7 REASONS WHY: You Should Be Excited for a Danity Kane Comeback

Danity Kane 2013: (left to right) Dawn Richard, Aubrey O'Day, Shannon Bex, and Aundrea Fimbres.

A lot more happened at this year's Video Music Awards than just the *NSYNC reunion (oh, and that Miley scandal). During the pre-show, four of the five members of Danity Kane confirmed what has been hinted at for a few months now -- that they are reuniting (sans D.Woods). Media coverage has been largely positive and if you were a fan of the fierce fivesome (the big hair! the outfits! the choreography!), as I was, I'm sure you're already celebrating. But for those of you who are unsure as to why we should get ready to let our Stan Flags fly, let me break it down for you. Here are seven reasons why you should get excited...

01. America Needs a (Grown) Girl Group

Let's face it. It's been a long time since an American girl group has been kicking ass and taking names in the music scene, basically since Diddy Danity Kane left us high and dry following two consecutive #1 albums (a feat yet to be repeated by an American girl group). Since the original cracks started to show in 2008, the majority of my attention was turned to girl groups from the UK (Girls Aloud, The Saturdays, etc. etc.) and Korea (2NE1, Brown Eyed Girls, KARA, Girls' Generation, etc. etc.). The American girl group is starting to gain traction again with the teen interest and success of boy bands, and DK will have a strong competitor this go around in Fifth Harmony. That being said -- Danity Kane was always broadcast to an older audience. Their debut single, "Show Stopper," was all about the strong female swag (before swag was swag, in the mainstream anyway) and sex appeal. Album cuts like "Sucka For Love", "2 Of You" and "One Shot" are mainstream friendly but definitely not teen idol material. It'll be fun to see some grown girls back in the game, especially for the chicks like me who are now in their 20's for DK's second go around.

 

02. Johnny Wright is Back at the Helm

Johnny is the man when it comes to pop groups. To be fair, some flopped miserably and remain only in our memories (Triple Image, anyone? What about One Call?). But his successes outshine his losses -- Backstreet Boys, the aforementioned *NSYNC/Justin Timberlake, Britney Spears, the Jonas Brothers and Janet Jackson to name only a few. Johnny's management skills remain a touchstone of the boy and girl groups of the 90's/00's hay-day, so it bodes well that he is returning to the DK camp.

 

03. Mature Ballad "Ride For You" Was Criminally Underrated

A lot of people tossed DK off as an MTV novelty act in the beginning, myself included. "Ride For You" changed that opinion. It was written and produced by Bryan Michael Cox, a decorated Grammy nominee, prominent producer of the time period (see Mariah's "Shake It Off") and named by Billboard as one of the Top Producers of the 00's Decade. Rather than focus on the negative, "Ride For You" has a decidedly positive, let's-get-through-this message akin to En Vogue's "Don't Let Go (Love)" and let's the group's harmony (also grossly underrated) take center stage. Unfortunately for the ladies, it peaked in the Hot 100's lower echelons, despite being hugely popular within the fandom. Nearly seven years after its release, the song still sounds as beautiful as ever. More of this, please.

04. Stereotypes Produced the New Single

It's pretty poignant that the Stereotypes production group crafted Danity Kane's upcoming reunion single in "Rage" -- because they are responsible for the group's biggest hit in "Damaged," a killer pop song to its core that felt fresh and decidedly not cheesy (same can't be said for the video, but oh well). The robotic "Damaged" has a unrelenting, urban-influenced beat mixed with peppered in group harmony that made the song so memorable. It was also the song that broke the Stereotypes into the mainstream. Since then, their hit list has expanded to include a partnership with Far East Movement and, near and dear to my heart, Travis Garland.

05. Aundrea Fimbre's Vocal Prowess

If you watched the original Making The Band series to feature the future members of Danity Kane, odds are you were stuck on cutiepie Aundrea. She was sweet, endearing and most importantly, had serious, serious pipes (check her acapella rendition of Brian McKnight's "Never Felt This Way" from the show, although the camera-at-the-television YouTube video doesn't do her justice). While the rest of the members went their separate solo ways beginning in 2008, the noise from Aundrea was remarkably silent -- and that was upsetting, especially considering she was largely considered to be DK's lead singer and Vocal VIP. Case in point, her bridge in "Hold Me Down".

