“THE HARD THING, AS AN ARTIST, IS TO RECOGNIZE HOW MUCH OF THIS PURSUIT IS REALISTIC WITHIN THE DREAM OF MAKING ART AND SUSTAINING YOURSELF.”
At age 19, Noah McBeth packed up his bags in Heidelberg, Germany for a school-sponsored trip to Las Vegas, with complete intentions to pursue music no matter the cost, and zero intentions of going back home. He was scared, but excited, and fully aware of what he was getting himself into, knowing that it would be a grind and that his chances were slim. He carried a vision for himself as a musician, and not much else.
Now 26 and residing permanently in Los Angeles, NoMBe can look back at that turbulent period of his life and smile, because from all appearances, those efforts to throw himself at music have worked out. Now a successful producer and alt-rock musician who’s been recognized by renowned musical outlets like Sirius XM’s Alt Nation and Australia’s Triple J, NoMBe is more than making a living off his music, racking up royalty checks from his more than 70 million streams on platforms like Spotify and Apple Music.
He’s also capitalizing on opportunities for touring, now currently headlining the Alt Nation Advanced Placement Tour, which has hosted notable names like Sundara Karma, Coast Modern, and The Hunna in past years.
Don’t chalk any of his success up to luck, though. NoMBe never expected to get any favors, and didn’t attempt to be a full-time artist out of the gates, either. For nearly four years, he worked a number of unrelated odd jobs to sustain himself along the way, pulling income from various sources to keep a roof over his head and continue to pursue music part-time.
Ironically, it wasn’t even a music opportunity that sparked him to take his art on at full speed. On the contrary, getting fired as a barista is what actually tipped the scales, giving him the chance to evaluate how much money he’d be able to earn if he put all of his time into his craft, rather than spending time doing unrelated work. After investing every second of his being for those four years into doing whatever it took to make his goal a reality, he finally decided it was the right time to take the leap, and jumped all-in with his own music.
While it will undoubtedly take even more time before he’s able to rack up double-digit Grammys like his godmother Chaka Khan, NoMBe is now blazing his own path as an artist, melting his atmospheric vocals over sensual guitar riffs and dream-like synths to produce his own unique blend of music that rides the line somewhere between psychedelic rock and alternative R&B.
Coming off the March release of his debut album, in the midst of the Alt Nation Advanced Placement Tour, and with a freshly-released single alongside Thutmose this past Monday, NoMBe is riding high, and he’s only getting started. I caught up with him over the phone to talk about the tour and his laborious journey as an artist.
This interview has been lightly edited and condensed for clarity.
EB: You’re on Sirius XM’s Alt Nation Advanced Placement Tour with Mikky Ekko and MansionAir. Being selected by Sirius, what significance does that have for you, if any?
NM: It has a lot of significance. They’ve really helped us out a lot on the radio front. They put “Freak Like Me” in Advanced Placement, and we got added to the station and had a lot of other plays based off of that. With the tour we’re hoping for them to also push some more songs, and just be part of the tour there, to have a good building crowd, and be able to convert fans. To travel the country also, and just get the band a little tighter. There’s a lot of things coming together, I think, that will be really beneficial this year along with my headline tour at the end of the year.p>
EB: With the album having just come out recently, what songs are radio stations pushing right now that you know of?
NM: Right now, I think a lot of them are still playing “Drama”, my single with Big Data. And then a lot of them are picking up the new songs – like “Milk & Coffee” is being played a lot by Alt Nation. In Australia, a lot of the stations are playing “Man Up”. We just got a Triple J (Australia) ad for that. It’s all over the place, man, to be honest. Different markets or regions have different tastes and things they gravitate toward. I’m just happy that there’s something for everyone on the album.
EB: The first song I was introduced of yours was “Eden”, back in December of 2017. That’s one of my favorite songs, and was what sort of tipped me off to explore your discography.
NM: I’m really proud of that one. I think a lot of fans have really liked that one, although it’s a bit of a slower record, not so in-your-face, I guess, but I like it as a song. The entire album is really a collection of different songs with different styles.
