And while some may seize on the fact that the words “bad guy” - which happens to be the name of Eilish’s biggest hit - come up repeatedly in Reyez’s “Same Side,” she’s been working this vein for years, and any influence is minor and mutual.
There are eyebrow-raising passages in nearly every song, but highlights include “You make me wanna jump off the roof, ’cause I love you to death” (“Coffin”) “You’re such an asshole, but I see a prince / I’m a good girl but you see a bitch /I wanna make love, you wanna burn a bridge” (“Same Side”) “Fight just to f- just to fight again / World War Three justified in bed” and “Strippers and liquor and cigarettes / Apologized but your twitter said no regrets / I’d kill for a mute button in my head” (both from “Ankles”).Īt a glance, those lyrics may read like the work of an older and more unhinged Billie Eilish: The two are friends Reyez is the opening act on Eilish’s postponed North American tour, and, as Eilish revealed to Variety, they have collaborated on still-unreleased songs. The album’s musical dichotomies mirror the sprawling emotional polarities of her lyrics, which are as foulmouthed and sexually explicit as any rapper’s. Which isn’t to say that it’s intentionally or overly commercial: The first words she sings on the album are “I should have f-ed all of your friends / That would have been the best revenge,” and even the most approachable songs go a little bonkers in places.
It ranges from the smooth R&B of “Imported” to the deranged Kanye-meets-Missy Elliott hiphop of “Dope,” from the Spanish-language ballad “La Memoria” to the girl-group tones of “Coffin” (which itself undergoes a startling shift when a guest verse from Eminem bursts in like an unruly guest at an otherwise civil party). Her extraordinary debut full-length “Before Love Came to Kill Us” delivers on all the promise the now-28-year-old singer-songwriter-rapper’s previous work suggested - a wild and unique mix of songs and sounds and scenes and moods. But although it came across on certain songs from her two EPs and featured appearances on tracks by Eminem, Sam Smith and Lewis Capaldi (a bizarre group of collaborators that evidences not just her talent but her adaptability), it wasn’t captured in a single body of work - until now. That dramatically swift transition from a tiny stage to a massive one showcased Reyez’s indisputable talent and star power. Interscope Didn't Just Own the Grammys - It's Ruling Oscars Music, Too Salma Hayek Explains Her Slightly Awkward Hug With Eminem at the Oscars While a couple dozen artists performed and she played just two songs (the ones above), she had the crowd, most of whom had never heard of her, in the palm of her hand.īTS Is Headed Straight to No. Accompanied by a DJ and herself on acoustic guitar, Reyez presented a charming onstage persona that contrasted jarringly with the intensity of her performance - her sweet voice cracking or shifting into an even-higher register, often seeming on the verge of hysteria or violence or worse - especially on “Gatekeeper,” which had many people in the small audience shifting uncomfortably in their seats.įast forward a few months, and that same Jessie Reyez was performing for 18,000 people at Jay-Z’s Tidal X concert at Brooklyn’s Barclays Center and absolutely slaying them.
#Jessie reyez kiddo album cover series#
She’d built a buzz in Canada via a series of singles, particularly the minor-at-the-time hit “Figures,” and had just released her debut EP, “Kiddo,” which included an aggressive and startlingly in-your-face song called “ Gatekeeper” about sexual harassment in the music industry. In the Spring of 2017, a young Colombian-Canadian singer named Jessie Reyez performed a short set in a small upstairs bar in Manhattan’s Meatpacking District.
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