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• Judith Hill - Letters From A Black Widow - Live 2024

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8 bewertungen (ø 5,0), tolle künstlerin.

Facettenreiche Sängerin, wahnsinnige Stimme, kurzweiliges Programm - hätte ein größeres Publikum verdient. Beim nächsten Auftritt auf jeden Fall wieder dabei!

Leider (noch) zu wenig Publikum. Ich hoffe Judith Hill bleibt sich treu und kommt bald wieder. Das Metropol ist ein guter Veranstaltungsort.

Geniales Konzert

Hohes musikalisches Niveau, sehr talentierte Sängerin, tolle Stimmung, tolle Location

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JUDITH HILL

Ever since her fragile yet powerful interpretation of the Phil Collins hit "In The Air Tonight" was featured on the soundtrack of the 2020 drama series "Little Fires Everywhere", the US artist has been the talk of the town with her big soul voice. Judith Hill became well-known in her home country in 2009, when she sang "Heal the World" at Michael Jackson's funeral service. She also performed as a guest singer on Prince's album "HITnRUN Phase One" in 2015. Her current single "Runaway Train" sees the Grammy winner looking back on her career. As the daughter of a Japanese pianist and an African-American bass player, she has risen into the musical circles of the greats and reflects on the highs and lows of being a woman in a still male-dominated music biz.

Judith Hill

Grammy-winning vocalist, songwriter and multi-instrumentalist Judith Hill is touring Europe this Spring, Summer and Autumn. Presenting her much anticipated new album ' Letters from a Black Widow' , which was released on April 26, 2024 via Regime Music Group.

Judith Hill has established herself as one of the most dynamic and versatile artists in the music industry. From her breakout appearance on ' The Voice ' to collaborating with legends like Stevie Wonder, Michael Jackson , and Prince , Judith's remarkable talent has earned her critical acclaim and a dedicated fan base worldwide. Her music effortlessly blends elements of soul, funk, R&B, and pop, creating a sound that is uniquely her own.

‍ ‘Letters From A Black Widow’ follows Hill’s 2021 release, Baby, I’m Hollywood! , which garnered widespread critical  acclaim and which SPIN described as “a funk-rock-soul scorcher.” If that album offered a rowdy  coming-of-age tale of a mixed-race child of bohemian California, Letters from a Black Widow is a  formidable battle cry – a soul/funk/gospel passion play that’s spectacularly written, arranged,  and performed by Hill.  While Hill played many of the instruments – including electric guitar, which she taught herself to  play since her last studio release – this project is not a strictly solo endeavor. It’s built on the  unshakable musical foundation she has enjoyed for most of her life: Hill’s band includes her  parents, bassist Robert “Peewee” Hill and keyboardist Michiko Hill. She’s also joined by John  Staten (drums and percussion), Daniel Chae (strings) and a group of formidable friends, who  contribute background vocals.

If Hill’s previous album, Baby, I’m Hollywood , was the rowdy coming-of-age tale of a mixed-race child of bohemian California, Letters from a Black Widow is a formidable battle cry – an album-length soul/funk/gospel passion play that’s spectacularly written, arranged, and performed. The new 12 song record, ‘Letters From A Black Widow’ , presents a riveting story - from private pain to communal transcendence - and is her most soul-bearing work to date. Anyone who’s followed Judith Hill’s story will recognize Letters from a Black Widow as one jaw-dropper of an album title. The tabloid-coined phrase “Black Widow” arose after the overdose deaths of her two star-making collaborators, Michael Jackson and Prince. It became a term of abuse that internet trolls hurled at the celebrated artist, driving conspiracy theories and shame campaigns – trauma that nearly ended a career that includes a Grammy for her role in the Oscar-winning documentary film “20 Feet from Stardom.”  “For years the Black Widow was such a dark presence in my life that was too looming and intimidating to even talk about,” Hill says. But a year into the pandemic, she had time and space for a momentous reckoning. “Being forced to stop allowed me to reach a deeper place, to really marinate and figure out what’s at my core, what I really needed to talk about. I found I had the courage and strength to face all this – to be authentic to my core, to dive into the whole experience, and turn an ocean of darkness into expressive fire.”

