Madison McFerrin has established herself in the new school of soul with three EPs and multiple singles throughout her independent career. In May, she released her first full-length…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Madison McFerrin has established herself in the new school of soul with three EPs and multiple singles throughout her independent career. In May, she released her first full-length record, a 30-minute 10-song collection titled “I Hope You Can Forgive Me,” complete with McFerrin’s signature a capella vocals and ventures into R&B and electropop.
“I wanted to make an album that was a cohesive project from start to finish,” McFerrin explains of the project in this latest edition of “Live From My Den.” “We are in such a singles era that it’s hard to always appreciate when an album really comes together. And I wanted to make it short enough where you could – I thought of it like the subway commute. You could listen to the whole thing on a subway commute… I really intended to make a full body of work that you would listen to from top to bottom.”
McFerrin played a five songs off the record as part of this episode including “Fleeting Melodies,” “Utah,” “OMW,” “Testify” and “God Herself.” She also returns to C’mon Everybody, a queer-owned and operated bar and independent venue in Brooklyn, and chats with its founder Eric Sosa.
“It’s the scene of my very first solo show and many other great shows,” explains McFerrin before taking Artists Den viewers inside for a tour. “I can’t even tell you how many times I’ve performed on this stage and there’s a reason for that… C’mon Everybody has been such a community hub and anytime I’d been to a show here, anytime I’d been on stage playing with other people, It was just such a wonderful vibe and so respectful and so loving.”
Since her first release in 2016 (a three-song EP titled “Finding Foundations, Vo. 1”), McFerrin has been a self-managed artist. “I feel really grateful,” she says. “I think that we’ve been sold this story that… you have to have these gatekeepers as part of being able to get out there and put yourself out there. And I just really hope that now that we have all of these tools to be able to move forward, that more people can really stand up and be like, ‘No, I want to do this on my own.'”
This season of Live from My Den is made possible by Hard Rock and in partnership with Fujifilm North America Corporation.