(funky music) - [Announcer] Your favorite local musicians like you have never seen them before.

(crowd cheers) Intimate collaborations between iconic artists and the musicians they want you to know about.

- Action.

- [Announcer] Tonight, Dessa, featuring 29:11.

It's all happening right now, live, on the legendary 7th St.

Entry stage.

(audience cheers) (funky music continues) It doesn't matter if she's rapping on the Hamilton Mixtape or writing for the New York Times, Dessa approaches her work with extraordinary ferocity, wit, tenderness, and candor.

(audience cheers) - [Host] Welcome Dessa to the stage.

(audience cheers) (funk music continues) ♪ Don't be shy ♪ ♪ I already like you ♪ ♪ Don't care what you drive ♪ ♪ I'm attracted to the IQ ♪ ♪ It's not my style to ♪ make the first move ♪ ♪ Haven't felt this type of ♪ way since maybe high school ♪ ♪ Sealed with a kiss ♪ ♪ Signed with an EpiPen ♪ ♪ You gotta tolerate some risk ♪ ♪ If you wanna make a ♪ margin, wanna make a friend ♪ ♪ We could live ♪ a little larger ♪ ♪ Split the dividends ♪ ♪ Wheels up, let's go ♪ ♪ I've already missed too much ♪ ♪ To take this thing too slow ♪ ♪ I already like you ♪ ♪ There's no sure bet ♪ ♪ You just rid5, ♪ ride, ride roulette ♪ ♪ And I like you ♪ ♪ I already like you ♪ ♪ It feels right ♪ ♪ Because it's true ♪ ♪ I don't have to try ♪ when I'm with you ♪ ♪ I like you, I like you ♪ ♪ You're not the ♪ type to bend a rule ♪ ♪ But I'm your bullet ♪ ♪ And the proof ♪ - Lay it down for me, lay it down for me, come on.

♪ This city can feel like ♪ - As a kid, I think I had an ambition that was sort of like non-specific.

I knew I wanted to have a job like I saw on TV where people made this face a lot.

I think that just was like shorthand for like I find this important and purposeful and urgent and I knew, I was like, "Yep, I want that job."

And when people had like takeout boxes late at night and slept in their dress clothes, which now of course is like an indication of horrible work-life balance.

So I guess again, I was like, "I want horrible work life balance too."

And I got it.

- Come on!

♪ Wheels up, let's go ♪ ♪ I've already missed too much ♪ ♪ To take this thing too slow ♪ ♪ I already like you ♪ ♪ And there's no sure bet ♪ ♪ You just ride, ♪ ride, ride roulette ♪ ♪ I already like you ♪ ♪ I already like you ♪ ♪ It feels right ♪ ♪ Because it's true ♪ ♪ Don't have to try ♪ when I'm with you ♪ ♪ You're not the ♪ type to bend a rule ♪ ♪ But I'm your bullet ♪ ♪ And the proof ♪ (funk music continues) ♪ Wheels up ♪ (saxophone solo) (audience cheers) - Come on, now!

Do you know how hard it is to conceal and carry a saxophone?

That's like the shiniest one we got man.

Joshua, come on AKA, Jelly.

Let's roll.

(audience cheers) This is Aviva Jaye on harp and voice.

(audience cheers) Let's go.

(audience cheers) (upbeat music) ♪ Take your fronts out ♪ ♪ If you're talking to me ♪ ♪ No VIP says VIP ♪ ♪ I've known powerful women ♪ ♪ And beautiful men ♪ ♪ And none of 'em calling ♪ for bottle service ♪ ♪ Settle down and settle in ♪ ♪ Mind your manners ♪ make a friend ♪ ♪ Where you been?

How you ♪ living?

Have a drink ♪ ♪ It's cash only ♪ ♪ But the staff knows me ♪ ♪ Tell 'em it's the ♪ girl in the back ♪ ♪ Tab's open ♪ ♪ When in Rome ♪ ♪ You live by Roman code ♪ ♪ It used to be ♪ ♪ It used to be ♪ ♪ If don't like it, ♪ you could leave ♪ ♪ But then the walls came down ♪ ♪ And so it's all Rome now ♪ ♪ You want a standing desk ♪ ♪ You get floating grave ♪ ♪ They say pound of flesh ♪ ♪ Ah, but then ♪ it's metric, wait ♪ ♪ Hold up ♪ ♪ Tryna' get the glow up ♪ ♪ Hope the Bitcoin flip ♪ before the code rusts ♪ ♪ Middle class: the ♪ poor man's poor man ♪ ♪ Disappoint the kids, ♪ bringing home the store brand ♪ ♪ Whole life with a stone ♪ against your shoulder ♪ ♪ Tryna flip the symbol over ♪ ♪ Get it equal to or more than ♪ ♪ Chekhov says you got a ♪ gun, you gotta use it ♪ ♪ Guess they're reading ♪ Chekhov downtown ♪ ♪ In their cruisers ♪ ♪ Bang ♪ ♪ Catch the case we all lose ♪ ♪ Make Dixie look ♪ like Khartoum ♪ ♪ That Lady Justice ♪ ain't blind yet ♪ ♪ Lens cap on the body ♪ cam, missed again, damn ♪ ♪ Make you wait ♪ ♪ While they run your name and ♪ ♪ Saint Peter at the gate ♪ ♪ Says, tuck your chain in ♪ ♪ When in Rome ♪ ♪ You live by Roman code ♪ ♪ It used to be ♪ ♪ It used to be ♪ ♪ If don't like it, ♪ you could leave ♪ ♪ But then the walls ♪ - I think a lot of time that true stories do their own work, so if you can provide an honest, well-crafted testimony of what it's like to be alive, in failure and in success, then people will be able to see those moments of your experience that (chirps) lock with theirs, right?

And that's how connection is made so I don't pre-suppose that I know exactly how any song will land.

When they work, I've been lucky enough to have some people write, or come up after a show and say, "Hey, I'm going through X and this song really resonated with me."

But I don't know that you can always plan that.

