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Having been aligned with the joy of witnessing Natalie Prass earlier this year, she is slowly becoming an act one finds difficult to pin down. For starters, Natalie journeyed across the Islington Town Hall stage, grappling a mini sized dinosaur toy while tapping Ryan Adams and Jessie Ware on the shoulder to perform duets with. Her other exploits include performing a choreographed Space Jam routine, clothed from top to bottom in basketball gear. Touring rigorously since the start of the year, Prass manages to differentiate her act, something profoundly unique for touring musicians.

It comes as no surprise that we've been blessed with a quarter 4 EP release, which feels like a victory lap for Natalie. Having seen her self-titled debut flourish, Side-by-Side further etches out her influences, while honing in on the intimacy of her live recordings. With the removal of the orchestra that floated effortlessly over her debut, the instrumentation increasingly acts as a complement to Natalie's sultry sopranos rather than the other way round. For example, the original version of 'My Baby Doesn't Understand Me' felt overpowering with its grandiose horn sections, like a crushing heap of weight, which limited the emotional scope of her voice.

Side by Side also presents covers of Anita Baker's 'Caught Up In The Rapture', where Prass showcases her ability to reinterpret the sounds of black soul/R&B goddesses rather than replicating them, backed up by funky guitars and the Wurlitzer piano of her live band. Interestingly, that's exactly why Prass stood out this year. Her influences are clearly referential-Janet Jackson and Dionne Warwick, yet it doesn't sound like an obsession with the past, or what some refer to controversially as the fetishism of soul music.

To illustrate her greater leaning towards the present, she covers Grimes' 'RealiTi', turning the original into a bubbly, jaunty jazz number. 'Christy', another track from her debut, isn't accompanied by the orchestra; enabling the sentiments of the song to stand out further. "Oh why does it have to be, that she can take the hand of anyone she meets" becomes even more noticeably uncomfortable, especially being a song Natalie suggested "wasn't personal at all" at the time of writing.

Natalie Prass has crowned off a year of exponential growth and endless touring by recording a collection of songs which may hint at her future artistic progression. Like the lyrics to 'Caught Up In A Rapture', we stand "side by side" with Natalie, anticipating her next move.

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