Natalie Prass, a Virginia native now living in Nashville, opened her set with “Oh My”, a bass-heavy, 80’s-influenced number that also opens her new album, The Future and the Past. What follows in her live set and on her album is an examination of genre. Prass is able to seamlessly float between jazz, pop, R&B, and even her “attempt at a country song,” and the packed Wednesday crowd at the Bowery Ballroom was with her every step of the way.
Prass has the unique ability to pay homage to her many musical influences while managing to never just sound like a carbon copy. The highlight of the night came when her backing band left the stage and left Prass alone on the piano to sing “Far From You,” a genuine and heartfelt tribute to Karen Carpenter. Continuing to show her love of female singer-songwriters, she told the crowd she had never heard of Dolly Parton before she moved to Nashville, and then launched into a song called “Christy,” explaining how she had wanted to write her own “Jolene.”
While her musical stylings are not hard to trace, Prass seems to make her own voice more powerful and succinct through this history. Even while joking about being called a “Disney Princess” (and she certainly has the voice of a young ingenue), it is apparent that this is a performer who put out the exact record with the exact sound that she wanted, at the exact right time. While wearing a Dolly Parton-esque short, colorful dress, she repeatedly chants “we can take you on” on “Hot for the Mountain” – proving that the current political climate was perhaps the impetus to putting out this album when she did.
Even with political undertones, more than anything, this album is fun, especially to see played live. The genre-twisting makes every song sound different from the next, with Prass’ controlled voice and presence tying it all together. Her all male band seemed to have as much fun playing these songs (including her excellent lead guitarist) as Prass herself – a true testament to the writing. Be sure to check out Natalie Prass on iTunes or Spotify or visit her website, here!
Another highlight of the night was the opener, Becca Mancari. Her set was a perfect companion to Prass. Playing a lot of new songs, Mancari has the rare ability to capture an audience even as the opening act. (She has also opened for big acts such as Joseph and Julien Baker in the recent years). Like Prass, she is able to show her control of multiple styles of music and give a further look into the nuances of the Nashville music scene. Going from “Golden”, a slow tear-jerker of a ballad, to the fun, guitar-heavy “Summertime Mama”, Mancari showed a range and control of songwriting even with only one record out (but a new one is on the way).
Mancari regaled the crowd that four years ago, she was working as a line cook. It was Natalie Prass who texted her to ask if she would go on tour with her, with only a few hours notice. It was a full-circle moment for Mancari who plays with a genuine and refreshing earnestness.
Mancari and Prass are both proof that talent finds a way to be seen, and that music genres are more of a general guideline that has always been made to be expanded and examined and torn down. Nashville should be proud to be represented by such modern talented songwriters.
All photos copyright and courtesy of Monica Simoes.
