THENEWYORKER,FEBRUARY10, 2020 5
ILLUSTRATION BY MARK TODD
Everything about Rex Orange
County—his uniquely tender voice,
the lightheartedness of his production,
the endearing naïveté in his lyrics—
stands in stark contrast to the general
sentiment of the present moment. The
British singer, whose yearning songs
have travelled from his bedroom (via
SoundCloud) to the world, has come
to be known for his sincerity, whether
in cheer or, occasionally, in angst. On
his latest album, “Pony,” he has the
demeanor of a doe-eyed romantic,
writing love letters to his girlfriend
and drinking in the changes that suc-
cess has brought to his life. In a world
filled with jaded cynics, Rex Orange
County—who performs at Radio
City Music Hall, Feb. 7-8—manages
to evoke a welcome sense of optimism
and childlike wonder.—Briana Younger
INDIEPOP
1
NIGHTLIFE
Musicians and night-club proprietors lead
complicated lives; it’s advisable to check in
advance to confirm engagements.
Isaac Mizrahi
Café Carlyle
After watching Isaac Mizrahi commandeer a
club with his uncensored wit, endearing charm,
and from-the-heart vocalizing, you might imag-
ine that designing clothes was a second-choice
career for him. His latest residency, “Movie
Stars and Supermodels,” now in its third and
final week, finds him throwing shade at the
aforementioned—among other deserving sub-
jects—while leaving room for choice material by
the likes of Stephen Sondheim, Cy Coleman,
and Bill Withers.—Steve Futterman (Feb. 4-8.)
Rafiq Bhatia
National Sawdust
On his newly released “Standards Vol. 1” EP,
Rafiq Bhatia (the guitarist in the art-rock trio
Son Lux) realigns classics by Duke Ellington
and Ornette Coleman, rooting out the anxiety
lurking within those well-trodden melodies.
Even the opener, “In a Sentimental Mood,”
borders on the dystopian, pointedly betraying
its title. If the songs belong to the previous
American century, their nervous and distrust-
ful mood feels all too part of the current one.
For this release concert, Bhatia is joined by
the jazz vocalist Vuyo Sotashe and the pianist
Chris Pattishall.—Jay Ruttenberg (Feb. 5.)
Dee Dee Bridgewater
Blue Note
There’s little that the vocalist Dee Dee Bridgewa-
ter can’t wrap her inclusive sensibilities around.
On her most recent album, “Memphis... Yes,
I’m Ready,” the venerated performer takes on
R. & B. and gospel material associated with the
Southern region she originally called home. True
to form, the ever-game Bridgewater grabs this
repertoire by the throat and doesn’t let go until it
gleefully surrenders to her ardor.—S.F. (Feb. 5-9.)
Dweller
Various locations
The second edition of Dweller, a festival spot-
lighting black electronic artists and d.j.s, ex-
pands to three locations (it began last year, at
Brooklyn’s Bossa Nova Civic Club) and offers a
far larger lineup, featuring more out-of-towners.
One standout is DJ Stingray, from Detroit, who
spins electro at a lightning pace and with off-the-
charts dexterity; he plays Nowadays on Saturday.
The next afternoon, at the same venue, Titonton
Duvanté, an Ohio native now living in Brook-
lyn, brings his wry, brainy approach to techno
to the decks.—Michaelangelo Matos (Feb. 5-9.)
Corey Harris
Symphony Space
According to some misbegotten tradition, a
bluesman must die—preferably penniless,
ideally unheard—before he can be designated
a genius. The singer and guitarist Corey Har-
ris took a more expeditious route, nabbing
a MacArthur Fellowship in 2007. With a
background that winds through Colorado and
Bates College, Harris steers away from mim-
icking old-time grit; rather, he gently tweaks
the music, interjecting sounds gleaned from
the Caribbean, Mali, and beyond as he molds
his blues from the diaspora as well as the
Delta.—J.R. (Feb. 6.)
Rapsody
Elsewhere
Rapsody—a Grammy-nominated rapper
with a gift for gut-wrenching lyricism—is
destined to leave a legacy. Even so, she’s
made sure to credit the women who came
before her. Her album “Eve,” from last year,
is a tribute to her inspirations that also ex-
amines the erasure and the trauma that black
women have faced throughout history; it
hits deepest on “Afeni,” a track named for
the mother of the late rapper Tupac Shakur.
Referencing his song “Keep Ya Head Up,”
Rapsody urges, “At least love your woman /
we the closest thing to God.”—Julyssa Lopez
(Feb. 6.)
Eclair Fifi
Elsewhere
The Edinburgh native Eclair Fifi is a house
d.j. in the loosest sense; as she once put it,
“I don’t see a difference in the genres, and
I’m not a purist about it.” She’s not kidding.
Recently, Fifi finished off an episode of her
show for the London-based station NTS
Radio by segueing the gibbering footwork
of Traxxman into eighties-style synth goth
from Zinno—and made it sound utterly in-
evitable.—M.M. (Feb. 7.)
Michael Kiwanuka
Terminal 5
Michael Kiwanuka gave his third album his
last name. It may not seem like a hugely sig-
nificant detail, but, as one dives deeper into
his maze of retro-inspired funk, soul, and
psychedelic rock, the British singer’s inten-
tions become clear: he’s celebrating his iden-
tity as both an artist and the son of Ugandan
immigrants. As he grapples with our era’s
uncertainty and violence, he works through
his pain on songs such as “Rolling” and “You
Ain’t the Problem” without losing his electric,
unrestrained sound.—J.L. (Feb. 8.)
KIRBY
Rough Trade NYC
In February of 2016, the singer KIRBY up-
loaded a single track, a slow burn titled “Loved
by You,” that offered but a snapshot of the sheer
power of her voice. Then she disappeared back
into the ether of the Internet for nearly two
years, before reëmerging with the soaring,
gospel-infused “Vain.” It wasn’t until this past
August that a third song—the sugary-sweet
“Kool-Aid”—appeared, followed by another
in October and another last month. This week,
her début EP, “Sis,” makes good on every bit
of the promise of those releases, showcasing
a versatile and stunning vocalist through
multihued soul.—Briana Younger (Feb. 11.)
1
CLASSICALMUSIC
Argento New Music Project
Austrian Cultural Forum
“Double Take,” the latest offering by the
Argento New Music Project, examines the
