The saxophonist and trumpeter piped wailed like the JBs’ Maceo Parker and Fred Wesley. (Frustratingly, but perhaps due to a first-show mistake, D’Angelo didn’t individually introduce the members of his band.) D’Angelo frequently alternated between strumming a guitar, vamping on a keyboard and strutting in the center of the stage while seemingly nodding directions to his musicians. During the intro to “Really Love,” Foster performed a dazzling interpretative ballet. Meanwhile, veteran bassist Pino Palladino added a bottom that pulsed underneath like a heartbeat.

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From James Brown to Prince, D’Angelo’s inspirations are still easy to spot. The heavy Prince influence isn’t as strong as in years past, but he still tends to scream at key moments just like the Purple One. During an extended rendition of “Back to the Future Pt. 1,” he and the band interspersed a melodies from Sly & the Family Stone’s “Sing a Simple Song” as they chanted “Gangsta funk! Gangsta boogie!”

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D’Angelo has been compared to Sly Stone and Brian Wilson but really it’s his own musical trip we’re concerned with. Let the soul party begin.

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Raised on a heady mixture of Miles Davis jazz and gospel music the funk and soul star D’Angelo is one of the modern breeds who became infatuated with the Prince model, whereby the artist takes control of his sound and image. Every so often a singer comes along who is elevated as the saviour of soul. Few ever live up the hyperbole but D’Angelo has done more than most to revive interest in the old-school styles of classic figures like Donny Hathaway, Al Green and Sam Cooke. But he isn’t purely retro. Hip-hop and urban, his sound introduces elements of rap and is based on beats as well as the values and structure of standard songwriting. His three studio albums to date span the period from 1995 to 2014. The debut Brown Sugar is a Platinum-selling sensation and the long-awaited follow-up Voodoo fared even better. 2014’s Black Messiah may have arrived after a long hiatus but that too hit the top backed by the successful tour, The Second Coming, that visited European halls with his good friend and confidante Mary J. Blige. Talented and single-minded D’Angelo has endured personal problems and been chased by rumours and demons but his latent ability never went away. In fact, Black Messiah topped many a poll and could be seen as the emergence of a born again artist with an intuitive grasp of all forms of R&B. He’s been compared to Sly Stone and Brian Wilson but really it’s his own trip we’re concerned with. Let the party begin.

Born Michael Eugene Archer in Richmond, Virginia 1974 he is the celebrated son of a preacher man. A visit to Harlem persuaded the teenage prodigy – he specialises in keyboards but nothing much else fazes him – that a career in music was to be his calling. Others agreed and after a short spell in the hip hop outfit I.D.U. (stands for Intelligent, Deadly but Unique) the street noise persuaded EMI to sign him up as an artist in development and for his obvious writing ability. His own hit single “U Will Know” covered those bases while a stint working with Black Men United sharpened his approach as he linked up with Brian McKnight, Usher, R. Kelly, Boyz 11 Men et al and held his own on a sharp learning curve.

D’Angelo’s debut,  Brown Sugar , landed in 1995 and was the proverbial bomb. A fantastic meeting of classic soul tropes, funky and the sleekest R&B it garnered four Academy Award nominations and sold a million copies in the US and well over 100,000 in the UK. A groundbreaking foretaste of digital production with the producer elevated to the role of shape maker. Specialising in the glorious tones of Fender Rhodes and Hammond organ D’Angelo handled the bulk of playing with assists from Bob Power on guitar, a battery of string and orchestral specialists and a telling cameo from bass player Will Lee. The album is a precursor to the new smart trend of soul whose fellow followers include Maxwell, Fugees, Lauryn Hill and Erykah Badou: artists with one foot in the future and one tickling the past greats like Marvin Gaye and Diana Ross .

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In fact, D’Angelo would hit large with his version of Smokey Robinson ’s monster smash “Cruisin”, Everything else is from the main man’s pen though some are co-written with Ali Shaheed Muhammed, Angela Stone and cohort Raphael Saadiq. The results sprung neo-soul into life and gathered in hordes of new converts to a contemporary brand of R&B that had radio bounce and the integrity of the auteur in every lick and every single groove.

This masterpiece was followed by a frustrating period when label problems thwarted a fast successor. In between times he worked with Hill and used many of the musicians associated with Badou and the artist Common – aka the Soulquarians. The live disc, at the Jazz Café , London was something to be going on with and is very fine indeed. In the reissued version known as The Complete Show (2014) where previously unreleased visits to “I’m Glad You’re Mine”, “Lady” and “Can’t Hide Love”, written by the late, great Skip Scarborough expand upon the original 7-track affair it sounds particularly fine.

Now signed to Virgin D’Angelo made up for not altogether lost studio time with  Voodoo , the cover depicting him in his raw sex symbol form. This grown-up commentary on life, love and spirituality kept D’Angelo honest and in demand with millions flocking to the well to drink from a powerful brew that summoned up Sly, Jimi Hendrix and the bubbling under sound of Parliament/Funkadelic.  Voodoo  worked its magic and won the Grammy for Best R&B Album while Time magazine placed it #1 in its end of year poll.  Voodoo  is one of those albums that crosses over all genres and has an appeal that is timeless. If you’ve never really heard the whole thing it’s completely commended and is so worth discovering that devotees still hold it on a pedestal.

Combining vintage sounds and some retro equipment with Latin salsa rhythms in places and with Questlove’s delicious drumming all over it,  Voodoo features such brilliant players as guitarist Charlie Hunter, bassman Pino Palladino, Q-Tip and even a cheeky Prince sample on “Africa”. Packed with hit tunes– “Devil’s Pie”, “Left & Right”, the Grammy vocal R&B performance winner “Untitled (How Does It Feel)”, “Send It On” and “Feel Like Makin’ Love” (the song made famous by Roberta Flack in 1974) – the production process was bolstered by careful examination of core soul figures like Sly Stone, Al Green, George Clinton, James Brown , Marvin Gaye and of course Hendrix , since they recorded this disc in the main at Electric Lady Studios to feel that vibe. Black music heaviness pervades the results and the entire album had a profound effect on the participants as well as the listeners.

