2014 Summer Spirit Festival – Tickets – Merriweather Post Pavilion – Columbia, Maryland – August 2nd, 2014

2014 Summer Spirit Festival

CDE Presents

2014 Summer Spirit Festival

Ms. Lauryn Hill, Janelle Monáe, Meshell Ndegeocello, Raheem DeVaughn, Talib Kweli, Junkyard Band, Backyard Band, RDGLDGRN, George Tandy Jr, Roman GianArthur, DJ Quicksilva

Sat 8/2/14

Doors: 2:00 pm / Show: 3:00 pm

$46.00 - $125.00

This event is all ages

Additional Artist(s) to be Announced*

2014 Summer Spirit Festival
2014 Summer Spirit Festival
It’s that time of year again: when the best of the hip-hop and R&B worlds join forces on the Merriweather stage to bring you Summer Spirit Festival! Each year’s lineup is always solid, but we might have outdone ourselves this year. Ms. Lauryn Hill, after making the comeback of the century with her winter tour, will headline the festival with Electric Lady Janelle Monáe. They’ll be joined by other supreme talents like Raheem DeVaughn and Talib Kweli, among many more. Grab your ticket today and ensure that your summer has a heavy dose of soul.
Ms. Lauryn Hill
Ms. Lauryn Hill
Hip-hop queen and international soul sensation Lauryn Hill is an ‘artist’ of the truest type, inspiring millions as a singer, songwriter, rapper, producer, musician and film actress. Born in South Orange, New Jersey, Hill early established herself as one of music’s most brilliant vocalists while performing in The Fugees, with songs such as “Killing Me Softly with His Song” solidifying the singer’s worldwide acclaim. Her incredible career as a solo artist began in 1998 with the release of her six-time platinum The Miseducation of Lauryn Hill, a neo soul masterpiece which by the end of the year topped virtually every “best of” list in the industry and took home a staggering five Grammy Awards - Album of the Year, Best New Artist, Best Female R&B Vocal Performance, Best R&B Song ("Doo Wop (That Thing)") and Best R&B Album - establishing Lauryn Hill as the first woman to ever win five of the awards in a single year.
Janelle Monáe
Janelle Monáe
At long last, Janelle Monae -- the inimitable, award-winning, songwriter, performer, producer, CoverGirl and avant-garde funkstress -- is back again, ready to release her another full-length "emotion picture" to the masses. But as always, Janelle is not ready to talk about music just yet. She'd rather talk about her past and how those fertile powerful experiences forced her to create her coming album "The Electric Lady."

According to Monae, "I went back to Kansas City after my tour for my debut album 'The ArchAndroid.' And when I looked around me, I decided I wanted to make a raw, revealing album all about my life and the things I'd experienced in my community -- about the laughter in the parks, the jams bumping in the cars, the jokes told over kitchen tables, all the life and warmth and struggles I felt there. But I also wanted to figure out how to take Kansas City to the future...like a surreal Parliament album with lyrics by Octavia Butler and album art by Salvador Dali."

As time passed, Monae found herself increasingly drawn to the stories and experiences of the strong women in her life, and their ability to electrify and inspire individuals to do the right thing. "At some point I realized that the true heart and glue of the community were the women. My mama and grandmamma and my aunties and who to this day, are some of the most powerful beings on the planet. Under their guidance, I went from cleaning houses everyday in my maid outfit to the world-traveling performer I am today. They made me believe in myself enough to move from Kansas and pursue my dreams. A lot of folks think I work hard onstage because of James Brown. But they've never met my mother!"

Inspired by her mother and other matriarchs, Monae began to write lyrics and songs about rebel women who refused to be marginalized and dared to live their life boldly and unapologetically in a distant future. According to Monae, "When I returned to the studio, I felt I had to do my part. Through my art, I had to help create the woman I wanted to see around me. Incidentally, during concerts, for years I'd been painting this woman's physique -- the silhouette of her hips -
I have hundreds of these paintings with the same feminine figure over and over...this glowing Technicolor woman...seen from behind...regal, powerful and electric...My colleagues and friends told me to name this mysterious figure because she seemed to be a totem, a powerful symbol for me. So I named her 'The Electric Lady,' and that's where the album's title came from."

