It was a calm Sunday night in Downtown Los Angeles when I exited the 10 Freeway onto Beaudry Avenue, searching for a free parking spot near the Bellwether. After arriving at my destination, my AirPods played a shuffled mix of songs as I took a brisk 8-minute walk past the freeway, enjoying the glimmering city lights. I was on my way to pick up my press pass for my final live show of 2024—the closing night of Tanerélle’s “Electric Honey” tour.
Upon entering the Jetsons-style venue, I was surprised to hear a playlist of 2000s Hip-Hop bangers instead of the expected sexy neo-soul vibes I would associate with tonight’s guest of honor. Nevertheless, I took my place in the pit and was greeted by an enormous stage fit for a school auditorium, and the scene for the evening was set. I did not know what to expect, but I was excited nonetheless.
When the lights dimmed for the first performer, the photo pit groaned with disapproval—every camera person’s worst enemy had appeared: red light. The red LED background illuminated the stage as Australian performance artist Vita took the spotlight. The attention quickly shifted from the alarming lighting to the striking performer dressed in deep burgundy and black lolita attire, complete with black knee-high platforms and a larger-than-life voice.
I can recognize a modern dancer when I see one. With every flick of her wrist, back extension, and toe point, Vita played with the deep shadows of the stage, transporting us into her world named xotic, her first project released just weeks ago. Among the standout songs are “SAVIOR,” “BUTTERFLIES,” and “ISLAND,” which feel like a blend of this millennium Timberland vs. The Neptunes; Aaliyah in the “Queen of the Damned,” internet cyberpunk sounds that are oddly familiar but also new and innovative.
Vita’s performance is phenomenally intriguing and calculated, especially considering this is only her fourth show. I am fully engaged and will be adding some of her tracks to my relisten list.
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After a dynamic performance, concert-goers were welcomed with what I think was a missed opportunity and a concert faux—a 30-plus-minute break. Feeling excessively long without a live DJ to keep the crowd engaged, the house mix was a blend of Top 40 R&B, and Now That’s what I call 2000s hits, which all failed to set the right mood for a sensual artist like Tanerélle and trickled into the overall vibe of the night.
When Tanerélle finally appeared on stage, she was as beautiful as ever, her skin sparkling under the lights. With her “Beyonce fans” on low, the Atlanta-born songstress adorned in a golden bodysuit performed a set that would make Foxy Cleopatra envious of her star power. For many, “Better Days” and “Us” were the songs that introduced them to her lyricisms and contralto voice. Still, Sunday night, her cover of Sade’s “Ordinary Love” and, unexpectedly, “Viva la Vida” by Coldplay welcomed many more in attendance. She’s fab. There’s a moment when she gives us some Flashdance-esque chair performance, and I can see the vision. She’s a beautiful woman with a lovely voice, but something is missing.
Her performance was great, but the night lacked the crowd engagement I had hoped for. Throughout the evening, she expressed profound gratitude for being there and for her fans. She shared meaningful stories about how her songs came to fruition and offered words of encouragement to the audience. However, while her performance was commendable, the long breaks between songs dampened the atmosphere. Los Angeles crowds can be fickle, and I felt like this was one of those nights, especially in a venue that didn’t quite meet the aesthetic requirements needed to create a sexy and cozy vibe.
In the future, I would love to see Tanerélle accompanied by a small group of dancers, background singers, and/or a band. Such a sultry, cosmic voice deserves all the bells and whistles, especially with a large space like The Bellwether. Alternatively, this solo performance might have been better suited at a more intimate venue where fans could feel the warmth of connection. Overall, I appreciated her talent and performance, but the night did not have the spark I had hoped for. Maybe next time.
Photos & Words by Asha Moné
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