New York, NY—-Last night at the City Winery in New York, Avery Sunshine, also known as Denise Johnson (formerly White), wrapped up her night with a captivating performance, leaving me simultaneously drained and uplifted. With brilliant banter, beautiful singing, and a confessed love for Hideaway’s sticky toffee pudding, Sunshine truly owned the stage. I’m definitely making a mental note to try that dessert next time.
Hailing from Philadelphia, Sunshine’s musical journey began at the age of eight when she started playing the piano. Although she initially pursued a major in piano at Atlanta’s Spelman College, she later switched gears and delved into philosophy, a decision that may seem surprising in hindsight. Rooted in the gospel tradition, Sunshine’s prowess as a choir director has attracted the attention of renowned artists like Jennifer Holliday, Michael Bublé, and David Foster for various collaborative projects. Her debut self-titled album in 2010 garnered critical acclaim, followed by the equally praised “The Sun Room” in 2014. Last week marked the UK release of her latest studio album, “Twenty Sixty Four,” which formed the bulk of her setlist last night.
The moniker “Sunshine” suits her well, as her music—a radiant fusion of jazz, soul, and gospel—oozes with optimism and humor. Tracks like “Come Do Nothing,” reminiscent of Lauryn Hill, reveal Sunshine’s yearning for a past love while maintaining a lighthearted tone. With playful charm, she even attempts to woo her ex-flame with homemade gumbo. Conversely, “Jump” delivers a message of warmth and reassurance to her children, captivating the audience with her sincere delivery that effortlessly filled the room, even without the aid of a microphone.
Sunshine’s musical partnership with her husband, Dana Johnson, who serves as guitarist, lyricist, and co-producer, forms the backbone of much of “Twenty Sixty Four.” Their strong bond shines through, with Sunshine humorously claiming she’d give up ice cream for her husband in “The Ice Cream Song.” In “Used Car,” she playfully embraces sexual metaphor while expressing confidence in her “tried and tested” model, set against a funky, throwback arrangement. As a delightful surprise, Sunshine treated the audience to a radiant cover of Aretha Franklin’s oft-overlooked gem, “Day Dreaming,” following a brief detour into Gladys Knight’s “Midnight Train to Georgia.”
Sunshine’s vocal performance is marked by meticulous phrasing and tone, punctuated by moments of powerful gospel wails. Her onstage energy is infectious, often improvising with her band and infusing her piano playing with frenzied passion, earning her a well-deserved standing ovation.
If you haven’t seen her, you have to make it your business to see her in a venue near you.
