Amol Sinha, 3L

Copy Editor

Imagine the fashion sense of Lady Gaga, the flow of pre-promiscuous Nelly Furtado, topped with the endearing yet deliberate awkwardness of a Gilmore Girl or a Zooey Deschanel character. That’s Anjulie, an up and coming pop singer/songwriter who already had an acclaimed hit, the pulsating and sultry single “Boom,” a song that seems to be jonesin’ for a club remix.

“I love being on stage,” Anjulie said between songs at Joe’s Pub earlier this summer. Her glitter-laden, espresso skin shimmered in the spotlight. “It makes me feel like a stripper.” Laughs and cheers ensued from the mostly-male crowd, each of whom probably thought he had a shot with her. She was coy and coquettish, and I was smitten.

I’ll admit it, and history proves it. I have a thing for female minorities in the arts, especially those with good style, musical talent and of South Asian descent. So, the Indo-Guyanese-Canadian Anjulie Persaud played to my preferences well. Raised in suburban Toronto, Anjulie first received her artistic break upon meeting Jon Levine of the Canadian Ramp;B band, the Philosopher Kings, during an internship at a recording studio. She was fired for arranging a lunch meeting with Levine, but it ultimately led to a professional partnership and launched her songwriting career.

Anjulie’s self-titled debut album, which was released in early August 2009, contains 13 tracks ranging in style from whispery melodies with idealist, nearly cartoonish lyrics (“Love Songs”) to somewhat overproduced, empowering songs with rhythmic flair (“The Rain”).

Though her music is not cookie-cutter, there is pop sensibility and familiarity to it. Her voice, at times seductive and heavy, expressed simultaneous airs of innocence and sexuality, a pleasant cross between Amy Winehouse and Corinne Bailey Rae. Her lyrics are a solid attempt at sincerity and approachability, resorting to self-aware, self-deprecation possibly too often (“I open up, let him in, he’s a torturer/The sickest part about it, I think I’m liking it”). Her stage presence was reminiscent of a World War II era U.S.O. pinup girl.

The jostling crowd and semi-posh venue created a suitable environment for Anjulie’s set which was short, fast-paced, varied and with a hint of glamour. As I noted my descent to sobriety, I glanced at the wine list, and pointed at something to the waitress who complimented my choice, but I was more interested in listening to and watching Anjulie’s highly suggestive, acoustic rendition of Flo-Rida’s “Right Round.” I couldn’t tell if she was trying to be ironic, but I was impressed.

For tour dates, downloads and biographical information, check out Anjulie’s website at anjuliemusic.com. With a well-crafted sound, flirtatious aplomb and occasional dry quips (“This next song is called ‘Some Dumb Whore.’ It’s about me.”), an Anjulie show is sure to satisfy.