meshell ndegeocello uk tour

Most features of this page require JavaScript. Please enable JavaScript in your browser.

Eventim UK places great importance on data protection. You can read our data protection statement here .

• To shopping cart

• Meshell Ndegeocello
• from £ 34.75

*Ticket prices include VAT and booking fee, but excludes a £1.50 order processing fee and delivery & service fees, which range from £2.50 to £15.00.

Biography - Meshell Ndegeocello

Meshell ndegeocello fan report: ratings and reviews, congratulations you are the first to post a fan report for meshell ndegeocello..

Your opinion is an important decision criterion for other visitors to attend an event. Share your experience with future visitors to this event. Please remember to pay attention to our netiquette. Fan reports are released by our editors. We reserve the right not to publish posts that violate our rules.

Your personal recommendations

Your browser does not allow third-party cookies. To continue, please click the button below to open the ticketing page in a new window.

Your browser doesn't allow cookies. To place an order, please change the browser cookie settings and reload this page.

• Login/Register

More Live Nation Events

Bluey's Big Play

Bruce Dickinson

Centenary Square Summer Series

Craig David

Crowded House

• R&B/Soul

Follow Live Nation

Follow Live Nation for News, Presales and Exclusive Deals!

Track your favourite artists, access presale tickets, and never miss a show!

Meshell Ndegeocello

Acclaimed GRAMMY-winning multi-instrumentalist, singer, and songwriter Meshell Ndegeocello first appeared on a Blue Note record a decade ago with her more...

Fans who like Meshell Ndegeocello also like

Marcus Miller

• Moscow concerts Moscow concerts Moscow concerts See all Moscow concerts ( Change location ) Today · Next 7 days · Next 30 days
• Most popular artists worldwide
• Trending artists worldwide

• Tourbox for artists

Search for events or artists

• Sign up Log in

• Get the app
• Moscow concerts
• Change location
• Popular Artists
• Live streams
• Popular artists

Meshell Ndegeocello tour dates 2024

Meshell Ndegeocello is currently touring across 4 countries and has 10 upcoming concerts.

Their next tour date is at Merriweather Post Pavilion in Columbia, after that they'll be at Merriweather Post Pavilion again in Columbia.

Currently touring across

Upcoming concerts (10) See nearest concert

Capital Jazz Fest 3-Day Pass

Capital Jazz Fest SUNDAY

Théâtre de la Mer Jean Vilar

Altes Schloss Stuttgart

Ravinia Festival

Alte Feuerwache

Past concerts

The United Theater on Broadway

Jo Long Theatre

The Factory Theatre

View all past concerts

Support across tour dates

Recent tour reviews

IT WAS THE BEST VENUE AND CONCERT! I HAD NOT BEEN TO THE FORD SINCE THE REMODEL.

Me’Shell killed it. THE HUMOR, the talent, the humility was just a place I needed to be last night

I love that the Ford told us to say hello to our neighbor! What a nice way to begin. AND ME’Shell ended telling us to be kind.

WHAT A MOVING AND POWERFUL NIGHT OF MUSIC AND MAGIC AND LOVE

Report as inappropriate

Exquisite show. I went with a friend and her sister and we had an amazing time. I was in awe of how her subtlety translated on stage. She was powerful yet effortless. Would see her again in a heartbeat.

Very nice..and relaxing show .. however I do wish she would have sang more of her songs. There seem to be a bunch of instrumental moments not singing,she did mention that she was under the weather. I do love her voice. Nice show

• Most popular charts
• API information
• Brand guidelines
• Community guidelines
• Terms of use
• Privacy policy
• Cookies settings
• Cookies policy

Get your tour dates seen everywhere.

• But we really hope you love us.

• International edition
• Australia edition
• Europe edition

Meshell Ndegeocello: ‘Making music is the rare moment that I feel raceless and genderless’

Three decades on from her US Top 3 moment and weathering the loss of her parents, the singer explains how she has carved out a space for herself to be whatever she wants

M eshell Ndegeocello may have helped to kickstart the neo-soul movement in the 1990s, which introduced the world to D’Angelo and Erykah Badu, but to call her a soul singer would undermine her tastes, which are as wide as her discography is long. Speaking to me via a video call from her Brooklyn studio, where she dons all-black clothing against a backdrop of synthesisers and electronic rigs, Ndegeocello namechecks a cavalcade of faves: Broadway musicals, the classic sci-fi film Soylent Green, cult rapper Pink Siifu and young singer-songwriter Kara Jackson. The 54-year-old approaches magnetic new artists the same way that she did when she was a teenager gigging around her native Washington, DC – by learning the bass guitar parts to each of their songs. “If she needs a bass player, she should call me,” Ndegeocello quips about Jackson, “’Cause I already know it.”