Fourteen years will elapse until we get to hear Black Messiah . D’Angelo had set himself a ferocious schedule and felt somewhat dismayed by his perception as a sex symbol. He began to pursue different strands of social awareness, racial inequality and politics in general.

During this break he wasn’t short of input to other projects: he collaborated with J Dilla, Snoop Dogg , Common and others and returned to his own work in various spells. The resulting release has been hailed as an experimental soul masterpiece and was released digitally in December 2014 with the hit single “Really Love” hitting airwaves a month later. Guests on the latest suite of D’Angelo joints include The Time’s Jesse Johnson, legendary drummer James Gadson and the versatile master of syncopation Chris Dave.

We point you to the compilation The Best So Far… for its rarities and radio edits and the hits packed ICON where those honeyed vocals and superbly crafted songs will blow you away in no time at all.

Now that neo-soul has been integrated into the mainstream it’s time to check out one of the men who made it happen: D’Angelo is the man in the vanguard.

Words: Max Bell

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• Entertainment

Where Has D’Angelo Been for the Past 14 Years, Anyway?

T here are artists whose careers are plagued by album delays, and then there is D’Angelo.

The critically acclaimed R&B superstar — once dubbed “R&B Jesus” by prominent rock critic Robert Christgau — made his long-awaited return last night with Black Messiah , his first album since 2000’s Voodoo (and only his third studio album ever in his near-20 year career).

Despite the excitement and social media chatter around the surprisingly timely album , which dropped at midnight, one question still loomed: Where has D’Angelo been for the past 14 years, anyway? At Sunday night’s New York City listening session for the album, only one semblance of answer was provided: D’Angelo has been working on his guitar, and while it shows on Black Messiah , that’s hardly satisfying.

The truth is, there really isn’t a good answer. D’Angelo does work slowly, partially evident by the five-year gap between his debut, Brown Sugar , and Voodoo . The Roots’ drummer Questlove, who worked on a handful of album tracks, leaked one song, “Really Love” — now the album’s official first single — to an Australian radio station way back in 2007. Another album cut, “1000 Deaths,” first hit the Internet in some form in 2010, the same year engineer Russell Elevado, who worked on Black Messiah and Voodoo , announced they were going back into the studio to “to complete overdubs and do final mixing on a few songs.” These songs have been in the works for years, and after hearing the album, it almost makes sense: Black Messiah is a busy, dense album that’s obsessed with the intricate details, so it’s not hard to imagine D’Angelo studying every single guitar note and harmony, tweaking and re-recording it to his satisfaction (and to everyone else’s frustration). D’Angelo fans have been burned by false promises in the past, but while his collaborators spent the past few years making statements about the record being “97% done,” for example, they don’t appear to have been lying lying.

That said, there hasn’t been a complete D’Angelo drought since Voodoo . The singer collaborated with a handful for their records in mid-2000s, such as Raphael Saadiq (“Be Here,” 2005); Common and J Dilla (“So Far to Go,” 2006); Snoop Dogg and Dr. Dre (“Imagine,” 2007); and Q-Tip (“Believe,” 2008). And he hasn’t entirely been holed up in a studio, either, embarking on a short European tour in 2012, at that point his first string of live shows (barring performances at church) in more than a 10 years.

Much of absence however, involves his personal struggles, which are extensively chronicled in a 2012 GQ feature about D’Angelo . In the piece, writer Amy Wallance explores how the attention D’Angelo attracted as a sex symbol for his steamy “Untitled (How Does It Feel)” music video “tortured” the singer. “‘Yo, man, I cannot wait until this fucking tour is over,'” Questlove remembers D’Angelo telling him after the Voodoo tour. “‘I’m going to go in the woods, drink some hooch, grow a beard, and get fat.’ … I was like, ‘You’re a funny guy.’ And then it started to happen. That’s how much he wanted to distance himself.”

A few deaths in his family rocked his personal life after the tour — “I just kind of sunk into this thing [after that],” he told GQ. He then spiraled into substance abuse: D’Angelo was arrested and charged with driving while intoxicated and possession of marijuana and cocaine in 2005. By the time he survived a near-fatal car accident in September of that year, he had already done two unsuccessful stints in rehab. But D’Angelo says his wake-up call occurred in 2006, following the death of rapper-producer J Dilla. He was shook by the loss, so he reached out to the man who first signed him, Gary Harris, to get in touch with Eric Clapton, who knew D’Angelo and told him he was welcome at the Crossroads treatment center in Antigua, if he could pay $40,000. According to Harris, the bill was footed by his former boss and one of the most powerful managers in the industry, Irving Azoff, who didn’t even know D’Angelo personally.

D’Angelo wouldn’t be totally clear from personal troubles after that — in 2010, he was arrested and charged with solicitation after offering a female undercover cop $40 for a sexual favor — but he was able to land a new record deal 18 months after his monthlong rehab stint at Crossroads. “But even then, in D’s world,” Wallace writes, “nothing happens quickly.”

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The New D’Angelo Documentary Shows a Musician Tired of Being a Sex Symbol

Nearly 20 years after the release of Voodoo , the name D’Angelo still inspires lurid fantasies. The cover of the R&B singer’s iconic sophomore album and its matching video for “ Untitled (How Does It Feel) ,” in which he’s shown in all his sculpted glory, certainly shaped D’Angelo’s image at the time. The clip catered to female desire: His pajama bottoms were just out of frame, creating the illusion that he was standing naked in front of you, showering you (and only you) with all of his attention. It was the launching point for “D’Angelo, sex god” in the wider mainstream—a reputation that, at least based on audience reactions during Saturday’s premiere of Devil’s Pie , remains very much intact. Wolf whistles, moans, and women yelling “thank you Jesus!” could be heard throughout the Tribeca Film Festival screening of the documentary, even as it detailed just how uncomfortable this had made the introverted, church-raised D’Angelo.