♪ Last night, old ♪ friend, big wedding ♪ ♪ And I knew you'd ♪ be there too ♪ ♪ Look at us, all grown up ♪ ♪ Collared shirts ♪ and high-heel shoes ♪ ♪ You crossed the room, just ♪ the decent thing to do ♪ ♪ Make sure we've ♪ all been introduced ♪ ♪ You brought your new friend ♪ ♪ I brought mine shake hands ♪ ♪ Pay courtesy - its due ♪ ♪ But it takes its toll ♪ ♪ And it takes it whole ♪ ♪ We've lived too ♪ long, too close ♪ ♪ So call off your ghost ♪ ♪ Now you're asking can't ♪ we just be friends ♪ ♪ But this bell in my ♪ chest still rings ♪ ♪ And it's better ♪ to just pretend ♪ ♪ That I can't see you waiting ♪ ♪ Can't hear you ♪ call my name and ♪ ♪ I know how much you hate it ♪ ♪ But babe I've ♪ got to walk away ♪ ♪ You once said if ♪ we were careful ♪ ♪ That we could do ♪ this all our lives ♪ ♪ Lives ♪ ♪ But one of us got clumsy ♪ ♪ And both of us got wise ♪ ♪ And now we're not so young ♪ ♪ Seems our wishing ♪ well's gone ♪ ♪ We've been living ♪ too long, too close ♪ ♪ I'm ready to let you go ♪ ♪ I'm ready ♪ ♪ Call off your ghost ♪ (gentle piano music) ♪ I think she ♪ lives around here ♪ ♪ I see her almost daily ♪ ♪ All I can do to stop myself ♪ from saying something crazy ♪ ♪ I don't think badly of her ♪ ♪ I hope she makes you happy ♪ ♪ It's just a lot to ask ♪ ♪ To watch your future ♪ walking past me ♪ ♪ I know that jealousy's ♪ a perfect waste of time ♪ ♪ But left to my devices ♪ ♪ I've spent far too ♪ long wasting mine ♪ ♪ I've spent far too ♪ long wasting mine ♪ ♪ I've spent far too ♪ long wasting mine ♪ ♪ We've been living ♪ too long, too close ♪ ♪ And I'm ready to let you go ♪ ♪ I'm ready ♪ ♪ Call off your ghost ♪ ♪ We've been living ♪ too long, too close ♪ ♪ I'm ready to let you go ♪ ♪ I'm ready ♪ ♪ Call off your ghost ♪ (audience cheers) - I was 100% not in a choir as a kid and I wasn't in band and I wasn't in theater.

I was in my basement for the most part.

I was like a really angsty teenager.

I was difficult to raise.

And I was sort of inhibited by the fact that my mom had this really, really truly notable voice.

I learned how to sing in the passenger side of my mother's car.

She would drive, she'd put a song on the radio and she'd go, "Okay, now you do it."

And if you just sang along with the melody of the song, ma was not impressed.

And so it became real clear that she'd go, "Hey!"

like when you did a little harmony, or you did like one of those little kind of echoey trills or if you could figure out like a cool little run up and a little run down, that was when mom would like stop drumming with her rings on the steering wheel and give you like a, "Look at you!"

I think for me that was where singing started and probably some of the most important like singing lessons happened listening to mom in the driver's seat.

(upbeat music) ♪ Ooh ooh ♪ ♪ Swimming in a snifter, ♪ pretty as a picture ♪ ♪ Don't get it twisted ♪ man, her bite is a bitch ♪ ♪ You can name, ♪ you can keep her ♪ ♪ But take care ♪ when you feed her ♪ ♪ You never can take ♪ the fight out the fish ♪ ♪ Chomping at the drill bit, ♪ never one to still sit ♪ ♪ You can test my metal with ♪ a magnet and some tin snips ♪ ♪ Ink test, all I see is ♪ canines and some wing tips ♪ ♪ Pilot pen in pocket I'm ♪ riding instinct and inkjets ♪ ♪ Around here we don't ♪ like talk of big dreams ♪ ♪ To stand out is a ♪ pride, a conceit ♪ ♪ To aim high is to make ♪ waves, to split seams ♪ ♪ But that's not what ♪ it seems like to me ♪ ♪ 'Cuz I wanna ♪ try, I wanna risk ♪ ♪ And I don't wanna walk, ♪ rather swing and miss ♪ ♪ I'm not above apologies ♪ but I don't ask permission ♪ ♪ Got a lot of imperfections ♪ ♪ But I don't count ♪ my ambition in 'em ♪ ♪ Zeno's arrow never ♪ hits the mark ♪ ♪ It's always hanging ♪ there over its shadow ♪ ♪ Safe from battle, waste of ♪ archer's time and trouble ♪ ♪ Waste of effort, ♪ waste of parts ♪ ♪ If you don't aim ♪ for the center, it's a waste of the art ♪ ♪ I didn't come ♪ looking for love ♪ ♪ I didn't come ♪ to pick a fight ♪ ♪ I didn't come to ♪ wave or take pictures ♪ ♪ Pander to some benefactor, ♪ ring on every broken finger ♪ ♪ Won't extend my ♪ wings to be clipped ♪ ♪ I know the culture here ♪ is to stay humble but shit ♪ ♪ If we all go round bowed ♪ heads, button-lipped ♪ ♪ If none of us go for ♪ the bell then who is?