06. Dawn Richard's Creativity

Of all of the post-DK solo careers, there is no question that Dawn Richard's was the most artistic and the most exciting. Lest we forget, she was responsible for the inception of the DK name itself, after all. Dawn proved early on in the process she was creative force to be reckoned with. Of the five original members, Dawn contributed the most writing to the group brand, including one of their catalog's best in my opinion -- "Lights Out". Her solo exploits, including the fabulous Goldenheart right on through to her most recent releases in singles "Judith" and "Valkyrie" (now with remix featuring JoJo!), are proof positive that whether she's in Danity Kane or on her own, Dawn is an artist to watch. 

07. Diddy Does Not Appear To Be Involved
Diddy deserves credit where credit is due -- the training boot camp, the selection of producers and writers, and above all else, the choice of group members itself. He created a girl group that looked like America -- two black girls, two white girls and a latina, with personalities that equally covered the spectrum. The Danity Kane sound offered mass appeal but still played into the Bad Boy pocket. But as is the case with most Diddy-related projects, he himself had to be all over it (Dream also fell victim to this before them). In "Damaged" alone, his appearance serves no real purpose other than to wax poetic and disrupt the flow as the song come to a conclusion. The television series, especially towards the end of its run, vindicated the rumors of his creative dictatorship -- the main complaint echoed by all of the clearly unhappy members back in 2008. His public "firing" of Aubrey and D.Woods only exacerbated fans angry feelings at the bottlenecked DK project. Now that he is no longer involved (that we can tell, anyway), we will finally see how thing fly with Danity Kane minus the Bad Boy baggage.

HEAR THIS: The Saturday's Rock The "Disco Love"

The road to official album #4 for The Saturdays has been a long one full of bumps both figurative and literal. But with a projected release date finally in sight -- October 2013! -- things are finally shaping up (and are less embarrassing to admit to being a fan of) with the upcoming release of the record's fourth single (I meannn....) in the fab "Disco Love". But before we get to that, let's rewind to the pieces of this project I have picked and chose to discuss until this point...

 

The first flurries of the project, still currently unnamed, happened long over a year ago with the unexpected release of the fun but forgettable "30 Days" in March of 2012 (!). It sounded a bit like a leftover cut from the On Your Radar sessions and left me feeling a bit heated, especially since there plenty of options still left on aforementioned album ("Get Ready, Get Set", anyone?). (And if you recall, Una is pregnant in the music video -- the first of an eventual three pregnancy's prior to this eventual album release...unless Vanessa and Mollie have something to say about it.) To this day, the group tends to disassociate themselves with this one and there are even rumors running rampant the song won't even be featured on the upcoming album.

 

In September of 2012, we heard blips and rumors of second single "What About Us", along with a planned American invasion complete with E! reality show. Around the same time, it was confirmed Rochelle would be joining the Baby Club founded by Una (don't get me wrong, Roche -- we're happy for you and Marvin, but you are delaying things a bit, aren't you?). In January, the song finally dropped to the public, complete with a unnecessary feature tag attributed to Sean Paul. I was willing to recant all of my frustration not long after when, after five years of stanship, I saw my queens live in person at the Highline Ballroom.

 

"What About Us" finally gave The Sats that #1 they desperately craved in their native UK, but landed with a thud here in the US (despite a reality show on E!? UNBELIEVABLE!). Now a full year after "30 Days", another new single was unleashed in "Gentleman". Written by Priscilla Renee and recorded while in Los Angeles (as documented in their show, Chasing The Saturdays), I was preparing myself for a big, US-aimed pop single as so many of the new cuts featured on their show were so promising ("Eyes Wide Open", "Somebody Else's Life", and especially "Not Giving Up On Love") . We all know how that turned out -- utterly cringeworthy. Guys, this is worse than the (curly) hair-tearing feels I felt in 2010 with "Missing You".