Shortly after the tour for his platinum-selling Voodoo , D’Angelo virtually disappeared from the public eye. He returned 14 years later with Black Messiah , his surprise third album. What happened in between has been speculated on endlessly , thanks to his multiple arrests (for assaulting a woman at a gas station, marijuana possession, carrying a concealed weapon, driving under the influence, and soliciting an undercover cop for sex), his time in rehab, and his generally reclusive personality. Devil’s Pie doesn’t necessarily reveal more about those private years, but it does offer rare candid moments with D’Angelo regarding them. That he struggled with alcohol and drug abuse back then is well known by this point, but to hear it from the man himself—that he reached such a low point, he was incapable of making music—is especially heartbreaking.

The director, Dutch filmmaker Carine Bijlsma, said during the post-film Q&A that she got the idea for Devil’s Pie around 2010, while wondering (like so many of us) what had happened to D’Angelo. After tracking down the email of his collaborator Kendra Foster and proposing the project, Bijlsma was eventually invited on his 2015 Second Coming tour and filmed the footage herself over the course of two years. It’s quite possible D’Angelo would’ve clammed up around a bigger camera crew, but with just Bijlsma trailing him, he seems surprisingly at ease being himself in the film.

It’s an interesting dynamic, considering Devil’s Pie puts D’Angelo under the gaze of a female filmmaker when it was the female gaze that D’Angelo grappled with before his reclusion. The son of a Pentecostal preacher, D’Angelo grew up in a Virginia church where secular music had the power to scandalize. If he sought liberation by singing about making women wet between the thighs, he ultimately felt just as trapped by it. When he debuted in 1995 with Brown Sugar , the 21-year-old was praised for his genre-shifting, well-beyond-his-years musicianship, but by the Voodoo tour, he could hardly get through a song without women yelling at him to take off his shirt. This created a chasm between D’Angelo the musician and D’Angelo the celebrity, with the singer experiencing residual guilt from his religious upbringing due to his sex-symbol status. In the film, Questlove says that D’Angelo also suffered from the kind of survivor’s guilt that often plagues black geniuses. He was gifted with a soul-penetrating voice and an unconventional sense of compositional arrangement, but it was the fame part of his career that tripped him up.

Bijlsma’s camera eschews objectification. It is not leering, worshipping, or even judging. It is sympathetic of a man who was not emotionally equipped for the kind of spotlight he was thrown into. As a documentary, it’s fairly standard. The talking-head interviews—mostly with Questlove and D’Angelo’s tour manager Alan Leeds, who also executive-produced the doc—are a little too repetitive about D’Angelo being this elusive, introverted man (which is like stating that water is wet). When Bijlsma catches intimate glimpses of him, like when he’s excitedly jamming before a show, that’s when Devil’s Pie feels enlightening. It may leave you wanting more of D’Angelo, though—a familiar sentiment.

Though his comeback was met with overwhelming acclaim, Devil’s Pie illuminates the anxiety and insecurity that still clouds the singer’s mind. Backstage after a show in 2015, D’Angelo’s manager reads aloud just few positive reactions from social media. D’Angelo, in quiet disbelief, responds, “That was from tonight?” It is endearing, and a bit heartrending as well. D’Angelo’s still haunted by his demons, but he’s in a good place now—specifically, the studio. The documentary ends with the news that he’s currently working on his fourth album. No word on the expected wait.

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Rob Stone, Co-Founder of Cornerstone Agency and the Fader Magazine, Dies at 55

By Jem Aswad

Executive Editor, Music

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Rob Stone , who co-founded the influential music marketing company Cornerstone Agency and the magazine the Fader , died Monday after a battle with cancer, according to social media posts from his family and his longtime friend and co-CEO Jon Cohen. He was 55.

“It is with a heavy heart and sadness we share the news of the passing of Rob Stone,” his family wrote . “Rob bravely fought cancer over the past year. He chose to keep his diagnosis private in order to focus on his family. He was a truly amazing person who lived an incredible life.”

View this post on Instagram A post shared by Jon Cohen (@faderfam)

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Cornerstone/ Fader’s presence at festivals such as SXSW via its “Fader Fort,” which featured showcases from dozens of up-and-coming and major acts, became a staple of the 2000s and 2010s, growing to the size of several city blocks filled with stages, food and drink tents, and product display areas.   

“[Cornerstone] really started in that first year at SBK, because we would talk about our frustrations with major labels, like, ‘Why don’t we have our own company? We could do this,’” Stone said. After rising to VP of promotion, he left SBK to take a similar post at Clive Davis’ Arista Records, where he played a major role in the crossover success of the Notorious B.I.G. and other hip-hop artists. A framed poster hanging in Stone’s Cornerstone office was autographed by the rapper, calling him “#1 cool white man.”

View this post on Instagram A post shared by ROB STONE (@iamrobstone)

Stone left Arista to launch Cornerstone with Rifkind as an independent promotion company in 1996. The following year, Rifkind stepped back to focus on Loud and Cohen joined as Stone’s partner. The pair had learned their marketing and negotiating chops at the major labels and soon brought those skills to bear on brands, just as hip-hop was breaking into the mainstream during the late 1990s.

“We were working [several labels’] projects to radio, so we had all these indie and alternative acts and this hip-hop roster,” Stone said. “We started talking: ‘How do we grow the business?’ And we stumbled upon music and brands with Sprite. The lightbulb went off: There was a lot of marketing that could be done around music and brands.”

The company and the Fader grew rapidly into powerhouses. Brands lined up for its sleek, street-savvy approach to marketing products, which expanded in size and impact with remarkable speed: For example, within a few years, a simple promotional compilation CD had expanded into a monthly multi-disc package stuffed with a DVD, a booklet and multiple small advertising flyers; the company threw splashy parties with DJs and performances for brands such as Bushmills that attracted young hipsters by the score.

