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From the GFM Archives (’15): GFM Spotlight Interview: Eryn Allen Kane Talks New EP, Prince and Chi-Raq

Sunday, April 23rd, 2017


Full disclosure: we stumbled upon the young queen Eryn Allen Kane, but a good discovery is a good discovery… even if it is by surprise. Turns out Ms. Kane wasn’t hiding under a rock, but rocking out… in plain sight. When we spoke with her she’d just dropped her new EP, Aviary: Act 1. The Spike Lee Joint Chi-Raq, in which she has a part, was set to open in theaters and his royal badness Prince had already taken her on as his protege’. Wow! Read below and enjoy.

GFM: For many of the Grown Folks this is an introduction to you. Tell us how your musical journey as an artist began.

EAK: I started going to a church called Conant Gardens on the East side of Detroit with my family. That’s where I joined the choir and developed a little bit of a voice for myself. I was always kind of shy though, so I never took any solos. I just loved being a part of the choir and learning my part and where I sit in the choir.

I went to a performing arts school in Detroit called Detroit School of the Arts. I was a vocal major there. I was also a part of Mosaic Youth Theatre. They do this whole tour thing with kids from a bunch of different magnet schools around Detroit.

Then I went to college at Columbia, and because I had a terrible development deal in Detroit that kind of went bad I breached contract. I wasn’t able to do any music. [So] I majored in acting in college. I went to Columbia for theatre performance. I think it was my junior year [when] I went to go live with my dad in Australia. I wasn’t really doing any music at the time. When I went out there I had a lot of peace of mind and was able to sit down and find my voice again and write a bunch of songs. I came back and showed them to manager and it all started there. We started recording stuff and my first song, “Hollow” was released in 2013 and Prince was checking that out. Somehow he got his hands on it. I released a song two years later and he heard that. Then I was on “Baltimore” and now I’m here [laughs]. That’s an abbreviated version but that’s what happened… yeah.

GFM: Since you mentioned that, can we talk about how Prince came calling and what your experience was? Could you believe it? You had a collaboration so soon in your career with the legend.

EAK: No, I actually freaked out a little bit. In 2013 when I first released that song it was an acappella song and I kinda thought that it really wasn’t gonna do much. I just wanted to put it out because it meant something to me. I was like, ‘Yeah, acappella songs… who has acappella songs?’ Then, I saw all these people commenting on my YouTube [channel saying], ‘The Purple One sent me here.’ I was like, ‘Who are they talking about? They’re not talking about Prince.’ I looked it up and it was definitely Prince. [Prince had previously tweeted about the song] I had just gotten out of the shower and I screamed for five minutes straight into my towel. I couldn’t believe that it was happening and that he had noticed me even. A couple years earlier, I was in the nose bleed seats at one of his concerts at the United Center in Chicago, so I never imagined him actually paying me any attention. We were supposed to link back then and we just couldn’t because of certain circumstances.

But, flash forward. I guess he just kept his eye on me even when I wasn’t releasing anything. Two years later when I came out with “Have Mercy” he noticed that. A couple days after I released that song he invited me to come out and do “Baltimore” with him. I got to the studio and I was just like , ‘Robbie [her manager] I can’t do this. This is gonna be the end of me. What if mess up?’ But, I ended up doing pretty well so that was good [laughs].

GFM: Going back a bit to what you said about being a theatre major and studying acting– you also are in Spike Lee’s Chi-Raq. How did that come about and how was the experience?

EAK: That’s kind of a crazy story too. Right after I performed on stage with Prince in Baltimore at the arena I walked off stage and my manager said, ‘Check your email.’ I checked my email and it was Spike’s assistant saying, ‘Spike really wants to speak with Eryn. He’s heard her song. He wants to speak with her about this thing he’s doing.’ I was like, ‘What! This is too much! Let me go home and take a seat for a second. I don’t know what’s happening [laughs].’ Turns out he wanted me to music for the film initially and I met with him in Chicago [during] pre production. He talked to me about doing music for the film and how he liked “Have Mercy”. He wanted to put something like that in film. I told him, ‘Sure,’ but then he found out that I acted so then he was like, ‘Wait. Why I don’t I just write you into the script?’ I said, ‘Sounds good to me [laughs].’ He ended up writing me into the script and I ended up being not a main character, but a principal character. It was a great experience. He is the best. He’s one of the most genuine people I’ve ever met. It was an awesome, awesome time. It was only a couple of months. It was a really short production time, but it was cool. I enjoyed it. It was different. I’d never been in a movie before.

