Music
SZA Takes Stand Against Concert Chaos, Threatens Shutdown Over Flying Objects
SZA Takes Stand Against Concert Chaos, Threatens Shutdown Over Flying Objects
In recent times, a disturbing trend has marred concert experiences worldwide: fans hurling random objects at their beloved performers during live shows. This reckless behavior not only poses serious safety risks but also undermines the enjoyment for everyone involved. Despite the alarming consequences, artists like Drake, Coi Leray, GloRilla, and Latto have found themselves dodging unexpected projectiles on stage. Joining this unfortunate list is SZA, who recently faced a similar ordeal during a performance in Australia.
A viral clip circulating online captures the “Kill Bill” songstress directly addressing the unruly crowd in Australia, calling out individuals for tossing objects at her. With unwavering determination, SZA firmly warns that she won’t hesitate to halt the concert if the misconduct persists. “I will leave,” she asserts, emphasizing her stance against such dangerous antics. “Do not throw up any cell phones, I’m a person. That’s cr*zy.”
Unsurprisingly, fans have rallied behind SZA, commending her for standing up against the hazardous behavior. Comments flooding platforms like The Jasmine Brand echo the sentiment, condemning the trend of object throwing at concerts. “Y’all need to stop this weird trend of throwing things at people at concerts,” urges one Instagram user, reflecting the collective frustration. Another commenter echoes the sentiment, emphasizing the disruption caused by such antics: “Stop the whole show, ain’t nobody got time for that.”
SZA’s bold response to the incident mirrors a growing intolerance among artists towards such disruptions. Just last month, Nicki Minaj retaliated during her Pink Friday 2 tour, flinging an object back into the crowd after narrowly avoiding a collision with her head. The incident even drew parallels to Cardi B’s infamous reaction, where she tossed a microphone at an audience member last summer for dousing her with a drink.
The question arises: Should this bizarre trend of hurling objects at performers come to an end? SZA’s decisive action in Australia serves as a resounding call for concertgoers to respect the safety and dignity of artists on stage. Share your thoughts on SZA’s stance and the need to curb this concerning trend in the comments below. Stay tuned to Honk Magazine for further updates on this evolving story.
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Album Review
“Big Colored Lights” EP Premier by Katie Curley delivers a sonic snow globe of heartfelt holiday memories
Brooklyn-based singer-songwriter Katie Curley brings a fresh glow to the holiday season with her new EP, “Big Colored Lights.” This spellbinding collection comprises seven original tracks that seamlessly integrate Curley’s honky-tonk personal sensibilities with sophisticated sonic artistry, characterized by her gift for evocative storytelling. Recorded at Cowboy Technical Services under the skillful production expertise of Eric “Roscoe” Ambel (known for his work with Sarah Borges and the Bottle Rockets), the EP is a testament to Curley’s decade-long commitment to creating one Christmas-inspired song yearly. The resultant work offers a kaleidoscope of nostalgia, resilience, and the transformative power of music that extends beyond conventional holiday cheer.
“Big Colored Lights” invites listeners on an emotional odyssey, commencing with the poignant opener, “Christmastime Therapy,” which artfully navigates the bittersweet realities of family gatherings complemented by Curley’s crystalline vocals. The expressive piano work accompaniment by Rob Clores sets the stage for a heartfelt meditation on holiday complexities.
Subsequently, the soulful track “Closing In On December“ follows, featuring Mark Spencer’s pedal steel, which infuses the song with a timeless warmth. Meanwhile, the title track, “Big Colored Lights,” paints a vivid tribute to Curley’s childhood memories of her grandfather’s dazzling holiday decorations in the woods of Washington.
Curley’s versatility is evident in “A Very Texas Christmas,” a modern take on classic holiday melodies that blends emotive guitar strumming with rhythmic piano chords. “Extra Happy Holidays“ delivers a buoyant exploration of new relationships, celebrating the optimism intrinsic to joyful festivities.
Infusing a touch of country flair, “Shotgun Wedding In Bethlehem“ reimagines the nativity narrative, enhanced by the gorgeous angelic harmonies from fellow artists Drina Seay and Shanelle Jenkins. The EP closes on a high note with “New Year’s Too,” a soul-stirring duet with powerhouse vocalist Lizzie Edwards that profoundly impacts the listener.
Katie Curley’s “Big Colored Lights” transcends the limitations of typical holiday tunes, offering deep reflections on shifting landscapes, cherished traditions, and the unyielding pursuit of light in life’s darker moments. Supported by her core band, including her husband Brendan Curley on guitar, Max Newland on bass, and Kenny Soule on drums, the EP resonates with authenticity and warmth. This EP is essential listening for those seeking revelatory holiday charm with meaningful and uplifting music that promises to light up the heart and soul. Set to become a treasured addition to festive playlists, “Big Colored Lights” solidifies Katie Curley’s emerging status as an enchanting voice within Brooklyn’s music scene.
For more information about Katie Curley, please visit [website].
CLICK HERE TO STREAM Katie Curley’s EP “Big Colored Lights“ on Spotify.
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Artist Spotlight
“I Just Want You” by Kina ft. Trevor Daniel delivers a heartfelt serenade for beautiful yearning
In “I Just Want You” by Kina, the 24-year-old Naples-born lo-fi pop maestro behind the platinum hit “Get You The Moon,” featuring Trevor Daniel, crafts a stirring sonic anthem that feels like an intimate whispered confession to the soul. The track radiates a sense of vulnerability, merging Kina’s trademark melancholic production with Trevor’s emotionally charged, velvety vocals in a seamless fusion of emotion and sound.
Right from the start, Kina’s minimalist yet lush instrumentals, with muted beats and delicate piano lines, hum in the background like a pulse, setting the stage for Trevor Daniel’s heart-on-sleeve delivery as he croons about yearning for connection. The song’s emotional gravity is undeniable, each lyric feels weighted with sincerity, a heartbeat echoing the universal ache of missing someone.
The production exemplifies Kina’s quintessential hallmark style, which is characterized by its understated but impactful nature. A warm tapestry of lo-fi elements, soft keys, atmospheric synths, and subtle percussion wraps around Trevor’s vocal performance, creating a cozy, intimate, cinematic soundscape ideal for those quiet moments when you reflect on your feelings.
What really makes “I Just Want You” unique is its ability to mix personal vulnerability, timeless vibes, passionate lyricism, and broad relatability. It’s almost as if the artists invite listeners to relive their sweet memories in a cocoon of love, translating unfiltered emotion into a beautiful melody long after the song ends.
In just under three minutes, Kina and Trevor Daniel remind listeners that sometimes, we really need honest expression set to a simple, lovely tune. “I Just Want You” is a sonic open letter to the heart of anyone who has ever loved, making it impossible not to feel the pull of its charm.
CLICK HERE TO STREAM Kina’s “I Just Want You“ on Spotify.
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