In 2017, he co-wrote and produced Ravyn Lenae’s entire EP Crush” which was released on February 2018. He’s helping define this one. The tour will be making stops at venues across North America through the end of October.
steve lacy nyc tour – Playground
Steve Lacy: Conversations is a collection of thirty-four interviews with the innovative saxophonist and jazz composer. The Internet ‘s captivating guitarist Steve Lacy has released a sexy and magical new track, “N Side.” It’s smooth and awash in colors and is the kind of double-meaning tune that’s either excessively adorable or intentionally hilarious. Either way, it’s a welcome taste of what the musician has to offer ahead of what we hope to be his sophomore album coming out. The world is well due for some more fresh sounds from Lacy.
Apollo XXI is nothing new, grand or game-changing in terms of what Lacy’s bringing to the music scene or his discography. But it’s an impressive start to a solo career produced entirely on an iPhone at 21 years of age. Through his warped synths, mature lyricism, wispy guitar and flawless falsetto, Steve Lacy proves he’s an act worth reckoning with, presenting himself as truly as he can as an independent artist. As a debut, this serves as a definitive statement on Lacy’s unwavering potential to make an impact in music — a task he will undoubtedly commit to given the excellency of Apollo XXI.
His age perhaps gives him a puppyish energy, and he gads about from style to style. Love 2 Fast is slacker indie rock, a bit like Mac DeMarco , but topped with one of Lacy’s most full-throated vocal lines, recalling Miguel’s alpha-laconic psychedelic soul. Basement Jack is breezy summertime rap. Amandla’s Interlude is a lovely violin instrumental. Guide is like Prince delivering relationship advice over post-punk pop. 4ever has its two bars of gospel looped a la Madlib. N Side is as sensual as D’Angelo or Maxwell, but offset by cheap drum machines and a central line – Tell me is it inside” – that is both erotic and insecure. It all stems from the galaxy-brained freedom of a generation unencumbered with boring genre considerations – but where the Internet’s similarly emancipated mindset can lead them down tuneless corridors, when left alone, Lacy turns towards hooks.
Next came Steve Lacy’s Demos, his debut solo project. Also produced largely on an iPhone, Steve sang vocals straight into the microphone. Dark Red, the mixtape’s lead single, currently sits at 27 million streams on Spotify, and he’s since featured on tracks with Tyler, the Creator, Frank Ocean and Blood Orange. Most recently Steve appeared on a Vampire Weekend single, the band’s first ever guest-feature on a track, and has credits on Solange’s new album When I Get Home, one of the most intriguing musical projects of the moment.
Vampire Weekend’s fourth studio album Father of the Bride was released in May featuring the singles Harmony Hall ,” 2021 ,” Sunflower ,” Big Blue ,” This Life ,” and Unbearably White” The band also announced an upcoming run of North American tour dates at last night’s show, which kick off in May 2020. Watch Steve Lacy perform Sunflower” with the band live for the first time below.
He paged through the drum presets in GarageBand for a while before picking a messy-sounding kit. With two thumbs, he tapped out a simple beat, maybe 30 seconds long. Then he went back to the Rickenbacker. He played a riff he’d stumbled on while tuning, recording it on a separate GarageBand track over top of the drums.
They’d come from down the block and from miles away on the afternoon of May 24, the release day of Lacy’s debut album, Apollo XXI.” As the chopper landed, the singer, in a flowy unbuttoned pink shirt, strolled into the throng where he high-fived everyone he could reach before embracing his mother and his manager in the hangar.
At age ten, Steve began playing the guitar. At the time that I picked it up I was just in love with it. It was just cool I was playing a lot of Guitar Hero, and then it was like ‘Ok, I need the real thing now’.” At high school he joined the school band and met Jameel Bruner, the keyboard player for The Internet at the time, and what ensued is nothing short of musical history. Steve soon began work with The Internet on their third album, Ego Death. Fronted by Syd tha Kyd, the album won critical acclaim and a Grammy nomination for its sharp lyricism as well as the clever production, in which Steve had a big hand. Pitchfork described it as an offspring of early neo-soul pillars like Groove Theory and Maxwell’s Urban Hang Suite, bedroomy but also lush and progressive”. Rolling Stone noted that The best tracks fade away into gravity-defying instrumental outros that make Syd’s heartache feel sublimely serene.” Steve wasn’t able to tour the album with the rest of the band. He was still in school.