There’s not so much a theme, sonically. There’s guitar and my voice I think. But there’s definitely the theme of all the women in my life, and the stories that are very personal to me. In that way, that’s what its conceptual idea is.
EB: Who are some women in your life that have had a particularly large impact on you as a person and who you’ve become?
NM: I have to start with my mom. I mean she’s just an incredible, incredible woman, inspiration, and mentor. We have a really close relationship. Then, I was raised by my grandmother, who taught me so much, of how to treat people, and not just women. But she was just a stellar woman.
Then my godmother is Chaka Khan. We talk a lot about career things, but her and my relationship is less about music, actually. It’s more about, you know, personality things, life things, that’s usually what we talk about. There’s so many stories, encounters that may not have lasted that long but sometimes a person can have a really big impact, even if they’re not around for that long. Whether it’s an ex-girlfriend, or friend, or whatever.
EB: you’ve also got a full, live female band. Was that done as a statement? Tell me about how you put the band together.
NM: When we started the project, I was in the process of really regrouping anyways with the band. It all kind of happened step by step. I started writing these songs, and then my manager pointed out that they’re all about women. Then, you know, I identify as a feminist myself. I don’t know who said it, but at some point we came up with the idea, like, “What if we did an all female band?”
It just made sense, and I thought it was really cool and I had met a lot of them prior. They were great players, that, I didn’t have to audition people really. I’m glad that we didn’t have to go to a lot of trouble to find amazing players who were women. I don’t choose them over men just because they are women, but they are actually fantastic, fantastic musicians. I’m glad to be playing with them.
EB: What’s that dynamic like on stage, playing with your band? How do you try to engage the crowd and engage your band when you’re playing live?
NM: I’m very energetic on stage. I run around a lot, I’m never still, and I jump into the crowd. I just have fun, man. It’s almost like a party and I’m kind of just being very social. I engage with the drummer. I’ll lean into the guitar player and roll on the floor. I don’t know, it’s just the show, you know, and I feel like the audience is part of that.
EB: For you, did your love of music come from finding out that you liked to perform, or did it start with writing music?
NM: Definitely writing. I started on classical piano when I was a kid, and I was always kind of an awkward band kid. I never thought of myself as a stage performer till way into college. I wanted to be a producer and a composer, kind of be more behind the scenes. But you know, as my music developed and progressed, at some point it just felt right to present it in a live setting. Then the first shows didn’t go that well, and I had to just really buckle down and work on it. I think I just grew into being a performer, but I definitely liked attention, even when I was younger. I liked doing the piano recitals, everything like that. It was later in life that I considered myself a frontman. That wasn’t part of the plan.
EB: Who are some of your biggest musical influences, right now or in the past in terms of artists or producers?
I’m also a huge Bill Withers fan, that’s my all-time favorite. You know, grew up on Daft Punk, Michael Jackson, Mobb Deep, everything from Pete Rock and Nas, A Tribe Called Quest…that’s kind of my childhood and what I grew up wanting to do: sampling jazz and making beats and all that. And of course, Flying Lotus. I think there was a point where all my producer friends, we would all flex with experimental beats, J Dilla, all of that.
NM: Oh man, so many. I think as of recent, a big influence has definitely been Toro y Moi, and Tame Impala, Unknown Mortal Orchestra, a lot of psychedelic bands that are kind of alternative, and still electronic-leaning.
EB: You’ve got a really interesting story about how you got to the United States. You’re from Germany, and you took a one way flight to the United States. What was it about the U.S., or was it something about Germany, that made you want to uproot your life and stay here?
NM: Well, my mom was American, and although I’d never lived here, that presence and pop culture, it’s so big here. It’s just something that I always wanted, even as a kid. I think most of us, where I grew up, we always wanted to live in the US, and be close to Americans. When an American kid came to town, it was exciting. Also for the type of music I wanted to make, and the ambitions that I had, it was just a really good environment.