"Most guys just hit it and quit it/And then they wonder why most girls just spit it!"
"He already had the milk/So why would he go and buy the cow?!"
"I'll let you taste my rainbow/You could at least be faithful!"
"Someone I can take to Mama/I need to find my Obama!"
"I need a Weezy/I don't care who he is!"
"Larry King/I like 'em older!"

Oh, and that level of utter pop brilliance wasn't a worldwide smash? You don't say! STOP IT. JUST STOP IT. We're not going to even talk about that music video. We just aren't. It upsets me.

Ladies, you are better and more capable than this and you know it. To have this follow up your first #1 can only be summarized in one way: embarrassing. You think Girls Aloud would do something like this? I truly feared I'd never get my 80's disco-inspired, synth-tastic real Saturdays back. Remember your girl power days of "If This Is Love"? Of "Up? Of "Wordshaker"? Now you're so desperate for a "gentleman", you'll take Larry King? Really? REALLY?

 

As if that weren't bad enough, just before "Gentleman"s official release, Frankie announced she was pregnant -- officially branding The Saturdays the most fertile girl group ever and making the number of members who aren't mamas officially in the minority. This proved even more so to me that a childish, ridiculous song like "Gentleman" is a mistake! It's like then new-mama Christina Aguilera releasing that awful "Not Myself Tonight" (although, in the wake of her divorce not long after, perhaps it was a precursor).

 

I told myself I would just sit tight -- wait it all out for the eventual album release (I mean..."Not Giving Up On Love" was so fantastic, right?). I've come this far with the girls not to desert them now, in their clear moment of need. Which was why I just buttoned my lip and said nada (until now of course).

 

And as always is the case with this particular fandom, I was rewarded in the glorious "Disco Love". Due for release in early October (apparently right alongside the album?), "Disco Love" is a midtempo sparkler (and for once, I'm not bemoaning it) that is a complete 180 from "Gentleman". Produced by StopWaitGo, an Icelandic production team that is associated with internationally underrated girl group Nylon (now known as The Charlies). While 80's sounds were so popular during The Saturdays inception ("If This Is Love", "Work"), the rewind is button is pressed a little harder for this one ("Disco" in the title is no accident). It has twinkles of saxophone which, instead of feeling like they are late to the trend, feels totally on point with the overall feel of the song. Like its predecessor, it namechecks other celebrities but in a way that isn't utterly pandering. Drawing a parallel between the Bee Gees and Britney? I can see it, in a Euro discotheque kind of way. "...Hit Me, Baby (One More Time)" was created in the Swedish House of Nu-Disco, after all. And, I mean "it's Donna Summer all year long" is a lyric any pop aficionado can get behind.

Honestly, this song is all kinds of perfect -- a true natural progression after the frenetic youthfulness of "All Fired Up" and "Notorious". Of course, because I adore it, it will continue my track record of tanking on the UK charts. I certainly hope not for their sake. Now, if you will, let's all join hands and hope the rest of the upcoming album sound a bit like this...

NOW KPOPPING: f(x) Slides You A 'Pink Tape', Says "Rum Pum Pum Pum"

f(x) are (left to right) Amber, Luna, Victoria, Krystal & Sulli.

Now just shy of four years past debut, South Korea's SM Entertainment and their red-headed step-child in their youngest female group f(x) have finally established a pretty clear identity of who this fierce fivesome is. They are definitely much more than Girls' Generation's and SHINee's cute baby sisters, and are definitely not attempting to bite the hand of their comptemporaries in 4minute or 2NE1. No, no, no. Unlike all of these fun KPOP artists I've already mentioned, f(x)'s appeal is much more subtle. But just because subtlety is their strong suit, this doesn't not give you the excuse to sleep on them -- as proved by their latest full album release in Pink Tape (released back in July), arguably one of the most interesting and unexpected releases to carry the SM Entertainment name.

f(x) are no longer rookies in the KPOP game. They are not variety show queens (although a select few have found some fame in musical theatre or dramas), nor are they Idol Royalty. Despite this (or maybe because of this), they are are able to take larger risks (to a degree). After listening to Pink Tape, I feel they would be much more comparable to TVXQ!'s more recent output (not on a vocal front, on a presentational front) -- there is a variety of songwriters/production teams and the overall sound is quite varied without feeling forced or unwarranted. Unlike with, say, Girls' Generation's I Got A Boy (which had its high moments as an album but overall felt quite jumbled, sonically), Pink Tape has something for everyone but all of those somethings still sound f(x) complete with thin but warm, warbling vocals. This might be due to the fact that the f(x) sound has been less polished and developed like that of their big sisters (or indeed, of their big brothers in SHINee or Super Junior). Their identity is much more fluid and that really rules in their favor.

The project is centered around lead single "Rum Pum Pum Pum", which continues f(x)'s trend (in singles, anyway) for hooks with nonsensical sounds. Literally almost all of them carry this mindset -- it is the thread that links their releases together ("La Cha Ta", "Nu ABO", "Pinocchio (Danger)", and "Electric Shock"). On the surface, it looks like this could be just another single to toss off into that category -- the video itself looks like a carbon copy of "Electric Shock". But then again, this is SM we're talking about. Why fix it if it ain't broken?

Unlike previous singles, "Rum Pum Pum Pum" does stand starkly apart from the rest for -- what else -- it's subtlety. The "Rum Pum Pum Pum" hook itself mimics the pseudo-walking bassline featured throughout. It's filled to the brim with lazy guitar twangs and when the chorus kicks in, high on the musical scale in a bold contrast to the deep, low bass sounds, the overall starkness of this track itself mixed with the multi-layered vocal is even more audible. The verse lines taper off with utter dissonance, momentarily uncomfortable but all the memorable for it. Even more arresting (especially for current KPOP standards) is there is no synth. The overall sound feels much more vintage and for once, their Forever 21 hipster "retro" pastiche makes sense. Despite what the video might lead you to believe, it's a total reversal from "Electric Shock".

The main reason for my obsession is because it sounds so unique. Bravo, f(x), and Bravo, SM for allowing this risk.

 

The rest of Pink Tape continues in the pathos established by the Electric Shock mini last year -- don't judge f(x) by the singles alone. Their b-sides tell a totally different tale of who these ladies are as an artist.

 

"Shadow" feels a bit like the animatrons from It's A Small World creepily come to life, telling a tale of overwhelming love on the verge of obsession set to jarring xylophone. When you hear it was co-written by Sophie Ellis-Bextor (yes, really!) the monotone coldness makes even more sense. High energy "Kick" is robotic and space-agey. It was produced by Hitchhiker (who provided many high points from SHINee's latest project -- I'm more than okay with them being SM's new go-tos). "Signal", a Kenzie jam, is intrinsically a 70's roller-skating disco jam inside and out.

 

Have you ever wondered what happened to Euro-Trash Girl Group with Potential, The Paradiso Girls? Founding member Aria Crescendo co-penned the funky "Step" (nothing like the fab Kara single of the same name -- but that's okay) that is vaguely reminiscent of the burlesque-y, confident feel Paradiso did well, but with a lyrical push that is very f(x) where sneakers are favored over heels (While you fix your makeup/I tie up my shoelaces and run.../Watch My Step/I pass you wearing your risky heels so fast and run). Also the climactic bridge ends in a huge note, I'm assuming by my fave of the group, Luna.

 

Everyone's favorite KPOP "tomboy" Amber co-penned soft ballad "Goodbye Summer", which heavily leans on f(x)'s vocal powerhouse (Luna) and has a sweet male harmony provided by EXO-K's D.O. (EXO fans take note -- D.O. sounds fantastic and controlled. Lovely.)  Nintendo-esque "Toy" is full of 8-bit goodness and was produced by the legendary Herbie Crichlow (who also worked with SHINee recently).

 

"Airplane" (along with "Rum Pum Pum Pum") is a Dsign Production, a Norwegian team that was responsible for Girls Generation's big breakthrough with "Genie (Tell Me Your Wish)". It's the best kind of dance ballad, the type that populated so many mainstream Top 40 radio streams in the late 90's and early 00's a la DJ Sammy's "Heaven" cover or Alice DJ's "Better Off Alone".

