
Erykah Badu Teases New Music & Stops Show To Shout Out ASL Interpreter At Essence Fest
"Is nothing sacred?" Badu asked, after hilariously calling in a fan who she saw 'put her purse on the stage and start looking for her keys.' That was just one instance when Badu paused her flawless soulful vocals to interact with the crowd. In a moment now going viral, Badu gave love to the festival's American Sign Language (ASL) interpreter, Cheyenne Atkins, who was positioned just to the side of the safe with her image projected on screens to the crowd. Now that Black American Sign Language (BASL) is in the news because
Sinners will be the first film to stream in the language, it felt like a fitting and timely exchange. A few songs into her set, Badu glanced up at the screens, gestured to Atkins and pointed out how she was interpreting her band's uptempo, bass‑heavy musical interludes. And let me tell you, nobody could have interpreted Badu's band in this way but a Black woman doing BASL.
View this post on Instagram
A post shared by Unbothered (@r29unbothered)
Philadelphia native Atkins has been an ASL interpreter at Essence Fest the past two years, according to NOLA.com. 'But, she said after her remote collaboration with Badu, 'I've never had to break it down before,'' Keith Spera for NOLA.com reports. Badu and Atkins' interaction was a welcome moment of recognition between two Black women owning their respective performances.
'
I enjoy doing my own hair and makeup, clothing, my stage setup, writing the songs, playing the instruments. I enjoy that very, very much. It's all about of the art of who I am.
erykah badu
'
As Badu warmly acknowledged Atkins' unexpected, fluid, and expressive movements, it was a small gesture, but it resonated deeply. I love watching competent Black women kill it at their jobs! It felt like Badu and Atkins were speaking not just through sound, but through intention and energy (ignoring the interruption from Essence Fest host and actor, Anthony Anderson).
There were other candid moments when Badu spoke directly to the audience, like when she jokingly admonished the crowd for sitting down during the beginning of her set. 'Right now Imma do one of my favourite songs, [but] it's not going to be 'Tyrone' because y'all were sitting down at the beginning and I'm vindictive so I'm punishing you for sitting down,' she said to laughs. Badu, of course, is referring to her 1997 classic (and my go-to karaoke song) ' Tyrone (Live) '. Badu relented after cheers from the crowd and turned to her band and said, 'If we do do it, let'd do it fast as fuck' before launching into a sped-up rendition of her fan-favorite hit. As someone who has heard the song about a million times and knows every run, every adlib and every 'shhhiiit', it was refreshing to hear a new version of one of my favorite jams.
Badu brought her familiar electric yet soft spoken energy on stage and she took those vibes backstage when she hit the press room after her set. Dressed in 'what I wore to the airport,' the artist revealed that she doesn't have a stylist. 'I enjoy doing my own hair and makeup, clothing, my stage setup, writing the songs, playing the instruments. I enjoy that very, very much. It's all about of the art of who I am.' she told the room of onlooking press.
Erykah Badu's multifaceted art has sustained a career that most artists can only dream of. And there's more coming. Badu recently released "Next to You," her first new single in over a decade. Produced by acclaimed hip‑hop maestro The Alchemist, the track blends her warm, introspective neo‑soul vocals with a soulful, bass‑heavy, Mobb Deep‑sampling beat—opening a lush portal into what promises to be her first full-length studio album since New Amerykah Part Two.
'I came up with the concept because I hadn't produced an album in awhile … It's just fun and a chance to evolve and keep expressing who I am in my talent.'Badu also mentioned her mysterious upcoming record Abi & Alan, slated for this summer, which continues the sonic partnership with The Alchemist and will be showcased on her joint "Luv Iz" / "Abi & Alan Tour" across Japan and North America, according to Pitchfork.
We're halfway through the year and so when I asked Badu what she was leaving behind in the first half of 2025, she delivered a word I think we can all take into the next 6 months. "[I'm leaving behind] a little more doubt," she said after a long pause. "A little more doubt... in every area. I'll tell you what, I'm not going to let fame let me miss my train."
At the end of the press room, as Badu was wrapping to go watch her friend Jill Scott perform, she thanked every journalist (mostly a room of Black folks) for our questions and took off the towering hat she was wearing to reveal her natural hair pulled up in small a high braid. It was another dose of realness you rarely see from artists in her position.
