Corinne Bailey Rae

Corinne Bailey Rae

Doors: 7:00 pm / Show: 8:00 pm

This event is 18 and over.
Tickets on sale Fri. 6/17 at noon!

Tickets available at TICKETMASTER.COM, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only.


Corinne Bailey Rae

Corinne Bailey Rae__Press photo_7633_fin

[Website] [Facebook] [Twitter]

From Leeds, England, artist Corinne Bailey Rae released her self-titled debut album in 2006, debuting at #1 in the UK and #4 in the USA, featuring the global hits “Put Your Records On“ and “Like A Star“. It catapulted Bailey Rae into the spotlight with millions of albums sold and earned multiple award nominations, including Grammy® and Brit Awards.

The second album, ‘The Sea’ released to worldwide critical acclaim, reaching Top 5 in the UK and Top 10 in the USA. It was no surprise that Corinne Bailey Rae found “The Sea“ nominated for the Mercury Music Prize. The subsequent EP ‘Is This Love’ was awarded a Grammy® for Best R&B Performance in 2011.

Corinne received a Grammy® Award for her work on Herbie Hancock’s album ‘The River’. Recent recordings have seen her work with Al Green, Claude Kelly, Esperanza Spalding, Herbie Hancock, John Legend, John Mayer, KING, Malay, Norah Jones, Paul McCartney, RZA, Salaam Remi, Stevie Wonder, The Roots, Valerie Simpson and more. Bailey Rae also has written music for films and television shows, including “Venus” (starring Peter O’Toole), “Man with the Iron Fist” and, most recently, the theme song to Stan Lee’s “Lucky Man”.

Originally the front-woman of an indie band, Corinne Bailey Rae’s music spans indie, electronic, soul and experimental.Bailey Rae has just completed her highly anticipated third studio album and she recently performed in Los Angeles for The Grammys’ MusiCares Foundation with Pharrell, The Roots and Leon Bridges just prior to the first track launch and album announcement.




[Website] [Facebook] [Twitter]


Early on, the self-professed shy hippie kid saw her future self filling a void. “I don’t know why that lane hasn’t been filled, at least mainstream wise. Why there hasn’t been a female black John Mayer or Gary Clark Jr. I became it, because I wanted to see it so bad.”

Raised in a suburb just outside Detroit that she describes as racially “pretty segregated,” Mayaeni—pronounced mah-yay-knee—was actually born to rock.

“Growing up in Detroit, I spent a lot of time not necessarily knowing where to fit in.” Her mom is black, her dad white. “So I ended up hanging out with all cultures.”

Hanging out with her musician dad in the studio was Mayaeni’s form of grooming, with Chuck Berry, Bob Dylan and Hendrix records serving both as musical surrogates and soundtracks to her life.

“I’ve always had this rock-soul thing going. I can’t escape it.” Not seeing many black women rocking out with a guitar, Mayaeni put herself on that stage.

The instrumentally rich and electric songs she creates now are extensions of her rocker past. Her earliest material was recorded on her dad’s 8-track tapes. “I would see him rocking out as a kid, and I would get instrumentals from his tape singles and record over those.”

Seeking independence at age 17, Mayaeni headed to London, where she made money under the tables selling clothes at Camden Markets.

The cost-of-living struggle persisted when Mayaeni moved to New York, but those survival years turned out to be perfect preparation.

“London was my first eye opener to being in the city. I didn’t have a plan beyond the two grand I saved. It was hard, but I had so much ambition. I didn’t want to go back home.”

“I wrote a lot about struggle, not being able to pay rent and having a bunch of jobs, a lot about coping with pain. Hard times, heartbreak.”

In New York, Mayaeni worked the open mic circuit, up to five times a week, hopping in and out of places like Village Underground, The Grove and Café Wha.

The music is as edgy and raw as it is emotional, like the sounds of a guitar crying out, whether it’s the yearning in the mid-tempo anthem “Million N1” or the angst in the clamorous rock-out garage jam “Too Late.” It’s the sound of progress. “I like to think it’s classic.”