On a parallel track, the Fader — which effectively defined its profile in 2000 with the cover stars of its third issue, with R&B icon D’Angelo and alternative-music star Beck together on the front, and rapper Mos Def on the back — promoted hundreds of new artists, adventurously giving many of them their first covers, in a high-production-value magazine, no less. In a message celebrating its 100th issue, the founders listed Pharrell Williams, Kanye West, M.I.A., the Strokes, the White Stripes, Drake, Nicki Minaj, Kendrick Lamar, Frank Ocean, Phoenix, Miguel and Rick Ross as artists who had their “magical first covers” with the Fader.

Stone was also a member of the board of directors for the salad chain Sweetgreen, and played a key role in the creation of its annual Sweetlife Festival concert, and sat on the board for the Children’s Cancer Association’s MyMusicRx, a music-related initiative for critically ill young people in the United States and Canada.

While Cornerstone’s impact eventually became overshadowed by companies it had influenced — notably Vice and Complex — it has remained a strong force in the industry, with Stone and Cohen occasionally sparring but always remaining a unit. As the company reached its 28th anniversary just last week, Stone shared several posts featuring photos from its early days and shouting out Cohen and early colleagues Andy Cohn and Anthony Holland, among others.

“What a ride it’s been,” he wrote. “The good the bad the highs the lows, the wins the learnings. Wouldn’t trade it for anything.”

Stone is survived by his wife, Lauren, and their three children.

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13 Queer Creatives on the Works of Art That Changed Their Lives

By Heven Haile , Raymond Ang , Jack King , and Alex Wedel

In the last few years, queer art has been everywhere, from streaming blockbusters like Heartstopper and The White Lotus to the chart dominance of stars like Billie Eilish and Lil Nas X. But even relatively recently, that wasn’t always the case, with art by queer creators often pushed to the margins and excluded from the wider cultural conversation. Despite—or because of—those odds, when the rare work did cut through, it had the potential to be world-shifting, a lighthouse of inspiration for generations of queer kids in the dark.

In the second of two installments , GQ talks to some of this generation’s most exciting queer creatives about the art that changed their lives, paying tribute to the generations of artists who came before and paved the way.

“A lot of people made a big deal the summer Fire Island and Bros came out. Oh, finally, gay rom-coms! And yes, they were—and on a bigger scale, both produced by bigger studios. But I worked at a video store in high school and college and the big awakening for me was the sort of indie gay rom-coms that Wolf Studios was producing. The three that I remember watching and re-watching—that more than a lot of other movies inspired Fire Island —were Big Eden , Adam & Steve and Mambo Italiano , these very light gay rom-coms.

In the early 2000s and before that, the big mainstream movies that depicted gay experiences were very focused around trauma—the AIDS crisis, homophobia and the violence that was often wrought on our community. And obviously, those movies were important in their own ways. But I just remember watching movies like Big Eden that depicted a kind of queer love story that at the end of the day, was so light and really treated the act of falling in love with another queer person as something that was centered in love and romance and comedy.

I name-check a lot of rom-coms—obviously, Nora Ephron and things like that—that really did influence Fire Island in a lot of ways. But when I think about the kind of gay rom-com that I wanted to create, it was movies like Big Eden and Adam & Steve . They're often forgotten about, and I don't know that they're necessarily considered canon movies. But they’re just as important [to me as those movies]—and in fact, kind of even more vital. I wanted to imagine a better world and a world that had space for love—uncomplicated, sappy, some might even say corny. For me, that was aspirational. And that was almost like what kept me going. They kept the fantasy of that happening for me alive.”

A still from the 2005 comedy Adam and Steve .

The actor, comedian and screenwriter is best known for starring, producing and writing the Hulu hit Fire Island. He can be seen in the Apple TV+ series Loot, starring Maya Rudolph, and Outstanding: A Comedy Revolution, a Netflix documentary about the history of queer stand up comedy.

“What I love about Margaret Cho and how she operates is that she nurtured her audience. And I feel like that opened up this really wonderful intimacy that I just feel, in mainstream comedy, is not there. It's just talking to a room full of strangers in a battle. Whereas when you're on the margins, it really inspired me because it's like, in order to push the envelope in conversations about queer life, you need to have a semblance of safety and to know that you're talking to an audience that you don't have to keep explaining yourself [to]. And I just witnessed really great rapport between an artist and their audience. And also, she works very hard to uplift people in the margins—and in my mind, not with any eye on her own career. And I just think that she's a superstar.

I grew up with a mind in art history, as useless as that is. As a queer person who grew up in the '80s and '90s, on the other side of the world, in the dark ages, under a rock some would say, not much access to the internet—it really was an isolated upbringing. I found myself just searching out queer people in history.

Two artists that I continue to think about are Claude Cahun and their partner, Marcel Moore. They're pseudonyms—they're Lucy Schwob and Suzanne Malherbe. They're French artists, who worked in the '20s and '30s in the inter-war period. When the war hit, they went to the island of Jersey, just off England, which was occupied by Nazis. They, in that rise of fascism, came to this place where [they said], you can't fight fascism with fascism. And they really started this idea of a subversive letter campaign at great risk to their personal safety. They wanted to reach the hearts and minds of Nazi soldiers who were occupying the island through just these incredible works of poetry and stuff that were leaning into and paraphrasing, if you will, Nazi propaganda, but cutting it under.

I've spent a lot of years thinking about them and studying them and working. Just finding this in the face of persecution and political turmoil, how as an artist can you adapt to any given sort of moment without losing your humanity? And I really find them great and I think about them a lot.”

The comedian Margaret Cho.

Gadsby is the Emmy-winning comedian behind the Netflix special Nanette and the acclaimed 2022 book Ten Steps to Nanette: A Memoir Situation. They are part of Outstanding: A Comedy Revolution, a Netflix documentary about the history of queer stand up comedy.