GFM: Let’s talk about your new EP– Aviary: Act 1. I read in the personal note that you wrote to your followers on Instagram that the songs about losing love to depression, about being forgotten because of you are, family loss, suicide, being a woman, being judged as woman, never giving up despite any of these things and about loving yourself. Can you talk about that and talk about the project?

EAK: The songs that I make… I word them in a way that the listener can interpret them. Whatever story they have of their own they can relate to it. It’s kind of funny, because a lot of people have stamped these songs as love songs… as me writing songs to lovers. But really, “Have Mercy” was written after I saw a news report about this terrible thing happening to a little kid on the South Side [of Chicago] and I went to the basement and wrote that song. It was about the world being a very cruel place. People still thought that was a love song. “Slipping” is about a friend of mine who struggled with depression and knowing that you can’t really do anything to help them but you still love them. It’s a love song of sorts I guess, but it’s not something I wrote with the intention of, ‘This is my boyfriend and I’m writing a song about an ex.’ It wasn’t like that.

The EP… all these songs I wrote in different times of my life. “Piano Song” has something to do with me losing a loved one who tried really, really hard in his life to just be the best person that he could be and he still was taken from us. It’s interesting to see how everyone else interprets the songs. I don’t ever want to impose my back story on these songs, just because I like for people to write to me. I’ve gotten emails from people about how it affected them in this way and it made them think of their mother, or it made them thing of a situation with caring for people. I’d rather just leave my story for me, and have them create their own stories to my songs. It’s all over the map. I made these songs for partly my healing, but also to encourage people and things like that. I’m really bad at talking about my music [laughs], but that’s the gist of it. They’re all songs that I feel like everyone can take part in. We can all kind of share a similar story through at least one or two or three of my songs.

GFM: You called Act 1 an appetizer. Is Act 2 a completely different flavor? Or, is it more of the same, just bigger?

EAK: It’s bigger and it’s still soul music. With this last project I noticed there were a lot of slower songs. There’s still slow songs on this next one, but it’s a little bit more of a variety. There are more songs. It’s a little bit more meaty I guess than the first EP. Not that the first isn’t meaty. The second is still showcasing my vocal abilities and [ability] to arrange and the whole choral thing. There’s a few big, big songs on there that I’m really excited to share with people.

GFM: You’ve already worked with “The Purple One” and been in a movie with a huge director, but what’s the biggest thing you could dream up for your career?

EAK: I know this sounds really cliché, but I’d like to make some sort of impact and some sort of difference in this world even beyond my music. I feel like music gives you that platform and once you have that platform you have the ability to change things. I’m really excited to be able to change certain things. Whether it’s about the music industry or whether it’s about me taking on certain activist roles. I think that it’s our responsibility as artists to lead the way in some of these areas. That’s what I’m most excited about. Other than that, just making timeless music– music people that can learn from and really be a part of an experience with my music. I’m excited for that part of it and being a role model and such.

GFM: What’s your definition of Grown Folks Music?

EAK: It’s something that I’ve heard my mom and father say a million times [laughs]. Grown folks music is legendary. Grown folks music doesn’t get old, and it’s not just something that grown folks listen or that grown folks are just a part of solely. It’s music that I grew up on. It’s music that really speaks to you. It’s not temporary at all. It’s speaks to you. It’s not talking about twerkin’ or anything that is very temporary or trendy. It’s something that you can grow old listening to. You can listen to it fifty years ago. You can listen to it fifty years from now.