♪ ♪ My mother says I've ♪ loved too many men ♪ ♪ But I took and left ♪ something in every single bed ♪ ♪ The rook can look left, ♪ right, just turns his head ♪ ♪ But the knight might rise ♪ up, investigate the grid ♪ ♪ Gender, genre, guess ♪ I'm on one, bent both ♪ ♪ Just the constructs of ♪ the old world gone broke ♪ ♪ Women, children, let me ♪ tell you, I've been both ♪ ♪ And it's a myth we all ♪ swim for the life boats ♪ ♪ I didn't come ♪ looking for love ♪ ♪ I didn't come ♪ to pick a fight ♪ ♪ I come here every ♪ night to work ♪ ♪ And you can grab an ax, man ♪ ♪ Or you can step aside ♪ ♪ Zeno's arrow never ♪ hits the mark ♪ ♪ It's always hanging ♪ there over its shadow ♪ ♪ Safe from battle, waste of ♪ archer's time and trouble ♪ ♪ Waste of effort, ♪ waste of parts ♪ ♪ If you don't aim ♪ for the center, it's a waste of the art ♪ ♪ Self-self-self-taught, ♪ self-made, bet, self-styled ♪ ♪ Self-saw, self-came, ♪ self-took island of converts ♪ ♪ To conquer is old school ♪ ♪ We marchin' em in Converse ♪ ♪ Just armed with ♪ our own tools ♪ ♪ While my knees still flex ♪ ♪ While my joints hold steady ♪ ♪ Mind sharp, spine straight, ♪ Chucks laced, ready ♪ ♪ I travel by kite, ♪ travel light ♪ ♪ I touchdown I ♪ swallowed the dice ♪ ♪ I make my own luck now ♪ ♪ Zeno's arrow never ♪ hits the mark ♪ ♪ It's always ♪ hanging there over ♪ ♪ Its own shadow in the dark ♪ ♪ Its own shadow in the dark ♪ (audience cheers) - My first sort of like artistic gestures were on the page, not on stage.

By the time I was about like 20, I think I started competing as a slam poet.

- [Joshua] Perfect.

- That was how I then met the artistic collective that is Doomtree, which I eventually joined.

And that was part of our show for a long time.

And it was also a super handy part of the show because whenever there was a tech issue, which was very often in the beginning, you could just grab a poem and read it or perform it from memory and it would buy you time to figure out like why the mixer wasn't working.

And that's ended up being sort of like a bug, but became a feature of my live show and that I love doing that stuff.

I wasn't sure how to be a writer for a really long time, but I could decide to be a writer for three minutes at a time in my own set.

And so that was an outlet before I had a socket for my plug.

(audience cheers) This is called, "How to Stage Dive."

(gentle piano music) Pay attention to your posture while singing and practicing guitar.

High school is a great time to start.

At your first open mic, speak and sing more slowly than feels natural.

Time moves differently up there, and it always will.

Accept every performance you are offered.

When you get a plain envelope with some cash in it, pay a little tax anyway.

(audience laughs) The humblest shows at coffee shops or rec centers will be the most important of your career because the shy kid in the back grows up to work for Warner.

I've been thinking a lot about what success means.

I decided at some point that in addition to using all the like metrics that are sort of handed to you when you join, how many people came to your show?

How many records did you sell?

How much money are you making?

Which is a metric that most of us use for most things, right?

But stage diving for me has become really important.

A moment where I stage dived means the audience cared enough to catch me and I trusted them enough to jump.

Like that's just hard data.

Stage diving just counts, meant that night worked.

Towards the end of the set, play your second biggest song.

Ask the band to loop the outro.

Walk to the edge of the stage, lift your arms.

Take a small step that puts your toes over the edge.

Rock back twice in time with the music to prime them.

And then jump.

Land on your back.

(audience laughs) Land on your back, on their bed of palms.

You will not feel weightless.

You will feel the full heft of your grown body muscled up to the light by drunk people of varying heights.

(audience laughs) And you'll wanna lift your head to look back at your band, your friends on stage to say, "This is madness!"

Or, "Come join me!"

But you don't have time for that because now you have to focus.

Look up at the ceiling, the light trusses, the calcified smoke.

Feel the fingers curl around your ankles.

Listen to the voices below, coordinating your safe passage.

Make yourself into a battery to store some of this feeling because it is the currency of your life and it is only ever dispensed this way.

Sand blasted.

And there will be many years, many months where you will receive no payments at all.

And you'll have to draw on this reserve of elation and arrogance and selfishness and selflessness and communion while your friends buy dogs and houses.

You can't steer really.

The crowd just sets you back on stage when it is time.

(audience applauds) (bright music) ♪ Oh, someone taught ♪ your walls to talk ♪ ♪ But if they ask me, ♪ I ain't heard a thing ♪ ♪ Back to the wall, ♪ bat to the ball ♪ ♪ Back to the drawing board ♪ ♪ Back to the wall, ♪ bat to the ball ♪ ♪ Back to the drawing board ♪ ♪ Back to the wall, ♪ bat to the ball ♪ ♪ Back to the ♪ drawing board again ♪ ♪ There was a ♪ snowstorm in Jackson ♪ ♪ When you and I met ♪ ♪ At a club called ♪ St. Sebastian's ♪ ♪ But the sign said ♪ something different ♪ ♪ I remember thinkin' ♪ ♪ That I didn't have a ♪ shot at Mississippi ♪ ♪ Television told us which ♪ roads they were closing ♪ ♪ There goes a rap show ♪ ♪ Everybody knew you as ♪ the wife of a famous man ♪ ♪ Everybody who knew said "There ♪ goes Dixon's girl again" ♪ ♪ Even the walls ♪ will lean closer ♪ ♪ When she plays the ♪ piano real slow" ♪ ♪ Haven't met too many women ♪ ♪ In this business that I ♪ really like, like, like ♪ ♪ But you can hold ♪ a little liquor ♪ ♪ You can hold a conversation ♪ ♪ You can hold your own mic ♪ ♪ Even that night I learned ♪ the truth about your man ♪ ♪ You gotta be big to ♪ treat pretty girls bad ♪ ♪ It's not much, but ♪ my money's on you ♪ ♪ It's not much, but ♪ my money's on you ♪ ♪ It's not much, but my money ♪ ♪ It's not much, but my money ♪ ♪ Not much, but my money, ♪ my money's on you ♪ ♪ Well I heard from ♪ the rest of the world ♪ ♪ You're in trouble ♪ ♪ Bad news moves like fire ♪ that you fight on the phone ♪ ♪ And I'm too far away, my ♪ well-wishin' can't touch you ♪ ♪ But I think of you still ♪ more than you might suppose ♪ ♪ Everybody wants to see ♪ you put your hair down ♪ ♪ Wanna hear you ♪ hit the high note ♪ ♪ Wanna know if they can ♪ get you for a little less ♪ ♪ Girl, I don't, I know ♪ how those stones can fly ♪ ♪ Had some hard goodbyes ♪ ♪ Call me up, day or night, ♪ free drinks and bad advice ♪ - That's something about doing TV, right, is you know the swear words are baked in.