“It's a very blunt snapshot into the queer or gay experience, especially of a certain time when there was a lot of struggle and a lot going on for us. I think one thing I can particularly remember that stood out for me in the book is there's this section where he's talking about how in heteronormative experiences, for the most part, straight people’s first kiss, their first crush, their first dance, their first sexual experience, all of those things are celebrated as milestones in their lives. And for queer or gay people, those are all usually moments of trauma for us in our lives when we're a kid and we have a crush on a boy.

I, at least, wasn't feeling celebrated about that. I was scared shitless. So I just remember that provoking compassion for myself and compassion for other people in our community to know that as much as we fight for equality and equity and all of these things, there are fundamental differences in the way that we are raised in society, unfortunately. And I think we have to have a lot of understanding and compassion for one another in the community by knowing that we can all at least relate to that experience at some point.”

Self-Portrait of David Wojnarowicz , 1983-84, acrylic and collaged paper on gelatin silver print, by David Wojnarowicz with Tom Warren.

The country singer-songwriter is currently on a world tour and will release his duets album ‘Stampede’ this August via Warner Records.

“My first gay crush ever was on Pier Vittorio Tondelli, who I discovered during my teenhood. He was a writer from Correggio in Emilia Romagna, not far from my hometown. Camere Separate, which in my opinion is his most intense book, was a revelation for me: for the first time I heard a gay voice telling gay things and the landscape these things were told was the same one I was surrounded by. That was a powerful encounter, something that made me feel seen and empowered me.

Another great, great hero of my early days (he still is) is Bruce LaBruce. I had a very strict gay education during my youth at Cassero—a gay and lesbian center in Bologna—and around the year 2000, everybody was obsessed with his aesthetic and cultural research: L.A. Zombie is one of the chicest acts of cinematic freedom I know. Bruce, if you read this: ti amo.

To be honest none of the queer references that I’ve had come from fashion. During my most formative years, the fashion I grew up with was extremely elitist and conservative, empty of all the kinds of all the bodies and gestures that my eyes were craving.

Whether actively or passively, literature and cinema are definitely present in my work and define the imaginary of every collection. But, truly, what attracts me are the non-conforming bodies that travel on the outskirts of what is in vogue.”

Italian writer Pier Vittorio Tondelli posing with his 1980 novel Altri Libertini between his teeth.

Luca Magliano is the founder and creative director of the Italian menswear brand Magliano. Last year, the brand won LVMH's prestigious Karl Lagerfeld Prize.

“ [My artistic inspiration] came through the pop star Madonna, because when I was a kid I wanted to be a pop star, and her and Prince were pretty much all I listened to — and Kylie [Minogue], of course, because [I was] a gay child. [ Laughs .] Madonna did an omnibus documentary called Behind the American Dream in 1990, and it was looking at that whole Blonde Ambition era, in which she was obviously platforming queer voices way ahead of her time, and also talking about the AIDS crisis, and Keith Haring, who had died, and many of her friends who had died.

In that documentary, she brought up the idea of Frida Kahlo … and that she’d bought this painting called My Birth , which depicts Frida birthing herself, almost. It’s an imagined idea of birth, and the mother is dead, and the child is still being born. That, from a really young age, imprinted on my mind: this idea of survival through art.

In ‘94, my brother died, and the day after he died, I wrote my first song. I was really fascinated by Frida, so I read this whole book … and that literally changed my life, because now I’m running a gallery, and I ended up getting there because of that documentary, like no joke.

Another one of my favourite works is Félix González-Torres, and it’s the two clocks, called Untitled (Perfect Lovers) . The original version, which is a black rimmed clock — two clocks, identical, domestic, cheap clocks — and they’re set to the same time when they’re installed. Over the run of the exhibition, they start to go out of sync, because the battery power might change … But there is no such thing, actually, as perfect lovers; you can’t really own anyone else, we’re all individuals, we’re born alone, we die alone, I don’t know. [ Laughs .] You can have the romantic or sentimental idea of love, but what really is that?

I just loved that work, as well, which is totally conceptual. He was adding something to a very different body of work. Even through our show, we’re constantly looking at different kinds of art. It isn’t just one thing. And I do think those radical people — people who are brave and bold, and trying to say something to support people who are being marginalised — is what the root of our thing is, really.

Madonna during her iconic 1990 Blonde Ambition Tour, the subject of the Behind the American Dream film.

Diament co-hosts the popular art podcast Talk Art with the actor Russell Tovey and is the director of Carl Freedman Gallery and Counter Editions, which produces prints and multiples by leading contemporary artists.

“The queer art that first burnt its way into my brain is Mr Humphries from Are You Being Served? That, and his camp comrades, Larry Grayson, Frankie Howerd, Gilbert in Not On Your Nellie , and all those gurning, pursed-lipped effeminate sitcom turns. I think we’re supposed to despise them now. But I haven’t got time for shame, there are much better things to be feeling. I adored those men then, and still do, to this day. Great changes are often presaged by jokes, and those comedians were the first soldiers to charge over the front line—they fell, so the rest of us might follow. And while British sitcoms feed off envy and feuds and frustration, Mr Humphreys was always happy. Clearly, he’d spent the night before getting laid. So here's to him, and all those lovely gays, and truth be told, I fancy Gilbert to this day.”

The award-winning It’s a Sin creator is now showrunner and head writer of Doctor Who, his second stint following an acclaimed run in the mid-’00s.

“For the brand and for the both of us, personally, Leslie Cheung is one of the crucial style icons of all time, who we've drawn a lot of inspirations from for Commission. It was very informative [to see him] when I started going into fashion and knowing about him and watching the movies. I just love how very unapologetic he was with styling and with fashion, with dressing, as well as his craft and [performances].

Having watched [the Wong Kar-wai film] Happy Together with Tony [Leung], it just really informed the way that we visualize the dressing back then and how to modernize it for today. For this collection—and I think the bigger narrative for the identity of Commission—it's a big influence.