Steve Lacy swagged on the 9:30 Club stage wearing a pink linen suit, later changing into an ankle-length plaid dress. His style is incredibly eye catching but his sound really draws you in. His vocals feel like silk and his guitar skills regularly had me nodding like an approving judge on a talent show.
Let’s just start with Guide,” demonstrable proof that 21-year-old Steve Lacy, the Compton guitarist turned producer turned fledgling R&B sex god, has better command of his falsetto than singers decades his senior. There’s a lot to love here—the proggy drums, the farting bassline, the way Lacy’s voice floats above the surging bridge and then melts back into it, the way the whole song seems to sizzle. Guide” arrives five tracks into Apollo XXI, his cleverly titled debut that feels, throughout its 43 minutes, like a space flight destined for some swanky astro-lounge at the edge of the galaxy. So as space is vast and unknowable and pits man against himself, so too is adulthood. The same goes for emergent stardom.
The LP is approximately 43 minutes long and contains 12 tracks in total that fall somewhere in between the categories of R&B, Pop, and funk, but the exact genre of Steve Lacy’s songs is left a mystery. He has a very specific sound that is instantly recognizable through the GarageBand drums and the iconic bass melodies, and these two qualities are incorporated into Apollo XXI,” giving it the Lacy vibe his fan base has all grown to know and love.
Trewn, Pranav. “Steve Lacy – “Dark Red”” Stereogum. Archived from the original on March 23, 2017. Retrieved April 8, 2017. The black helicopter flew in from the east and hovered over the hot tarmac at Compton Municipal Airport. From the cockpit, Steve Lacy waved to the hundreds of fans rushing to greet him.
Lacy, who was brought on to play some keys on the record, ended up producing half of the tracks on Ego Death. Tracks 2 and 3 off of STEVE LACY’S DEMO. This year, Lacy is set to work on a new The Internet album, make more of his own work surely, and continue to link up with artists and bring some funk to their art.
An indie rock performer who released his first record, “Steve Lacy’s Demo,” in 2017. The Internet’s founding members Syd and Matt Martians have each released excellent solo albums this winter and now it’s their youngest bandmate’s turn: Steve Lacy.
It’s hard to capture the wandering mind of a love-stricken teenager, but on Dark Red” Lacy is able to articulate that adolescent confusion. That breakdown in the second half of the song (starting at about the 1:40 mark) is so damn perfect, I had to run it back like four times the first time I heard it.
At 21, Lacy already has a Grammy win, scores of A-list collaborations and a debut LP announcing the start of a career as a frontman, one with uncommon sensitivity and skill. That’d be a lifetime worth of work for most artists.
It would be a disservice to Steve Lacy to compare him to any other musical artists. He has skill and androgynous swagger reminiscent of Prince and David Bowie, but his work is a dreamy combination of rap lyrics, R&B emotion, rock-style guitar solos and the hooks and simplicity of bedroom pop.
Harper doesn’t change anything in the presentation. Staples is still backed by her regular three-piece band, including the great Rick Holmstrom on guitar, and three vocalists. His songs, however, neatly capture the essence of the 79-year-old singer. I’m a fighter, I’m a lover,” Staples declares on Anytime,” and we do get both sides. On the urgent, album-opening Change,” the old social-justice warrior still sees a need for action. On Brothers and Sisters,” she notes trouble in the land” and warns, Something’s got to give.” In the face of all that, the hymnlike title song, a duet with Harper, exudes quiet strength, preaching resiliency with a gentle reassurance.
Lacy’s virtuoso is bringing Neo-soul and R&B back into the limelight. Apollo XXI’s release party wasn’t so much a party as it was a line—a huge line of young people, stretching farther than the decorative lineup of light aircraft and helicopters, all waiting to buy Steve Lacy merchandise and get an autograph from the man himself. I’m usually not a fan of waiting in lines, but Lacy put in the effort to make the experience personable and (for the lack of a better term) Comptonesque. Lacy invited DJs, put a lowrider Chevy Impala on display, and hired Compton Vegan to cater soul food. I also realized that the venue doubled as a aeronautics museum; many attendees, in their tight fitted beanies and rolled up jeans, took their time to view the displays. If Lacy’s goal was to show his fans the old and new of Compton, he succeeded.