Aviary: Act 1– EP is out NOW. Get it at iTunes.

Listen to: “Have Mercy”

Connect with Eryn Allen Kane
On Twitter
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Kimberly Kennedy Charles (DJKKC) is trying to navigate life (in a minivan, no less) as a wife, mother, caregiver to Grandmother and writer in the 'burbs of Atlanta.

GFM Spotlight Interview: Avery*Sunshine Talks Music & Marriage “Twenty Sixty Four”

Monday, April 17th, 2017

Avery*Sunshine’s girlfriend-next-door personality and down-to-earth demeanor is just as refreshing as her musicianship. She talked with Grown Folks Music about how her recent marriage to her long-time creative partner, Dana “Big Dane” Johnson, is the biggest inspiration for her new album, Twenty Sixty Four and she talked about performing for music legends Aretha Franklin and Smokey Robinson. Read below and enjoy.

GFM: You have a new album coming. But, before we talk about that we’ve gotta talk about some super exciting things that have happened since the last album. You performed for the Queen of Soul [Aretha Franklin] at her birthday party?

AS: Twice.

GFM: Twice?!

AS: Yes, Honey. She sent a personal email to either my booking agent or my manager. She said, “Look, I want Avery to come perform for my birthday party.” So, I did. She invited me back again the same year for her Christmas party in Detroit.

GFM: Wow. I’m from Detroit, so that’s special.

AS: We love Detroit. We especially love Chene Park and it’s right on the water. Oh my God.

GFM: Before you agreed to say ‘yes’, did you do a silent scream into the pillow [laughs]?

AS: Honey, it wasn’t a silent a scream… all of Atlanta heard it. First of all, I was like, ‘So wait a minute. She wants what now? She wants me to come? Are you sure it’s Aretha? It wasn’t Daretha Jackson or something like that– not Aretha Franklin?’ You know we’ve been told that she’s very, very particular about what she likes. So, for me watching her growing up she was everything to me. [To see] her sit down and play the piano and sing… she wasn’t just doing that… she was writing her music too. Any cover that she did she ripped it so bad and blew it up. Everything she touches happens turns to gold… everything… literally. To meet her and have the opportunity not to just perform for her because she was at an event, [but to be] invited by her is huge.

GFM: It doesn’t stop there. You got to perform for another Detroit legend– Mr. Smokey Robinson. How did that come about? How were you invited to perform at his Hall of Fame tribute?

AS: A friend of mine and my husband Mr. Adam Blackstone, who is Justin Timberlake’s music director along with so many other people– he’s amazing– he called us. He said, ‘Look. I’m in charge of doing a Smokey Robinson tribute. I think you guys need to come and you need to do this.’ [We said] ‘Of course will do it!’ [It was] me, Eric Roberson, Bilal, Robert Glasper and Michelle Williams. I did two tunes. I think I did “Cruisin'” and I can’t remember the other one, but I literally felt like I was floating. To walk out on the stage and look out into the audience and you see all the people, but somehow everybody pales when you look over to right and there’s a box seat and Smokey Robinson is sitting next to Berry Gordy… watching you perform some of his songs.

GFM: It’s a huge honor. It’s a huge responsibility. It’s just huge. Period.

AS: Yes. So much so that the night before me, my husband, Eric Roberson, Eric’s Family, and Michelle Williams went on a tour of the Rock and Roll Hall of Fame. We were in back looking at some of Michael Jackson’s clothes from when he was with the Jackson 5, some of Sam Cooke’s things [and] a lot of the memorabilia that they have there. I was watching Eric Roberson’s parents in there with Eric having this moment. I called my mom and I said, ‘Look, I’m about to put you on the next thing smokin’ you can get here for this show. I want you to experience this moment with me, ’cause this is one of the biggest moments of my career.’ Because Smokey Robinson was and is so a prolific writer it means so much. Listen, to sing his music and he’s not there is an honor, but to sing it specifically for him… I needed my mother there for that. I flew my daughter in as well, so they were able to share that experience with me. It was amazing.