As she began the audacious task of following up on her acclaimed debut LP "The ArchAndroid" -- an album that topped critic's lists in 2010 all over the world -- she took along some trusty, brave companions: the original music producers of "The ArchAndroid," Nate "Rocket" Wonder and Chuck Lightning of Wondaland Productions. And together they crafted a new strain of jamming music they called "ish." In the hip hop community, "ish" is a euphemism for the profane four-letter word for excrement, but as Monae explains, they set out, like proverbial alchemists, to turn lesser substances into gold. "This entire project was produced by Wonder & Lightning. We set out to make a soundtrack for the Obama era, something that spoke to the beautiful, majestic and revolutionary times that we're living in. The musical language we're speaking now is called ish. In the African-American community, we've been turning left-overs (like chitlins) and social depredation (like poverty) into delicacies and fine art for years. So we just set out to turn the rubbish all around us into something beautiful. Ish is the bowtie on the funk."

From the sound of "The Electric Lady," ish is an urgent and dangerous form of dance music, rebel music that forces one to fight, jam, and fall in love. Like on "The ArchAndroid," the sonic textures of the album are varied, and the past and present come together to explode and create a mind-blowing future for pop and soul music. For example, wondrous strings reminiscent of Curtis Mayfield and Bernard Herrmann orchestrations abound, Hendrixian guitar solos soar, Outkast-like raps float over punk rock riffs; defiant socially-conscious lyrics extol the virtues of soul-searching and fighting for change, while the funk simply melts your speakers: 808s boom and Prince-like synthesizers squiggle in your earhole, making it veritably impossible to just sit still.

"As we like to say at Wondaland, the booty don't lie. The booty always obeys the LAW OF THE JAM. You can't hate on something that makes your booty move, that makes you jam and have a good time. And the booty will always tell you the truth of a given situation. You can always tell what a community or a person truly believes by just studying the actions of their booties at any given time. They can claim they love this other person or culture, or believe in this peaceful god, or really want freedom, but do their actions prove it? Their actions, what their booties do or don't do, that tells you the truth."

The recording process was fun, rewarding, but also strained by Monae's newfound need to be more courageous and personally revealing in her storytelling. "To do this album properly, I had to revisit some turbulent chapters in my life, deal with some questions and experiences left over from my childhood. There were so many things I had questions about. Sexual things. Racial Things. Gender things. Memories. Things I thought I had left behind me. New things I was discovering. But ultimately I found myself emulating my mother and grandmother and using their strength to surpass my fear. I had to do that before I could write and sing and perform these new songs convincingly. I'm not the kind of artist that can perform something night after night, if I don't believe in it, or if it's not true to me or my experience."

Monae was also inspired and emboldened by her truly amazing collaborators: Roman GianArthur, the wunderkind and Wondaland Arts Society artist-in-residence that, once again, provided the album's magisterial overture; the soul star Miguel, who crooned his way effortlessly to the stars and helped provide a prime baby-making moment on the lush ballad "Primetime"; Erykah Badu, her self-ascribed "twin," who used her cosmic grace and poise to help turn the first single "Q.U.E.E.N." into a female empowerment anthem and a runaway smash; and none other than her lifetime hero, the legendary Prince, who contributed in countless ways, musically, vocally, and most importantly, spiritually -- by conversing with her from his purple telephone in Minneapolis, whenever she was weak and unsure which artistic direction to go.

As she worked, Monae found herself, as always, drawn again into her other love, science fiction, and the exploits of Cindi Mayweather, the heroine of her first EP "Metropolis." In fact, the new album serves as Suite IV and V of her Metropolis saga, and in this chapter, the android hero Cindi moves from self-realization to self-actualization: from the knowledge and owning of her unique superpowers, to actually using them to better the world around her. Monae says, "I like to think you can hear me using my superpowers this time. And not just talking or wondering about them. "The Electric Lady" is like the big action sequence in the third act of an epic film. Every party this album starts, or every baby born because of it, is actually another victory against the Great Divide."