I left the night feeling at once electrified and centered. That's the Erykah Badu effect. She wasn't just performing at Essence Fest, she was guiding us through a neo‑soul revival, building a generational bridge. In one transcendent night, she honored her past, embraced her present, and invited us all into her future.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Los Angeles Times
2 hours ago
- Los Angeles Times
Jewel Thais-Williams, founder of beloved Black queer nightclub Jewel's Catch One, dies at 86
Jewel Thais-Williams, the founder of the pioneering Black lesbian and queer nightclub Jewel's Catch One in Los Angeles, has died. She was 86. Thais-Williams' death was confirmed by KTLA and by several friends and employees of the club. No cause of death was immediately available. For decades, the Mid-City nightclub — known to regulars as The Catch — was L.A.'s hallowed sanctuary for Black queer women, and a welcoming dance floor for trans, gay and musically adventurous revelers. Artists like Ella Fitzgerald, Madonna and Whitney Houston sashayed down Catch One's winding halls, while the indomitable Thais-Williams fended off police harassment and led care programs during the height of the AIDS crisis. The Catch was singularly important to the development of Black and queer nightlife in L.A., and belongs beside New York's Paradise Garage and Chicago's Warehouse in any account of the most important nightclubs in America. 'It was a community, it was family,' Thais-Williams told The Times in a 2018 interview. 'To be honest myself, I was pretty much a loner too. I always had the fears of coming out, or my family finding out. I found myself there.' Thais-Williams, born in Indiana in 1939, opened Jewel's Catch One in 1973. She didn't have ambitions to open a generationally important nightclub, just a more resilient business than her previous dress shop. However, her experience as a Black woman shunned at other local gay clubs bolstered her resolve to make the Catch welcoming for those left out of the scene in L.A. 'I didn't come into this business with the idea of it becoming a community center,' she said in 1992. 'It started before AIDS and the riots and all that. I got the first sense of the business being more than just a bar and having an obligation to the community years ago when Black gays were carded — requiring several pieces of ID — to get into white clubs. I went to bat for them, though I would love to have them come to my place every night. 'The idea is to have the freedom to go where you want to without being harassed. The predominantly male, white gay community has its set of prejudices. It's better now, but it still exists.' Jewel's Catch One became a kind of West Coast Studio 54, with disco-era visionaries like Donna Summer, Chaka Khan, Sylvester, Rick James and Evelyn 'Champagne' King performing to packed rooms. Celebrities like Sharon Stone and Whoopi Goldberg attended the parties, glad for wild nights out away from the paparazzi in Hollywood. Thais-Williams 'opened the door for so many people,' said Nigl '14k,' the Catch's manager, doorperson and limo driver for 27 years up until its sale in 2015. 'A lot of people that felt not wanted in West Hollywood had nowhere to go. But people found out who she was and put word out. She was a great friend and a shrewd businessperson who allowed people to just be themselves.' The club's many rooms allowed for a range of nightlife — strip shows, card games and jazz piano sets alongside DJ and live band performances [along with Alcoholics Anonymous meetings]. The boisterous, accepting atmosphere for Black queer partiers contrasted with the constant surveillance, regulation and harassment outside of it. 'There was a restriction on same sex dancing, women couldn't tend bar unless they owned it,' Thais-Williams said in 2018. 'The police were arresting people for anything remotely homosexual. We had them coming in with guns pretending to be looking for someone in a white T-shirt just so they could walk around.' A fire in 1985 claimed much of the venue's top floor, closing it for two years. Thais-Williams suspected that gentrifiers had their eye on her building. 'It's very important not to give up our institutions — places of business that have been around for years,' she said. 'Having a business that people can see can offer them some incentive to do it for themselves. I'm determined to win, and if I do fail or move on, I want my business to go to Black people who have the same interest that I have to maintain an economic presence in this community.' Thais-Williams' AIDS activism was crucial during the bleakest eras of the disease, which ravaged queer communities of color. She co-founded the Minority AIDS Project and served on the board of the AIDS Project Los Angeles, which provided HIV/AIDS care, prevention programs and public policy initiatives. With her partner, Rue, she co-founded Rue's House, one of the first dedicated housing facilities in the U.S. for women living with HIV. The facility later became a sober-living home. In 2001, Thais-Williams founded the Village Health Foundation, a healthcare and education organization focused on chronic diseases that affected the Black community. 