Honestly, it's a dream for us. If we could go back in time and do the costume for that movie? That would've been perfect. I think the costume for the movie, the approach—it's like it has a lot to do with just how you navigate through the mundanity of life, daily life. That's also how we approach our designs and the way we dress or the way we want our customers and audience to dress. There's a really close relationship between, yes, there's a fantasy and a look that you want to create, but a lot of that has to do with everyday dressing.”

A still from the 1997 Wong Kar-wai film Happy Together , starring Leslie Cheung and Tony Leung.

The New York-based brand Commission, has gone from strength to strength since being selected for the LVMH Prize shortlist in 2020, becoming a favorite of stars like Rosalia and Dua Lipa and collaborating with Paul Smith on a collection last year.

“I think all good art is kind of queer. When I was about 13 there was a book of Hindu/Mughal miniature paintings in my parents' meagre bookshelf. There were pictures of topless beauties bathing in a river under the stars, their eyes drunken and hair snaking down their backs and arms. Some sleepy-eyed princes hunting wild boar. Mythological lovers meeting in twinkling forests. I could escape into these poetic environments, away from the reality of the homophobia around me. I could become one of those girls in the river, or some austere priest of a pre-British India. As queer kids our fantasy world is so important.

In my teens, I found a book of Paul Cadmus’s male nudes in a bookstore in Lahore, Pakistan. It was a how-to-draw-a-male-nude book. How it got to Lahore, I don’t know, but it was hot .

There was also the 17th-century Italian painter Guido Reni’s many Saint Sebastians tied-up in varying states of boredom, with that poker-face and parted lips. The Baroque style of that portraiture, the almost camp self-consciousness, helped me feel heroic about my own suffering and confusion at that young age.

[Outside of art, other influences are] Disney’s [1989 animated film] Little Mermaid , obviously. Neve Campbell in [1996 film] The Craft . David Bowie as the goblin king in [the 1986 film] Labyrinth made me gay I think—especially in the ending scene with his white feather cloak, leggings and boots, circling a young Jennifer Connelly.

[There was also] the photographs of Lionel Wendt, a queer photographer working in 1940s Sri Lanka. His photos are Man Ray-like surrealist propositions of the male body. Dark and sensitive looking boys sveltely laboring away in the sun in a ‘dhoti’ or in a chic tank top and a neckerchief or nothing at all—their bodies stylish but not decorative. I was lucky enough to show alongside some of his photographs at Frieze New York in 2019 at the Jhaveri Contemporary, space, a Mumbai gallery that represents Wendt's estate. [I’m also inspired by] the intimacy in the photographic compositions of Clifford Prince King.”

David Bowie as Jareth in a still from the 1986 film Labyrinth .

The artist is known for his intimate figurative paintings of young, brown, queer men. Toor’s work is part of the permanent collections of institutions like the Metropolitan Museum of Art and the Whitney Museum of American Art.

"One of the films that really inspired me is Ang Lee's The Wedding Banquet . It's maybe a little cheesy to say that when I'm in the midst of production on a remake. But what I find so special about the film is that these questions of sexuality and culture and family— they're all affecting each other. There was a lot of queer media where it was just about gayness and not much else. I love [that it talks about the] reality that in our romantic relationships, especially when you start building something more profound, something deeper. Your partner starts interacting with your parents. What does that mean? And then they have to understand your culture and how you grew up. It feels very full circle to me now [working on the remake]. I’m working very hard to try and make something feel as meaningful to other queer, Asian people.

The other one is the visual artist Felix Gonzalez-Torres’ piece, ‘Untitled (Portrait of Ross in LA),’ which I saw in New York. It’s a pile of candy in the corner of the room; visitors can take a piece of candy with them, and then everyday, the museum refills the pile to the weight that Felix Gonzalez-Torres's partner should be a healthy weight. His partner was dying of AIDS [when he made it]. I felt so grief-stricken, and I just got very emotional. I had a really visceral reaction to it in a way that I hadn't with a piece of art before. I think that it showed me how beautiful artwork can be when it's so personal and has personal stakes in it, and that there is something about the desire to be vulnerable as an artist and talk about something difficult in your artwork that gives it such immense power. Even though it's a totally different medium, that inspired me as I think about why I make art, why I make film.”

A still from the 1993 Ang Lee film The Wedding Banquet .

The award-winning filmmaker behind the indie hit Spa Night and the Hulu summer smash Fire Island, is currently in production on a remake of Ang Lee’s The Wedding Banquet, starring Lily Gladstone and Bowen Yang .

“I was a singer [growing up]—that was really the thing that saved me. I grew up, I had a split childhood between Louisville, which is a city, and then my family farm. My family were tobacco farmers in this tiny little place called Sonora, Kentucky. I did not come from a cultural household. And it really was this high school teacher, David Brown, who heard something in my voice and started giving me voice lessons. That was how I got out of Kentucky. I was a C, D student. I failed freshman English. I was just a really lost kid.

Benjamin Britten's Turn of the Screw [was the second opera I saw], which was my introduction to Britten, who would become and continues to be a really important composer for me, and also a really heroic figure because he wrote so much of his vocal music for his partner, the tenor Peter Piers. And performing music together was a way for them to have a public life together in a place in a time where homosexuality was criminalized.

I feel like my introduction to the sort of style that feels central to my work—the kind of sentence-making that feels central to my work, which is not exclusively, but significantly, I think a kind of queer style and sort of tradition of queer style—all of that I was introduced to when I was 14 years old watching Turn of the Screw at the Kentucky Opera. So I do feel that that was my DNA as an artist. I wouldn't start writing for another five or six years until I was in college, or six or seven years rather until I was in college. But I feel like so much of the seed was planted in hearing that performance.”

English composer Benjamin Britten

The acclaimed fiction writer, poet and critic is best known for the novels What Belongs to You and Cleanness. His latest novel, Small Rain , is out in September.