Her second single of the album ‘ Flame ’ showcases a powerful vocal and an incendiary musical arrangement, while lyrically the song stares down darkness and pain with a telling revelation about Hill's inner reserves: ‘Give me chaos and give me pain/but you can never kill my flame.’ The single garnered acclaim from Rolling Stone, Entertainment Tonight , and V Magazine , which praised, “‘Flame’ showcases Hill’s vocal prowess as well as her songwriting chops.” “I am more resilient than I thought I was” explains Hill. “After every blow that knocks me to the ground, I discover an inner power that emerges stronger and more defiant than before. Like iron and steel, my core has become impenetrable. On my darkest days, I plug into the amp and hear the throbbing pulse of the guitar like a surge of energy reviving my spirit. I am convinced that I will never be defeated.”

The third single of the album 'Dame de la Lumière', premiered just in time for Women’s History Month, The track puts Judith’s raw emotions front and center as she serenades generations of  powerful women, including her mother and grandmother. Not only is the track a love letter to  the ladies of the light who raised her, but an empowering tribute to women everywhere!  “This is the story about my mother and my grandmother. These are two powerful women who  taught me the meaning of perseverance,” Judith shares. “I remember how they overcame the  impossible and survived because they were determined to be there for their families. Standing  on their shoulders, I carry on. I close my eyes and see the faces of every woman in history who  turned weeds into leaves of evergreen. They stand taller than the mountains. If they can do it, I  can do it. Bad times make strong women! This is my mantra.”  

„Stellar Powerhouse Vocals“ Rolling Stone Magazine ‍

„'Flame' is a track with a very old soul... and a potentially timeless sense of style“ Real Gone Rocks

„This is a musician at the top of her game" Jace Media Music

„Her sound is a compelling mix of piano balladry, vintage soul sweetness, and bold psychedelic funk/rock that packs a knockout punch " Rock & Blues Muse

Judith Hill: Vocals, Guitar, Digital Grand Piano

Peewee Hill: Bass Guitar

Michiko Hill: Organ/Keyboard/Synth, Tour Manager

John Staten: Drums

Judith Hill

Anyone who’s followed Judith Hill ’s story will recognize Letters from a Black Widow as one jaw-dropper of an album title. The tabloid-coined phrase “Black Widow” arose after the overdose deaths of her two star-making collaborators, Michael Jackson and Prince. It became a term of abuse that internet trolls hurled at the celebrated artist, driving conspiracy theories and shame campaigns – trauma that nearly ended a career that includes a Grammy for her role in the Oscar-winning documentary film “20 Feet from Stardom.” 

“For years the Black Widow was such a dark presence in my life that was too looming and intimidating to even talk about,” Hill says. But a year into the pandemic, she had time and space for a momentous reckoning. “Being forced to stop allowed me to reach a deeper place, to really marinate and figure out what’s at my core, what I really needed to talk about. I found I had the courage and strength to face all this – to be authentic to my core, to dive into the whole experience, and turn an ocean of darkness into expressive fire.”

If Hill’s previous album, Baby, I’m Hollywood , was the rowdy coming-of-age tale of a mixed-race child of bohemian California, Letters from a Black Widow is a formidable battle cry – an album-length soul/funk/gospel passion play that’s spectacularly written, arranged, and performed.

One signal moment in Hill’s writing process came during a visit with friends to a hot spring outside of Los Angeles, where a communal psychedelic experience wound up shunting her off into a more private and terrifying realm. “An entire mountain appeared before my eyes,” she recalls. “And I knew it represented all the trauma in my life that I hadn’t realized was still there.” 

