Mini video clip from front row, center, Tipitina's: 12-27-2016
I would never be so rude as to boo an opening act off the stage, but as I age, and want to get to bed relatively close to midnight -- even on big show night out night -- openers sometimes feel like an unnecessary delay that will push the headliner's start back so late, that I'll only get a half night's sleep.
Layla McCalla is the opposite of an opening act that is mere parsley on the plate, as you await the main course.
She is captivating, amazing, super talent.
She had us at the first song. So much heart, soul and big music from a little trio.
Living in Miami, we have lots of Haitian friends and are somewhat familiar with the music of Haiti.
But McCalla, Haitian rooted/New York raised added a whole new dimension to Haitian Creole and French singing strained threw New Orleans' incomparable musical gumbo.
She's great with the audience as well. Opening up her heart and sharing just enough details about her life, heritage, the meaning behind the lyrics, the verve behind the music.
She played maybe 45 minutes. It went by like 10.
We half hoped she would join Dr. John or even cook up some unheard of approach to coming out and playing after the headliner was done, the house lights were up and a few dozen loyal fans stuck around to hear her.
We would see her headlining a show in a heartbeat.
She's new artist of the year, in our book, so long as it isn't an insult to call a classically trained, young veteran artist a "newcomer."
--courtesy of her website:
Leyla McCalla is a New York-born Haitian-American living in New Orleans, who sings in French, Haitian Creole and English, and plays cello, tenor banjo and guitar. Deeply influenced by traditional Creole, Cajun and Haitian music, as well as by American jazz and folk, her music is at once earthy, elegant, soulful and witty — it vibrates with three centuries of history, yet also feels strikingly fresh, distinctive and contemporary.
Leyla’s debut album, Vari-Colored Songs: A Tribute to Langston Hughes, was named 2013’s Album of the Year by the London Sunday Times and Songlines magazine, and received additional raves from a number of other publications, including the New York Times, Boston Globe and Offbeat, for its haunting mixture of music and message.
Layla McCalla is the opposite of an opening act that is mere parsley on the plate, as you await the main course.
She is captivating, amazing, super talent.
She had us at the first song. So much heart, soul and big music from a little trio.
Living in Miami, we have lots of Haitian friends and are somewhat familiar with the music of Haiti.
But McCalla, Haitian rooted/New York raised added a whole new dimension to Haitian Creole and French singing strained threw New Orleans' incomparable musical gumbo.
She's great with the audience as well. Opening up her heart and sharing just enough details about her life, heritage, the meaning behind the lyrics, the verve behind the music.
She played maybe 45 minutes. It went by like 10.
We half hoped she would join Dr. John or even cook up some unheard of approach to coming out and playing after the headliner was done, the house lights were up and a few dozen loyal fans stuck around to hear her.
We would see her headlining a show in a heartbeat.
She's new artist of the year, in our book, so long as it isn't an insult to call a classically trained, young veteran artist a "newcomer."
--courtesy of her website:
Leyla McCalla is a New York-born Haitian-American living in New Orleans, who sings in French, Haitian Creole and English, and plays cello, tenor banjo and guitar. Deeply influenced by traditional Creole, Cajun and Haitian music, as well as by American jazz and folk, her music is at once earthy, elegant, soulful and witty — it vibrates with three centuries of history, yet also feels strikingly fresh, distinctive and contemporary.
Leyla’s debut album, Vari-Colored Songs: A Tribute to Langston Hughes, was named 2013’s Album of the Year by the London Sunday Times and Songlines magazine, and received additional raves from a number of other publications, including the New York Times, Boston Globe and Offbeat, for its haunting mixture of music and message.