As she continued to work on the album, Monae found herself displaying these superpowers in new ways in the recording studio, and found that some of her best creative work was done when she was running entire production sessions by herself. "There were key moments like the rap on Q.U.E.E.N. where I needed to be alone. I dimmed the lights, setup the mic and engineered myself. I just let the words and sounds flow through me. Overall, I've been feeling stronger as a producer, as well as writer." In addition, on this album, Monae had the chance not only to produce herself, but also to produce her collaborators Miguel, Erykah Badu and Prince. "I'm still humbled by the collaborations and partnerships I have on this album. I actually got the chance to produce and write for some of my heroes. And through my recording label the Wondaland Arts Society, I've been executive producing the artists I love. Wondaland artists such as Deep Cotton and Roman GianArthur. I'm proud of the Wondaland movement, and this new phase in my life as an artist, producer, and businesswoman."

The fruits and rewards of this artistic journey can be heard in ample measure on the album's courageous, outrageously funky first single "Q.U.E.E.N," which features the queen herself, Erkyah Badu. "Erykah's one of my best friends, and we talk about everything. That particular song really developed from a deep conversation we were having about a woman's place in the world. And how we were expected to be freaks and muses and virgin goddesses all at the same time by patriarchal cultures and religions. Rather than answer all the questions we just decided to jam to them and let the booties decide."

Now that the album is complete, Monae finally has a concrete formula for the Electric Lady that she summed up by turning her first single "Q.U.E.E.N." into an acronym. In Monae's own words, "An Electric Lady is Quirky, Unafraid, Electric, Epic and Nicety. That's when you're being nice and nasty, noble and naughty all at the same damn time. Because even superheroes need a glass of red wine. Even rebel women need a kiss every once in a while. What's proper and acceptable behavior simply depends on the time of day... and the kind of week you've been having."
Meshell Ndegeocello
Meshell Ndegeocello
**Featuring Songs from Her New Album, Comet, Come to Me
along with a special opening set of
Songs from Plantation Lullabies, Peace Beyond Passion, Bitter and Cookie**

Mercurial and masterful, Meshell Ndegeocello has survived the best and worst of what a career in music has to offer. She has eschewed genre for originality, celebrity for longevity, and musicals trends for musical truths. She has lived through the boom and bust of the industry and emerged just as she entered - unequivocally herself. Fans have come to expect the unexpected from Meshell, and faithfully followed her on sojourns into soul, spoken word, R&B, jazz, hip-hop, rock, all bound by a lyrical, spiritual search for love, justice, respect, resolution, and happiness.

Groove driven, infectiously melodic and lyrically meditative, Meshell's latest album, Comet, Come To Me, finds her returning to the same well of creativity that launched her career. Her 11th release, it is possibly a culmination of all previous work: lush, vocal, seeking, wise, collaborative, and driven by the signature bounce and precise pocket of Ndegeocello on bass. The album features special guests Shara Worden (My Brightest Diamond) and Doyle Bramhall, along with long-time collaborators Christopher Bruce (guitar) and Jebin Bruni (keys), and Earl Harvin on drums. Assured of her place as an authentic musical thinker and an uncompromising artist, Comet continues to discover, examine, and explore all that music has to offer her and how she can return the gift.

"Comet, Come To Me was a little labor but a lot of love. It was made with my favorite collaborators, and it felt good to channel the sounds in my mind after having Nina in residence for a while," " says Meshell, referencing her last album, a tribute to Nina Simone. She is especially inspired by the collaborative process that comes with making an album. "When I'm writing songs and recording the demos, I'm having my own awesome experience in my attic, or on a plane, or in a hotel room, just making my beats on my laptop. Then I get together with these people that I have an intimate musical relationship with, and we bring the songs to life."