After hitting the US Top 3 with a John Mellencamp duet in 1994, Ndegeocello has maintained a quieter but consistently surprising presence in music, transcending the slow-burning soul of her debut LP Plantation Lullabies and its brilliant 1996 follow-up Peace Beyond Passion to try a slew of styles – among them rap, jazz, psychedelia and heart-on-sleeve rock. (The latter for 1999 masterpiece Bitter.) From the get-go she was outspoken about her queerness, unlike many musicians of her generation. Her 2018 album Ventriloquism, a covers collection shaded by the death of her parents, featured an inverted pink triangle on its sleeve: the symbol the Nazis forced gay men to wear. Ndegeocello turned this terrible emblem into a sign of solidarity tinged with Trump-era fear, though in her case sexuality means something more interior than political.

“It’s not a sword or a flag to me,” she says, and laughs. “It’s like that gem that’s inside Iron Man.” Having bristled against so many potential cages of identity throughout her career – black, female, bisexual – she’s tired of answering questions about her sexual orientation and gender, if relentlessly good-natured. “I don’t think I’m really a spokesperson,” she sighs. “I don’t have that energy.”

On her magnificent 13th album, The Omnichord Real Book, she deals more directly with the loss that hung at the margins of its predecessor. Her father, a jazz saxophonist, died in 2016, her mother in 2021 after years living with dementia – in 2017, she had disappeared for two weeks, driving away from her Maryland home, a trauma that was protracted enough – and Ndegeocello’s celebrity sufficiently large – for local news outlets to pick up the story.

Now, Ndegeocello is learning how to persist without the foils that people with living parents often take for granted. “I have no one to blame any more for my inner hurts,” she tells me, tearing up. “No one to please. No one to miss.”

Her new album found its spark in a gift that her father, “a super sort of conservative jazz head”, gave her when she was a kid: her first “real book” of song standards (a volume of musical notation that only shows the crucial elements of melody, lyrics and harmony). He bestowed her with the present “because a bass player didn’t show up” to one of his shows; his daughter, who had just started playing, learned the value of being able to fill in on the fly. “When he’d come see me playing, he was just like: learn to get through the changes, learn to understand the harmony of the changes and fall on the rhythm.” Rediscovering the real book made her think of all the greats who were underrepresented in its pages – Dorothy Ashby, John Coltrane, Clifford Brown – while also rekindling her fascination with Danny Boy, the English-Irish traditional her dad loved for reasons that seem both mysterious and simple: “People hang on to melody.”

Ndegeocello’s knack for recording other people’s songs could be described in the same terms – mysterious, yet simple. Like queer predecessors from Little Richard to Ma Rainey to your friendly neighbourhood drag queen, she knows how to squeeze personal expression from other people’s songs: “I use my imagination for arrangement,” she says, “I have to try and take on another persona.” She learned the art from her immersion in the funk-derived go-go scene during her adolescence, and because of playing in wedding bands with her dad. “You have to be the killingest cover band. And that’s how I learned to play. I’m autodidactic. I would put on the Prince records and try to emulate the feeling and the sound.”

For The Omnichord Real Book, though, she decided not to compile another covers album, but instead to consider the canon of popular song while composing original work. “I wanted to kind of loosen the dogma I had musically; I wanted to just experiment with rhythm, harmony.” The ascendant, ambitiously structured track The 5th Dimension was influenced by the pioneering 60s pop group of the same name, while Hole in the Bucket references a call-and-response American folk song that’s been covered by national heroes from Pete Seeger to Harry Belafonte. Ndegeocello pulls heart-rending feeling from the humorous original, spinning it into a rousing spiritual. Still, she’s guided more by feeling than genre. “Everything’s a reference. I mean, there’s nothing new under the sun. I’m not doing anything new. But I definitely am searching for a non-criteria.”