“Cakes da killa, Joey LaBeija, LSDXOXO are the people who let me know that there were more people out there like me. I'm from a small town and it's not a lot of that going on. I always felt out of place. I always felt like I had to box myself into sexuality because there wasn't a lot of discourse around it or an explanation about it. Where I'm from, it's ‘You're either gay or straight.’

Going to New York for the first time and meeting those people, DonChristian, all of them, definitely helped me understand my sexuality. As a teenager and as a child, my parents definitely didn't encourage it and I didn't have any literature or no gay aunties or nothing, you know what I'm saying? And if they were, they were hiding it and being ashamed of it. In 2016/2017 when they were still throwing GHE20G0TH1K parties, I was hanging with Contessa Stuto and Cakes da killa. I felt accepted.

Actually, my next album is actually going to be exploring all of those things. The album is going to be called Puberty . I personally have come to a point where I feel like I need to sit down and spend time with myself and think about my journey with my gender and my sexuality and all the things that have happened to me, to shape me into this person that I am.”

Bbymutha, the self-proclaimed “devil’s daughter,” is a Chattanooga, Tennessee-born rapper whose latest album , Sleep Paralysis, was released in April.

“I remember the first thing in drag I ever saw was in the 2000s. There were these bizarre videos from the '80s that got passed around on the internet at that time. A few of them that come to mind are by the artist, Tom Rubnitz, who did these strange, surreal glitter-drag VHS performances. I think people know them as Pickle Surprise or Strawberry Shortcut.

It has an edgy '80s queer sensibility that probably wouldn't hold up to 2020's moral scrutiny. At the time I saw these videos, I knew they were supposed to be scary when people posted them on the internet. I thought it was weird and freaky, but also, this sense of deviation from heterosexual correctness was [what] I was very interested in. I felt attracted to it. I went through a whole stage in my videos in 2017, 2018, 2019 where I was doing this glitter drag thing. I feel like I got it from that. I was trying to recreate this surreal, what-is-going-on type of identity fuckery feeling that I associate with those videos.”

Natalie Wynn is a Peabody Award-winning video essayist and the creator of Contrapoints, a YouTube channel covering queer identity, politics, and gender, among a wide variety of cultural topics.

Surprise guest: Travis Kelce joins Taylor Swift onstage during London concert

T aylor Swift dropped another surprise during her final Eras Tour show in London on Sunday, bringing boyfriend Travis Kelce onstage at Wembley Stadium.

Read more trending news

Dressed in formal attire and a top hat, the Kansas City Chiefs’ tight end literally swept Swift off her feet before the “I Can Do It With a Broken Heart” segment of the show, Variety reported.

Kelce appeared as one of Swfit’s dancers and carried her to a red lipstick-colored couch during the vaudeville-styled segment, according to Rolling Stone . He joined dancers Jan Ravnik and Kameron Saunders to revive the singer after she fell to the ground during “The Smallest Man Who Ever Lived,” USA Today reported.

The Pro Bowl tight end, used to playing in front of large crowds, hammed it up in a short routine with the other dancers, to the delight of more than 89,000 fans in attendance.

Kelce attended all three shows at Wembley Stadium, sharing a VIP tent with luminaries such as Paul McCartney, Jon Bon Jovi, Cate Blanchett, Hugh Grant and Ashton Kutcher, USA Today reported.

Kelce’s brother, former Philadelphia Eagles center Jason Kelce, and his sister-in-law Kylie traded friendship bracelets and posed for photographs, according to the newspaper.

McCartney caused a ripple on social media during Sunday’s concert when he was filmed dancing to “But Daddy I Love Him” on the floor of the arena, Rolling Stone reported.

Another surprise was the appearance of Swift’s friend Gracie Abrams, who joined the singer for a duet of “Us,” which they co-wrote, Variety reported.

Abrams has appeared as an opening act for Swift. “Us” is a song that appears on Abrams’ new album, “The Secret of Us,” which was released on Friday, according to the entertainment news outlet.

After her British concerts, Swift heads to Dublin, Ireland, the magazine reported. The European and United Kingdom leg of the Eras Tour runs through August.

Taylor Swift: ‘Most wonderful’ Eras Tour will end in December

Swift recently announced that the Eras Tour will conclude on Dec. 8 in Vancouver.

Things to do | Tom Jones and Andre 3000 announce San Diego…

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Things to do | evacuations under way as crews battle brush fire near torrey pines state beach, things to do, things to do | tom jones and andre 3000 announce san diego concerts as part of their new tours, jones last performed here in 2014, while andre 3000 has not done a san diego show since 2001.

The tours will include Jones’ first San Diego concert since 2014 and Andre 3000’s first concert here since a 2001 show with the duo OutKast, which he co-founded in 1992 .

Jones, 84, will perform Oct. 4 at Cal Coast Credit Union Open Air Theatre at San Diego State University. He won his only Grammy Award – for Best New Artist – in 1966.

Andre 3000 (born: Andre Benjamin), 49, will perform Oct. 1 at Humphreys Concerts by the Bay. He won six Grammy Awards between 2002 and 2004 as a member of OutKast, which in 2004 became only the second hip-hop act in Grammy history to win Album of the Year honors.

Jones’ most recent album, “Surrounded by Time,” was released in 2021. Andre 3000’s second solo album, the all-instrumental “New Blue Sun,” was released last year. A number of the musicians who accompany him on “Blue Moon Sun” will be featured on the tour, including Carlos Niño, Nate Mercereau, Surya Botofasina, and Deantoni Parks.

Tickets for Jones’ concert at SDSU are priced from $39.50 to $199.50, plus service fees, and go on sale to the general public Friday at 10 a.m. at Ticketmaster. A pre-sale will begin Wednesday at 10 a.m. at ticketmaster.com.

Tickets for Andre 3000’s concert at Humphreys are priced at $101 each, plus service charges, and go on sale to the general public Friday at 10 a.m. at Ticketmaster. Dinner and hotel packages are available online at humphreysconcerts.com .