It’s just been something I always wanted, but it’s not that necessarily I didn’t like Germany. It was just hard for me to pursue what I wanted to do. People are into different music, and the process, the industry felt a bit stagnant. So I just needed a change of scenery, and the U.S. was a no-brainer for me.
EB: What gave you your start in music that pushed you to make it a career?
NM: I would say the first point was this musical I was working with. That was the first time someone paid me cash for my production. And that was the first time I realized “Wow this could be a thing, I think I really want to be a producer”. It wasn’t just like a dream, it was tangible. I was like “Wow I can do this. People want to pay me for my work.”
Then when I came to the U.S., it became more of the chase, more of a starving artist kind of thing, but I definitely had a goal in mind, you know? I wasn’t sure how I exactly fit into the music industry, it was just I knew I had to be creative, I knew I had to somehow help make music and sustain myself doing that. Everything else didn’t really interest me.
EB: Going through that starving artist phase, can you describe to me what that’s like when you’re trying to make things happen?
NM: It’s tough, you know? It’s almost like this self-imposed poverty, you know, where you’re just like “Man, maybe I should do this, maybe I should do this for money.” It’s hard so you kind of do this fine dance between trying to make a little bit of money off of music and then taking that and stretching it as far as you can to do what you really love, the kind of music you want to make.
I was just trying anything to be in the music business. I applied for internships, I played jazz at bars, I would busk in the streets with my guitar, or take backups, produce for people, mix for people, give lessons – anything. I was just trying to be like “Okay, everything that was music related, let me do that…and then when I can’t make enough money, I’ll substitute that with another job.” I would have a day job and another gig, maybe promoting or selling tickets or something.
I definitely had a lot, a lot of jobs at once, and would always try to make time to busk and still pursue my career. Slowly, you find people recognize you and you get a shot at something – you get invited to a studio, or you get a DJ gig, and you ease your way in. It took me about four years from coming to the U.S. to say “I’m doing it full-time.”
EB: What was that ‘aha’ moment where you got your break, when you could finally pursue music full-time?
NM: The exact thing that pushed me over the edge was me getting fired as a barista at a yoga place, and I was really worried, but I had already built somewhat of a clientele of people I would produce for at an hourly-rate. It was just like up-and-coming people in Hollywood and LA that would just need production and they would need mixing, so I would just charge them $15-$20 an hour. But when I got fired, I was like “Okay, let me NOT go out and find another job. Let me see how far I can take this, let me network, let me see how many people I can find that will want me to produce, or find more scoring gigs” – I’m good into that skill.
“When I released more records and then “California Girls”, which went somewhat viral, that’s when I started getting actual royalty checks that started paying the bills. I think I cried… Actually, yeah, definitely.”
NM: That was it, and then you know the first month was really tough, but I still managed to pay rent. The second month was as tough. The third, it got a little easier and I had a little more time to work on my stuff. And then it kind of snowballed, and next thing you know you have more people wanting or needing your work than you can actually accommodate, so you can charge more money and have even more time. Then slowly, my record started to take off and it all kind of happened at once.
I was sustaining myself, but I was breaking even and I kind of felt like I’d made it, but it still, it was a grind. It was a real grind, and it wasn’t as much fun, but I was living off music. When I released more records and then “California Girls”, which went somewhat viral, that’s when I started getting actual royalty checks that started paying the bills. I think I cried, actually, yeah, definitely. When I got my first royalty check from “California Girls” it was like, going from being so broke, to having four grand in the mail. It was just like “Oh my god, this is fucking crazy”.
I’m so glad that I didn’t get caught back up in there and start working at H&M, or whatever. Because sometimes you rest also in that, you know? The hard thing, as an artist, is to recognize how much of this pursuit is realistic within the dream of making art and sustaining yourself. I think a lot of us have that mentality, or unique position to say “Hey I think I want to quit my job to see how far I can get with music.” You have to also be careful, you can’t just say it. There has to be a hint, you know, that it makes sense.
