In the Spring of 2017, a young Colombian Canadian singer named Jessie Reyez performed a short set in a small upstairs bar in Manhattan’s Meatpacking District.
She’d built a buzz in Canada via a series of singles, particularly the minor-at-the-time hit “Figures,” and had just released her debut EP, “Kiddo,” which included an aggressive and startlingly in-your-face song called “Gatekeeper” about sexual harassment in the music industry.
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