Material: Formerly a traditional singer-songwriter, Jesse Hanson recently reemerged as a DJ named Bad Snacks. The ripple effects of this career changing revelation has reversed the course of her music, from a traditional songwriting structure with lead vocals to modifiable instrumental tracks that feature ’90s hip-hop, nu jazz and ambient electronica. Bad Snacks still sings, but only when she deems it absolutely appropriate — like an illustrator adding a touch of shade to complement a drawing. On stage, she recites her conservatively used vocals in the mellow manner of a “quiet storm” jazz singer. The organically soulful sound of her music is comparable to Nujabes and (DJ) Kaytranada.
Musicianship: Bad Snacks pulled on the emotions of her audience by mixing her imaginative resourcefulness with an introspective undertone of art-pop. That premise makes the young songwriter’s artistic technique comparable to artists such as Bjork and Sonny Moore, in the early developmental stages of their careers. Although appealing in appearance, Bad Snacks did not camouflage the substance of her 14-song live set in desirability, materialism or hopeless romanticism. Instead, the Boston native revealed her artistry to the audience by calmly presenting her ability to play the violin, sing and maneuver a SP404 sampler, all within a single song.
Performance: Bad Snacks presented 12 original compositions at this show in a vivid and visual fashion—as if her songs were illustrations from a vintage cartoon flip book. In addition to the original songs that Bad Snacks performed, the set also featured two covers. The first tribute was a song called “Twice” by Little Dragon and the second was a credit to Drake called “Passionfruit.” As a singer, Hanson's vibrato sounded similar to Syd Tha Kid (from Odd Future) and Erykah Badu. Meanwhile, as a disc jockey, she rotated television samples and audio clips from classic movies in and out of her musical euphony, which prompted a few humorous moments.
Summary: Not only is “Overgrown” a contemplative song, but it also serviced the artist’s listeners like a deeply purposeful soundtrack. Perhaps that message was a phantom souvenir for them to carry on, inward. Or better yet, an analogy of how Jesse Hanson grew into the artistic pseudonym known as Bad Snacks.