K-Quick Talks: Opening for Legends, Building Legacy, and Staying Rooted in the DMV
January 5, 2026
Kicking off my first interview is DMV based rapper K-Quick
On a rainy Sunday evening of December 10th, R&B music fans took a trip back to the nineties with an exceptional performance of the legendary R&B trio SWV at the MGM Theater at the National Harbor. The group commenced their set with an energetic and captivating performance of two hit songs, “Can We” and “I’m So Into You.” The crowd was on their feet, and the ambiance was electrifying as the ladies continued to perform dancefloor anthems, including “You’re The One,” “Right Here,” and “Someone.”
On the ballad tip, the ladies found the time to cater to the men in the audience with “Rain,” “Downtown,” and, to my surprise, the album track “It’s About Time.” The highlight of the evening, though, had to be the ladies each getting a solo spotlight. Taj did a cover of “Heard It All Before,” Lelee put her foot in “Untitled How Does It Feel,” while Coko took us to church with a performance of her debut solo single “Sunshine.”
As the night drew to a close, my heart was filled with joy upon hearing the ladies of SWV deliver a stunning rendition of Patti LaBelle’s timeless classic, “If Only You Knew .”The crowd was in awe as the trio concluded their performance with their iconic hit, “Weak,” and sang along in perfect harmony. While I have had the pleasure of attending multiple SWV concerts over the years and understand the importance of catering to fans, I couldn’t help but yearn for them to reintroduce the seductive “All Night Long” and their 2016 chart-topping hit, “MCE (Man Crush Everyday)”, into their shows.
Final Grade: B+
Kicking off my first interview is DMV based rapper K-Quick
On the morning of February 8, 1977, Tony Kiritsis walked into a mortgage office in Indianapolis convinced the system had finally turned on him. What followed was one of the most unsettling media spectacles of the decade: a 63-hour hostage standoff in which Kiritsis literally wired a sawed-off shotgun to both his victim’s neck and his own chest. It was desperation theater, broadcast live, raw and ugly, and fueled by a man who believed grievance was the same thing as righteousness.
Eric Benét’s holiday album, “It’s Christmas”, finds the four-time Grammy nominee embracing comfort rather than challenge. He delivers a collection that is impeccably sung and tastefully arranged, though it ultimately feels a bit too cautious for an artist of his talent and history.