In addition to the twelve new tracks on Comet, Come to Me (15 including the bonus tracks available on her website), fans of Meshell's will no doubt be intrigued by her cover of Whodini's "Friends", a seminal hip-hop track originally released in 1984. Commenting on her inspiration for choosing this song, Meshell explains: "I play with a lot of people who play improvisational music and jazz, and I thought it would be fun to take something that they might think of as easy or straight-forward, and do something different with it. I also like how language is morphing, and 'friends' is such a malleable word, I don't even know what it means anymore."

A vast array of influences have informed all of Meshell's albums, and there are traces of her native go-go, hip hop, R&B, new wave and punk in each. Each album has been a step away from the last, each used as a chance to investigate and integrate new sounds and ideas, and fans have been treated to everything from the deep-funk of Plantation Lullabies to the raw and confessional Bitter to the melodic, lyrical Weather. Possessed with instrumental gifts as diverse as her interests, Meshell composed, arranged and produced a jazz record in 2005. Her most recent release paid homage to Nina Simone, a kindred musical spirit and among Meshell's most cherished inspirations.

In addition to her own recording, Meshell has been expanding her repertoire as a producer, producing three albums in the past year: British/Trinidadian poet and musician Anthony Joseph's new album, Time; Jason Moran's Fats Waller Tribute, All Rise: A Joyful Elegy For Fats Waller (due Sept 2014); and a new album by Grammy-nominated Ruthie Foster, also set for release this fall.

A bass player above all else, Meshell brings her warm, fat, and melodic groove to everything she does and has appeared alongside the Rolling Stones, Madonna, Alanis Morrisette, James Blood Ulmer, The Blind Boys of Alabama, Tony Allen, John Medeski, Billy Preston, and Chaka Khan.

As for her own bass-playing influences, she credits Sting, Jaco Pastorius, Family Man Barrett, and Stevie Wonder. Meshell was the first woman to be featured on the cover of Bass Player magazine and remains one of few women who write the music, sing the songs, and lead the band.
Raheem DeVaughn
Raheem DeVaughn
The Great Recession. The War on Terror. Global warming. The Earth-shattering quake in Haiti. Between man-made messes and natural disasters, it seems like we’re all catching hell these days. Rather than shy away from the financial, physical and emotional challenges so many of us face, Grammy-nominated singer/songwriter Raheem DeVaughn tackles them head on with The Love & War MasterPeace, his most ambitious album to date.

“The Love & War MasterPeace is one half social commentary, one half love,” explains the soul singer. “With everything going on, it just feels like the right time for it. As a country I think we’ve made some progress, but we remain divided —it’s still poverty versus wealth and good versus evil. We’re separated by skin color and religion, politics and control over natural resources. I think of this album as a natural extension of where I am personally and where we are as a nation.”

To connect the thematic dots, DeVaughn tapped Princeton professor and public intellectual Dr. Cornel West for a series of poetic, politically charged interludes.

The unlikely pair met at the 2007 BET Hip-Hop Honors ceremony and have kept in close touch ever since. “Dr. West has an infectious spirit. Even if you don’t know who he is, he commands you to listen,” says DeVaughn. “He’s in tune with his power and he uses it for good.”

Largely produced by Kenny Dope, The Love & War MasterPeace is combination of song that are half socially conscious and half love. For example, on the bluesy “Soldier’s Story,” DeVaughn sings a dialogue between a nervous young man headed to Iraq and his worried mother. “That song was inspired by a friend of mine in Maryland,” he notes. “I saw him in the barbershop right before he left for Iraq. The next time I ran into him, he was missing both of his legs.”

For the breathtaking peace anthem, “Nobody Wins a War,” DeVaughn recruited a soul sonic force of R&B greats including Jill Scott, Bilal, Anthony Hamilton, Ledisi, Chrisette Michele, Citizen Cope, Dwele and Chico DeBarge. “I’ve always wanted to do a record like ‘We Are the World.’ When [longtime producer] Kenny Dope played me the track, I was like ‘Yo, this is that record!,’” DeVaughn recalls. “I made a crazy wish list of people and personally reached out to everybody. Most of them said yes. The result is big.” Rounding out the politically minded thread of the album musically are wicked verses by Ludacris, who appears on the lead single “Bulletproof,” Bun B (“Wing & a Prayer”) and Damien “Jr. Gong” Marley (“Revelation 2010”).