One of the things that was amazing… I call it a “knighting”… I felt like I had been knighted. It was when I met Berry Gordy backstage. We actually have a picture that Eric Roberson took and sent to me of Berry Gordy holding my hand in his hands and looking at me. I don’t even remember if he said any words. But, it was what he did not say and the way he looked at me that let me know, ‘You’re doing the right thing. Just keep going.’ You’re talking about huge… [it was] magnanimous… gargantuan… any huge superlative you can think of… it was that.

GFM: You mentioned your husband so last, but not least that’s another thing [that’s happened]. I’s married now!

AS: I’s married! I’s married! His proposal was so funny. It wasn’t a proposal. I guess you can propose to somebody what you’re gonna do right? So he proposed to me, ‘We’re gonna get married.’ We said we would never, ever, ever marry, because we were both divorced. I said, ‘I’ll never get married again.’ He said, ‘Me either. We are good.’ I said, We need to slap five on that.’ He said, ‘That’s right! We ain’t doin’ it!’

Then January 2016 he called me on the phone and said, ‘Listen, we’re gonna get married in 2016.’ I said, ‘Say What?!” So, all of the trash I talked had gone out of the window. Of course I was super, duper, duper, duper excited. My prayer to God was, ‘God, if you would just give me ’til 2064 I’ll be so grateful and so honored and so blessed. Give me ’til 2064 with this amazing man. I’ll be 89. He’ll be 91. I’ll say my prayers every night. I’ll do what I’m supposed to do. I won’t talk about anybody ever again. I’ll be good. I’m gonna work out everyday. I’m going to do everything I’m supposed to do, alright? Just give me that.’

GFM: That’s a great segue to the new album, Twenty Sixty Four. The title track– as you just mentioned– is the story in song form about your relationship with your husband. You say what you just said to me about asking God to give you until 2016. In the song you talk about letting go of the steering wheel and in the past you’ve talked about letting your creative process just unfold and take shape naturally as well. But, how hard was that to do as it pertains to the relationship?

AS: Hard. Girl, I’m still working on that [laughs]and he’s so amazing. My sweet husband… he has to walk me through it. When I tell you God sent exactly what I needed… my husband doesn’t raise his voice. My husband is so sweet and kind and tender. I get that gentle nudge when I’m going too far to the left so I’m always working on it. It was definitely hard. Coming out of my previous marriage I was like, ‘I’m not doing this. I can do bad by myself. I’m an independent woman. I went to Spelman College. I don’t need no man and blah, blah, blah.’ Having to unlearn all of that stuff and reprogram myself– that stuff is hard– especially when you have children. You don’t want to not make a move and something fall apart because of what you feel like you could’ve done and should’ve done.

But, in being in a relationship with someone you just can’t do everything. You can’t. I went and got the top of my ear pierced– the cartilage part– and I didn’t tell him about it. When I got home he was so sweet. He said, ‘Well you didn’t mention to me that you even wanted to do that.’ I said, ‘Well you know I don’t have to. [laughs]’ It just got crazy and it got ugly. Something in me calmed. I was like, ‘You know what. I get it. I get it.’ It was not that I couldn’t do it. But, the idea that we’re in a relationship together [means] it just would’ve been nice to say, ‘Hey Honey, I think I want to get my ear pierced. What do you think about it?’ Not that I wouldn’t have done it had he said, ‘Nah, I don’t really like it.’ But just being aware enough with this other person that you’re sharing your life with enough to run stuff by them. Running it by them says, ‘I care about what you think, which means I care about you.’ That is not something that I was really sensitive to before meeting Dana. It’s like listen, ‘This is what I wanna do, [so] I’m going to go ahead to do it. I know I can’t depend on you anyhow. You might disappoint me, so I’m going to do what I wanna do.’ Again, unlearning that and reprogramming myself has taken a lot. God sent me exactly who I needed. [A man] who gives me guidance and love in such and gentle and tender way. I always say, ‘You’re such a sweet man.’ He hates when I say that. We do need that. I want my man to be strong, but I want him to be sweet too and tender to me.