Returning to songwriting for the first time in a long while – and in the tenacious throes of grief – Ndegeocello tried to “achieve beginner’s mind again”. Her collaborators, many of whom come from an avant-garde jazz milieu that she finds “soul-feeding, intellectually”, were key to achieving this freshness. They comprise a who’s who of mind-bending experimental talent: saxophonist Josh Johnson produces, contributing parts alongside Brandee Younger, Joel Ross, Ambrose Akinmusire, vocal trio the HawtPlates, and a couple of scene elders who helped drag jazz into its new age, Jeff Parker and Jason Moran.

Ndegeocello’s embrace of experimental jazz is a logical next step for an artist who has always moved fluidly between genres and identities. She describes making music as “the rare moment in my psyche, in my heart and soul, that I feel raceless and genderless”. She still gets pigeonholed, working in an industry that treats women as “a commodified, sexualised product”, but makes that commodification work for her. “In the improvisational music world, we’re a lot more open to gender shifts because we see it’s marketable,” she says – pragmatism left over from her youth when “survival” was her biggest concern, not her sexual orientation. “I’ve achieved financial stability so I make my life how I want it to be,” she says, allowing her to focus on creativity: “What’s important is not just to have a seat at the table, but that you’re bringing a fantastic dish to the dinner.”

She recounts a recent tour date at a festival in Tulsa, Oklahoma, an often homophobic state. “I couldn’t help but be naturally myself, because it seemed like I was in an atmosphere of people wanting to escape the dogma.” She yearns to discover alternative spaces for music as well as queer life, “a resurgence of the underground”: The LGBTQ+ experience, says Ndegeocello, was never for the mainstream. “You can’t share the light with everybody,” she says, adding later, “When the light is bright, they commodify the light and change it and alter it in a way where I don’t know if it’s good for anybody. The most important thing for me in the community that saved my life is that I had nothing and nobody and they took me in.”

Ndegeocello may not be a spokesperson, but she models a queer thinking that’s realistic, frank and as protean as her songs. Perhaps most importantly, she does this in her songs. “A lot of the music is just things I wanted to tell myself. Just conversations with myself.” Her internal dialogue reveals a person so many can recognise.

The Omnichord Real Book is out now on Blue Note

• Pop and rock

Comments (…)

Most viewed.

Meshell Ndegeocello Verified

Concerts and tour dates, meshell ndegeocello merch.

Live Photos of Meshell Ndegeocello

Fan Reviews

Fans Also Follow

About meshell ndegeocello.

Find anything you save across the site in your account

The Compassionate Music of Meshell Ndegeocello

Helen Shaw Staff writer

January—stay with me, those of you looking at the weather report—is absolutely the best time of year in New York. The holiday crowds have dispersed, resolutions haven’t been broken yet, and the year’s finest festivals for the experimental performing arts all take place in the course of a few weeks. It’s a binge, a marathon, a bonanza: in only around twenty days, these fests program as much avant-garde performance as the city will see in the next eleven months. The shows are often short, and if you time it right you can get to three or four mind-bending things in a day. I think of January as a time to power-clean my calcified senses. If you blast a dozen or so shows through your sticky old brain, I promise that you’ll emerge fresh and new for 2024.

The Under the Radar festival (Jan. 5-21) has been the marquee name on the January festival circuit for many years, but it had to recover swiftly from an abrupt departure from the Public Theatre by co-producing its efforts with more than a dozen different spaces. I’m often in despair about how few foreign theatre productions we get in New York, apart from British imports, but U.T.R. has still managed to bring in several pieces from overseas, including work by one of my all-time favorite companies, the Italian group MOTUS . Also: there’s something beautiful about a festival that ties New York closer to the global community rallying with its own community so that it can go on.

Dynasty Handbag’s “Titanic Depression.”

The Fringe Encore Series (Jan. 4-Feb. 11), at SoHo Playhouse, programs award-winning shows from places like Brighton Fringe, Edinburgh Fringe, and the Hollywood Fringe—which means it’s the place you’re most likely to catch the next “Fleabag.” (My prediction for that position is probably Cassie Workman’s “Aberdeen,” which I’ve been hankering to see since reading about its run in London.) Still, the closest thing New York now has to its own Fringe in January is the Exponential Festival (Jan. 5-Feb. 4), operated from the Brick Theatre, in Williamsburg, and spanning many venues in Brooklyn. Exponential is interested in cutting-edge local work, and its offerings are the rawest and most adventurous of the bunch.