They're happening in your head constantly!

♪ And it's not much ♪ ♪ But my money's on you ♪ ♪ It's not much, but my ♪ money, my money's on you ♪ ♪ It's on you, it's on you ♪ ♪ Yeah, my money's on you ♪ ♪ And my money's on ♪ ♪ Yeah, my money's on ♪ ♪ And my money's on ♪ ♪ Yeah, my money's on you ♪ ♪ And my money's on ♪ ♪ It's on you, it's on you ♪ (audience cheers) - Okay, listen, listen, listen, listen, listen, listen.

You are my lipstick tech.

Give me the secret signal you're gonna make when my lipstick goes all the way up to my frenulum by my nose.

Like I'm a spy?

Fantastic!

Second rate spy.

Ready?

Oh, right now?

Are you doing it?

- No, I don't know!

(audience laughs) - It's like you've never been a lipstick tech in your whole life.

That's what it feels like right now.

Do I have lipstick between my nose and my lip?

- [Audience Member] Oh, absolutely not.

- Okay great.

But you got me.

- [Audience Member] Yes I do.

- Okay, cool.

Let's go.

(audience laughs) This is my friend, fantastically talented bassist, Ian Allison.

- [Joshua] Yeah!

- Going to play a new song called "Crash" that we haven't yet played.

(audience cheers) (gentle ominous music) ♪ I came to crash your party ♪ ♪ Looks like a party ♪ crashed itself ♪ ♪ Everyone left early ♪ ♪ Must be something good ♪ going someplace else ♪ ♪ But I see you ♪ through the window ♪ ♪ Wearing that face you ♪ make when you're alone ♪ ♪ I'm knocking, you'll ♪ let me in though ♪ ♪ You wanna know ♪ what I came for ♪ ♪ And I accidentally ♪ ♪ Tell the truth ♪ ♪ I don't know what to do ♪ when I'm here with you ♪ ♪ I'm lost ♪ ♪ Oh ♪ ♪ I'm running around ♪ ♪ I'm a creep, I'm a ♪ clown, I'm exhausted ♪ ♪ Hey, hey, hey ♪ ♪ So I came to ♪ crash your party ♪ ♪ I know now it's ♪ too late to talk ♪ ♪ I just wanna pick ♪ up all of the pieces ♪ ♪ Feel like it never ♪ even happened at all ♪ ♪ I came to crash your party ♪ ♪ C'mon and say I can ♪ stay just to help ♪ ♪ I know you could ♪ use somebody ♪ ♪ To get the glasses ♪ back up on the shelves ♪ ♪ I came to crash your party ♪ ♪ I came to crash your party ♪ ♪ I came to crash your party ♪ ♪ I came to crash ♪ (audience applauds) (bright music) ♪ Double-jointed, ♪ triple threat ♪ ♪ I'm not some method actress ♪ ♪ Trying to see my, my descent ♪ ♪ You're gonna have to ♪ play the tape backwards ♪ ♪ Save that breath ♪ for choir practice ♪ ♪ Got no time for ♪ my detractors ♪ ♪ Standing on my staircase ♪ ♪ All you are's a fire hazard ♪ ♪ I've put my time in now ♪ ♪ I'm vetted, uncontested ♪ ♪ See how an honest ♪ answer shuts down ♪ ♪ Mothers asking ♪ trick questions ♪ ♪ I'm out here, arms wide ♪ ♪ Hiding nothing ♪ ♪ I've done it all ♪ in broad daylight ♪ ♪ And I left the ♪ cameras running ♪ ♪ I'm the phoenix and the ash ♪ ♪ Red eyes shining ♪ in the camera flash ♪ ♪ My secret is I ♪ don't keep none, see ♪ ♪ Something go ahead ♪ and say something ♪ ♪ I ain't afraid of it ♪ ♪ I don't drown, ♪ won't stay down ♪ ♪ Heat finds a way ♪ to rise somehow ♪ ♪ Scan the crowd as ♪ I'm coming out and I ♪ ♪ Don't see too ♪ many rivals now ♪ (audience applauds) ♪ I don't need an agenda ♪ ♪ I just tell the truth ♪ ♪ Let it off the leash ♪ ♪ Don't touch it ♪ ♪ It knows what to do ♪ ♪ And I'm running a tight ship ♪ ♪ Every deckhand here ♪ has a five-year plan ♪ ♪ And a ice pick ♪ ♪ They can write code, ♪ they can drive stick ♪ ♪ I got an octave on ♪ you and a high kick ♪ ♪ Don't blink, I don't ♪ block, I'm a bleeder ♪ ♪ All I do is hit ♪ ♪ I don't win them all but I'd ♪ say I take five out of six ♪ ♪ Clock's running, ♪ better glove up ♪ ♪ If you insist ♪ ♪ Okay ♪ ♪ Let's see who's ♪ really counting coup ♪ ♪ And who's been counterfeit ♪ ♪ I'm the phoenix and the ash ♪ ♪ Red eyes shining ♪ in the camera flash ♪ ♪ My secret is I ♪ don't keep none, see ♪ ♪ So go ahead and ♪ say something ♪ ♪ I ain't afraid of it ♪ ♪ I don't drown, ♪ won't stay down ♪ ♪ Heat finds a way ♪ to rise somehow ♪ ♪ Scan the crowd as ♪ I'm coming out and I ♪ ♪ Don't see too ♪ many rivals now ♪ ♪ Cut my own gills ♪ with a pocketknife ♪ ♪ Turning my fingers ♪ in the sockets, my ♪ ♪ Daily dose of, daily dose ♪ of, daily dose of lightning ♪ ♪ Just buzzed enough to get me ♪ climbing up the kite string ♪ ♪ My back is aching, ♪ my belt's too tight ♪ ♪ I brought a chisel tip ♪ to this pencil fight ♪ ♪ No luck, just fortified dice ♪ ♪ I'm going morning ♪ and night and ♪ ♪ I'm really rising ♪ ♪ I'm really rising ♪ ♪ The fire on the horizon ♪ ♪ I'm the phoenix and the ash ♪ ♪ Red eyes shining ♪ in the camera flash ♪ ♪ My secret is I ♪ don't keep none, see ♪ ♪ Something go ahead ♪ and say something ♪ ♪ I ain't afraid of it ♪ ♪ I don't drown, ♪ won't stay down ♪ ♪ Heat finds a way ♪ to rise somehow ♪ ♪ Scan the crowd as ♪ I'm coming out and I ♪ ♪ Don't see too ♪ many rivals now ♪ ♪ I'm the phoenix and the ash ♪ ♪ Red eyes shining ♪ in the camera flash ♪ ♪ My secret is I ♪ don't keep none, see ♪ ♪ Something go ahead ♪ and say something ♪ ♪ I ain't afraid of it ♪ ♪ I don't drown, ♪ won't stay down ♪ ♪ Heat finds a way ♪ to rise somehow ♪ ♪ Scan the crowd as ♪ I'm coming out and I ♪ ♪ Don't see too ♪ many rivals now ♪ ♪ First down bounce, ♪ bounce, bounce ♪ - I gotta go.

♪ Bounce, ba, ba, bounce ♪ ♪ Bounce, ba, ba, bounce ♪ ♪ Bounce, ba, ba, ♪ bounce, come on ♪ ♪ Bounce, bounce ♪ ♪ Bounce, ba, ba, bounce ♪ ♪ Bounce, ba, ba, bounce ♪ ♪ Bounce, ba, ba, bounce ♪ (audience cheers) - So I'm just sitting down to dinner in Johannesburg, which for me is pap, which is like, like grits, like a firmer grits.

And one of the things that's probably most striking to any visitors to South Africa is how- Years ago I was on tour with the Minnesota Orchestra.

I was touring with them in South Africa as a embedded social media person.

I hope that you can see it on our faces.

And on one of the stops I got to see these singers in a really humble environment.

It was like a conference room.

♪ I forgot, I forgot how to go ♪ ♪ Ooh ♪ - And they were part of a choir.

I later found out it is called 29:11 and watching them sing like sent my blood pumping in the opposite direction for a moment.

They blew me away.

The way they used their voices, the way they moved their bodies, the way they interacted with the crowd.

And I'm lucky enough to have stayed in contact with that choir and have worked with them now a couple of times.

♪ We hope you can ♪ be fast though ♪ ♪ Some of what you asked for ♪ ♪ Never had a broken heart ♪ keep me from the dance floor ♪ - My name is Brendon Adams and I'm the director and co-founder of the group called 29:11.

We are based in South Africa and in Minneapolis.

♪ Turn around, ♪ touch the ground ♪ - Even though we operate in different musical worlds, we operate in different worldviews, there is a recognition of, I hope talent, but also a general generosity of spirit or at least an aspiration towards generosity.

I like listening to what they have to say about justice and race and money and equality and those lessons and that thinking very much rhymes with the way that I hope to behave in the world.

♪ Still jump rope now ♪ ♪ Ooh ooh ♪ ♪ Ooh ♪ ♪ Ooh ooh ♪ ♪ It was just jump rope then ♪ ♪ You try not to get hit ♪ ♪ You try to stay in ♪ ♪ Don't let em talk that down ♪ ♪ It's still jump rope now ♪ - Yeah!

♪ Bra, bra, bra ♪ Yes, it works.

In choirs that I've sung with, blend is the most important thing.

We wanna sound like hundreds of bodies and one voice.

- Yeah.

- And I get the sense that that's not the imperative in a lot of South African singing.

It's like you can hear each singer's particular voice.

- [Brendan] Yeah.

- Like you're not straining, you're not aiming for blend.

Is that right?

- Yes.

We do the basic and after we know the basic, now it's the South African sound needs to come through.

- Tell me what the South African sound is.

- Making sure you make the South African chanting.

You know, if I sing tenor, if there's three tenors, each tenor within that voice needs to do something special to stray away from the root.

Could we get a little bit of these three?

♪ Which I know I need ♪ We sometimes harmonize up to 12 parts, which is hard to do, but we can.

So that is the difference of the sound of just authentic South African music.

(upbeat music) - Can I get a cheer over here?

(audience cheers) I love it.

I love the energy.

I love it so much.

All right, let's go guys.