 

If flying somewhat under the radar is what allows f(x) to produce a fabulous piece of work like Pink Tape, then I have to say I'm all for it. Give it a listen and I guarantee you won't be disappointed.

 

 

VMA REACTIONS: SDFKSDLJFSDKLJFSDDKI *NSYNC REUNION!

I'm assuming you watched. Right? To me, the show began when Jimmy Fallon introduced the President of Pop, Justin Timberlake and ended after Justin made his speech (and dedicated it to *NSYNC!! The feels!!). But alas, there was about two other hours of other stuff that happened. You can watch ALL of the performaces at IDOLATOR. Here's a condensed version:

JUSTIN TIMBERLAKE / THE *NSYNC REUNION
It was all about this moment. I don't even care if Justin "Super-Bowled" JC, Lance, Joey & Chris like Beyonce did to Kelly and Michelle. Ten years, people -- ten long years and we finally got to see our OT5 back in action again. Justin is a dynamite performer -- I've known that since I first saw him on stage 15 years ago and he proved that by giving the performance of the night. It was basically a mini-Justin Timberlake concert with awards and everyone else was his opening act. Seriously. Seriously. President of Pop, indeed.

Here is why I'm satisfied with that short allusion to Justin's boy band past and why it cannot be compared to the reunions of other boy bands like NKOTB, Backstreet Boys and 98 Degrees. I'm going to say this gingerly so don't take this the wrong way. Those three along with *NSYNC are all comparable to a similar genre during a similar time but only one gave birth to a superstar who remains beyond relevant to this day. This cannot be debated and I will not tolerate it if you were to try. Facts are facts. This was made into a television event because of who Justin is (and to a smaller extent, where he came from).

Yes, the other three groups continue making records with their lineup still in tact and that is commendable (and exciting, to be sure!). But there really is no reason for a new *NSYNC album. None. That ship has sailed, the time has passed. Would I take it if it came? Absolutely. But I'm not naive and stubborn in that I realize this much -- to take part in an *NSYNC reunion now when Justin is arguably on top of his game would be a step backward. I realize that's mean toward a group I so ardently loved (and still love), but it's clear the other four members also realize this. The *NSYNC era has been put to bed -- this was a love letter to the fans that are still here and a testament to where Justin came from. Nothing more. And it was beautiful in its simplicity. Justin easily could have just left them out, and continued on collecting accolades that he definitely deserves. But he didn't. As he said last night, half of the Moon Men awards he's won in his career were with *NSYNC -- why shouldn't they be there beside him?

I never thought I'd see those five men I so deeply admire on stage together again...and yet it happened. And for that, I'm thankful. Congrats, Justin.

DANITY KANE REUNITES
I will share more about how happy I am that the girls are back, albeit as a four piece, later this week. I was always in the camp that the disbandment of DK at Diddy's hand made really no sense -- the group had two #1 albums under the belt. Surely if they wanted to stay together, they could. Does anyone (besides say ...Janelle Monae) live and thrive on Bad Boy Records? Dawn Richards has made some great bows with her solo work and Aubrey O'Day had her moments too, but there is no doubt they shine brightest as a group. Their upcoming reunion single -- "Rage" -- was produced by the Stereotypes group, who also produced their hit, "Damaged".

LADY GAGA - "APPLAUSE"

I was expecting so much more but she really was working it with all those wigs and costume changes. "Applause" has still yet to grow on me the way past singles have, but I have my fingers crossed for ARTPOP. Media failed to mention how Gaga actually left early, too. When Gaga gets one upped in shock factor by a Disney alum, things aren't looking so good.

MILEY / ROBIN THICKE / 2 CHAINZ / KENDRICK LAMAR
Basically my worst nightmares realized. So gratuitous. So demeaning. You know how the rest of the world makes fun of Americans? Yeah, this is why. The comparisons of Robin Thicke to Beetlejuice is pretty unfair to Beetlejuice, in my opinion. Kendrick, you stand for what's good in hip hop, right? So why were you in this performance? RIDDLE ME THAT. Let's burn this all from the Pop Record Books. For good, please.

KANYE WEST
I'm come to the conclusion I just don't understand this type of "art". No comment.