N Side” picks up right where Lacy’s most recent solo release, Steve Lacy’s Demo , left off in 2017. A slow, automated drum part carries the R&B beat forward with padded bass echoing behind it. Lacy turns up the reverb and lets his laid back singing float over it all, bringing some gentle strumming of electric guitar into the mix.
While this sounds kind of creatively limiting, Lacy clearly prefers the method over big studio equipment, which he now has more than enough access to. His iPhone recording technique gives him direct and immediate control over his music.
This isn’t to suggest Lacy’s work is monotonous; Rather, it’s his efforts veering more toward improving the artistry he’s already set on his radar. After all, the cuts are a lot crisper this time around than they were on Steve Lacy’s Demo in 2017. This bodes well for the album as the smooth, soulful production carries the airy, carefree lyrics of the album. He’s a lot less apprehensive than he was on former efforts, more willing to announce his presence and explore his uncertainty than run from them. And perhaps this is Apollo XXI’s ultimate strength. Rather than taking a different route, he perfects the road he’s already on with a whole slew of new tricks up his sleeve — not a bad move for someone who’s still relatively new to the public eye.
The song, Like Me”, was written and recorded in July of 2017, after a period in which Steve said he hadn’t written any music because of the emotions and fears he had expressing his sexuality. The song features Daisy Hamel-Buffa who says they connected talking about their sexuality together in 2017 and Steve came back later to ask that she sing on the track.
After he and his Internet bandmates released solo projects in 2017, they worked on their 2018 follow-up, Hive Mind, released in July of that year. Lacy went on to produce for Solange Kali Uchis, on her debut album, Isolation, Mac Miller, on his 2018 album, Swimming and was featured on Dev Hynes’ Blood Orange album, Negro Swan. Steve revealed in 2018 that he produced for fellow Compton native, rapper YG and that he was now using devices, other than his phone, to produce music.
Lacy’s solo sound draws on a wealth of influences beyond hip-hop, with elements of experimental pop, post-punk and lo-fi funk underpinning his song-writing. Lacy released his debut solo album, ‘Apollo XXI’, back in May. In a four-star review , NME said that the project is bookended with some of his strongest tracks to date”.
Musician Steve Lacy has just announced 2019 dates for his upcoming Apollo XXI tour, which will be hitting the road this fall. Fans line up for the chance to meet Steve Lacy during a record release party at the Compton Municipal Airport.
By the time he could drive, Lacy was known around Compton as a musical prodigy who could cut Grammy-caliber beats on his phone and play guitar with a low-key, chameleonic virtuosity. Of black and Filipino heritage, Lacy first earned notice when he joined up with the Internet, the experimental R&B project helmed by Odd Future-aligned singer Syd Tha Kid and Matt Martians. Tyler, the Creator immediately brought him into his fold (watch them play piano together on The Late Show With Stephen Colbert” ).
During Lacy’s tenure, Meredith revenues doubled and profits tripled. He pushed expansion, including the company’s $2.8 billion purchase of Time Inc. It’s obvious what any rap artist is looking for when enlisting Lacy to produce on a record. He’s gonna bring some soulful, funky guitar riffs and crispy-ass retro sounding drum loops.
In either meaning, the song still succeeds – masterfully, too. It’s a milky blend of sturdy rhythmic genres, a tune that fits into the grand mythos of The Internet as well as stretches it appropriately, because growth and change are inevitable, necessary factors for making it to the next level. The Internet revealed in February that the camp had completed two new albums, following up on April 7 saying that one would come out this month and another would come out in May. While a sophomore LP from Lacy hasn’t been confirmed, it is worth noting that his last project, Steve Lacy’s Demo, came out in 2017. We’re pretty comfortable wagering that one of the two new albums comes courtesy of Lacy.
Steve Lacy is cool and all, but I was expecting a band. I enjoyed his performance but not in the way that I had hoped. Also, the food at HOB is horrible. They put sour cream on my nachos and then said I could returm it. Also, $13 for an Austin Eastcider?!?! Absolutely not. This was the first AND LAST time I ever go to House of Blues Houston.
