One year removed from their critically acclaimed debut album “Do You Remember Who You Wanted to Be,” Black Blondie aren’t the only ones still struggling to pin down their sound.
“If I had to narrow it down to two words: alternative R&B,” says vocalist Samahra Thompson , nodding in agreement with bassist Liz Draper.
“I think it’s more like experimental R&B,” said drummer Nate Babbs, initiating debate.
With a musical approach that fuses together elements of soul, hip hop and jazz, and vocals that have been compared to everyone from Amy Winehouse to Cyndi Lauper, trying to sum up Black Blondie in a few words would be an exercise in futility.
Categorical ambiguity aside, Black Blondie’s debut album was an instant sensation that garnered both local and national praise, countless spots on the best-of-the-year lists and even an opening slot with hip-hop moguls the Roots in their hometown of Philadelphia .
And after recently wrapping up a 12-city tour that took the band as far east as Florida, Black Blondie is back to work in the Twin Cities and will be headlining the Uptown Pride Block Party at Bryant Lake Bowl this Saturday for the third year in a row.
“I’m big on gay pride, so supporting that is a good thing,” Thompson said. “There are still people I personally know who aren’t out and don’t feel comfortable, so we do it for friends too.”
Despite Pride week’s rainbow-filled flamboyance, Black Blondie’s album delivers rain clouds rather than rays of sunshine.
In “World Won’t Rest,” Thompson confesses over a building drum roll singing “I cannot remember a time when I was stable / Or when I’ve done anything for the goodness of my heart.”
Devoid of a guitarist, Draper and keyboardist Tasha Baron (Heiruspecs, Atmosphere) are deft musicians who structure complex arrangements that oscillate between experimental jazz and neo-soul, pairing smoothly with Thompson’s poetic crooning. The result is something that is relentlessly bleak yet simultaneously beautiful.
Thompson said the meaning behind Black Blondie’s name is more indicative of the tone of their music than racial commentary.
“I think even when we don’t write dark music there’s always some underlying dark current in everything we do,” Thompson said.
“Yeah, we’re all pretty much manic depressives,” Draper said, laughing.
But Black Blondie’s tendency to experiment and meander makes for an experience that is sometimes more challenging than audibly soothing.