MACKLEMORE / RYAN LEWIS / MARY LAMBERT / JENNIFER HUDSON
It very well could have been the tears already in my eyes from the *NSYNC reunion just before it but still -- this was a great performance. Mary Lambert has a voice on her and her emotional delivery was really heartwarming. The inclusion of Jennifer Hudson was unexpected and a little unnecessary but I will never say no to a little extra J-Hud. I could do without Macklemore and Ryan Lewis' super long speeches (what is this, the Oscars?) but the mindset was positive and you can't ask for more than that.

BRUNO MARS
I was hoping for a balls-to-the-wall retro performance of "Treasure" so when "Gorilla" was cued up instead, I was a little let down. The song is good, it shows off his chops certainly and I do think that Bruno is underrated (criminally, so). But something a little more upbeat would have been fun, right?

DRAKE
I honestly don't remember this performance at all. #SorryNotSorry #StartedFromDegrassiNowHesHere

KATY PERRY - "Roar"
I might just be Team Katy in the Gaga/Katy debate (surprised?) but both songs are rather basic. How does "Roar" stack up to past first Katy singles of yore? Answer is it doesn't. Still, I give her credit for going outside the box (or in this case, the Barclays Center) and attempting to put on a grandiose show of yore that the VMAs is known for. Whether or not it really worked is a matter of opinion.

ALSO:
-Ariana Grande, you are a star in the making. Own it and stop looking so nervous. You can sing circles around literally almost everybody.
-The Smith Family's reaction to Miley was comedy gold.
-I was more happy that SNL's Vanessa Bayer was there than the actual Miley. Can't wait to see what happens on SNL next season when they inevitably parody that performance.
-Selena Gomez looked fantastic. Werk. So did Ellie Goulding.
-Taylor Swift....sigh. Just when I was starting to give you brownie points for featuring Tegan & Sara and Sara Bareilles in your show. You always have to ruin it, don't you. If Miley is a "bad role model" for young women, Taylor wasn't much better with her catty remarks. LET IT GO, girlfriend. Do some yoga, or something. Take a vacation with your gals. Get a massage. Something.
-One Direction got boo-ed when they accepted the award for "Song of the Summer". I get the reaction, but the boo-ing was unnecessary. Those five were saints with the shade that was thrown at them.
-Kevin Hart, I usually find you funny but you can take several seats for making fun of *NSYNC and NOT Miley and Robin Thicke. That was all tee-ed up for you and you played the obvious joke. Not cool.

IF IT AIN'T NO LIE...

Posts will continue as planned after Sunday's hopefully epic Video Music Awards, being held a scant few miles from where I currently sit at the Barclay's Center here in Brooklyn. I say epic because if rumors prove true, we may get a repeat of this...

If/when an *NSYNC reunion finally happens, you can rest assured I will be crying the happy tears of vindication, nostalgia and utter, utter joy.

LIVE FROM NEW YORK: Little Mix Has 'Wings' & Struts Their 'DNA' with Radio Disney

Right Photo: (L to R) Perrie, Jade, Jesy & Leigh-Anne

Happy August, lovelies! Today is proving to be a pretty epic Sunday because, not only is it the beginning of Shark Week (plus I have 'True Blood' and 'The Newsroom' to look forward to), I spent my morning/afternoon at the Highline Ballroom (you might recall I was there  this past January hanging out with The Saturdays) with Jesy, Perrie, Leigh-Anne and Jade, better known around the world as Little Mix.

The group was in town for a free promotion held in conjunction with Radio Disney. This marks my second "official" Radio Disney event -- the last one I attended was in Albany back in 2001 (I'm dating myself here) to see another epic girl group, my girls in PYT. Their opening act happened to be a boy band known as Dream Street (aka Jesse McCartney's group). But I digress...

