Bea Miller @ LA's Community
The old Largo space on Fairfax has been completely redone by new ownership offering the hip street a CBGB-like live music experience. There is no website. There is no name on the door (save a tiled threshold at the entrance that reads "Community"). There is no Facebook page or email list. So, how do you get in? Well, you get invited to a Bea Miller showcase.
First of all us, I have no right to give my opinion here. My credentials go as far as being a fanatic of the now canceled USA X Factor. I normally keep that to myself. But long gone are the days of the Yolo-beanie-wearing, Britney-mentored kiddo known as Beatrice Miller, and here are the days of a matured young lady, "Bea," trice over.
This particular showcase was held for industry executives. A "thank you" to the village helping raise a child's career. In other words, I certainly do not fall within her 13-18 year old demographic, but my ego would like to add that I was one of the youngest in attendance.
As Bea emerged, her demeanor was a stunning ode to her “Dracula” lyrics, the opening song. Her look was “tattoos and skinny jeans, black boots and piercings," with “forever be young and wild" behind her eyes. With rock n' roll sounds, warped grooves, and a no-holds-barred nature, her debut EP, Young Blood, introduced the world to Miller's voice, which, above all else, packs the biggest punch. Though just 15 years old, Miller sounds like she has endured a lifetime of living, with a voice worn down to perfection complimenting the smoky, shimmering glare emanating from her eyes as she served up a compelling, scintillating performance.
The bass and drums locked in and drove the high energy sound. Impressive guitar work thrived and danced around Miller’s voice, drawing comparisons to the few other female rock stars who share a dominating stage persona - Hayley Williams of Paramore and Taylor Momsen of The Pretty Reckless come to mind. Are we back to the days when rock becomes more prevalent, and guitars and honest songwriting rule supreme over pop production and auto-tune? If Bea Miller has anything to say about it, yes.
Miller showed remarkable range over the course of the short 5-song set as she transitioned seamlessly from rock-infused anthems to power ballads, and even managed to pull off the dangerous move of covering of Adele's “Turning Tables." The take home here, and what I fancy most about Miller, is that she’s just herself and so obviously comfortable in her own skin.
Dracula Fire and gold Turning Tables (ADELE COVER) Young blood Enemy Fire