Posts Tagged ‘Natalie Prass’

Natalie Prass TFATP Art.jpg

In the process of writing and recording her new album, Richmond, Va.-based singer-songwriter Natalie Prass ran into what has become a familiar artistic roadblock nowadays: the 2016 U.S presedential election.

Prass had her album written, her band assembled, her studio booked … and had to change course completely after you-know-who somehow came out on top. The result was The Future and The Past, due out on June 1st via ATO Records, the follow-up to Prass’ breakthrough, self-titled debut and her covers EP Side by Side, both released in 2015. the press release for the new album “finds Prass tapping into deep, dancey grooves that glisten with ‘80s pop and ‘90s R&B, nestled alongside quivering, lushly orchestrated ballads.” The first of those is “Short Court Style,” the video for which debuts here.

Directed by Prass herself and Erica Price, with Jethro Waters (Angel Olsen) as Director of Photography, the “Short Court Style” visual features a colorfully dressed Prass bringing jubilation to an otherwise-dreary park in her home state. She spins on a merry-go-round, performs with ribbon dancers and generally delights. “Short Court Style” itself is equally joyous: Prass offers figurative revolutions to match the video’s literal ones, singing, “Oh you spin me round / Round and round / Had ups and downs / No but I can’t be without / My love that I have found.” The song’s irresistible groove makes for a slick and spirited showcase of Prass’ exquisite vocals, emphasizing her R&B leanings in irresistible fashion.

Prass recalls the rocky road that led to her uplifting new album:

The record was ready to go, and then the election happened. I was devastated. It made me question what it means to be a woman in America, whether any of the things I thought were getting better were actually improving, who I am and what I believe in. I knew I would be so upset with myself if I didn’t take the opportunity to say some of the things that meant so much to me, so I decided to rewrite the record. I needed to make an album that was going to get me out of my funk, one that would hopefully lift other people out of theirs, too, because that’s what music is all about.

Prass recorded The Future and The Past in Richmond with long-time collaborator Matthew E. White at his Spacebomb Studios, teaming up with artists including Blue (Solange’s A Seat At The Table, Blood Orange, Carly Rae Jepsen) and Michael Brauer (Elle King and James Bay).

The new album from Natalie Prass, The Future and the Past, out June 1st

Natalie Prass Covers Grimes, Simon & Garfunkel, Anita Baker on New EP Side by Side

Natalie Prass released her debut LP Natalie Prass earlier this year. Today, she has announced a new EP, Side by Side, which is out November 20th via StarTime International. That’s the cover art above.
The EP was recorded at Matthew E White’s Spacebomb Studios–the same place as her album–and includes live versions of “My Baby Don’t Understand Me” and “Christy” from her debut, which you can hear below.
Side by Side also includes three live covers of Anita Baker’s “Caught Up in the Rapture”, Simon & Garfunkel’s “The Sound of Silence”, and Grimes’ “REALiTI”.

full tracklisting below.
Side by Side EP:
01 “My Baby Don’t Understand Me” (live)
02 “Caught Up in the Rapture” (Anita Baker cover)
03 “Christy” (live)
04 “The Sound of Silence” (Simon & Garfunkel cover)
05 “REALiTi” (Grimes cover)
Says Prass of her cover choices:
I chose “Caught Up in the Rapture” because it’s the perfect song and Anita Baker can really work a shoulder pad. I have crazy respect for her.”
“Sound of Silence.” I dig the S & G… not like most people do. I can put it on for like a few songs because the lyrics and soft singing are very soothing, but then I’ll have to put on James Brown Live at the Apollo just to balance it out. Carmen McRae’s psychedelic version of this song is brilliant. We did it her way. It’s got that balance. This kind of style of music comes very naturally to us Richmond music folk. This was a one take Jake.
“REALiTi” by Grimes. Four chords. Simple lyrics and melodies. I think the world of her. We worked this song out in the studio never having played it before and recorded it like 3 times through. I think it works although she’s probably going to say “what is this jazz shit” and hate it.