In my case, I was already making half of my money from music. So I knew if I really kicked my ass I could probably push it. But, it wasn’t like I just had nothing and was just like “Fuck it, let me just quit my job and see what happens.” That happens as well, and a lot of my friends end up broke and end up losing their place and having to move back home. So, knowing the industry, yourself and what you provide is really important.
For more NoMBe, check out Spotify’s “This Is NoMBe” playlist:
“The music I’m creating, what I’m putting out there, is purposeful for myself.”
Cautious Clay is the artistic moniker of Joshua Karpeh, the 25-year old Neo-soul singer and producer who’s been through a whirlwind since releasing his first single “Cold War” on SoundCloud in September of 2017. His soulful, near-angelic vocals have caught the attention of tastemakers and major players alike, including Spotify, who included his music (and cover art) on their “Alternative R&B” playlist in March.
Though his music has caught fire in the last eight months, the attention isn’t getting to his head or impacting him personally. “It doesn’t really affect my personal life a whole lot, I just have to be more organized with my time…But I don’t think it’s gotten to the point where I feel like I can’t handle it”, he says. His journey as an artist and as a human-being is reflected in his debut EP, Blood Type (Read my review here), in which he opens up to share his most personal thoughts and feelings, pouring it out for his listeners to connect to.
Cautious Clay’s music is purposeful and filled with meaning, infusing the soul and fullness of gospel sound with modern, understated beats that provide color to an already colorful voice. His lyrics are symbolic in nature, but not so abstract that an attentive listener can’t pick up on the themes of his songs: Life, career, and love. With his music, Clay wants his listeners to take away that he’s genuine and speaking from his own experiences, and that he writes from a perspective that’s symbolic in nature. With Blood Type, he’s undoubtedly accomplished both of those sentiments.
This past week, Cautious Clay re-released his debut EP with a new song titled “Stolen Moments”, and in March he played his first official show at Baby’s All Right in Brooklyn. Following the show, I was able to catch some time with him to hear more about his background, influences and musical journey. You can read the full transcript below.
This interview has been lightly edited and condensed for clarity.
EB: Hey Josh…How’s your day been so far?
CC: It’s been great, just hanging with friends working on a couple projects. I’m working on my next song, actually, so I’m pretty stoked.
EB: Do you try to keep yourself busy outside of the Cautious Clay project, with other people’s work?
CC: Yeah! I actually do. It’s definitely something I’m always doing, working on different things if it’s not for Cautious Clay. I have my hands in a couple of different projects. It helps me think about things differently as an artist, whenever I’m approaching my own stuff. It puts me in a different headspace. It’s something I’m excited about doing and continuing to do. As of late, Cautious Clay has been taking up more time, though, for sure.
EB: Your first single came out six months ago, and now you’ve got the Blood Type EP out. Looking back on this last six months, do you have any thoughts or reflections on what it’s been like?
CC: It’s interesting because I think about, sometimes, where I was and where it’s going and it feels like I’m building a cool foundation for whatever is to come, whether or not it’s new music, or touring opportunities and things of that nature. I feel like I’ve always had a vision for what I wanted to do as an artist, so it’s very humbling and incredible to be in a position where that has become the reality over such a short amount of time. I’m just excited to keep doing what I do, and hopefully I’ll have more people interested, too.
EB: Your unique sound is so much different than all of the other current modern R&B, or alternative R&B if you will. Was that sound always a part of the vision, or did that come about naturally?
CC: It really did come about naturally. I’ve always made stuff, whether it was singing, or producing, or playing saxophone or whatever. Creation was always a really big part of my process, and I never really went in saying “I’m going to ride this R&B/alternative wave”. I’ve always just created things that inspire me, and was able to figure out a sound that worked for me.
I started off as an instrumentalist, as a blues sax player and I learned production over the last five or six years. That kind of gave me the ability to then explore songwriting and vocals, different things like that, because it was something I hadn’t done yet. That kind of overall comprehensive involvement in my artistic process is what has allowed me to create something different.
EB: You learned to play the flute and sax before you ever decided to become a solo artist. What made you pick up a saxophone?