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Fantasy novelist Tomi Adeyemi to speak in San Diego next week

Theater | Old Globe’s ‘Henry 6’ to be theater’s biggest production in its 89-year history

Theater | Review: New Village’s vivacious ‘Color Purple’ rings with joy, emotion

Things to do | ArtPower’s 21st season at UC San Diego will feature Fran Leibovitz, Aofie O’Donovan, Ocean Vuong and more

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Alanis Morissette Brings 'Dream Daughter' Onyx Onstage to Sing with Her as She Celebrates Her 8th Birthday

The singer shares her three kids, sons Ever and Winter and daughter Onyx, with husband Mario Treadway

Rich Polk/Billboard/Getty; Alanis Morissette/Instagram

Alanis Morissette is looking back on a very special moment with her daughter Onyx.

On Monday, June 24, the singer, 50, shared a sweet photo on Instagram of herself and her daughter Onyx Solace singing together onstage as the proud mom celebrated her daughter's 8th birthday in Nashville, Tennessee.

In the photo, Morissette wore black leather pants and a blue shirt, singing into the microphone while looking at her daughter, who wore leopard print pants and a pink shirt.

"Birthday angel girl moment 💫✨," Morissette wrote in her caption. "singing ironic together 😭😭😭😭😭😭😭😭🎂🥹🥹🥹🥹 i love you so much onyx you are my dream daughter ❤️❤️🩷🩷 #8 #happybirthday #nashville #i❤️younashville ✨✨✨."

In a fan video shared from the concert, Morissette leads the crowd in singing "Happy Birthday" to Onyx before the 8-year-old helps her mom sing her popular track "Iconic."

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Morissette shares her three kids — sons Ever Imre, 13, and Winter Mercy, 4, as well as daughter Onyx – with husband Mario "Souleye" Treadway.

Souleye/Instagram

Earlier this month, Morissette introduced fans to an adorable member of her glam squad.

The "You Oughta Know" singer posted a sweet snap  on Instagram of her son Winter doing his mom's makeup on tour. The little one could be seen standing in between his mom's legs as he held a makeup brush up to her face.

"I like to do my own makeup for most of my tour. but sometimes, a master appears to show me how it’s done. 🎨🧑🏼‍🎨 #houston #texaslove 🤩," the proud mom of three sweetly captioned the photo.

Morissette posed for the cover of  Health  in May 2020 while breastfeeding Winter and explained why she was so passionate about motherhood.

“I love moms so much. If I talk about it too much, I’ll start crying,” the rocker explained. “I just think moms are so selfless day in and day out — women are just killing it all the time.”

During an appearance on  Audacy's K-EARTH 101  in October 2022, Morissette said her kids listen to her music.

"They do [listen], even when I'm like 'shut that off!' " she said with a laugh. "They're so sweet."

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Naima Bock Announces Tour and New Album, Shares Songs: Listen

By Nina Corcoran

Naima Bock , the London singer-songwriter and former Goat Girl member, has announced a tour and the follow-up to 2022’s Giant Palm . Her new album is titled Below a Massive Dark Land , and it arrives on September 27 via Sub Pop and Memorials of Distinction . She’s also shared two new songs today: “Kaley,” which comes with a Cassidy Hansen –directed music video, and “Further Away.” Check those out below.

Bock wrote both songs while traveling, with inspiration for “Kaley” hitting while she was in Arizona, and “Further Away” being penned while in Greece. “It’s about betrayal and the subsequent lack of direction that follows. At the time there was no ‘plan’ or ‘way’ that I had for myself, let alone anyone else,” she said of “Kaley.”

Below a Massive Dark Land was recorded at London’s Crypt Studio and produced by Jack Osborne and Joe Jones. Bock handled additional production and arrangement on the record herself along with help from Oliver Hamilton.

Bock’s tour takes place this summer and extends on through the autumn, beginning on August 14 in St. Malo, France. She’ll going on to perform across the United States and Europe. Opening select dates along the way is Angelo de Augustine. Find her complete list of tour dates below.

Read more about Naima Bock’s Giant Palm in “ 34 Great Records You May Have Missed: Spring/Summer 2022 .”

All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

Below a Massive Dark Land :

01 Gentle 02 Kaley 03 Feed My Release 04 My Sweet Body 05 Lines 06 Further Away 07 Takes One 08 Age 09 Moving 10 Star

Naima Bock:

08-14 Saint-Malo, France - La Route Du Rock 08-22 Los Angeles, CA - Barnsdall Gallery Theatre ^ 08-24 Ojai, CA - TBA 09-08 Portland, OR - Music Millennium 09-13 Walla Walla, WA - Billsville West 09-15 Seattle, WA - The Rabbit Box 10-21 Boston, MA - Warehouse XI 10-23 Philadelphia, PA - The Parish Room of the First Unitarian Church  10-25 Brooklyn, NY - Union Pool 11-06 London, England - St Pancras Old Church 11-07 Bristol, England - The Jam Jar 11-08 Liverpool, England - Leaf 11-09 Newcastle, England - The Cumberland Arms 11-10 Glasgow, Scotland - McChuills 11-12 Leeds, England - Hyde Park Book Club 11-13 Manchester, England - Deaf Institute 11-14 Cambridge, England - Storey’s Field Centre 11-16 Falmouth, England - The Cornish Bank 11-17 Frome, England - The Tree House 11-18 Exeter, England - Cavern Club 11-20 Ipswich, England - St Stephen’s Church 11-21 London, England - The Ivy House 12-03 Lille, France - L’Aéronef 12-04 Brugge, Belgium - Cactus Café 12-06 Haldern, Germany - Haldern Pop Bar 12-07 Hamburg, Germany - Nachstasyl 12-08 Berlin, Germany - Neue Zunkunft 12-10 Cologne, Germany - Club Subway 12-11 Amsterdam, Netherlands - Paradiso 12-12 Brussels, Belgium - Le Botanique 12-13 Paris, France - La Boule Noire

^ with Angelo de Augustine

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