The beautiful Natalie Prass has made her name in the most beautiful city in the world when she took on the La Blogotheque team to sing hits ‘Why Don”t You Believe In Me’ and ‘Never Over You’ on a busy Parisian street. Prass, from Nashville, recorded her sparkling self-titled debut at Matthew E. White’s Spacebomb studio in Richmond, taking full advantage of the lush arrangements that thrive in that space. Her music has touches of the expansive, orchestral soul and country music of the ’70s, as well as things like Broadway songs and even showstopping Disney-movie ballads. But while many voices might be overwhelmed with all that finery around them, Prass has a disarming, lively chirp that shines straight through all of it.

In the deep hum of one of the cultural capitals of the world Natalie Prass exhibits what has endeared her so fondly to so many hearts. The warmth of her voice outshines the heat of the city with a gentile performance among the hubbub of the night. Equipped with only an electric guitar, a band member and her soulful lungs she stopped the French capital in its tracks and made us all feel a little warmer.

The Spacebomb superstar Natalie Prass is having a rather good year; her debut album was released to critical acclaim, she also made her UK TV debut with an appearance on Later with Jools Holland, and then Ryan Adams liked her so much he dressed up as her and played a set of her songs when she was delayed by airline troubles.

She released the superb video for one of her self-titled albums stand out moments, the beautiful “Bird Of Prey”, and it’s unsurprisingly, a  technicolor triumph, continuing the theme of this super talented lady who can do no wrong, keep up the good work please Natalie!

Natalie Prass self-titled debut album is out now via Spacebomb records. Natalie tours the UK this month with a few festival dates completed, including Green Man and  End Of The Road, and then she’s back again in November, she sure does love us!



Natalie Prass performs “Why Don’t You Believe In Me” live at Hotel San Jose in Austin, Texas. Recorded March 19th, 2015 t’s hard to not fall for Natalie Prass. With an undeniable charm and an inclination towards storytelling that can soothe the most broken heart, the singer/songwriter’s self-titled album, released this past January via Spacebomb, is a striking, smart showcase of Prass’ talent—so much so that it’s almost hard to believe it’s her debut. From the intimate opening track “My Baby Don’t Understand Me” to “It Is You,” the album’s nostalgic closing track, Natalie Prass is a timeless time machine, taking listeners through a well-rounded, refreshing journey into love and loss


Natalie Prass performing live in the Lightning 100 LC Studio before her sold out show with Ryan Adams at Ryman Auditorium. Natalie talked about touring with Ryan, her new record, and where she’s been living these days.


Lush with horns and keys, Natalie Prass’s self-titled debut album is a classy and deeply retro take on heartbreak. But rather than use Memphis players, like Cat Power did for her landmark 2006 album The Greatest, or even her own Nashville neighbours, Prass holed up in Richmond, Virginia, seeking out Spacebomb, the house big band-cum-studio of country soul wizard Matthew E White. Prass’s assured voice, one that packs both flutter and muscle, is caressed and challenged by the arrangements, which are never short on groove. Last seen playing keyboards for Jenny Lewis and supporting Angel Olsen, the 28-year-old Prass sounds nothing like a debutante, and everything like the finished article; her album is released on 26 January 2015, accompanied by her first-ever London show the following night


When Bjork recently spoke about the tendency to credit men with the genius of a woman’s art, she could have been looking straight at critics about to write about the fantastic debut album from Natalie Prass. Over nine songs, Prass shows a range in songwriting, from anthems to confident R&B burners to whimsical prairie folk to theatrical grandeur. It is the debut of a songwriter not struggling to find a voice, but fully formed and confident as all hell. She makes knowing nods to Joni Mitchell, Lesley Gore, Diana Ross and Joanna Newsom, all while seeming natural and instinctual. She is the product of her influences and still original.

Natalie Prass is currently on tour as support with Ryan Adams, but sharing the stage each and every night for a few special performances together.  here they are together including a Ryan Adams classic “Come pick Me Up”  Natalie Prass is currently out taking over the world after her wonderful debut she is now on tour with Ryan Adams where he is covering her songs and she is singing with him.