CC: I did flute, I guess, for most of that time period before I did saxophone. I was taking private lessons when I was seven. So that was my main thing. As a kid I was super involved in a bunch of random activities. Like any caring parent, my mom encouraged me to do everything. I did flute because I thought it was a cool instrument that I thought was different.
EB: Seven-year-old Joshua knew he wanted to play flute? You don’t find that very often.
CC: I know, it’s super funny. You know what it was, it was because I saw snake charmers, and I wanted to be a snake charmer. As a child I thought that would be fun or something. Still to this day I don’t know exactly what it was, but that’s probably the easiest guess.
The saxophone happened because of jazz band in high school. They were like “Oh, you should try saxophone” because it’s super similar – the flute and sax have almost the same exact keys. When you play them, they’re very similar instruments. That’s why I picked up the saxophone.
EB: Why did you choose the name Cautious Clay?
CC: That name kind of came from a combination of things, actually. There’s the obvious one, that Cassius Clay was Muhammad Ali. He was “the greatest”, so it was a play on words around that. It also came from my attitude about my music; being very particular and super-detailed.
I used to make beats on SoundCloud that were really detailed and I put a lot of effort into the very particular elements of it. So the word “Cautious” is embodied in everything that it meant to me, and my attitude about what I was doing. It kind of just stuck as I was a singer too. I was like “Oh, well I’m going to pay that much more attention to the lyrics now, to what I’m actually saying, and being coded-but-decisive in what I’m saying. That’s all been encompassed in what I’m creating.
EB: You mentioned that you just create music just because you can. Do you find it hard sometimes to just let go and make things?
CC: That’s the really crazy thing. Sometimes I’m working on projects for other artists, and I have to stay focused. That’s definitely a thing. You have to compartmentalize your creativity, because it’s just something that you have to hone in on, and be like “Okay this is for this project, this is for that project.”
But I’ve gotten better at creating for the sake of creating. As for finding places for it – I try to make stuff that I feel I’ll obviously like, but that has some utility, if that makes sense. I feel like making something completely random [laughs] is a waste of time, but at the same time it’s fun, and I don’t dislike it.
EB: You’re now coming off of the Blood Type EP, which is a very cohesive album that sounds like it was made as a project on its own. Was the vision for that to always be one cohesive piece?
CC: It was and it wasn’t. All of the music on the EP was created at a particular time in my life and it all sounded related. I was still finding my sound as the artist that I am today. Blood Type was the best selects, I would say, from that particular time when I was creating a bunch of stuff to find my own sound. Even the titles were kind of, I kind of stumbled upon them and then was able to really round out something more comprehensive once everything was put together.
EB: I don’t think a lot of listeners reflect, or think about how difficult it can be to name a song. Did you ever struggle to come up with song titles?
CC: That’s a great question. I definitely did. I think the first title, the project file for the song “Blood Type” is called “Sickle Cell”. I don’t even know why I called it that. I thought, “What’s that? It sounds like ‘Blood Type’,” and then “Blood Type” was the greatest name for it, because of what the song’s significance was and what the EP’s significance is – my identity. I almost walked myself into that one, but I certainly did struggle to come up with names a lot. A lot of times it would just be something related to a lyric in the song, or if it wasn’t, then I would just think about what the song meant to me, and then I named it. It was a process.
EB: You had your debut show at Baby’s All Right in March. What it’s like to be in front of a sold out crowd like that for your first show?
CC: It was super surreal. I was feeding off of the crowd. To me it was interesting because I had been practicing, obviously, up until that point, trying to get used to playing in front of people. I think the biggest thing to me was that when I came on stage, I felt confident because I knew what I was doing was something that felt natural.
The music I’m creating, what I’m putting out there is purposeful for myself. It doesn’t feel like I’m being corny or not doing something that I don’t believe in. My initial reaction was almost relief. You would think it maybe would’ve been nerves, but as soon as I got up there I was relieved knowing that it was what I had been working toward. This was the fun part.That’s just an attitude, I think, up until I actually figured out how to get stage presence and be comfortable with the material that I was playing with the band.