I could feel the mountain/I close my eyes and it appears … Hill chose that vision as the album opener in “One of the Bad Ones” because she wanted the first chapter of Letters from a Black Widow to acknowledge that which she is most afraid of – her own maleficence. “We’re in a culture where we judge words and people on this binary of whether they’re good or bad, when everyone is more complicated than that. I wanted to explore that question, and communicate it with music that was orchestral and expansive, yet filled with pain and yearning.” In a sense, “One of the Bad Ones” plays like a précis for the entire album. Letters from a Black Widow is a theatrical, soul-funk song-cycle a la Inner Visions or What’s Goin’ On , which takes listeners on a journey from private pain to communal transcendence.

Her antihero energy truly ignites on “Flame,” a song that evokes the raw vocal power of a young Aretha Franklin, stabbing every syllable of the declaration, Give me chaos and give me pain/but you can never kill my flame. Hill says this is the kind of power she could only access by moving through that mountain. 

“All the guilt, shame, and paranoia can get to be like a cancer growing in you,” she shares. “You feel like nobody will understand, nobody will really care, and this becomes your whole reality. Making songs about it means giving yourself permission to even speak. It’s a kindness to yourself to even pick up the paintbrush and draw it, and it can take on a momentum of its own.”

Hill drew on conversations with her opera/theater director and friend Alexander Gedeon, which inspired the theatrical experimentation that runs throughout Letters from a Black Widow . Emotions reach their fullest expression in the titular song “Black Widow,” where Hill confronts the malign figure that haunted her for years.

This album’s new stories of discovery, resistance, and redemption all share the same unshakable soul and funk foundation Hill has enjoyed for most of her life. Searing guitar solos are evermore impressive by the fact that the guitar is one more instrument the confoundingly talented musician recently “just sort of picked up,” during the songwriting process. “To me, the guitar is like a new character, the wailing, screeching core of me, a voice that just wants to be heard,” Hill explains. 

While creating Letters from a Black Widow , Hill said she often changed up her writing style. “Some songs are about getting the story right, the tone, and the voice, almost like I’m writing a scene in a movie. Others begin with music… I’m with my guitar or bass just finding a groove, looking for what I need to drive the song,” she says. All live in the imaginative, often surprising spaces Hill renders with prodigious composing and arranging skills. “I trained in composition and always strive to figure out how to bring that exploration into my world as a blues-soul person.” 

Funk-riddled songs like “My Whole Life Is in the Wrong Key” and “Downtown Boogie” marry playful metaphor to sonic complexity and an unstoppable low-end groove. “Funk music is associated with sexy party vibes but it can also be ironic,” Hill says. “Sometimes what makes it funky is the irony of it.” Irony shades into righteousness with “We Are the Power,” which recalls the neo-soul erudition of Meshell Ndegeocello – I see a river full of little green money flowing/It’s running, running out of all the penitentiaries . “It’s saying that, even if they cut the microphone cord, we still have power sources within us. I wanted the same sense of defiance and empowerment you hear in “Flame” to run through the album, because we’re much stronger than we actually realize we are.”

While the album often takes buoyant and playful turns, all the songs are deeply anchored in Hill’s current reality, as a 39-year-old career artist grateful for the people who made her, and deftly aware of the bumpy path she’s chosen, and the force she’s becoming.

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Judith Hill takes center stage with family band and her powerful vocals

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Feb. 23— Judith Hill has been bringing her powerful voice and eclectic fusion of soul and funk to cities all over the world, and she never has to tell her parents how a show went. That's because they're standing right behind her on stage.

Her dad, Robert "Pee Wee" Hill, plays the bass, and her mom, Michiko Hill, plays the keyboards in her backing band. For Hill, there's nothing like touring the world and sharing the experiences with her family.

"It's a special dynamic we have," says Hill, who plays the Lensic Performing Arts Center with her folks on Friday, February 23. "It's been really cool to be able to connect with different people all around the world and to bring the music and the funk and the soul everywhere we go."

The touring is the culmination of a life in music for Hill, who started playing piano as a youngster and later was featured in the Oscar Award-winning film 20 Feet From Stardom. She won a Grammy for her part in the soundtrack to that film, and her meteoric rise as an artist has been highlighted by stints working with both Michael Jackson and Prince.