♪ Ekuqaleni uNkulunkulu ♪ wadala izulu nomhlaba ♪ ♪ Umhlaba wawuyihlane ♪ elingenalutho ♪ ♪ Kwakungubumnyama phezu kotwa ♪ ♪ Kepha uMoya kaNkulunkulu ♪ wehla wenyuka ♪ ♪ Wathi makube ♪ ♪ Khona ukukhanya ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Imvelo iyabubula ♪ ifun'umdali wayo ♪ ♪ (izulu nomhlaba ♪ kudalwe Nguye) ♪ ♪ Yen' owayekhona ♪ eMandulo usakhona namhla ♪ ♪ (izulu nomhlaba ♪ kudalwe Nguye) ♪ ♪ Sabela langa nenyanga ♪ ♪ Hlukanani mhlabathi ♪ ♪ Akhonto efana ♪ ♪ (izulu nomhlaba ♪ kudalwe Nguye) ♪ ♪ Uvuleke ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Akhonto efana ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Ooooooooh ♪ ♪ Yeah, Yeah, Yeah, Yeah ♪ ♪ Yeah, Yeah, Yeah, Yeah ♪ ♪ Yeah ♪ ♪ Izulu nomhlaba kudalwe Nguye ♪ ♪ Izulu nomhlaba kudalwe Nguye ♪ ♪ Izulu nomhlaba kudalwe Nguye ♪ ♪ Izulu nomhlaba ♪ ♪ Kudalwe Nguye ♪ ♪ Yeah, yeah, yeah ♪ ♪ Izulu ♪ ♪ Akhonto ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Akhonto ♪ ♪ Akhonto ♪ ♪ Akhonto ♪ ♪ Akhonto efana (nezwe) ♪ ♪ Akhonto efana (nezwe) ♪ (music intensifies) ♪ Izulu nomhlaba kudalwe Nguye ♪ ♪ Izulu nomhlaba ♪ (Izulu nomhlaba) ♪ Kudalwe Nguye ♪ (Kudalwe Nguye) ♪ Izulu nomhlaba ♪ (Izulu nomhlaba) ♪ Kudalwe Nguye ♪ (Kudalwe Nguye) ♪ Izulu nomhlaba ♪ (Izulu nomhlaba) ♪ Kudalwe Nguye ♪ (Kudalwe Nguye) ♪ Izulu nomhlaba ♪ (Izulu nomhlaba) ♪ Kudalwe Nguye ♪ ♪ Izulu nomhlaba ♪ ♪ Kudalwe Nguye ♪ ♪ Izulu nomhlaba ♪ ♪ Kudalwe Nguye ♪ ♪ Izulu nomhlaba ♪ ♪ Kudalwe Nguye ♪ ♪ Izulu nomhlaba ♪ ♪ Kudalwe Nguye ♪ (Kudalwe Nguye) ♪ Izulu nomhlaba ♪ ♪ Kudalwe Nguye ♪ (Kudalwe Nguye) ♪ Izulu nomhlaba ♪ (Izulu nomhlaba) ♪ Kudalwe Nguye ♪ (Kudalwe Nguye) ♪ Izulu nomhlaba ♪ ♪ Kudalwe Nguye ♪ (Kudalwe Nguye) ♪ Izulu nomhlaba ♪ (Izulu nomhlaba) ♪ Kudalwe Nguye ♪ (audience cheers) - Miss Ayanda Nxumalo, everybody!

(audience cheers) ♪ We bless your name ♪ ♪ Almighty God ♪ ♪ We bow before your ♪ ♪ We glorify ♪ ♪ We glorify ♪ - Choral music was not for the poor.

That was told by the rich white folk back home.

So we created our own choral sound.

Similar to the African Americans, When African Americans sing their gospel sound, you can feel it from the core.

It's a people that's been oppressed.

♪ Oh mighty God ♪ ♪ We bow before your ♪ - Apartheid simply means, in English, a time apart.

Segregate.

That's what the government did back then.

To people of color, to Black people.

♪ We glorify ♪ - But I'm called to do a specific job and that is to bring people together of all sorts of backgrounds, all cultures.

Our chorus, it's 11 different tribes.

In South Africa, that is not heard of.

We decided if we spread the message of reconciliation, it should be all cultures in South Africa.

We are all one people.

And that's the message I want to spread.

♪ We bow before your throne ♪ (singers applaud) - We are almost through, we've got one more song to sing for you here.

(audience cheers) And so wherever we go we try to sing the song because our forefathers were killed because of their skin color singing the song in public.

Because of them, we are from South Africa singing our national anthem live at First Avenue tonight.

Thank you so much.

(audience cheers) (key chords) (vocal introduction) ♪ Nkosi sikelela ♪ ♪ Afrika ♪ ♪ Maluphakanyisw' ♪ ♪ Uphondo lwayo ♪ ♪ Yizwa imithandazo ♪ ♪ Yethu ♪ ♪ Nkosi ♪ ♪ Sikelela ♪ ♪ Thina ♪ ♪ Lusapho lwayo ♪ ♪ Nkosi sikelela ♪ ♪ Afrika ♪ ♪ Morena boloka ♪ setjhaba sa heso ♪ ♪ O fedise dintwa ♪ le matshwenyeho ♪ ♪ O se boloke, O se ♪ boloke setjhaba sa heso ♪ ♪ Nkosi sikelela ♪ ♪ Thina lusapho lwayo ♪ ♪ Morena boloka ♪ setjhaba sa heso ♪ ♪ Morena boloka ♪ setjhaba sa heso ♪ ♪ O fedise dintwa ♪ le matshwenyeho ♪ ♪ O fedise dintwa ♪ le matshwenyeho ♪ ♪ Morena boloka ♪ ♪ Setjhaba sa heso ♪ ♪ O fedise dintwa ♪ le matshwenyeho ♪ ♪ O se boloke ♪ ♪ O se boloke ♪ ♪ Oooo ♪ ♪ O se boloke ♪ ♪ Setjhaba sa heso ♪ ♪ Setjhaba sa heso ♪ ♪ Setjhaba sa heso ♪ ♪ South Africa ♪ ♪ O se boloke ♪ ♪ O se boloke ♪ ♪ Setjhaba ♪ ♪ Sa heso ♪ ♪ Setjhaba sa ♪ ♪ South Africa ♪ ♪ Everybody say ♪ ♪ Nkosi ♪ ♪ Sikelela ♪ ♪ Sikelela ♪ ♪ Thina lusapho lwayo ♪ ♪ Nkosi ♪ ♪ Sikelela ♪ ♪ Thina lusapho lwayo ♪ ♪ Thina lusapho lwayo ♪ ♪ Nkosi ♪ ♪ Sikelela ♪ ♪ Nkosi ♪ ♪ Sikelela ♪ ♪ Nkosi ♪ ♪ Sikelela ♪ ♪ Nkosi ♪ ♪ Sikelela ♪ ♪ Nkosi ♪ ♪ Africa ♪ ♪ Africa ♪ ♪ Africa ♪ ♪ Africa ♪ (audience applauds) - Thank you, Minneapolis!

- Keep that last one out a little bit.

♪ Aah ♪ - Yup, I got you.

♪ They say there's good grief ♪ - I've only performed with the choir on stage once.

I think that there is something undeniable about the force of their performance and just like the force of their personalities.

They're a really, really special performance group.

It has been an honor not just to sing with you, but to get to know you as human beings.

Thank you for singing with me today.

One more time, 29:11.