EB: You picked up the sax on stage a few times and sort of went with it and played. Was that always planned to be a part of your live show?
CC: Totally. I was definitely battling it for a minute, I was actually having an argument with my manager. I asked, “Yo, do you think I’m playing too much saxophone?” To which he said no, and I had thought that it would be too distracting, maybe, from the songs that I did. But at the end of the day I think that the music I’m playing live, I want to be a little different than what’s recorded, so that people can come back and draw something different from it, rather than feel like feeling I played the song exactly like it was on the record.
I feel like my fans are the people who want me to grow, and listeners are going to value that when they come to see me play. At the end of the day, I think what I realized was that it’s okay, and I’m going to play saxophone more. It’s something I love to do anyway, so I just gotta be myself.
EB: Your latest music has caught on really fast with your listeners, and your stripped version of “Blood Type” is on the top of Spotify’s Alternative R&B Playlist. Did you ever expect that your music would get this amount of reception in such a short time?
CC: I definitely didn’t. It’s been surreal and I have so much gratitude and positive feelings about how people are gravitating toward what I’ve been doing, because I’m not really changing who I am. I’m just kind of being myself and writing for myself. It’s always a blessing to feel like people are affected by your music.
EB: Is your vision for your eventual full-length album sonically similar to the Blood Type EP, or will it have a fresh new take on what Cautious Clay sounds like?
CC: I think it will be different. Or maybe it will be the same – well not the same – but it will be related. I think I want to put out a couple more singles / projects after this, before I start to commit to an album. That’s kind of where my head’s at, because I want to explore the sonics of what I’m doing, and not get too caught up with a particular sound while still maintaining my voice as a driving element of the project.
EB: You’ve only been singing for about two years. How has it been developing your voice, with the effort that you’ve put into it?
CC: I’ve always respected vocalists, but now I have a newfound respect for them, because your voice is an instrument. I think that it’s important that you keep it in good balance. I’m just trying to make sure that I’m taking care of my voice and at the same time developing a style with it that embodies what I’m doing artistically. I think it’s fun for me because now I don’t have to only produce, I can just sing on projects now, which takes a little bit of weight off of the different things I’m doing.
EB: When people listen to your music, is there anything you want your fans to take away from it about you as a person?
CC: I want people to know that I’m genuine and that I’m just speaking from my own experiences. If they want to get that deep with what I’m doing, that’s something I want them to know. I’m a very intentional person about what I choose to create or partake in. But also, if they want to listen casually, my music is suited for that too.
EB: Has it ever been difficult when writing songs to open up and be as revealing as your music is?
CC: That is difficult sometimes. It’s something more valid now than ever, because when I first started writing this stuff I was getting used to my voice, I told myself “I won’t talk about anything too crazy”. But stylistically, I think I like to talk about things in a way that’s not-too-obvious. Not super obscure or coded, but if you really had ears and put one and two together, you can figure out what I’m saying. It’s just how I like to write, and discuss different things that I’m going through or I can speak to. I would say that, in general, I try not to leave too many things off the table.
You can catch Cautious Clay in New York at his newly announced show in New York on July 24th for his newly announced show at Bowery Ballroom. If his first sold-out show was any indication, New York has taken notice, and the rest of the music world is close behind, so you’d better be quick on the trigger. Tickets can be purchased here.
Early Bird Music caught up with Chicago pop singer Matt LeGrand during New York Fashion Week, to learn more about his inspirations for pursuing music, thoughts on being a solo artist, and checking in on what he has planned for the year. Watch our first-ever video interview below via YouTube:
Check out Matt’s Youtube on Friday for a new music video of a yet-to-be-announced cover song.
You can check Matt out on social media and YouTube:
Cover Photo courtesy of Chiara Gerek (@chiaragerek)
Throughout any interview, it’s easy to get off topic quickly. With #OffTheCuff, we’ll be compiling the best spontaneous audio snippets from our conversations with artists that stray a little far from the beaten path.