In recent years, she says, she's focused her time on improving her electric guitar playing. Hill's latest album, Letters From a Black Widow, is primed for release on April 19, and she's been sprinkling songs from it into her set over the past few months.

"I'm just starting to roll out the new singles," she says. "We have been playing music from the last three albums and a collage of songs from the different eras."

Judith Hill

* 7:30 p.m. Friday, February 23

* Lensic Performing Arts Center

* 211 W. San Francisco Street

* 505-988-1234; lensic.org

But Hill dispels a couple rumors started by her Wikipedia page. No, she cannot play the harp. And while she is comfortable speaking both French and Spanish, she wouldn't call herself fluent in either one.

But a lot of the remarkable tales in her biography are true. The cover of her 2015 debut album, Back In Time, is a picture of Hill as an adorable toddler sitting in front of a tiny piano. She says that is more or less when she began playing; her mom and dad were members of a funk group in Los Angeles, and her mom moonlighted as a piano teacher.

"We started very young," she says, "I was running around and soaking it all up."

Hill, who grew up in L.A., got her big break in the music business in 2009 when she was chosen as Jackson's duet partner for the song "I Just Can't Stop Loving You" during the rehearsals for his This Is It concert residency at O2 Arena in London.

Jackson died just days before he was scheduled to perform, and Hill paid tribute to him by singing the lead on "Heal the World" at his memorial service. Clad in a black dress, Hill stood center stage and sang while a group of children and music legends swayed behind her.

It wasn't the Jackson experience she had expected, but there was a silver lining: Her story was included in the 2013 documentary 20 Feet From Stardom, which spotlighted the contributions of backup singers, and Hill was ushered into an illustrious sorority of singers that included Darlene Love and Merry Clayton.

The film won Best Documentary Feature at the Academy Awards in 2014, and Hill suddenly found herself on the A-list.

"It was an honor to be part of that storytelling, and it definitely opened up a lot of doors," she says. "I think the film was trying to show different generations and chapters of people in their careers as singers, and so for me, I was pretty new on the scene at the time. It was interesting to be part of that when I was trying to figure things out in my life at the time, but it's cool to see my progression."

Even before the film catapulted Hill to a Grammy Award, she was already in people's living rooms. She auditioned for the fourth season of The Voice in 2013 and made it past the blind audition, the battle round, and the knockout rounds into the top eight before she was eliminated. Singing on live television wasn't nerve-wracking; she says it was all the extra stuff that went into singing on live television that made The Voice so daunting.

"I loved dressing up and having high production value with the lighting and the staging and the choreography," she says. "I guess there is stress as you get further into the show and people start getting eliminated. It becomes more reality TV and less about the singing. ... I was more cast as the professional. I was sort of the villain. The girl next door is the one you always root for; I think they had portrayed me as the girl from Hollywood. Hollywood is never somebody you root for. It's my actual hometown, and it's an interesting place."

Shortly after The Voice and the Oscars, Hill had her brush with Prince. It started randomly when she mentioned to someone that she'd like to work with Prince. The next thing she knew, she was whisked to his studios and was making music with him. Her Back in Time album was recorded in just three weeks at Prince's Paisley Park. In a short span of time, Hill grew close with her musical role model, and before he died in 2016, he helped make her musical dreams come true by supporting her work.

"Prince liked to work quickly, and we usually just tracked things live," she says of making Back in Time. "It was a fast experience."

She just wishes they'd had more time.

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Judith Hill tour dates 2024

Judith Hill is currently touring across 7 countries and has 16 upcoming concerts.

Their next tour date is at Akra Hotels in Antalya, after that they'll be at Hamburg - Zirkuszelt in Hamburg.

Currently touring across

• Netherlands Antilles

Upcoming concerts (16) See nearest concert

Akra Hotels

Elbjazz Festival

The GRAMMY Museum

Lesher Center for the Arts

Roots & Jazz

Erbenhof Schallkultur Festival

Noches del Botánico

Curacao North Sea Jazz Festival

Middle C Jazz Club

Past concerts

Kunsthaus Weiz

LantarenVenster

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