GFM: You’ve worked together creatively for years now. What does adding the marriage layer bring to the artistry now?

AS: I feel like we were always destined to be together and whether we acknowledged or not, [we] already felt like we married. It really it was just a matter of saying it and putting some rings on. Even before it was romantic there was this connection, unlike anything I had ever experienced before. I’m confident that he would say the same thing. It was just something different. The first time that we spent together musically we sat up all night and he introduced me to iTunes. We listened to any and everything. It was the most amazing experience. It was easy. It doesn’t mean that it doesn’t take work to do this, but 98 percent of our business and our romantic relationship– it just works. It’s just easy. That’s not something that we’ve even been programmed to think is possible. Stuff is supposed to be hard. I just don’t believe everything has to be hard. Everything doesn’t have to be a fight.

GFM: I’m glad that’s your testimony, ’cause it gives the rest of us some encouragement. I’m glad that you’ve pressed the easy button in your relationship instead of travailing so hard, so I’m glad that’s your testimony.

AS: Girl, we’re always coming up the rough side of the mountain. [We say] ‘Ooh, you know that’s how men are.’ I don’t know about all that. I don’t know if I buy into that anymore… I don’t. It’s not just because we got married last year. Our whole relationship has been that–for how every long we’ve known each other. It’s not new… it’s been that way.

GFM: One song that I think is fun and I think should be a single, not that you asked me, is the “Ice Cream Song”.

AS: I think it should be a single too. One reason why is because it’s our unofficial wedding song. We just did the Captial Jazz Cruise to Cuba. Kenny Lattimore was one of the performers on the boat. He came to my show and I noticed him. I said, “Kenny, I got married and I meant that I wasn’t going to sing “For You”. When his song came out if you were a musician, singer, pianist or whatever– you were singing “For You” at weddings. They didn’t have nothing else but “For You”– that was it. We’re going to march in on “For You”. We’re going to process and recess on “For You”. So, I was like, ‘I’m not singing anybody else’s song when I get married. I’m going to write a song for my husband.’ Dana and I were in the studio getting this album–Twenty Sixty Four— together and I picked up his guitar. I don’t play guitar at all, but I figured out these four little chords. All I could think of is, “I’d give up ice cream just for you. I’d sell my bags and give away my shoes. I’d give you my happy and take your blues. There ain’t no telling what I’d do.” That’s really how I feel about him. Now thank God, he has not asked me to give up ice cream or my bags or my shoes, but I would. I would… but he hasn’t asked me.

GFM: What’s your definition of Grown Folks Music?

AS: Experienced music.

Avery Sunshine’s new album, Twenty Sixty Four drops April 21. Get it at iTunes.


Kimberly Kennedy Charles (DJKKC) is trying to navigate life (in a minivan, no less) as a wife, mother, caregiver to Grandmother and writer in the 'burbs of Atlanta.

Now Playing: Musiq Soulchild: “Start Over”

Tuesday, April 11th, 2017

Growns, check out “Start Over” from Musiq Soulchild. He rarely… if ever… disappoints in this soul game. “Start Over” is from Musiq’s forthcoming 2017 album.


Kimberly Kennedy Charles (DJKKC) is trying to navigate life (in a minivan, no less) as a wife, mother, caregiver to Grandmother and writer in the 'burbs of Atlanta.

Now Playing: Christopher Williams: “All My Love” Feat. RahRizo

Friday, April 7th, 2017

Growns, check out “All My Love”, the new single from Christopher Williams. We have to admit that we are used to Chris showing his vocal prowess from the beginning to the end of a song– even on an upbeat track. But, he is much more laid back here. We are glad he’s back and we look forward to hearing more– particularly something that gives us a bit more vocals and a little less production. The updated sound is on point, but Mr. Williams’ timeless voice deserves front and center. Always. Let us know what you think.