As a part of our feature interviews there are plenty of things that don’t make it into the article itself. That doesn’t mean the content isn’t great, though. Early Bird presents our first edition of #OffTheCuff, featuring Mothica.
#OFFTHECUFF: EP. 001 // MOTHICA (@DEARMOTHICA)
In our inaugural #OffTheCuff clip, we discuss Mothica’s social media presence, Lil’ Bow Wow, Sk8r Bois, her mom’s BFF-status with Miley Cyrus, and a giant snake named Fluffy.
Be sure to keep an eye out this week for our coverage of Mothica’s new music video.
“Valentine’s Day is the perfect day to reminisce about the loves that never loved us back.”
Well, at least that’s the notion we walked away with after listening to Mothica’s latest single, “Lovetalk”, which released at midnight Tuesday across all streaming platforms.
The introspective, piano-backed ballad gives off “Fifty Shades of Grey” vibes, but is noticeably absent from the recently released “Fifty Shades Freed” Soundtrack, which came out this past Friday. We’re scratching our heads wondering why no one ever asked Mothica to put on for the soundtrack, since the song appears to be a natural fit. The driving beat is bone-chilling, with Mothica’s atmospheric vocals that cross somewhere between Halsey and a down-tempo VÉRITÉ. A step away from Mothica’s typical electronic backtracks, the piano background and bass beats provide depth to the song without compromising the intimacy of the lyrics.
“If your love could talk
What would it say? (Ayy)
If your love could talk
What would it say? (Ayy)”
“You only call me when I’m on your mind
But when I need you, you don’t have the time
If your love could talk
Would it have much to say? No…”
Yesterday on Snapchat, Mothica recorded a long story where she shared original recordings during the making of “Lovetalk”, providing commentary on the process and the final results of the song. She was kind enough to send the story videos over to Early Bird. We made a highlight of the story’s best moments – watch the exclusive video reel below:
You can follow Mothica on Snapchat @mothica.
Justin Timberlake announced his North America tour dates in a video for his upcoming album, Man of the Woods, which drops on February 2nd. Check out the full list of tour dates below. JT will make a stop in New York City at Madison Square Garden on March 21st.
Pre-sale dates for individual locations can be found on Justin Timberlake’s website, but he did list the following general pre-sale dates:
PRE-SALE LEG 1: 1/10 – 1/12
PRE-SALE LEG 2: 1/17 – 1/19
PRE-SALE LEG 3: 1/24 – 1/26
March 13 – Toronto, Ontario — Air Canada Centre
March 18 – Washington, D.C. — Capital One Arena
March 21 – New York, New York — Madison Square Garden
March 25 – Newark, New Jersey — Prudential Center
March 27 – Chicago, Illinois — United Center
March 31 – Cleveland, Ohio — Quicken Loans Arena
April 2 – Detroit, Michigan — Little Caesars Arena
April 4 – Boston, Massachusetts — TD Garden
April 8 – Montreal, Quebec — Bell Centre
April 12 – Salt Lake City, Utah — Vivint Smart Home Arena
April 14 – Las Vegas, Nevada — T-Mobile Arena
April 24 – San Jose, California — SAP Center
April 28 – Los Angeles, California — The Forum
May 2 – Phoenix, Arizona — Talking Stick Resort Arena
May 5 – Tulsa, Oklahoma — BOK Center
May 7 – Columbus, Ohio — Nationwide Arena
May 9 – Nashville, Tennessee — Bridgestone Arena
May 11 – Atlanta, Georgia — Infinite Energy Arena
May 14 – Orlando, Florida — Amway Center
May 15 – Tampa, Florida — Amalie Arena
May 18 – Miami, Florida — American Airlines Arena
May 19 – Ft. Lauderdale, Florida — BB&T Center
May 23 – Houston, Texas — Toyota Center
May 27 – Dallas, Texas — American Airlines Center
May 30 – Memphis, Tennessee — FedEx Forum
Here’s Timberlake’s music video for his latest single, “Filthy”: