Sudan Archives brought her high-energy, avant-garde performance to Thalia Hall in Chicago, weaving a sonic tapestry that was both deeply personal and universally relatable. As the artist behind the critically-acclaimed album "The BPM," Brittney Parks' music is more than just a reflection of her own emotions – it's a manifesto for anyone seeking empowerment through self-discovery.
From the opening notes of the set, it was clear that this tour would be something special. With its futuristic aesthetic and pulsating beats, the performance felt like an immersive experience, akin to stepping into a dystopian utopia where music is the key to liberation. Parks' violin, once her primary instrument, took a backseat to synths, vocal loops, drum machines, and other programming wizardry – a testament to the artist's willingness to experiment and evolve.
Throughout the 90-minute set, Parks wove in nods to her Chicago roots, from the city's house music traditions to references to her father's side of the family. The result was a sense of homecoming that felt both deeply personal and universally relatable. For instance, when she declared, "This is my family hometown! Where my family at?" it was clear that Parks had woven a sense of community into the performance.
The setlist itself was a masterclass in pacing and dynamics, moving seamlessly from introspective ballads to frenetic club tracks. Standouts like "NBPQ (Topless)" and "Yea Yea Yea" showcased Parks' ability to craft infectious hooks and danceable beats that would get even the most reluctant audience members moving.
But it was also clear that this performance was more than just a showcase for Parks' music – it was an act of self-discovery. As she navigated the stage, inviting crowd members up on the go-go dancing platform or leading them in a mock catwalk, it felt like Parks was reclaiming her own narrative and redefining what it means to be a woman of color in the entertainment industry.
If there's one area for improvement, it would be having D-Composed – a Chicago-based Black chamber music collective that contributed some string arrangements to "The BPM" – on stage. However, this was a minor quibble, and Parks' mastery of the narrative was undeniable. Even the encore, which featured opener Cain Culto's hit "KFC Santeria," felt like an extension of Parks' own artistic statement.
Ultimately, Sudan Archives' performance at Thalia Hall was a testament to her boundless creativity and her commitment to using music as a tool for empowerment. As she so eloquently put it in the song "NBPQ (Topless)," "Sometimes I think that if I was light-skinned, then I would get into all the parties, win all the Grammys, make the boys happy." But as the song evolves, Parks' point of view shifts, embracing her true self and refusing to be reduced to any one particular narrative. It's a message that resonated deeply throughout the set, and one that will stay with audiences long after the music fades away.
From the opening notes of the set, it was clear that this tour would be something special. With its futuristic aesthetic and pulsating beats, the performance felt like an immersive experience, akin to stepping into a dystopian utopia where music is the key to liberation. Parks' violin, once her primary instrument, took a backseat to synths, vocal loops, drum machines, and other programming wizardry – a testament to the artist's willingness to experiment and evolve.
Throughout the 90-minute set, Parks wove in nods to her Chicago roots, from the city's house music traditions to references to her father's side of the family. The result was a sense of homecoming that felt both deeply personal and universally relatable. For instance, when she declared, "This is my family hometown! Where my family at?" it was clear that Parks had woven a sense of community into the performance.
The setlist itself was a masterclass in pacing and dynamics, moving seamlessly from introspective ballads to frenetic club tracks. Standouts like "NBPQ (Topless)" and "Yea Yea Yea" showcased Parks' ability to craft infectious hooks and danceable beats that would get even the most reluctant audience members moving.
But it was also clear that this performance was more than just a showcase for Parks' music – it was an act of self-discovery. As she navigated the stage, inviting crowd members up on the go-go dancing platform or leading them in a mock catwalk, it felt like Parks was reclaiming her own narrative and redefining what it means to be a woman of color in the entertainment industry.
If there's one area for improvement, it would be having D-Composed – a Chicago-based Black chamber music collective that contributed some string arrangements to "The BPM" – on stage. However, this was a minor quibble, and Parks' mastery of the narrative was undeniable. Even the encore, which featured opener Cain Culto's hit "KFC Santeria," felt like an extension of Parks' own artistic statement.
Ultimately, Sudan Archives' performance at Thalia Hall was a testament to her boundless creativity and her commitment to using music as a tool for empowerment. As she so eloquently put it in the song "NBPQ (Topless)," "Sometimes I think that if I was light-skinned, then I would get into all the parties, win all the Grammys, make the boys happy." But as the song evolves, Parks' point of view shifts, embracing her true self and refusing to be reduced to any one particular narrative. It's a message that resonated deeply throughout the set, and one that will stay with audiences long after the music fades away.