The new opera productions in the Prototype Festival (Jan. 10-21) will be, by comparison, polished and gemlike, but it, too, is carried off like a pub crawl through all types of New York venues: the BAM Harvey, La Mama, Irondale, an outdoor space at Battery Park. And the Live Artery festival (Jan. 9-20), produced by the dance venue New York Live Arts, evades definition. I’m excited to revisit two shows in Live Artery that surprised and awed me last year—Lisa Fagan and Lena Engelstein’s “Deepe Darknesse” and Dynasty Handbag’s “Titanic Depression,” in which Leonardo DiCaprio’s character from “Titanic” is played by a cartoon octopus who disguises himself as a hat. What? Simply trying to remember the bonkers details of “Titanic Depression” is deliciously destabilizing. Even now, I can feel its abrasive absurdity salt-scrubbing the grooves of my mind.

Meshell Ndegeocello is the most significant bassist this country has produced since the advent of Charles Mingus and Flea. But, unlike those innovators, Ndegeocello, who performs an upcoming series of shows at the fabled jazz club Blue Note, doesn’t really stick to one genre. Her incredibly musical ear and voice—she’s a fine singer, too—takes from jazz, soul, pop, and opera (as in her tribute to James Baldwin) to make sounds that are resonant not only of the times but of her very deep and compassionate soul. Ndegeocello’s latest album, the sensational “The Omnichord Real Book,” is a testament to her continued belief that music, like life, only gets better when we make it together.— Hilton Als (Blue Note; Jan. 9-14.)

For three decades, An-My Lê has interrogated the representation of war through the preënactments and reënactments of armed conflict: staged battles, training exercises, film sets, and the myriad ways in which it is performed, rehearsed, or mythologized. The work on view in “An-My Lê: Between Two Rivers” charts how conflict embeds itself in both physical and psychological terrains. Even as Lê’s photographs reduce hulking aircraft carriers to toylike size, her closeup portraits of rank-and-file soldiers and technicians evince an expansive empathy for her human subjects. In one image, as sailors set up a shooting range, their bodies map onto the contours of their targets’ silhouettes a little too precisely. Lê’s photographs function as an act of repair, uncovering subterranean histories in order to witness them anew.— Dennis Zhou ( MOMA ; through March 16.)

For someone who regularly plays bad guys—including a Tony-nominated turn as Hades in “Hadestown”—Patrick Page is damn likable. His gentlemanly charm and ravishing basso profundo serve him well in his solo show, “All the Devils Are Here,” in which he makes the case for Shakespeare as the inventor of the psychologically complex villain. This baseline appeal, together with Page’s passion and feel for the material, on display in monologues or dialogues as Richard III, Iago, and others, keeps the audience on his side even when doubts occur. What about Medea? And why include Malvolio but not, say, Brutus or Cassius? Despite Simon Godwin’s well-paced direction, which builds to a gasp-inducing speech from “Macbeth,” this disquisition seems more suited to a lecture hall than the stage.— Dan Stahl (DR2; through Feb. 25.)

In 2021, a severe car accident left the alto saxophonist Lakecia Benjamin with a fractured collarbone, a fractured jaw, and a broken shoulder blade, prompting a need not just to reset but to be reborn. The album she was touring at the time, “Pursuance,” from 2020, honored the legacies of Alice and John Coltrane with thoughtful reimaginings of their work; but in the wake of the accident Benjamin desired to more clearly commune with others in her compositions. “Phoenix,” her first album since, is progressive spiritual jazz that revels in resurgence. The transcendental music—constructed around collaborations with the scholar Angela Davis, the jazz pianist Patrice Rushen, the poet Sonia Sanchez, the late saxophonist Wayne Shorter, and more—blends her formidable instincts as a star-in-waiting with her immense impulse to venerate other greats.— Sheldon Pearce (Birdland; Jan. 14.)

Beth Morrison and Kristin Marting have lodged the multidisciplinary Prototype Festival , which they founded in 2013, in New York’s classical scene, on the strength of their unflinching belief in the power of contemporary opera. This year’s lineup explores religious and folk mythologies of womanhood (“Terce: A Practical Breviary” and “Malinxe”) and the human effects of the war on terror and the death of capitalism (“Adoration” and “Chornobyldorf”). “The theme, if there is one,” Marting says, is that of “an outsider trying to find their relationship to the forces of a society that is different from them.” For Morrison, it’s the prerogative of living composers to illuminate such issues with a musical language that listeners hear as their own: “We’re telling the stories of our time in our vernacular.”— Oussama Zahr (Various venues; select dates Jan. 10-21.)

Soles of Duende.

The curator of this year’s American Dance Platform , Melanie George, starts with her own field of expertise—jazz dance—and expands from there. The first of three programs combines the Dormeshia Tap Collective, paying fiery tribute to under-recognized Black female hoofers, with the elegant jazz-vernacular meditations of Josette Wiggan and the second-line strutting of Michelle N. Gibson. Other programs feature Soles of Duende, a trio of aces in tap, flamenco, and kathak who share a gregarious spirit, and Dallas Black Dance Theatre, bringing new work by Chanel DaSilva and Norbert De La Cruz III.— Brian Seibert (Joyce Theatre; Jan. 9-14.)

In 1981, after seeing dance performances by Pina Bausch’s Tanztheater, Chantal Akerman made a choreographic film of her own, “Toute Une Nuit” (“One Whole Night”), a modernist melodrama about the varieties of romance unfolding on a hot summer night, in several neighborhoods in her home town of Brussels. The movie (scantly released in the U.S. and screening in MOMA ’s program “To Save and Project,” which runs Jan. 11-Feb. 4) is built from a crisscrossing series of encounters of lovers, whether longtimers reconnecting or new ones meeting, in cafés and corridors, in taxis, by phone. With a cast of seventy-five, Akerman films the roundelay of mad dashes and timid introductions, ardent embraces and tender dances, in the form of stylized gestures that—as in Bausch’s work—are both banal and sublime.— Richard Brody ( MOMA ; Jan. 23 and Feb. 4.)

The staff writer Parul Sehgal shares three of her favorite novellas.

1. Lately, I’ve encountered too many lapsed readers. They bemoan how they used to read, and would read, but since the pandemic—or cue any contemporary horror—the active surrender that reading requires (especially fiction) feels too absorbing, too risky, when one must maintain a state of constant alert. Over the holidays, I gifted the lapsed readers in my life three novels—all short, recent (allowing my malingering readers to justify them as a kind of “news,” which, of course, they are), and, most important, irresistible. The first, “ Ghachar Ghochar ,” by Vivek Shanbhag, translated from the Kannada into English by Srinath Perur, is the story of the breakdown of a marriage, and it is a perfect piece of literature—swift and harrowing, constructed out of the simplest language and the most inextricable moral tangles.

2. “ Small Things Like These ,” by the Irish writer Claire Keegan, feels like a cousin to “Ghachar Ghochar,” with its velocity and its plain, radiant prose. A coal merchant discovers a young woman imprisoned in a convent. As with Shanbhag’s novel, we see an entire social order and a history made manifest—or rebuked—in a single moment, in a character’s single choice.

3. Eva Baltasar’s “ Boulder ,” translated from the Catalan by Julia Sanches, is the most recent of the three—a ragged, sensuous story. Read it last. After the two previous books that are very much about misogyny, here you will meet a gorgeously untethered woman wondering just what to do with her freedom. A book about new life for a new year.

P.S. Good stuff on the Internet:

• Tom Scocca’s “Unraveling My Medical Mystery”
• David Lean’s scene transitions
• A teacher shows her Gen Z classroom “We Are the World”

By signing up, you agree to our User Agreement and Privacy Policy & Cookie Statement . This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

By Adam Iscoe

By Robert Sullivan

By Helen Shaw

Meshell Ndegeocello

All upcoming events.

Merriweather Post Pavilion | Columbia, MD

Capital jazz fest 3-day pass, capital jazz fest sunday.

Meshell Ndegeocello

About Meshell Ndegeocello

Meshell Ndegeocello has survived the best and worst of what a career in music has to offer. She eschewed genre for originality, celebrity for longevity, and musical trends for musical truths. Fans have come to expect the unexpected and follow her on sojourns into soul, R&B, jazz, hip-hop, rock, all bound by the search for love, justice, respect, and resolution. Those sonic investigations have defied and redefined the expectations for women, for queer artists, and for black music for over 30 years and she remains one of few women who write the music, sing the songs, and lead the band.

A bass player above all else, Meshell brings her warm, fat, and melodic groove to everything she does. She has earned a Grammy award along with numerous nominations, and has played alongside the Rolling Stones, Madonna, Alanis Morrisette, James Blood Ulmer, The Blind Boys of Alabama, Tony Allen, John Medeski, Billy Preston, and Chaka Khan. As for her own bass-playing influences, she credits Sting, Jaco Pastorius, Family Man Barrett, and Stevie Wonder. Meshell is always grateful for the opportunity to share the stage and believes music is a fellowship. She looks to spread that gospel with every creation and collaboration.