Of course, the man behind the Grammy-nominated smash hits “Woman” and “Customer” gives equal play to matters of the heart. Standouts from The Love & War MasterPeace include “I Don’t Care,” the Ne-Yo-produced second single about maintaining a relationship in the face of haters; “The Greatness,” which features Wale and picks up where “Woman” left off; and “Calling Me,” a slinky Norman Connors-style romp that exploits the full power of DeVaughn’s falsetto. DeVaughn displays his playful side on “Lose Control,” a sprawling, 11-minute house party jam featuring underground firestarter Phil Ade, and “B.O.B.”

The son of renowned jazz musician Abdul Wadud, DeVaughn grew up in Maryland and cut his teeth performing in clubs throughout the Washington, D.C. area. After several indie releases, which he sold on the streets and at his shows, the crooner signed with Jive Records and dropped The Love Experience, his slept-on 2005 debut. DeVaughn broke through commercially with 2007’s Love Behind the Melody, which earned him two Grammy nods, two BET J Awards for “Best Male R&B Artist” and “Album of the Year” as well as a prime slot on tour with Jill Scott.

Although he’s become one of modern soul’s most beloved artists, DeVaughn continues to grind. In addition to releasing 8 mixtapes over the past 7 years, he’s co-written songs with funk legend Bootsy Collins, and will be featured in his first acting role playing blues singer Andrew Tibbs, in Who Do You Love, a biopic about Chess Records set to release this spring. He also leads the DMV Movement, an artistic union of D.C.-Maryland and Virginia artists, including Wale and Phil Ade (who is the first signed artist from his newly formed 368 Music Group record label). DeVaughn has taken a philanthropical stance by partnering with the Centers for Disease Control and Prevention to produce a series of PSAs about HIV/AIDS prevention.

While narrow minds might find it difficult to reconcile all of DeVaughn’s passions, he remains firmly committed to being every bit of himself.
Talib Kweli
Talib Kweli
The Brooklyn-based rapper earned his stripes as one of the most lyrically-gifted, socially aware and politically insightful rappers to emerge in the last 20 years. His travels around the globe as one of rap’s most in-demand performers combined with his conversations with political activists and his genre-straddling work with Idle Warship and others caused Kweli to realize that he was limited in a sense, a prisoner of sorts of his own success as one of the world’s best rappers with something significant to say.

“My music has been associated with those types of causes, with positivity, spirituality, intelligence and being thought-provoking and such,” he says. “I think sometimes people get caught up in that part of me as an artist and don’t necessarily understand the musicality or fully appreciate the music and the entertainment value behind what I do. I tried to stretch my wings a little bit and bring something that was less beholden to the world of hip-hop and more existing in the world in general.”

The result of this artistic growth and exploration arrives with Kweli’s dynamic Prisoner Of Conscious AKA P.O.C., an artistic tour de force that signals the start of the next chapter of Kweli’s remarkable career. The BK MC spent more time working on Prisoner Of Conscious than any of his other albums, a three-year journey that found him exploring new vibes, joining in some unlikely collaborations and taking him to foreign lands.

Produced by Symbolyc One (Kanye West, Ghostface), the title track’s alternatively rap and rock-based beat provides a distinctive platform for Kweli to deliver rhymes that detail his artistic awakening, while producers Sean C & LV (Jay-Z, Raekwon) created a Marvin Gaye-esque vibe for “Come,” a cut featuring Miguel that showcases Kweli trying to convince a series of women to do things his way.

Then there’s the dramatic, piano-driven “Before He Walked,” which showcases passionate vocals from singer Abby Dobson and includes a verse from possibly the most noteworthy guest on Prisoner Of Conscious: Nelly. Both Kweli and The St. Louis rapper recount the importance music has had in their lives on the stirring song, which was an outgrowth of conversations about music and life Kweli and Nelly had at Kweli’s Los Angeles residence.