! Her energy is infectious and I love how she incorporates her roots into the performance - it feels so Chicago and special. I was a bit bummed she didn't get to share more of that with D-Composed, but honestly it didn't even affect my vibe 
. What really stood out to me was how she's using music as this powerful tool for self-discovery and empowerment - it's such an important message 
. I've always loved her music, but seeing her live was just next level 
. Can we get more of this vibe at her other shows?
. I mean, don't get me wrong, Brittney Parks' music is catchy and all, but it feels so... manufactured 
. The way she weaves in nods to her Chicago roots just comes across as try-hard 
. And that futuristic aesthetic? More like a mess of flashy lights and synths than actual creativity 
.
. Newsflash: being yourself isn't about performing for an audience, it's about actually being true to who you are 
. And that whole "I wish I was light-skinned" vibe? Please, that's just a tired old stereotype 
.
. One minute she's mellow, the next she's bouncing around like a maniac 
. And don't even get me started on the encore – Cain Culto just feels like an awkward addition 
.
. Maybe I'm just not seeing it 
.
- I loved how Brittney Parks' unique sound transported me to another world, but at the same time, I felt kinda disappointed that she didn't play more of her older songs... or was it? 
maybe I just needed the newer stuff to feel connected to the performance? Either way, Sudan Archives' energy is infectious and her message about self-love and empowerment really hit home 
. But what's up with me wanting to see D-Composed on stage now that I think about it... was it a clever move or did they get snubbed? 
, but also really vulnerable at times when she was sharing her personal story. And can we talk about that encore? 
totally unexpected but in a good way! I do wish she'd had D-Composed on stage though - they're such a talented collective 
. overall tho, this performance was pure magic and I'm so grateful to have seen it 
. The way she wove in her Chicago roots and personal storylines into the performance was super relatable, but at the same time, it felt like she was on a mission to spread a message of self-love and empowerment 
. The setlist was on point, with those infectious hooks and beats getting even the most skeptical people dancing 
. But what really stood out to me was how she used music as a form of self-discovery – it was like she was performing her own therapy session on stage 
. Overall, though, Sudan Archives is killing the game and I'm here for it 
! I love how Brittney Parks weaves her personal story into this sonic tapestry - it's like she's inviting us all to be a part of her journey. The way she seamlessly blends genres and styles is pure genius 
. And can we talk about the energy?! It was like being transported to a dystopian utopia where music is the key to liberation 
Brittney Parks is literally on fire 
i loved how she incorporated nods to her chicago roots and family history, it made the whole thing feel like this beautiful homecoming celebration 
from the introspective ballads to the frenetic club tracks, parks had this masterful ability to move seamlessly between them. and that crowd interaction? i'm DEAD 
. Brittney Parks' mastery of experimentation and evolution in her music is awe-inspiring, as evident from her innovative use of electronic elements and programming wizardry 
. What struck me most, however, was the way she wove together personal narratives with universal relatability – it's clear that this tour was a deeply cathartic experience for both herself and the audience 
. The setlist's dynamic pacing and energy were expertly managed, showcasing Parks' ability to craft infectious hooks and danceable beats 
.
and i'm not surprised she killed it at thalia hall her music is always so evocative and raw, like you can feel the emotions pouring out of every note she's got this crazy energy that just draws you in and doesn't let go even when she slows things down for some introspective moments it's still all about the vibe and the beats and the way she weaves together these different styles and sounds to create this totally unique sound i'm glad she included some nods to her chicago roots too, it felt like a love letter to the city and its music culture 
! The way she wove in nods to her Chicago roots was super cool and it felt like the crowd was right there with her, you know? And can we talk about how empowering it is when a artist uses their platform to spread love and self-love? It's all about embracing your true self and not letting anyone else define your narrative 
I'm still reeling from Sudan Archives' electrifying performance at Thalia Hall - it was like witnessing a sonic revolution! 
It's like you can feel the emotions and vulnerability behind every note 
did you know that chicago is literally the pizza capital of the world? like, i'm not even joking. have you ever tried a deep dish pizza from lou malnati's or pequod's? it's LIFE.CHANGING. anyway, back to sudan archives... i love how she's pushing boundaries with her music and using it as a form of self-expression 
Brittney Parks is more than just an artist she's a movement 
. She's reclaiming her narrative and defining what it means to be a woman of color in the industry