Author: Adiya

Eephus (ē-fiss), n. an off-speed pitch with unusually low velocity, intended to catch the hitter off guard.

This past Saturday, the electric First Lady of Wondaland Records, Janelle Monae, and the label’s impressive roster put on a free show at D.C.’s Howard Theatre. The Eephus Tour accompanies the release of the collective’s first EP by the same name. The eight-city tour (D.C. being the third stop) fits its title’s definition for two reasons: The discretion of the location and structure of the performance. Each show is a “secret” and RSVPers are only given 24-hour notice of the time and venue. This definitely caught me off guard, as I had to move things around to be there, but the show itself…it also surprised me, in a pleasant way.

I’m not sure exactly what I was expecting. I had never seen any of the artists perform live but I knew it wouldn’t be a let down.  Janelle Monae can really do no wrong and if it just so happened that this were the one time in which she did, Jidenna could probably save the day. When it came to the five other artists, this would be my first introduction to them, and it turned out to be a perfect one. Their passion and energy was so pure…that’s the best way I can describe it. You could just tell that they genuinely loved being on that stage. What made things even better was that nobody served as an opening act to anyone else. Roman Gianarthur would perform, then Janelle, then Deep Cotton. The audience couldn’t predict what was going to come next…the eephus.

When Monae first announced that she was starting her own label, I knew it’d be a place where artists could come and literally be themselves, and there’s a great balance so far. Roman Gianarthur makes feel good music with a heavy soul and funk influence, and reminded me of a young James Brown at certain points. St. Beauty is a female duo, both vocalists, and one on bass (always here for female musicians, shoutout to The Suga Mamas); they have a savory, soothing sound to them. Deep Cotton, the energetic male pair, provided the Rock elements with a touch of Prince-esque vocals.

Jidenna is the emcee of the family. His look, dancing (where he showcased part of his Nigerian background) and signature “snap” in his beats make him the opposite of cookie cutter. He performed his hit “Classic Man,” in addition to some new material. Janelle displayed her vocal ability like I had never really heard before. “Tightrope,” “Electric Lady,” and “Yoga,” were included in her sets; her classic dance moves and velvet cape also made an appearance. A dull moment didn’t exist and everyone got to see each individual artists’ personality, which was nice. The band danced alongside them, was interactive, and have their own individual styles too.

I left Howard Theatre with a greater appreciation for Wondaland…the messages that they give out, their artistry. I admire Janelle Monae, not only for her music, but for the steps she’s taken towards social change and being herself unapologetically. She, along with the rest of Wondaland, are making amazing use of their platform and influence. Two days prior, Wondaland took to the streets of New York City where they organized a protest and press conference addressing police brutality. However, they didn’t leave the topic in NYC or on their timelines. The group ended the night in D.C. by performing “Hell You Talmbout,” a song that Monae said she wants groups to use as they march in protest. She has often used the hashtag #WondalandGoesPlaces when posting about the tour; I’m excited to see where they go and what they do next.