![]() ![]() The closest I’ve had in a while is the spoilt glee of your Flo Milli’s and your Bali Baby’s. Micha Cavaseno: Life was kind of semi-cruel to me in that as I learned to explore my femininity, I learned how difficult it is to find that same energy in rap. Maybe she needs the right producer + beats combo. I don’t want to hear Bree Runway coo sweetly, nor am I taken in by her brag mode. That is a such a horrible, horrible shame and waste.Īlfred Soto: An estimable talent turns to the sort of neither-here-nor-there gesture she hopes will bring in the streams. And then for the last minute when the gear shift is supposed to go up to ridiculous, it goes down and quietly rants itself to sleep and sounds terrible doing so. Pulling off the trick of being massive and cavernous but also slinky and enticing, there’s very little to not love. She’s still too strong to be mashed down.Įdward Okulicz: Eee, I feel so conflicted about this, because for about 2 and a half minutes, this shapes up as a modern take on an overblown ’80s power ballad, and does it very well. Yet she stays noticeable and visible even as the drums hammer, doubled with vocoder as they fade into the synths. In fact, the song seems to lean into it, as Bree soars off into a carrying coo that slides above the BUMBADUMDUMDUMDUM and takes flight, all combining into a blinding light over clashing sonic pieces. Nortey Dowuona: The gossamer synths that seem worrisomely similar to “In The Air Tonight” are so quickly harnessed by Bree’s plaintive yet powerful voice, seemingly empowered by the rumbling bass and slapdash drums, that the similarity doesn’t sink it. A grand, cavernous devotional with hooks slung over every passage, it pulls itself tighter and tighter over the course of its four minutes when Bree finally sings that she would die for somebody like you, the stakes feel so high that you get the sense she actually might. “Somebody Like You” does not suffer from this problem. Leah Isobel: As delightful as it’s been, Bree’s major-label work has generally felt a little slack. We’ve been runwaying around, always looking down at what we see… ![]() Donnie Trumpet & the Social Experiment.I LIE HERE BURIED WITH MY RINGS AND MY DRESSES.Email (song suggestions/writer enquiries).Replete with 80s stadium rock drums and ostentatious guitar solo outro, it is an almost ballad-like closer that further cements Bree Runway’s unique position as a rising pop star who eschews convention to embrace complexity and contradiction. The room explodes once more to the polished yet punchy Hot Hot, while the final number – a new song, Somebody Like You – is a harmony-stacked slow groove that showcases her vocal range as it reaches soaring new levels. “I did not expect the vibe,” Runway announces as yet another wave of ecstatic screams rips through the venue. While the low-stage, low-ceiling basement venue isn’t the best for a performance this aesthetically charged and choreography-heavy – often only the top of the dancers’ swinging hair is visible – but the crowd soaks up every drop regardless. There is a constant swing between fractured beats and euphoric surges as Runway unleashes potent rap, glistening pop melody and moments of thoughtful restraint. ![]() Her approach is as eclectic as it is kinetic: new single Pressure is caramel-smooth pop older number Big Racks merges extremely wonky synth bass with taut drums that nod to old-school funk and hyperpop, while the beat-heavy hip-hop of ATM features the kind of sharp hooks and joyous bounce that recall the heyday of Missy Elliott (who guests on the recorded version). Growing up in a Hackney household soundtracked by her father’s Ghanian highlife music and her mum’s heavy rotation of MTV icons such as Kelis and Lil’ Kim has clearly rubbed off on Runway.
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