We Speak Music
Brooklyn R&B Artist, ADRIAN DANIEL, Announces ‘FLAWD’ Album

Drops “Deadly Attraction” Single & Shares Tour Dates
Becoming known as the sound of Brooklyn R&B, Adrian Daniel is captivating audiences with his signature soulful sonics. Melding musical influences ranging from Kanye West to Michael Jackson to Tame Impala and beyond, hes is set on defying genres and labels.
This is exemplified in his new album, FLAWD, set to release on March 2nd, 2018 via 1990 Records / Empire. Having already shared a few tracks from the album throughout 2017, today Adrian has released a new single from the project. The track, entitled “Deadly Attraction”, premiered on Clash Magazine who raved, “The crisp, feather-soft production on ‘Deadly Attraction’ perfectly balances that poised, electrifying vocal, the perfect primer for where this Brooklyn artist might head next.”
Following the ‘FLAWD’ album announcement last week, here is the brand new single from Adrian Daniel, who unleashed ‘Deadly Attraction’ yesterday. Clash Magazine raved, “The crisp, feather-soft production on ‘Deadly Attraction’ perfectly balances that poised, electrifying vocal, the perfect primer for where this Brooklyn artist might head next.”
When you think of modern R&B music its rare you find artists whose roots run deep in Brooklyn. The most populated and diverse borough in the bustling city of New York usually brings hip-hop and indie rock to mind; but singer/songwriter/producer and native Brooklynite Adrian Daniel is reminding people of the rich history of soul, funk, and rhythm and blues that came out of his neighborhood. Starting his career at a young age as a dancer, gracing stages like the Apollo Theater and the Brooklyn Academy, Adrian turned his focus to music and dropped his first project in 2012. His signature Alternative R&B sound has been making waves since, poising him as a true contender in the music landscape. His sound has been said to be one of the reasons R&B is exciting again, pushing the genre into new territory.”
Adrians work is fortifying the resurgence of Pop R&B and Hip-Hop. He entrances listeners with his old-school flair, lyrical storytelling and signature genre-blending style. Propelled by a constant stream of ear-catching singles, Adrian has built impressive momentum that has garnered him support from Billboard, TIDAL Rising, Complex, VIBE, FADER, Revolt, HotNewHipHop, Global Grind, VH1-Soul, HighSnobiety, Beats 1 and more.
With a reputation for groundbreaking music, wildly entertaining live shows, and a highly anticipated new album to come, Adrian Daniel shows no signs of slowing down.
FLAWD Tour Dates:
Feb 22 Hoxton Bar &Kitchen – London, UK
Feb 24 – 1999 Club – Paris, FR
Mar 7 – World Cafe Live – Philadelphia, PA
Mar 8 – Songbyrd – Washington DC
Mar 10 – Rough Trade – Brooklyn, NY
Mar 12 – Middle East – Boston , MA
Adrian Daniel Online:
http://www.adriandanielmusic.com
https://www.facebook.com/Adriandanielofficial
https://www.instagram.com/adriandanielofficial
Tweets by adriandanielBK
We Speak Music
Anna Silverman Shines in Chekhov’s London Revival

The stage is set, the lights dim, and in just a few moments, a timeless classic unfolds. Chekhov in London is not just another adaptation of The Seagull – it is a daring, stripped-down reimagining guided by the singular vision of Victor Sobchak, a director with an uncompromising approach to theatre. This unique production, blending performance, documentary and personal reflection, challenges both actors and audiences to reconsider what it means to tell a story on stage.
At its heart, Chekhov in London follows three interwoven threads: a condensed performance of The Seagull, an intimate exploration of the rehearsal process, and revealing interviews with Victor and his cast. The loose structure allows room for spontaneity, ensuring that the final piece retains the raw energy of live performance. The result is an immersive theatrical experience that defies convention and highlights the director’s unorthodox methods.
It might be a short production , but within those few moments unfolds an intense scenario of The Seagull. The film fuses performance, documentary and behind-the-scenes insights, resulting in a fascinating work that feels at once theatrical and uncomfortably real.
At the center of this version is Anna Silverman in the role of Irina Arkadina. Unlike the more fragile, wide-eyed Nina, Arkadina is fierce, ego-driven and emotionally strong. Her character is a woman of status and pride but yet, beneath the surface, she is quite brittle. The film’s direction leans into that psychological tension, and Anna doesn’t shy away from it and in fact, she walks straight into the fire.
“I knew from the beginning this wasn’t going to be a conventional performance,” Anna reflects. “Victor didn’t want a polished, distant Arkadina – he wanted a woman trapped in her skin, in her legacy, in her relationships. There was no way to play her halfway.”
In this adaptation, Arkadina isn’t simply a supporting figure in her son’s tragedy – she becomes a central pillar of the emotional architecture. The scenes between her, Treplieff and Nina are structured to feel tight and unforgiving. From a visual perspective, the production chose to create a claustrophobic atmosphere, using close framings, low lighting and limited space. This wasn’t accidental – it was intentional.

“The idea was to strip away the distance – both physically and emotionally,” Anna says. “The camera is close. The pauses feel longer. There’s a tension that’s not just acted, it’s felt.”
For Anna, playing Arkadina came with its own set of challenges – not just technically, but emotionally.
“It was important for me to avoid turning her into a villain. She’s not cruel for the sake of it. She’s scared. She’s aging in a World that punishes women for being anything less than eternal. She’s trying to hold on to relevance, to love, to her past power and it’s slipping. I had to meet her there.”
Working with Victor Sobchak is not for the faint-hearted. Known for his intensity and no-nonsense expectations, he pushes actors into emotional terrain that feels almost unsafe—but never without purpose.
“There were moments I left rehearsal feeling completely stripped bare,” Anna admits. “Victor doesn’t settle for performance. He wants truth – even if it’s messy, even if it makes you uncomfortable. Especially if it makes you uncomfortable.”
This meant many scenes were approached with only minimal technical blocking and instead prioritised emotional improvisation. Anna’s performance, while deeply rehearsed, maintains a feeling of spontaneity – it is almost like we are watching her discover Arkadina for the first time, in real time.
Behind the performance was intense internal work. Anna immersed herself not only in Chekhov’s text, but in Stanislavski’s psychological approach, asking not just what Arkadina says – but why she can’t say anything else.
“You have to find where she lives inside you,” Anna says. “For me, it was about understanding what it means to be needed, but not nurtured. What it means to perform not only on stage, but in life.”
She also speaks of the moments when she doubted herself, at some points when Arkadina’s emotional contradictions left her feeling disconnected.
“It’s exhausting to play someone who won’t break, because it means you carry the weight of everything she’s holding in. As an actress, the real challenge was to show the cracks without letting her fully fall apart.”
The film makes the most of its minimalist structure – focusing entirely on the emotional triangle between Arkadina, Treplieff and Nina. There are no sweeping landscapes or dramatic scores. Instead, it’s the silence, the breath between lines, the glance not returned that builds the tension.
“That was Victor’s vision from the start,” Anna explains. “He wanted it to feel like there was no escape – emotionally or physically. Every word, every pause, becomes a battlefield.”

In the end, Anna doesn’t pretend the role left her untouched. Arkadina, she says, revealed more to her than she expected.
“I think the most painful part of playing Arkadina is how much I saw of myself in her fears. It’s easy to admire the beautiful parts of a character, but it’s when you recognise your own shadows in them – that’s when it becomes real.”
Chekhov in London may be brief in length, but it leaves a long emotional imprint. And Anna Silverman’s Arkadina is at its heart: proud and undeniably alive.
_______________________________
Chekhov in London” is a rebellion, a love letter to theatre itself.
Featured photo credit: Tom Trevatt
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