When I first walked onto the carpeted interior of the El Rey Theatre in Los Angeles to catch the dazzling Adi Oasis headline the stage, multidisciplinary artist Samora Pinderhughes was sitting behind his M-Audio keyboard citing his sources and letting the crowd know that his song “Masculinity” was inspired by the works of the pioneering feminist/author/critic/activist bell hooks.
After his Samora’s set, fans awaited for Adi Oasis to grace the stage. Formerly known as Adeline, the artist/producer’s reinvention began with a change in moniker but has since assisted in evolving nearly every aspect of her music, starting with her most recent album, Lotus Glow — a sublime collection of lambent instrumentals that recall R&B and funk classics.
The mood in the dimly lit El Rey feels laid-back and nostalgic. A plethora of oldies but goodies played through the speakers as people mixed and mingled over cocktails in casual blazers and walking shoes. The crowd is a blend of 9-5’ers getting out of the office, eclectic jazz aficionados, and just lovers of great music. Everyone is engaged and alert, with no phones in sight, like a fever dream of the days of 90s corporate happy hours minus the finger foods and beer nuts.
Before the show, Oasis alluded to a special guest appearance by Chicago-based songstress and poet Jamila Woods, so the night started with great expectations. That night, the crowd heard “Red to Violet” live, and it felt like we got to sit in on an incredible artist jam session.
“A lot of this music is about womanhood and motherhood and bad bitch hood. Being from the hood,” said Oasis, holding her pearl-colored base guitar. I appreciate that. Her music truly is a celebration of those experiences.
When I first heard Adi Oasis‘s music, I fell in love with her songs because they reminded me of home. Her French-Caribbean background and funky style bring out the textures of her voice, blending the familiar influences of Minnie Rippleton, Dianna Ross, Soulquarianill Scott, and Angie Stone singers, like J, with the badass ness of Shelia E and Chaka Khan. Something about it takes me to a nostalgic place of New York summers, brownstones, and block parties.
This performance was a celebration of life. It has tales of self-preservation and positive affirmation, as heard in “Serena” and “Adonis,” as well as longing and love, like in “U Make Me Want It” and “Multiply.” Oasis is living her lyrics word by word, and so is her audience as they sway back and forth, hands held high, dancing to the beat of her band.
To my surprise, before closing out a radiant set, Oasis covered the iconic Crystal Waters song “Gypsy Woman.” The familiar piano sequence flowed through the room and filled us all with light as she smoothly hit a quick but subtle duck walk, boom-cats across the stage playfully.
This was a magnificent night. Her performance feels like a love letter to summer, to life, and to us all. The screams for an encore continue repeatedly, and they are well deserved in every way.
“Go Adi, go Adi, go Adi!”
Congratulations on your newest journey into motherhood, Adi. While you reminded all of us that we are bad bitches and there is power within us all, never forget that you are one as well.
Photos & Words by Asha Moné