Kimberly Kennedy Charles (DJKKC) is trying to navigate life (in a minivan, no less) as a wife, mother, caregiver to Grandmother and writer in the 'burbs of Atlanta.

Now Playing: Daley: “Until The Pain Is Gone” feat. Jill Scott

Sunday, April 2nd, 2017

Growns, check out the smooth new single from Daley, “Until The Pain Is Gone”, featuring Jill Scott.


Kimberly Kennedy Charles (DJKKC) is trying to navigate life (in a minivan, no less) as a wife, mother, caregiver to Grandmother and writer in the 'burbs of Atlanta.

Visuals: Stokley Williams: “Level”

Thursday, March 30th, 2017

Growns, check out the visuals for “Level”, the lead single from Stokley Williams’ forthcoming solo album– Introducing Stokley.


Kimberly Kennedy Charles (DJKKC) is trying to navigate life (in a minivan, no less) as a wife, mother, caregiver to Grandmother and writer in the 'burbs of Atlanta.

Music News: Norman Brown Set To Release New Album & Label Debut Project

Wednesday, March 29th, 2017

Grammy award winning guitarist/singer Norman Brown is set to release Let It Go, his new album and his debut release for Shanachie Entertainment on April 14th. 

Let It Go is a sonic canvas of 12 mostly original soul-stirring and thought-provoking compositions that celebrate the spiritual and personal journey within each of us. About the CD Brown says, “This CD expresses a chapter of a spirit being’s journey in creation on earth as a man/woman. Through events, challenges and problems as well as the peaceful joys of happiness and love, these moments are our spiritual classroom!”

Norman Brown fans will take delight in knowing that he showcases not only his sublime guitar playing but his simmering soulful vocals as well. Let It Go opens with the ethereal and majestic “Lessons of The Spirit,” which transitions into the breezy and melodious “It Keeps Coming Back.”  Brown’s crisp, clean and bluesy riffs set the tone for a thrilling and revealing ride ahead. Dropping not only musical but universal laws of wisdom and understanding, Brown explains the message behind “It Keeps Coming Back.”  “If we don’t learn and live by the Laws of the Spirit (Truth) then the myriad of problems that we face in our lives will return. It’s not a choice.” The album’s title track is a lovely R&B flavored ballad that shines a spotlight on Brown’s sailing agility, utterly gorgeous tone and impeccable phrasing. The intent of this song is simple as Brown explains, “Listen to the teacher within your spirit.” Let It Go also features Brown’s delightful reworking of the 1970s Five Stairsteps Top 40 Pop Hit “Ooh Child.” “This is an all-time favorite of mine and sums up the thoughts that should dominate our minds especially in the face of obstacles and set backs,” says the guitarist. “In knowing that things will get brighter, that knowing becomes a force that aids us in the letting go process.” The track highlights Norman Brown along with TrayCar on vocals and keys who Norman Brown calls “a very special spirit.” TrayCar also mixed the entire CD. 

Let It Go is also a family affair as Norman Brown, the father of six, shares the spotlight with his talented daughters, S.O.U.L. (Sister of Unbreakable Love). “They have all had the gift of music flowing in them,” says Brown of his vocalist/keyboardist daughters LaNika (a graduate of Musicians Institute of Hollywood), Rochella (a graduate of Berklee College of Music) and bassist/vocalist Kesha (a West Point Military Academy graduate). According to Brown “Conversations” is about the two voices we all have within us; our true self, conscious and spirit, verses the animal part of our spirit. “We must learn to control and distinguish the influence of each voice and the influence on our spirit,” he states.  S.O.U.L is also featured on the funky and kinetic fountain of musical wonder “Living Out Your Destiny.” Norman Brown reunites with Chanté Moore for the sultry duet penned by  James Poyser/Carvin Huggins/Troi Lauren, “Holding You.” Our spirit as well as our bodies have the desire to be held and to hold. It’s a faculty that follows the laws of truth. No one succeeds in life alone, it takes two or more,” shares the guitarist/vocalist. The brilliant “North Star” features Marion Meadows on soprano saxophone. The synergetic interplay between Brown and Meadows is a high point as the two radiate joy. Brown’s buttery guitar lines and smooth vocals caress the laid back fat groove of “Very Woman.” “When the one that you choose is all that! It’s very plain… Live out your destiny with them,” advises Brown.  The ear-catching and soulful ditty  “Liberated,” finds Norman Brown joining forces with his brothers in music and BWB members, trumpeter Rick Braun and saxophonist Kirk Whalum (who also guests on “Remember Who You Are”). Let It Go closes with a memorable cover of the Glenn Ballard/Siedah Garrett Michael Jackson hit produced by the King of Pop and Quincy Jones, “Man In the Mirror.” Brown is showcased on acoustic guitar and is joined by Sounds of Blackness for a emotive performance fitting for a close to a transformational journey.

Listen to “Holding You” featuring Chante’ Moore

With the release of Let It Go, Norman Brown not only delivers an uplifting musical tribute to life but he reminds us of our own instinctive divine light. Brown also affirms that the innovation, virtuosity and musical vision that we fell in love with years ago is full throttle ahead He concludes, “Our being is two parts and the only way for success in life is through the proper balance of the two.” So sit back, listen, open your heart, mind and soul and Let It Go.


Kimberly Kennedy Charles (DJKKC) is trying to navigate life (in a minivan, no less) as a wife, mother, caregiver to Grandmother and writer in the 'burbs of Atlanta.

Music News: En Vogue Joins eOne Music & Announces 2017 Album Release

Monday, March 27th, 2017

En Vogue, one of the top 5 selling American female music groups in history, has signed a worldwide deal with Entertainment One (eOne). The group’s new album, entitled Electric Cafe, will be released this summer with a U.S. summer tour to coincide with the release. Current members Cindy Heron-Braggs, Terry Ellis and Rhona Bennett are kicking off an international tour performing at the Cape Town International Jazz Festival in South Africa and then heading to Europe for the next month. Full dates are below.

En Vogue has sold over 20 million albums worldwide and has also amassed over 30 million streams and over 26 million YouTube views of the group’s top 6 hit singles alone, the R&B and Pop smashes “Hold On,” “Free Your Mind,” “Never Gonna Get It,” “Giving Him Something He Can Feel,” “Don’t Let Go,” and “Whatta Man” (with Salt N Pepa). En Vogue has won seven MTV Video Music Awards, three Soul Train Awards, two American Music Awards, and received seven Grammy nominations.

Alan Grunblatt, President of Urban and Rock/Metal, eOne Music, says, “I have been a big fan over the years, but when I saw their incredible performance on the Showtime Live at The Apollo Special in 2016, I knew we had to sign them to the eOne label. The group is another great addition to our fantastic roster.”

Adds Cindy Heron-Briggs, “We are excited to join the Entertainment One Music family of artists. Our new release has been a long time coming and we can’t wait to share where we are musically today! Hope our fans will enjoy.” Terry Ellis affirms, “We’re ready to get busy and look forward to partnering with Entertainment One Music.”

International tour dates:

March 31 & April 1 – Cape Town International Jazz Festival
April 6 – Dublin, Ireland – Vicar Street
April 7 – London, UK – KOKO
April 8 – Manchester, UK – Academy 2
April 10 – Den Haag, Holland – Paard van Troje
April 12 – Hamburg, Germany – Mojo
April 13 – Amsterdam, Holland – Paradiso
April 15 – Nijmegen, Holland – Doornroosje
April 17 – Koln, Germany – Gloria
April 19 – Stockholm, Sweden – Nalen
April 21 – Copenhagen, Denmark – DR Concert House Studie 2
Arpil 23 – Frankfurt, Germany – Gibson
April 24 – Paris, France – La Cigale
April 25 – Bremen, Germany – Schlachthof


Kimberly Kennedy Charles (DJKKC) is trying to navigate life (in a minivan, no less) as a wife, mother, caregiver to Grandmother and writer in the 'burbs of Atlanta.