(audience applauds) Yes!

I know that when you write a press release it sounds like, "Can you believe it?

A rapper and a South African choir."

But I don't think in practice it's that weird.

I really don't.

It just, it's stranger because of how we think of genres and how we sell music.

- Yeah.

- How we make music.

It doesn't feel unusual to me.

- Yeah.

It's not even about the artist, it's about the person.

If our visions are aligned in different continents, in different music worlds, but if the visions are aligned, you can't keep people like that away from each other.

That's gonna come.

It's gonna come.

(gentle piano music) ♪ They say there's good grief ♪ ♪ But how can you tell ♪ it from the bad?

♪ ♪ Maybe it's only in the fact ♪ ♪ Good grief's the one ♪ that's in your past ♪ ♪ I got snow in my pockets ♪ ♪ Went down again head first ♪ ♪ Laced drill bits ♪ to my pointe shoes ♪ ♪ Pirouette through the ♪ hardwood to paydirt ♪ ♪ Night falls, ♪ day breaks, time ♪ ♪ Has a funny kind ♪ of violence and I'm ♪ ♪ Tryna keep in mind ♪ ♪ It can't leave you ♪ the way it finds you ♪ ♪ Good grief ♪ ♪ I've heard people say it ♪ ♪ What a phrase, what ♪ a state to be in ♪ ♪ But I don't know where ♪ they go to get get ♪ ♪ That feeling ♪ ♪ Good grief ♪ ♪ And my knees stay clean ♪ ♪ Not much for praying ♪ ♪ I do my own stunts ♪ and my own saving ♪ ♪ But there's something amiss ♪ ♪ Something I been ♪ missing maybe maybe ♪ ♪ They say there's good grief ♪ ♪ But how can you tell ♪ it from the bad?

♪ ♪ Maybe it's only in the fact ♪ ♪ Good grief's the one ♪ that's in your past ♪ ♪ They say there's good grief ♪ ♪ But how can you ♪ tell it from the bad ♪ ♪ Maybe it's only in the fact ♪ ♪ Good grief's the one ♪ that's in your past ♪ ♪ This time my best ♪ wasn't good enough ♪ ♪ Well, usually it is ♪ ♪ And the air got ♪ a little rough ♪ ♪ Took out the fuselage, ♪ the engine, and both wings ♪ ♪ But I'm willing ♪ to work for this ♪ ♪ Just show me where to dig ♪ ♪ And I'm ready ♪ to hurt for this ♪ ♪ I know exactly what this is ♪ ♪ Good grief ♪ ♪ I want that good grief ♪ ♪ The one that heals me ♪ ♪ That leaves me ♪ clarified by fire ♪ ♪ Leaves me clarified ♪ ♪ When I'm burned clean ♪ ♪ Tempered by light and heat ♪ ♪ Ah, in the dead of morning ♪ ♪ I'll be better for it ♪ ♪ And then fortified I'll rise ♪ ♪ Bust the hydrant, ♪ let it spray ♪ ♪ Champagne ♪ ♪ Wings are broken ♪ ♪ But I feel ♪ ♪ No pain ♪ ♪ I'm real today, I know ♪ this feeling, let it rain ♪ ♪ They say there's good grief ♪ ♪ But how can you ♪ tell it from the bad ♪ ♪ Maybe it's only in the fact ♪ ♪ Good grief's the one ♪ that's in your past ♪ ♪ They say there's good grief ♪ ♪ But how can you ♪ tell it from the bad ♪ ♪ Maybe it's only in the fact ♪ ♪ Good grief's the one ♪ that's in your past ♪ ♪ And secrets don't ♪ like to be kept ♪ ♪ All mine jumped ♪ over the fence ♪ ♪ I guess I should be upset ♪ ♪ But I'm in my ♪ nightgown on the lawn ♪ ♪ Thinking, better ♪ that they're gone ♪ ♪ I've been afraid ♪ of this so long ♪ ♪ It's a relief ♪ when it goes wrong ♪ ♪ Oh, oh, oh, oh ♪ ♪ 'Cause I'm here ♪ now, and asking ♪ ♪ Melt me down, recast me ♪ ♪ Burn me clean ♪ ♪ Like glass from sandy ground ♪ ♪ 'Cause I'm here ♪ now, and asking ♪ ♪ Melt me down, recast me ♪ ♪ Burn me clean ♪ ♪ Like glass from sandy ground ♪ ♪ They say there's good grief ♪ ♪ But how can you ♪ tell it from the bad ♪ ♪ Maybe it's only in the fact ♪ ♪ Good grief's the one ♪ that's in your past ♪ ♪ They say there's good grief ♪ ♪ But how can you ♪ tell it from the bad ♪ ♪ Maybe it's only in the fact ♪ ♪ Good grief's the one ♪ that's in your past ♪ (audience cheers) (funky music) ♪ Ooh ooh ♪ ♪ Ooh ooh ♪ ♪ Girls on the block ♪ ♪ Turn rope calling out the ♪ same games that I played ♪ ♪ It goes turn around ♪ ♪ Then jump ♪ ♪ Touch the ground ♪ ♪ Then jump ♪ ♪ Wake up to find work ♪ and look for love ♪ ♪ But when that rope ♪ comes round you jump ♪ ♪ That rope comes ♪ round you jump ♪ ♪ Jump, jump, jump ♪ ♪ Round ♪ ♪ You sterilize ♪ the needle with ♪ ♪ A lighter and a prayer ♪ ♪ You sew your empty ♪ pockets closed ♪ ♪ Cut off all your hair ♪ ♪ You train up on ♪ the mountaintop ♪ ♪ To weaponize the blood ♪ ♪ You bring your body ♪ back to sea level ♪ ♪ To see what body ♪ does, does, does ♪ ♪ And it runs ♪ ♪ And it runs ♪ ♪ And it runs ♪ ♪ It was just jump rope then ♪ ♪ You try not to get hit ♪ ♪ You try to stay in ♪ ♪ Don't let 'em talk that down ♪ ♪ It's still jump rope now ♪ ♪ It was just jump rope then ♪ ♪ You try not to get hit ♪ ♪ You try to stay in ♪ ♪ Don't let em talk that down ♪ ♪ It's still jump rope now ♪ ♪ Ooh ooh ♪ ♪ Ooh ooh ♪ ♪ You hope you get ♪ the fast horse ♪ ♪ Some of what you ask for ♪ ♪ Never let a broken ♪ heart k-keep ♪ ♪ You from the dance floor ♪ ♪ Have a little fun ♪ ♪ Fun, fun, fun ♪ ♪ Have a little fun, fun, fun ♪ ♪ Girls on the block ♪ ♪ Turn rope calling out ♪ ♪ The same games ♪ ♪ Turn around ♪ ♪ Touch the ground ♪ ♪ Wake up to find work ♪ and look for love ♪ ♪ But when what ♪ rope comes round ♪ ♪ That rope comes ♪ round you jump ♪ ♪ Jump, jump, jump ♪ ♪ It was just jump rope then ♪ ♪ You try not to get hit ♪ ♪ You try to stay in ♪ ♪ Don't let em talk that down ♪ ♪ It's still jump rope now ♪ ♪ It was just jump rope then ♪ ♪ You try not to get hit ♪ ♪ You try to stay in ♪ ♪ Don't let em talk that down ♪ ♪ It's still jump rope now ♪ ♪ It was just jump rope then ♪ ♪ 'Cause that rope comes round ♪ ♪ You try not to get hit ♪ ♪ You try to stay in ♪ ♪ Don't let em talk that down ♪ ♪ It's still jump rope now ♪ ♪ It was just jump rope then ♪ ♪ That rope comes round ♪ ♪ You try not to get hit ♪ ♪ You try to stay in ♪ ♪ Don't let em talk that down ♪ ♪ It's still jump rope now ♪ ♪ It was just jump rope then ♪ ♪ You try not to get hit ♪ ♪ You try to stay in ♪ ♪ Don't let em talk that down ♪ ♪ That rope comes round ♪ ♪ It's still jump rope now ♪ ♪ It was just jump rope then ♪ ♪ You tried not to get in ♪ ♪ You tried to stay in ♪ ♪ Don't let em talk that down ♪ ♪ It's still jump rope now ♪ (audience cheers) - One of the things that for me, as a visitor to this singing universe, is that it feels so much like, "Well that was a good one, good hit."