Those were his first music memories, and you can see how this free-roaming diet of music would inform his own genre-agnostic approach. His older sister bumping Your Body Is a Wonderland while he memorised the gospel songs he learned to sing in church. And then there’s what he calls drinking music” – party stuff like Too $hort, that he listened to with his middle school friends. That’s when I was still kind of trendy,” he says, sheepishly. I wasn’t as artsy then. I was battling trying to be an artsy boy while being a cool teenager.” His mother, eager to encourage his interest in music, enrolled him in the Humanities and Arts Academy of Los Angeles – HART’s, for short – which is located on the campus of Narbonne High School. In the 9th grade, he met Jameel Bruner, a musician who played the keys for a jazz band. Jameel, now known as Kintaro, was older than Lacy, and at the time, a member of The Internet.
Gleefully arch beneath a beguiling surface, this experimental Mexican pop band has invented the glassiest of pop templates: lustrous and cloudy, like the magic vapor swirling around inside a crystal ball. The tone of their songs, at once solemn and excitable, pushes the sound into electric motion.
Lacy was also one of modern jazz’s outstanding practitioners of solo saxophone music. Inspired by hearing the solo work of Anthony Braxton, he began to develop his own soprano saxophone repertoire in the early 70s and later developed this over a succession of solo concerts and recordings, the latter including such notable examples of the genre as Hocus Pocus, The Kiss and Remains. Incredibly prolific, Lacy released over 100 albums under his own name and probably appeared on as many again as a sideman: paradoxically, 1991’s Itinerary was his first-ever release as leader of a big band.
The song opened with frontman Ezra Koenig jamming on recent addition Brian Robert Jones while Lacy danced around stage carrying a microphone. Soon enough, Lacy and Koenig dove into the opening vocal line. Toward the end of the track, Jones rips an extended Grateful Dead -esque guitar solo, which maybe makes sense given the band’s recent infatuation with the Dead.
The disco influence inheres in the band’s casual mastery, the way the beats circle back on themselves to imply the permanence of an eternal loop, and in the enthusiastic vocals of Eno Williams, who belongs to a grand tradition of gawky, somewhat awkward singers swept off their feet by the grace of a beautiful dance groove and everything it represents — connection, romance, poise, confidence, community. In another context, the corny cheer with which she exclaims I want you to be sweet like sugar, sweet! for! me!” would sound forced; instead, whether she’s singing in English or Ibibio, her chatty good humor lends the music emotional verve.
Just Go Forward” hops back and forth, with contained energy, over twitchy rhythm guitar and at least three different drum tracks before erupting in a brass-punctuated chant that sums up their musical philosophy: Just go forward! Don’t look back! Always forward!” Wanna Come Down” incarnates that principle, propelling its horn blasts and serrated wah-wah guitars round and round in a spiral; occasional key changes make the return to the refrain sound all the more inevitable, as if the song were a vicious cycle.
The 21st birthday is a rite of passage for most American kids. It’s the moment they cross the channel into legal adulthood. You can drink now. Rent a car. Adopt a child. In some states, purchase weed. The American cultural canon demands an extravagant celebration: a shot of tequila at midnight, seven more before last call. Not for Steve Lacy, though. The musician forgot about his 21st birthday.
Not that much, though. Stepping out, on your own, as yourself, is still heady stuff. Apollo is as much a chance for Lacy to make a statement as demonstrate his most compelling strengths, and Like Me” does both. If there were any misgivings about what’s going on: This is about me and what I am,” Lacy says. I don’t wanna make a big deal.” It’s a nine-minute song, and a little on the nose, but no less sincere—I only see energy I see no gender” is still kind of a lot. You feel, listening to that song and the rest of Apollo, Lacy’s struggle to own every part of his freaky creative self and still not disappoint his mom. Like Me” occurs in three movements—the first is pure confusion, the second an ansty, stripped-down interlude that exudes melancholy. The third is a smooth-jazz balm: angelic voices almost whisper we’ll all fade away” over soft guitars and even softer drums. To my mind, that’s self-acceptance.