 

The line to get in to the event was literally wrapped around the entire city block by 8:30AM. The event didn't start till almost 1PM. There were teenage girls waiting in line as early as three in the morning -- WUT -- to see a girl group that is still on the cusp of a mainstream takeover here in the States. I was quickly schooled in the different types of American "Mixers": 1) teenage girls who found out about Little Mix through the British X-Factor and stan them above all else; 2) teenage girls who found out about Little Mix through their companion boy band, One Direction (and this type seemed to be the vast majority); 3) girls in their 20's who liked Little Mix for their music and style. The first type definitely resented the second type (and vocally. Wow.). And you better believe the third type was rare and hard to find -- I'm pretty sure I was one of the eldest "Mixers" there that wasn't a parent (and there were a lot of those, too. Saints, every one of them for withstanding all the waiting around.).

 

Basically, the crowd was a vast sea of (mostly) teenage girls, decked out in Forever 21, ASOS and Topshop -- floral crop tops, skater skirts, thigh-high socks, dramatic cat eye makeup,  long hair (don't care) that was either ombred or dip dyed (usually red/pink), and bows. Lots and lots of oversized bows. Following Little Mix's performance, the Radio Disney host asked them a few fan-sourced questions, and the one that got the biggest crowd reaction was whether or not the group would make their own clothing line. One of the three aforementioned brands should really get on that...

 

Once we were finally inside the Highline, all hope of being as close as I was for The Saturdays (Stage Left, flush against the stage, if you recall) was quickly dashed. The turnout for The Satz was not even comparable to Little Mix. This show sold out, to capacity and I'm pretty sure quite a few bow-bearing teens were turned away. We scrambled for the side booths (and shelled out a $10 minimum) in order to look above the swarm of heads.

 

After the usual hyping provided by the Radio Disney team, the ladies came out on stage to the tune of their current single, "How Ya Doin'?" (sans Missy Elliot unfortunately). The fab four looked gorgeous: Perrie (aka the blonde-ish one dating that cute one from One Direction) wore black shorts with a white t-shirt bearing a peace sign, its ends cut into pieces and frayed, with her hair in a pony; fan fave Jesy wore an oversized black jersey with shorts and thigh-high socks; Leigh-Anne also wore an oversize jersey, opting for white instead with black detail (and her curly hair looked FAB); and Jade wore an off-the-shoulder white t-shirt and red leggings with a Micky Mouse print.

Following "How Ya Doin'?", the group offered up two back-to-back covers of songs they performed during their X-Factor run: En Vogue's "Don't Let Go (Love)" (SFLDJSLFKJDSJLK::SQUEE!) and a unique take on Nicki Minaj's "Superbass". The latter got a bigger crowd reaction and considering the average age of the audience, I'm not surprised. However, I'm very picky with covers of En Vogue -- especially that song as it's such a classic -- and they smashed it. The feels. So many feels.

 

"DNA" was next followed by third single "Change Your Life", dedicated to their fans. Before finishing off with their debut single "Wings", the group sang a bit of the chorus acapella and encouraged the audience to sing along. After thanking everyone for coming, the group answered a few fan questions but their answers were relatively inaudible to us because of all of the persistent shrieking. Oh well. I can report they were asked if they knew how to twerk (forever shaking my head) and someone (either Jesy or Leigh-Anne) said they wanted to but couldn't. I'm leaving that alone now...

 Follow Melismatic on Instagram via @melismaticdiva!

 

Overall, to get to see Little Mix perform here in the States was really encouraging -- the fan reaction was overwhelmingly phenomenal and is hopefully a harbinger for bigger things for LM Stateside. All four of the girls sounded fantastic. Jesy and Leigh-Anne were both really in their element, flipping their hair and mean mugging. Jade consistently came over to  our side of the stage and was blowing kisses, grabbing hands and waving to everyone. Perrie has incredible, incredible vocal chops (perhaps that's why the Little Mix/One Direction cross-over fans allow her relationship with Zayn?) and during that operatic part in "DNA", her big melisma sounded just as good, if not better than the recorded version.

 

I'm appreciative for the two covers because I expected them only to do the singles -- however, had they both been replaced with "Stereo Soldier" and "Madhouse" (or even "Love Drunk"), I'd probably be over the moon. Ahh, well. Cheers to Little Mix for a fab mini-set that was beyond super well received. Can't wait for Album #2!

 

For more concert craziness, feel free to follow me on Instagram via @melismaticdiva or on Twitter via @melismaticdiva!