It feels like singing in the car with mom, right?

It's all character, all creative.

All all...

It is a heartbreaking and heart healing thing to hear you perform.

(audience applauds) Let's do one more, yeah?

(audience cheers) ♪ Ooh ooh ♪ ♪ Ooh oh ♪ ♪ I haven't met a locked door ♪ yet that I couldn't beat ♪ ♪ On a chain around my neck, ♪ I keep my skeleton key ♪ ♪ Don't waste your worry on ♪ me, I always find what I need ♪ ♪ Come and go as I please, ♪ I've got my skeleton key ♪ ♪ Don't waste your worry on ♪ me, I always find what I need ♪ ♪ Come and go as I please, ♪ I've got my skeleton key ♪ ♪ By now it's just ♪ a simple trick ♪ ♪ There's not much to see ♪ ♪ You hear the tumblers ♪ catch and click ♪ ♪ And then turn the key ♪ ♪ But I've found work and ♪ welcome everywhere I've been ♪ ♪ 'Cause everyone's got ♪ someplace they wanna be let in ♪ ♪ Don't waste your worry on ♪ me, I always find what I need ♪ ♪ I come and go as I please, ♪ I've got my skeleton key ♪ ♪ Don't waste your worry on me ♪ ♪ I always find what I need ♪ ♪ I come and go as I please, ♪ I got my skeleton key ♪ ♪ Along the way ♪ ♪ The old men call ♪ me by mother's name ♪ ♪ She looked just ♪ the same, they say ♪ ♪ The children wave ♪ ♪ Or hide behind their ♪ mothers' skirts afraid ♪ ♪ Strangers here ♪ still seem strange ♪ ♪ They hear the accent ♪ ♪ Know I'm from nowhere near ♪ ♪ But I speak the language, ♪ and I know the customs here ♪ ♪ I come from over the horizon ♪ ♪ Pass through ♪ every dozen years ♪ ♪ Go home, tell of my arrival, ♪ the skeleton key's here ♪ ♪ Don't waste your worry on ♪ me, I always find what I need ♪ ♪ I come and go as I please ♪ ♪ I've got my skeleton key ♪ ♪ Don't waste your worry on me ♪ ♪ I always find what I need ♪ ♪ I come and go as I please ♪ ♪ I've got my skeleton key ♪ ♪ I've got my, my ♪ skeleton, my skeleton key ♪ ♪ I've got my, my ♪ skeleton, my skeleton key ♪ ♪ I've got my, my ♪ skeleton, my skeleton key ♪ ♪ Yeah, yeah, yeah, yeah ♪ ♪ Yeah ♪ ♪ Don't waste your worry on me ♪ ♪ I always find what I need ♪ ♪ I come and go as I please ♪ ♪ I've got my skeleton key ♪ ♪ Don't you go waste ♪ all your worry on me ♪ ♪ I always find what I need ♪ ♪ I come and go as I please ♪ ♪ I've got my skeleton ♪ ♪ Don't you go waste ♪ all your worry on me ♪ ♪ Don't you go waste ♪ all your worry on me ♪ ♪ Yeah, yeah ♪ ♪ 'Cause I'll make my way ♪ with my skeleton key ♪ ♪ 'Cause I'll make my way ♪ with my skeleton key ♪ ♪ Don't you go waste ♪ all your worry on me ♪ ♪ Don't you go waste ♪ all your worry on me ♪ ♪ 'Cause I'll make my way ♪ with my skeleton key ♪ ♪ 'Cause I'll make my way ♪ with my skeleton key ♪ - [Announcer] Funding for this program is supported in part by the Minnesota Arts and Cultural Heritage Fund, Jennine and John Speier, and these stage supporters.

(audience cheers) (soft music)