'Jewel is a true symbol of leadership within our community,' said Marquita Thomas, a Christopher Street West board member who selected Thais-Williams to lead the city's Pride parade in 2018. 'Her tireless efforts have positively affected the lives of countless LGBTQ minorities, [and her] dedication to bettering our community is truly inspiring.' After decades in nightlife, facing dwindling crowds and high overhead for a huge venue, in 2015 Thais-Williams sold the venue to nightlife entrepreneur Mitch Edelson, who continues to host rock and dance nights in the club, now known as Catch One. (Edelson said the club is planning a memorial for Thais-Williams.) 'People in general don't have appreciation anymore for their own institutions,' Thais-Williams told The Times in 2015. 'All we want is something that's shiny because our attention span is only going to last for one season and then you want to go somewhere else. The younger kids went to school and associated with both the straight people and non-Blacks, so they feel free to go to those spots. The whole gay scene as it relates to nightclubs has changed — a lot.' After the sale, the importance of the club came into sharper focus. A 2018 Netflix documentary, produced by Ava DuVernay's company Array, highlighted The Catch's impact on Los Angeles nightlife, and the broader music scene of the era. When Thais-Williams sold it, the Catch was the last Black-owned queer nightclub in the city. In 2019, the square outside of Jewel's Catch One was officially named for Thais-Williams. 'With Jewel's Catch One, she built a home for young, black queer people who were often isolated and shut out at their own homes, and in doing so, changed the lives of so many' said then-City Council President Herb Wesson at the ceremony. 'Jewel is more than deserving to be the first Black lesbian woman with a dedicated square in the city of Los Angeles for this and so many other reasons.' L.A.'s queer nightlife scene is still reeling from the impact of the pandemic, broader economic forces and changing tastes among young queer audiences. Still, Thais-Williams' vision and perseverance to create and sustain a home for her community will resonate for generations to come. 'Multiple generations of Black queer joy, safety, and community exist today because of Jewel Thais-Williams,' said Jasmyne Cannick, organizer of South L.A. Pride. 'She didn't just open doors — she held them open long enough for all of us to walk through, including this Gen-X Black lesbian. There's a whole generation of younger Black queer folks out here in L.A. living their best life, not even realizing they're walking through doors Jewel built from the ground up.' 'Long before Pride had corporate sponsors and hashtags, Jewel was out here creating space for us to gather, dance, organize, heal, and simply exist,' Cannick continued. 'We owe her more than we could ever repay.' Thais-Williams is survived by her wife and partner for 40 years, Rue.
Yahoo
5 hours ago
- Yahoo
Essence Fest 2025 Releases Statement Following Lauryn Hill Backlash
Essence has stepped in to make it crystal clear that no slander against Ms. Lauryn Hill will be tolerated following her perceived 'late' performance at Essence Fest 2025. In an Instagram post in response to backlash, the festival issued a loving and firm statement backing the star. 'Family is family and around here we protect our own no matter what the PEOPLE have to say. Let's be very clear — WE don't play about Ms. Lauryn Hill,' it reads. 'Not for clicks. Not for headlines. She arrived on schedule, stepped on that stage, and delivered the kind of performance only a legend can. The delay? Not hers. We will take that. The moment? One for the books. The legacy? Still unmatched.' The publication closed the message with this powerful reminder: 'Put some respect on her name. Keep the takes, but keep her out of them. All love and deep profound admiration for Ms. Lauryn Hill. #ESSENCEFest25.' According to attendees, the eight-time Grammy-winning artist didn't hit the stage at the Caesars Superdome in New Orleans until 2:30 A.M on Saturday morning (July 5), hours after many festival-goers had already called it a night. By the time she launched into her set, only a few hundred people remained in the 'nearly empty' venue — which holds over 80,000. However, she still gave an