Bump To This is BE’s fortnightly curated list of the tracks that we’ve had on heavy rotation. This edition is dedicated entirely to International Women’s Day, highlighting a handful of superstar female artists making waves in the music industry, including Kaiit, Tkay Maidza, JessB, JOY. and Thando. Don’t forget to link up to our Spotify to hear more!
White Rose by Tkay Maidza
‘White Rose’, the standout track from Tkay Maidza’s latest EP ‘Last Year Was Weird Vol. 1’ shines a light on Maidza’s vocal range and lyricism. We are shown her softer side in contrast to her last song Flexin’ – also featured on our playlist – that is much more hard hitting. Maidza’s smooth vocals tell a story of being let down in a relationship and realising one's self-worth. In an interview with The Line Of Best Fit, Maidza described the white rose as the symbol of the relationship, whether it be romantic or platonic. ‘It's about how a person is only there for you when everything is smooth but isn’t there when it’s gloomy or dark’. The symbolic rose is shown throughout the music video as Maidza tends to her garden, lays flowers on the grave of ‘Last Year’ and pushes around on a rose covered bike.
OG Luv Kush, pt.2 by Kaiit
Kaiit has quickly made a name for herself as a jazz and neo-soul queen. The talented Melbourne local even drummed up a co-sign from R&B soul singer Jill Scott, claiming Kaiit was her and Erykah Badu’s love child. We totally agree. Her narrative lyricism on ‘OG Luv Kush, pt.2’ is sophisticated and extremely relatable, easily summing up the process of getting over a relationship she knows won’t work. Her words about the obstacles of a modern day relationship, such as leaving your ex on read, but still stalking them every now and then from your mate’s phone, works surprisingly well with the vintage, soulful sound of the track. Kaiit masters the neo-soul sound with this record.
Take It Down by JessB ft Rubi Du
JessB is a pro-netballer-turned-rapper from New Zealand who’s steadily solidifying her spot in the local hip-hop scene. The Kiwi rapper of Kenyan descent, known for being passionate and outspoken about inclusion and diversity, is extremely stylish and a generally all-round, dope ass chick. ‘Being me is not really limited to any one thing,’ said JessB in the NZ Herald. ‘So in addition to the messages - talking about LGBT issues, social issues and being a woman of colour - I also advocate for the importance of just having fun’. This energetic beat has the perfect summertime vibe for poolside party or night out dancing with the girls. Plus, what is an International Women’s Day playlist without a song you can twerk to?
Fake It by JOY.
The first time I heard JOY. sing she was sitting behind a keyboard in a cloud of smoke, opening for Kehlani on her 2017 Australian tour. Her talent was clear in that moment as we listened to the sultry tone of her heavenly voice. Turns out she is a producer, singer-songwriter and plays multiple instruments. ‘Fake It’, from her second EP ‘Six’, has a subtle electronic-pop sound that compliments JOY.’s gentle yet commanding style of singing. The song starts off slow burning but picks up for the chorus thanks to a powerful bassline. The production shines bright on this track, but the intimate and raw lyrics do not fall far behind.
Gag Order by Thando ft. Françoistunes
We are beyond excited to plug ‘Gag Order’, the first single from Melbourne based Thando’s long-awaited sophomore EP ‘Life In Colour’. Thando sings about the different forms of cultural genocide people of colour in Australia experience and how, no matter what they do to try and fit in, it never feels right or works out in their favour. The soulful number features a guest verse from fellow Melbournian, Françoistune, and sharing her intention behind the song Thando said: ‘2019 is about deconstructing the systems PoC adhere to in order to make others feel comfortable. 2019 is about telling our truth without worrying about repercussions’. The R&B queen will preview her forthcoming EP with a documentary launch at the Brunswick Music Festival, March 11.
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