Natalie Prass , Last month, the Southern singer-songwriter released her elaborately orchestrated, ridiculously gorgeous self-titled debut album, and it’s one of the strongest debuts we’ve heard all year. Right now, Prass is touring the UK with Ryan Adams, and Adams is obviously a fan. Last week in Brighton, Adams covered Prass’ lovely song “Your Fool.” And then a couple of nights later in Leicester, Prass joined Adams onstage and sang backup on his “Heartbreaker” classics “Oh My Sweet Carolina” and “Come Pick Me Up.” Also worth nothing Prass has recently been covering Janet Jackson’s beautiful, love-drunk 1993 single Any Time, Any Place live.

natalie Prass

Natalie Prass is some kind of artist, a songwriter’s songwriter and performer’s performer blessed with a golden voice and universal appeal—a singer who understands the vision and brings an undeniable talent to the process. She’s a joy for any listener to discover—a lover and a fighter and old-soul trader in genuine energy, aiming straight for the heart.Natalie Prass turns a sly eye to the pageantry of emotion, the drama of love and the mysteries of everyday life with a disarming mixture of sincerity and cosmic insolence, She is unapologetically romantic, spinning golden threads of lyrics and melody, each inflection planned and considered, each word tailored for meaning and effect—Its the pop gesture as artform. She delivers it all with carefree charm and nearly divine intuition. Her voice, at times so ethereal, is shot through by strength and sinew and just a hint of transient grit. The feeling is soft, but it cuts so deep, leaving any listener with a trace of a soul, thunderstruck and enchanted.

Born in Cleveland, in the heart of the 1980s, Prass entered the teenage slipstream back on the east coast, past the haunted houses, surf shops, and burger joints of Virginia Beach, a mid-tier, rough-around-the-edges resort town. There is an inevitability to every biography, a myriad of strange narrative palm lines that twist and intersect, and she followed hers bravely to a seam of alternative beach culture, living close to the Atlantic Ocean but studying a less bronzed way of life. With her pet bird on her shoulder, she took intensive music and visual art courses all through high school. Going to a good music school was the next logical step, but after a year in cold, snowy Boston, Prass dropped out of Berklee and returned to the beach. She spent a spell working and playing shows in boardwalk clubs before moving out to Nashville where she has spent close to the last decade developing her craft, collaborating with some of the better characters on the edges of Music City culture, building a reputation with her radiant voice, unique performances, and for being a bit of an iconoclast. Prass has carefully avoided the glossy singer-songwriter scene, reaching for something more interesting, more exciting. For her debut performance at Nashville’s storied Ryman Auditorium, she surprised fans by pulling off a guileless reggae set in front of an Isaac Hayes poster she had displayed behind her band.

When the time came to record a full length, Natalie Prass returned to Virginia to work with Spacebomb Records, a label able to realize big visions and lush productions within the rustic charm of its attic studio. The match made sense musically and her ties to Matthew E. White go back to playing in rock bands in their high school days. The two worked together, selecting nine tracks to run through Spacebomb’s creative machine. With hard work and the alchemy of circumstance, they crafted an unassuming masterpiece—a real stunner that sounds both thoroughly out-of-time and impossibly fresh.

Prass is a powerful, beguiling performer and cunning pop composer—one for the moment and one for the ages.


Swoonsome, soul-tinted singer-songwriter offering from Natalie Prass on Spacebomb Records, collaborating with the label’s Matthew E. White. Think Muscle Shoals reborn for the 21st Century – not to be missed!,“My Baby Don’t Understand Me” is the opening track on Natalie Prass’ self-titled album, and what an opening it is. Prass, a member of Jenny Lewis’ backing band, recorded the album at Matthew E. White’s Spacebomb studio in Richmond, and the crew of musicians they rallied rounded out her deeply vulnerable, Joni Mitchell-esque folk-pop with orchestral grandeur. Jenny Lewis, who is Prass’ boss right now, just made a really great major-label singer-songwriter album, but it’s not anywhere near this rich. We’re just not used to hearing music that sounds like Natalie Prass anymore. It feels like a luxuriant shock to the system,