In 2018, Kali Uchis launched a debut album titled “Isolation.” Clearly she was forward of her time. In November, the Colombian-American artist — with a moody, seductive, dance-inducing fashion — dropped her second studio album, this time predominantly in Spanish, “Sin Miedo (del Amor y Otros Demonios).” (Its lead single, “Aquí Yo Mando,” options the up-and-coming rapper Rico Nasty.) The album “goes genre-hopping and era-hopping, from romantically retro orchestral bolero to brittle reggaeton,” Jon Pareles, the chief pop music critic of The Instances, wrote this month.
Having grown up between Colombia and the D.C.-Maryland-Virginia space, Uchis, 26, had many inspirations and influences, she told Interview magazine. “The very last thing I ever need to do is be a predictable artist. I really like that my followers by no means know what to anticipate after I drop a track.”
The 12 months of the Solo
It wasn’t simply that the coronavirus put an finish to reside efficiency in March. The necessity for social isolation uprooted each a part of what will get a dance onto a stage: Instantly, there have been no extra lessons, no extra rehearsals. How one can fill that void? The solo.
This solitary kind has offered an outlet for frustration, for disappointment and even for euphoria as dance artists proceed to seek out that means by means of motion. It’s true that some makes an attempt have been sentimental and aimless, however a lot good has emerged from it, too. Instagram, from the beginning, illuminated these explorations in a gradual stream of posts; choreographers labored with dancers remotely to create movies wherein the physique could possibly be fearless and free. “State of Darkness,” Molissa Fenley’s 1988 solo revived for seven dancers, was a glittering, harrowing reminder of the achievement that comes from energy, each inside and exterior.
One among its interpreters, the dancer Sara Mearns, mentioned that she noticed herself as “somebody that has gone by means of actually, actually laborious instances, however then in the long run has come out stronger and on high.” Sure, dance and dancers are struggling proper now. However the solo has given it — and them — a robust voice. — Gia Kourlas, dance critic for The New York Instances