“Nelly is somebody I’ve known and have been friendly with throughout the years in this business,” Kweli says. “Nelly has always been an example for me because a rising tide raises all boats. Nelly is an artist who is polarizing at times because of the ‘Tip Drill’ video to the boycotts he’s endured at colleges, but I know him as a person, and he’s a great person.”

Elsewhere, the driving “Ready Set Go” with singer Melanie Fiona features Kweli’s ever-impressive clever verbal gymnastics, which are also on display on the stark Busta Rhymes-guested and RZA-produced “Rocketships.”

Kweli shifts gears on “Favela Love.” Inspired by and created during a trip to Sao Paulo, Brazil, the breezy song features crooning from Brazilian singer and actor Seu George (City Of God, The Life Aquatic with Steve Zissou). Kweli and George met in the studio, leading Kweli to deviate from his original concept for the song.

“The song went from being about a woman to be being about Brazil, about the favela, about loving to come there,” he reveals. “The woman is really a metaphor for the place. That’s why it’s called ‘Favela Love.’ When I was telling Seu George about that, he started singing about how much he loves Brazil and where Brazil fits in the world.”

Whether working with Mos Def as one-half of Black Star, partnering with producer Hi-Tek for Reflection Eternal, releasing landmark solo material or collaborating with Kanye West or Madlib, Kweli commands attention by delivering top-tier lyricism, crafting captivating stories and showing the ability to rhyme over virtually any type of beat.


In particular, Kweli showed his artistic reach in Idle Warship. Teaming with longtime collaborator and acclaimed singer Res, Kweli began getting out of his sonic and creative comfort zone on the group’s 2009 mixtape Party Robot and its debut album, 2011’s Habits Of The Heart.

Idle Warship’s music challenged Kweli and led him to a new artistic space. “I like the position I’m in,” he says. “I feel like I’m a connector, a leader. I feel like I’ve led by example and I want to continue to do that. I like the fact that I’m in a position where cats who are coming out and making music that I enjoy are interested in my music and are interested in my influence. It’s a great feeling.”

Kweli also has the high-powered Attack The Block mixtape with DJ Z-Trip set to arrive and will be focusing on making his Javotti Media (which released his 2011 album, Gutter Rainbows, and is named after his paternal grandmother) into a media powerhouse that releases music, films and books.

But for now, Prisoner Of Conscious arrives as an artistic triumph, a collection that embodies Talib Kweli’s robust creative vision. “I wanted to put out an album that really can support the artist that I’ve become,” he says. “I’m a touring artist. I’m an artist that’s internationally known. I’m not just a local artist at this point in my career. I’m cognizant of the fact that what I do is beyond where it started. I’m trying to reach the apex of where I am now, but without turning my back on or dismissing what I’ve done before.”
Backyard Band
RDGLDGRN (pronounced red gold green) have already distinguished themselves in the DC music scene. Their highly stylized sound (that Go Go drum beat- a distinct DC rhythm) takes hip-hop infused punk and indie rock to create something refreshingly unique, is getting attention from fans stretching far beyond the DC niche scene.

Comprised of three members who identify as Red, Gold, and Green, RDGLDGRN began making music in their basement studio, drawing from a vast and almost ironically diverse pool of influences like Chuck Brown, Vampire Weekend, Outkast, The Neptunes, and Bad Brains. What many might consider a wildly ambitious, even impossible task to pull off, RDGLDGRN managed to effortlessly combine genres of music to create something new, something all their own, and something that has the music industry buzzing with excitement.

The band gained widespread recognition when they self-released a song called "I Love Lamp" on YouTube -- a way for friends and local fans to listen to their music. They had no idea that within just a few weeks, the video would have over 100,000 views and the attention of many notable figures both in the industry as well as on the blogosphere.

Producer Kevin Augunas (Edward Sharpe and the Magnetic Zeros, Cold War Kids) quickly took notice of the band, and in addition to producing RDGLDGRN's debut, also signed them to his label, Fairfax Recordings (Gotye, Tribes) in a joint venture with Universal Republic Records.