unforgettable show. The evening ran off-schedule from the start, according to with act after act finishing nearly an hour late. Hill, for her part, didn't just slip in fashionably late; she was added to an already stacked lineup that included Jill Scott, Davido, Donnell Jones, Moliy, and Buju Banton. So while TikTok might be filled with videos of empty seats, it's also full of clips capturing Hill's soulful performance for the dedicated fans who stuck it out. And for those who did wait, it was well worth it. Hill took time to connect with the intimate crowd, accepted a few song requests, and even brought out her sons — Zion Marley and Joshua 'YG' Marley — for a touching family moment. She wrapped her set around 3:30 A.M., according to The Hollywood Reporter, after performing beloved tracks like 'Zion' and 'Tell Him.' Her son YG Marley even blessed the mic with a live rendition of his viral hit, 'Praise Jah In The Moonlight.' 'It was a PHENOMENAL set! I am happy and thankful that I stayed. Still feeling inspired!!!' one fan commented on the event as another defended Hill against the criticism. 'She was NOT late, the entire show started late & she didn't get to start at her scheduled time because there were two acts before her still going when she should have been on the stage,' they wrote on Instagram. They added, 'That woman does not deserve this negative narrative as if 'she did something wrong' or like her fans don't support her. It was late & people were just tired. Give her a break.' Someone else chimed in, 'I woulda been there up at 4am enjoying her set.' See ESSENCE's official statement regarding Lauryn Hill's performance above. More from Lauryn Hill Performs For Nearly Empty Superdome At Essence Fest Hours After Scheduled Set Raphael Saadiq Would've Rather Had Lauryn Hill In Lucy Pearl? Nicki Minaj Named Best Female Rapper Of All-Time, Barbz And Haters React
Yahoo
5 hours ago
- Yahoo
Master P Responds To Mia X's Refusal To Perform With Him At ESSENCE Fest
With ESSENCE Fest right around the corner, Mia X is refusing to hit the stage for No Limit Records founder Master P's highly anticipated set, claiming disrespect and janky business is to blame. Taking to her Instagram account Sunday (June 29), the New Orleans artist let followers know that, despite being featured on advertising materials, she will not be hitting the stage with her former label head due to being contacted on short notice and dismissed when she mentioned her performance fee to the 'Bout It Bout It' rapper's team. 'It's still unbelievable that I'm actually saying this. I will NOT be performing at Essence Fest as a featured artist in Master P set,' Mia X, born Mia Young, wrote. 'We started talking about my involvement last week. At first his management didn't want to entertain my performance fee.' She went on to say she spoke with P, born Percy Miller, on June 26, and that he said their lack of communication was due to his busy schedule. She was then sent a contract on June 27, but with the festival beginning July 4, feels it is too late to produce a quality set worthy of such a large platform. 'I felt disrespected because the show had been booked for many months, and I had been advertised as a featured artist,' she wrote. 'No schedule in place for rehearsals, no contract, no deposit, and the fear of a repeat of 2018.' The MC then added that she was also upset with ESSENCE for using her within marketing materials without confirmation of her participation. 'I felt like once again, no matter who's saying protect and respect Black women, they always sell us out to the boys club,' she wrote. See her full post below. Master P has since responded to Mia's complaints, essentially chalking it all up to a misunderstanding. 'I don't know where the miscommunication came from, but Mia X @themamamiax can get whatever she wants from me,' P captioned a clip of him speaking on the matter via Instagram. 'This a Master p celebration! Mia can perform or don't have to. This will be the MASTER P farewell show at Essence Fest.' The businessman added that he told Mia to 'give him a number' regarding her fee and he'd be more than happy to pay it, but chose not to pressure the spitter into agreeing, as it is short notice. Check out his post below. The 2025 ESSENCE Festival of Culture will be hosted by Anthony Anderson and Kenny Burns from July 4 through July 6, with performers including Boyz II Men, Maxwell, Davido, The Isley Brothers, GloRilla, Buju Banton, Summer Walker, Donell Jones, Muni Long, and Nas. Tickets can be purchased here via Ticketmaster. More from Master P, Boyz II Men, Maxwell To Headline ESSENCE Fest 2025 Master P Named President Of Basketball Operations At New Orleans College Master P Gives Powerful Keynote Speech At Grambling State University