Per New York City’s guidance, Sony Hall is requiring all guests, staff & musicians ages 12+ to be fully vaccinated against Covid-19 to enter. Children ages 5 to 11 must have received at least one dose. Proof of vaccination may include your physical CDC card, photo of your CDC card, NYC Covid Safe App, or the NYS Excelsior Pass. In addition to the vaccination policy, New York City continues to encourage masks for all indoor gatherings, except while you are actively eating and drinking.

Meshell Ndegeocello

• Facebook Facebook logo
• Instagram Instagram logo
• YouTube YouTube logo
• Spotify Spotify logo
• Apple Music Apple Music logo

THE OMNICHORD REAL BOOK

Clear Water (Official Video)

Vuma (Visualizer)

Virgo (Visualizer)

Dan Peraino

[email protected]

[email protected]

FILM AND TELEVISION

Evolution Music Partners

[email protected]

SIGN UP TO THE NEWSLETTER BELOW, USING YOUR SOCIAL ACCOUNT OR EMAIL

Thank you for registering! We have sent a confirmation email to {USEREMAIL}. Click the link to confirm your email address.

• Latest News

Top 10 Chicago Blues Artists

‘soul & inspiration’ album: righteous brothers find ‘the heart of the song’, ‘junk culture’: the catchiest album omd ever made, ‘red rose speedway’: paul mccartney and wings at full throttle, free jazz: a short history of the jazz sub-genre, shining brightly: richard and linda thompson’s folk-rock beacon, ‘black coffee’: peggy lee’s darker exploration of love, billie eilish announces ‘hit me hard and soft’ world tour, blink-182 returns to north america for final leg of stadium and arena tour, terri clark reimagines ‘now that i found you’ as duet with ben rector, luis fonsi shares new laura pausini collaboration ‘roma’, mickey guyton shares new song ‘scary love,’ announces u.s. tour, karol g and feid win big at latin american music awards, ringo starr offers up ‘gonna need someone’ music video, meshell ndegeocello shares new, sly stone-inspired song ‘clear water’.

Featuring guitarist Jeff Parker and vocalist Justin Hicks, the song features on the artist’s forthcoming album ‘The Omnichord Real Book.’

Published on

Meshell Ndegeocello has released “Clear Water”—a soul-searching Sly Stone -inspired new song featuring Jeff Parker’s bluesy guitar lines and vocals by Justin Hicks—along with an engaging live video of Ndegeocello’s band performing the song in the studio. You can watch it below.

“Clear Water” is the latest single to trail the multi-instrumentalist, singer, songwriter, and producer’s forthcoming Blue Note debut The Omnichord Real Book , a visionary album out on June 16 that taps into a broad spectrum of her musical roots. The album includes guest artists including Jason Moran, Ambrose Akinmusire, Brandee Younger, Julius Rodriguez, Mark Guiliana, Cory Henry and Joan As Police Woman.

Ella Fitzgerald’s ‘Can’t Buy Me Love’: The Queen Of Jazz Meets George Martin

“This album is about the way we see old things in new ways,” Meshell says of The Omnichord Real Book . “Everything moved so quickly when my parents died. Changed my view of everything and myself in the blink of an eye. As I sifted through the remains of their life together, I found my first Real Book, the one my father gave me. I took their records, the ones I grew up hearing, learning, remembering. My mother gifted me with her ache, I carry the melancholy that defined her experience and, in turn, my experience of this thing called life calls me to disappear into my imagination and to hear the music.”

To support her new album, Meshell has also announced upcoming tour dates including performances at the Blue Note Jazz Festival in New York City on June 21 and Napa Valley on July 29, as well as upcoming concerts in Minneapolis, Milwaukee, Chicago, Washington DC, Philadelphia, and at the UK’s We Out Here Festival in Wimborne. See below for a full list of confirmed tour dates.

Pre-order The Omnichord Real Book .

