loosie: words: Wicked Lil' Grrrrl Power

Wicked Lil' Grrrrl Power

Esthero's stellar Irving Plaza performance makes amends for her album's pretentious faults.

by Polar Bear | 2005.07.27

Esthero: sounds like a bad Spanish magician forced to eek out a living turning cards and tricks on the boardwalks of Atlantic City. Which, by the way, is where I was prepared to leave her deserted after hearing the promo copy of her new album, Wikked Lil' Girrls. Not that the record is so terrible; it simply didn't peak my interest after hearing so much about this Toronto open mic star cum trip-hop starlet. Critics and friends alike insist that seven years ago she dropped one of the hottest discs of the 1990's. Well, the trip-hop movement died, right along with the music label that put out her first record. Portishead and company never followed up on their promise. And we, the music world, moved on to bigger things, like boy bands and Britney.

I was supposed to interview Esthero three months ago. I listened to Wikked Lil’ Grrrls in order to prepare, and boy, was I ready to dig into her. On the track "We R In Need of a Musical Revolution," Esthero proclaims, over acoustic guitar and watered down beats, "I'm so sick and tired of the shit on the radio/ and MTV they only play the same thing/ No matter where I go I see Ashanti in the video/I want something more." Something more? Than Ashanti? Wrong girl to punk, Esthero. Ever since Ashanti's shaved off her sideburns, I can't stop thinking about her.

Esthero continues on the same track when discussing R. Kelly: "Tell me why a grown man can rape a little girl/ But we still hear his shit on the radio?" Okay. R. Kelly I can hate on, despite the fact that his new song “Trapped in the Closet” has been received with unanimous love. Yet, who's Esthero? All the bombast and sucker punches seem contrived coming from a white Canadian woman who proclaims herself a pirate and sings over an Andrew Sisters’ sample on the Miss Congeniality 2 soundtrack. And the record sounds unfocused, as if she is desperately trying to please everybody, spreading herself and her vision too thin.

There was one moment on the record, however, that I couldn't ignore -- Andre 3000's guest spot. And the magic man himself just happened to be the first person I spotted outside of Irving Plaza after having been told by the polite girl at the booth that I was not on the press list for Esthero's NYC show (Nikki from Warner Bros. -- Esthero's new label -- had forgotten me, it seemed.) So, not only wouldn't I interview her, I wouldn't see the show. Before walking to the train, I sidled up to the Love Below.

PB: "Andre, can I ask you a question?"
AB: "Sure."
PB: "Why was your guest spot on Esthero's album cut so short?"
AB: "Hmm. Which song?"
PB: "The one where you sing: 'I'm gonna eat you like an animal.' It was really good."
AB: "Hmm. Editing, I guess. Actually, the whole song was cut from the album."
PB: "Really? I only heard the promo. Why was it cut? Did you hate it?"
AB: "No. My people, you know, my record company. They don't like me doing too many things. They're selfish. They like to keep me to themselves."
PB: "So they hated it. Thought it wasn't up to snuff."
AB: "No, no."
PB: "So, did you like working with Esthero anyway?"
AB: "Oh, yeah. She's good peoples."

And with that I wished him goodnight. Andre looked absolutely normal and relaxed -- no Prince pants, no P-Funk stance. He just looked like a Brooklyn boy out for a concert. I shook hands with Mr. 3000 and continued my Trail of Tears march to the subway. But as luck saw fit, I ran into a friend who works "under the umbrella" of Warner Brothers. I told him my situation and he happened to have an extra ticket.

Inside, I caught the end of opener Leela James' set. Truly uninspiring. She looked good, had the right body in her hair, etc. But her voice sounded mediocre singing, "I like music, especially Soul music." Boooring. But then...Prince Paul! Praise the Lord, Prince Paul was spinning between sets! Despite his predictable selections -- his own productions for De La Soul, Black Sheep, Tribe, etc. ("I'm gonna stroke my own ego") -- the bass shook my heart and reminded the audience of the master before them.

To be honest, by the time Esthero hit the stage, I was ready to leave. Rheingolds were five dollars and it became clear I wouldn't be interviewing her. But surprisingly, Esthero's voice and presence kept me. I wouldn't say the music was my cup of tea, but her singular mix of Erykah Badu, Bjork, and Everything But The Girl proved compelling. What the record lacks in soul and substance, the live show completes. Her backing band was strong and steady, complete with a horn section marred only by an annoying flute mixed much too high in the sound (a flute? Really, Esthero. As if you weren't eccentric enough for your own good). Caribbean, Soul, Latin, Trip-Hop and Def Poetry were among the many styles she blended gracefully. And during the ballad "Stay With Me" I almost lost it. I looked up to the balcony and saw Andre 3000 all sways and smiles.

The set was very long and entertaining, and, to be honest, only hit full stride during the extended encore. Accompanied by her older brother on guitar, Esthero sang that normally annoying song "Joey, I ain't angry anymore" and made neck hairs stand at attention. Her diehard fans had waited seven years for this, and both performer and audience were exuberant. By her last song, Andre had exited, the crowd was dancing and Esthero was singing up in the balcony. Tonight, when she sang "We R in Need of a Musical Revolution," I actually believed her. Ashanti, vocally and artistically at least, really doesn't have shit on Esthero. Now where's my motherfucking interview?