The Loft at City Winery New York, NY Web: nazzy.hiphop Contact: press@nazzy.hiphop Players: Nazzy the Mic, vocals ON A RAINY MARCH NIGHT at The Loft at City Winery, actor Orlando Jones ended his stand up set in an unexpected way. Instead of simply taking a bow, he invited up-and-coming Philadelphia rapper Nazzy the Mic onstage to close the show. At only 21, Nazzy has been tenaciously pursuing her rap career for six years. She released her debut track, “Last Scar,” at age 15, and has followed up with at least one EP or album every year. After signing Nazzy to his label, GangStir Rock Music (GSR), Jones helped usher in her 2025 album, I am Nazzy. For her New York City debut, Nazzy delivered her signature style—raw, vulnerable flows over stripped-back production. Honesty has always been central to her lyricism, laying her heart and soul out bare for the audience. That openness and relatability draw listeners in, inviting them to process their own experiences alongside Nazzy. The beat dropped as Nazzy took to the stage, immediately capturing the crowd’s attention. Nazzy opened the show with one of her more laidback tracks, “Come Over.” She kept her voice soft but clear, unfiltered emotions pouring from her words. Gentle guitar paired with unyielding beats played
NAZZY THE MIC
through the speakers, giving Nazzy space to showcase her melodies. Even though the audience had come to the venue for a stand up show, they remained seated, fully locked into the performance onstage. Nazzy kept the show stripped back, performing solo on stage for her set. She moved fluidly around the stage, commanding as much space as she could. Throughout the show, Nazzy highlighted different facets of her vocal range. At times her voice was almost strained with emotion, before easing back into a chill, melodic flow. Supported by syncopated,
pounding bass and twinkling piano, the lyrics washed over the crowd. Before bringing her onstage, Jones took a minute to tell the crowd a bit about Nazzy’s accomplishments and explain why he was so eager to work with her. She’s relentless, putting out albums in December 2025 and February 2026, and recently secured her own Pandora channel. Although she hasn’t announced any official tours or shows, fans can get their fill through her prolific catalog and music videos. She’s only just getting started. – Emily Mills
Ro Cham Beau Detroit, MI Web: sheilalandis.com Contact: shelandis@gmail.com Players: Sheila Landis, vocals, percussion, kazoo; Rick Matle, 7-string guitar; John Hill, drums ONE OF DETROIT'S NEWEST live jazz music rooms is the sleek and acoustically perfect Ro Cham Beau. The veteran duo of Sheila Landis and Rick Matle recently made their maiden voyage there, one for the books. They were joined by trusty sideman John Hill who embraced their swinging groove like a hand in glove. The evening’s theme was a journey through the decades, taking pages from the Great American Songbook through standard blues and pop. But you quickly realize that nothing by this ensemble is by rote. Each song is meticulously crafted where the ensemble stays faithful to the music’s essence while taking liberties at the same time. First popularized by Eddie Cantor during the heyday of vaudeville, Landis immediately captivates the crowd with the perennial “Makin’ Whoopee.” From the outset, she engaged the audience in joining her on the chorus as she dramatically “talk-sang” the lightly provocative and coquettish lyrics. Matle’s seamless blend of melody and walking bass establishes a comfortable rapport with Hill’s delicate drumming. “It Don’t Mean a Thing (If It Ain’t Got That Swing)” was a popular quote and classic from Duke Ellington. It came to life here via Landis’ outrageous kazoo soloing, bongo playing and Hill’s cue to step out. Landis kept a friendly
SHEILA LANDIS & RICK MATLE
rapport going with the crowd and dedicated the standard “Fly Me to the Moon” to the Artemis II astronauts. With a breathy Billie Holiday quality to her voice the lead chanteuse soared wistfully over a silky Latin rhythm. “The Lady is a Tramp” was appropriately swinging and edgy which transitioned to the sweet and seductive “Besame Mucho.” Hill and Landis provided dense percussion as Matle subtly blended looping chords and deftly placed lead lines. The first set concluded with the perennial upbeat “When You’re Smiling.” Landis’ spirited kazoo honks and Hill’s call and response drumming were a highlight. Set two began with the Bacharach/David classic “I’ll Never Fall in Love Again.” It featured Landis on shakers as she supported a smooth samba-like vibe. Matle took some nice solos here as well. Another instrumental piece was the moody and noir-ish “Harlem Nocturne.” A devotee of the late great jazz vocalist
Betty Carter, Landis evokes that same spirit and charm into everything she does. And you could even include elements of Sarah Vaughan and Nina Simone into her vocal oeuvre as well. Her style blends the sublime with the slightly dramatic and absurd for a performance that is inviting, yet one of a kind. She fuses humor and reflection at the drop of a hat, with all the skill of a Broadway diva. Matle stands alone as one of the best 7-string guitarists on the scene. His ability to blend melody, chords and bass lines simultaneously is a joy to be had. And his encyclopedic trick bag of Wes Montgomery, Jim Hall, Barney Kessel, and Jimi Hendrix-type styles just adds to the versatile nature of their music. John Hill is equally comfortable laying down a solid pocket or adding subtle brush work. Whether they are doing classic cover material or a bevy of their well-crafted original songs, Landis and Matle always deliver and leave you wanting more. - Eric Harabadian
January June 2026
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