Upon entering the legendary Sound City Studio in Van Nuys, CA, a studio where Fleetwood Mac recorded 'Rumours' and Nirvana recorded 'Nevermind', RDGLDGRN were fortunate enough to have captured the attention of Nirvana alum, Foo Fighters front man, and hometown hero, Dave Grohl who recorded drums on the entire album.

It wasn't just rock royalty that took notice of RDGLDGRN, the hip-hop community was also taken by the band's unique sound. Genre-bending artist, producer, and designer, Pharrell Williams (N.E.R.D., The Neptunes), co-wrote and co-produced the standout track "Doing the Most," lending his distinct style to one of the most unique tracks on the album that showcases Green's undeniable talent for rapping and singing infused with Pharrell's style of unusual beats and musical wit.

The result is a debut that truly demonstrates the group's ability to straddle genre lines, to combine musical polarities and unite both artists and fans over music that's multifaceted. However, it's not the musical intricacies, or the obscure combination of influences, that make RDGLDGRN who they are. It's their ability to create something entirely fresh and new, something that's often overlooked in this state of the industry where musicians try to stay afloat by following trends. If you ask RDGLDGRN who their biggest influences are, they'd tell you the Beatles and Bob Marley. And while RDGLDGRN don't exactly sound like those legendary artists, they do share in common something less tangible- they all have made it a point to carve their own path by creating something entirely unique.
George Tandy Jr
George Tandy Jr
George Tandy, Jr's debut radio release"March" is currently ranked #3 on the Billboard Adult R&B Chart. "March" is taking the airwaves across the country by storm and is currently a Top 10 song at more than fifty radio stations, currently in rotation in major markets such as New York, Los Angeles, Chicago, San Francisco, Dallas, Houston, Washington DC, Philadelphia, Atlanta, Miami, Detroit, SiriusXM - Heart and Soul, as well as, The Steve Harvey Morning Show and The Tom Joyner Morning Show. The recent premiere of the official video for "March" has the record industry and airwaves buzzing with intrigue. And, this is just the beginning...

George Tandy, Jr. creates brilliant music that is rich with honesty, vulnerability and raw emotion. He is not your typical church singing choir boy or even a classically trained vocalist or pianist, but his messages are conveyed clearly and powerfully. Fans often refer to his voice as hypnotizing and pure. Each piece of music creates an inner journey to a time and place that is unique to the listener. Whether it is about sex, relationships, or worldly affairs you will feel every moment in the song. You can call it R&B, Folk Music or even call it Jazz. Some call it Soul with a hint of Hip Hop and note his Classical music influences. No matter what you call it, you are correct every time. George personally prefers to call his music "Soulternative." Regardless of genre, his sound is certainly unique and George is determined to gain fans, supporters, as well as, new friends, one song at a time. He believes that music heals people. Soon people all across the world will be proudly stating, "I am TeamTandy!" once they get a taste.

George Tandy Jr. simply comes alive on stage! He creates songs with a witty and introspective mind, and performs them with an electrifying charm that absolutely takes over any venue! Born into a family of artists, music lovers and entertainers George developed a passion for entertaining. Sounds have always intrigued him. As a child you could find George listening intensely to any genre of music, attempting to pick out every instrument in the song. He was inspired early on by his father, George Tandy Sr., a well accomplished jazz musician and producer. Thru the years George have developed the tools and confidence he needed to realize his dreams by cultivating his writing skills, his ear for melody, and his natural ability to entertain. After years of writing and recording songs with his extremely talented siblings as well as training, performing, competing, and touring the world as a hip hop dancer, GTJ decided to venture out as a solo artist. Armed with only his voice and his keyboard he took to the stage. The south Florida spoken word poetry nights and "open mic" scene gained him thousands of dedicated supporters.

George Tandy, Jr. has combined his talent with an independent label, RedStar Entertainment (A Division of Redline Media Group).
With the right team now in place the sky is the limit! Be on the lookout for songs from his first solo project entitled, "The Foundation."

Be a part of TeamTandy!
DJ Quicksilva
DJ Quicksilva
Venue Information:
Merriweather Post Pavilion
10475 Little Patuxent Parkway
Columbia, Maryland, 21044