Meshell Ndegeocello plays the follows live shows:

June 7: Count Basie Center for the Arts – Red Bank, NJ June 9: Center for the Arts of Homer – Homer, NY June 13: Dakota – Minneapolis, MN June 14: Dakota – Minneapolis, MN June 15: Turner Hall Ballroom – Milwaukee, WI June 16: Thalia Hall – Chicago, IL June 18: Terrace Theater @ The Kennedy Center – Washington, DC June 20: The Ardmore Music Hall – Ardmore, PA June 21: Blue Note Jazz Festival @ Sony Hall – New York, NY July 29: Blue Note Jazz Festival Napa – Napa, CA Aug. 11: We Out Here Festival – Wimborne, UK Nov. 19: City Winery Pittsburgh – Pittsburgh, PA

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

• Accessories
• Transcriptions
• Terms of Use

Sign up for the Bass Magazine Newsletter

Stay in the loop for the latest news on all things low end delivered right to your inbox.

Meshell Ndegeocello Releases New Single “The Fifth Dimension” (Listen)

Meshell has also announced upcoming tour dates including performances at the Blue Note Jazz Festival in New York City

Meshell Ndegeocello has released “ The 5th Dimension ,” a sweeping new jazz-infused soul-psychedelic evocation featuring the HawtPlates , a vocal group consisting of Justin Hicks , Kenita-Miller Hicks , and Jade Hicks . It’s the latest single to be revealed from the multi-instrumentalist, singer, songwriter, and producer’s forthcoming Blue Note debut The Omnichord Real Book , a visionary album out June 16 that taps into a broad spectrum of her musical roots with guest artists including Jason Moran , Ambrose Akinmusire , Jeff Parker , Brandee Younger , Julius Rodriguez , Mark Guiliana , Cory Henry , Joan As Police Woman , and others. 

https://www.youtube.com/watch?v=vxQml8OOcP4

Meshell has also announced upcoming tour dates including performances at the Blue Note Jazz Festival in New York City on June 21 and Napa Valley on July 29, as well as upcoming concerts in Minneapolis, Milwaukee, Chicago, Washington DC, Philadelphia, and more. See below for a full list of confirmed tour dates or visit meshell.com .

“This album is about the way we see old things in new ways,” Meshell explains. “Everything moved so quickly when my parents died. Changed my view of everything and myself in the blink of an eye. As I sifted through the remains of their life together, I found my first Real Book, the one my father gave me. I took their records, the ones I grew up hearing, learning, remembering. My mother gifted me with her ache, I carry the melancholy that defined her experience and, in turn, my experience of this thing called life calls me to disappear into my imagination and to hear the music.”

The track listing for The Omnichord Real Book is as follows:

1. Georgia Ave ( feat. Josh Johnson )

2. An Invitation

3. Call The Tune

4. Good Good ( feat. Jade Hicks, Josh Johnson )

5. Omnipuss

6. Clear Water ( feat. Deantoni Parks, Jeff Parker, Sanford Biggers )

7. ASR ( feat. Jeff Parker )

8. Gatsby ( feat. Cory Henry, Joan As Police Woman )

9. Towers ( feat. Joel Ross )

10. Perceptions ( feat. Jason Moran )

11. THA KING ( feat. Thandiswa )

12. Virgo ( feat. Brandee Younger, Julius Rodriguez )

13. Burn Progression ( feat. Hanna Benn, Ambrose Akinmusire )

14. oneelevensixteen

15. Vuma ( feat. Thandiswa, Joel Ross )

16. The 5th Dimension ( feat. The HawtPlates )

17. Hole In The Bucket ( feat. The HawtPlates )

18. Virgo 3 ( feat. Oliver Lake (Arr.), Mark Guiliana, Brandee Younger, Josh Johnson )

MESHELL NDEGEOCELLO – 2023 TOUR DATES:

May 13: Tulsa Mayfest @ Guthrie Green- University of Tulsa / Rumble Drum

June 7: Count Basie Center for the Arts – Red Bank, NJ

June 9: Center for the Arts of Homer – Homer, NY

June 13: Dakota – Minneapolis, MN

June 14: Dakota – Minneapolis, MN

June 15: Turner Hall Ballroom – Milwaukee, WI

June 16: Thalia Hall – Chicago, IL

June 18: Terrace Theater @ The Kennedy Center – Washington, DC

June 20: The Ardmore Music Hall – Ardmore, PA

June 21: Blue Note Jazz Festival @ Sony Hall – New York, NY

July 29: Blue Note Jazz Festival Napa – Napa, CA

Aug. 11: We Out Here Festival – Wimborne, UK

Nov. 19: City Winery Pittsburgh – Pittsburgh, PA

Follow Meshell Ndegeocello:

Website • Facebook • Twitter • Instagram

• Next »