So many people like to think that the age of the Femcee is done but it is not! Tia Prowess is an upcoming femcee who has the face of a good girl and a voice that would rival Buckshot Shorty of Black Moon any day. She can spit lyrical foreplay like Redman or Keith Murrary or she can be cunningly seductive yet tough like her predecessors Roxanne Shante and Eve. During a cipher, she caught the eye of Hip Hop legend, KRS-1, who named her “Prowess”. Known as Tia Abner by those in her circle and a dedicated member of the Delegation Music group, Tia is a a writer, singer, and even publicist for other artists. Prowess shows us that Femcee is not gone and that female emcees are not restricted and bounded to flick of the wrist and pop, squat and drop it. She still shows her sex appeal and femininity in her dress and style but she can come harder than a speeding bullet once you get into a battle with her. Prowess definitely holds her ground as a diva and femcee but don’t sleep, shorty has lyrics to go! Let’s see learn more about this enigma named Prowess.
So what inspired you to be a femcee?
I was fortunate to have been raised in a home where music and the performing arts were central to family bonding. Arts in general sparked dialogue and opened lines of communication. Family gatherings at grandmother’s house were a cornucopia of art conversations debating passions and poisons and a watering hole of sorts for various artistic spirits. My uncles blazed early trails in the arts and created pathways for us all. One of my uncles was a songwriter and lead guitarist for The Temptations, The Gap Band and band director for the Drifters. Another uncle became part of the regional legend that is Chuck Brown and the Soul Searchers. They were handed some raw deals but they also experienced incredible successes and achievements and through it all they held music and their artistic crafts in the highest regard. Their stories and experiences stuck with me…they taught me that music was a higher calling and that it was how we communed with the universe. I too have found a sense of solidarity and strength in that philosophy. Being an emcee helped me nurture a solid core of sensitivity, openness, inquisitiveness, and creativity. For me, that freedom of expression is the purest form of love and peace one can have.
What are some of the challenges you face working in the DC market?
I think the challenges in DC are much better categorized as opportunities. I’ve found so much support in the local and regional musician community. It’s close knit community that really fosters creativity and creative expression. In many ways, we’re so vastly different from the rest of the world and there’s great opportunity to change the paradigm for the world. DC is a live music capital in many ways. The love and appreciation for live instrumentation runs deep. I think the difficulty for all artists here is superseding or going beyond that label of being “local” and becoming/thinking globally. DC is home to some of the most amazing and renowned musicians and artists in the world. If you follow the breadcrumbs, the evidence of their works are in the archives of musical history. There’s comfort in knowing one can cut heads and sharpen swords with the best. I am proud to be a member of the DC artistic community, I’ve met amazing people here and been able to build great friendships within that community.
Where do you see yourself in five years?
Being a better mother, daughter, and overall person. Doing more of what I love. On an award tour around the world perfecting and actualizing my craft. Musically, I hope to be branching out to more artistic endeavors at that time as part of my evolution. I just may record a project with live interpretations of jazz standards or perhaps venture back into production and getting behind the boards and also doing more songwriting. I’d love to create an audio visual comic book underscored by some of my instrumentals, jazzy, dusty sample and vintage imagery. My mantra is do more and talk less…I hope that I’m closer to living in that truth by then.
Who are some of your favorite artists out right now?
I love a diversity of artists…I love this girlboss movement happening in Hip hop right now, groups like THEESatisfaction, a couple of flygirls out of Seattle, they’re super dope. I love what Sammus is doing in Nerdcore in terms of broadening the traditional ideas of Hip hop. The organic soul of KING has ushered in a whole new appreciation for women voices and Paris Strother’s (of KING) production is so sonically rich and harmonic. Delegation Music artists like Far Exp and Ardamus really push me to keep my sword sharpened as far as performing and owning the stage. They’ve taught me how to have fun on the stage and involve the audience. The list is endless.
So people know you for singing and rapping? What else do you do?
I started out doing graff in about the 5th or 6th grade. I was never really keen on art so much but I found true passion in being able to have fun with it. I got immersed into the culture–hip-hop just sort of naturally followed. I spent a significant amount of time studying cello, Clarinet, Percussion (Tambora drum, timbales) throughout my formative years through high school. At some point, I’d love to learn to play bass guitar. I always felt like it’s been a calling in my life. Its an instrument I’m naturally drawn to. That’s next on my list.
How would you define your image?
Feminine, exotic, textured, classic and minimalist at times. Musically, I’m a mix of textures and tones…I love ethereal melodies and harmonies but I think it’s fun to mix that with dusty soulful samples and boom-bap drums. My music is rhythmic, evocative and emphatically feminine.
Who were your favorite hip hop acts or musical artists from the 80’s and 90’s?
So many! Prince is like SUPREME in my book (When Doves Cry was my first 12″, Prince is also the first feminist I ever remember, for empowering female musicians and sexuality), Michael Jackson, no one would ever guess this but Diana Ross is just my favorite artist. Her risk taking and her poise is just impeccable. She’s such a refined and graceful artist. Sade, Janet Jackson, Mongo Santamaría, George Duke & Stanley Clarke, Phyllis Hyman, Gil Scott-Heron, KRS-One, Rakim, G Rap, Big L, Mos Def, Nas, Common, Pun, Biggie, Tribe, Wu-Tang, De La, Lady Bug, Heather B., Brand Nubian, Gang Starr, Lord FInesse and the whole DITC crew, Organized Konfusion, Kool Keith, Pete Rock & CL, Boot Camp Clik, and a host of other artists and creative thinkers alike. As for the more obvious ones, I’m a diehard underground hip-hop fan and am especially influenced by Juggaknots, Sage Francis, Im Tech, Tone Deff, Latryx, Brother Ali, Eyedea, Atmosphere, Aesop Rock, Sole, Dose & Jel. The following labels have played a major part in my musical palette: Def Jux, Anticon, Battle Axe, Stones Throw, Embedded, Fondle ‘Em, along with Rawkus, and Stones Throw
Who are you checking for now in terms of rappers?
Being in DC has really allowed me to engage and connect with so many amazing emcees and lyricists. Matta fact (S2M) and Flex Matthews (Congo Sanchez/Far Exp) are two of my favorites to watch in how they both captivate an audience with beautiful balance of striking confidence and humility. Black Indian is a huge influence for me. He is one of the first folks [in the scene] to actively welcome everyone to the artistic table. He’s a juggernaut when it comes to performance and one of the most genuine spirits I’ve ever met too. I think Rapsody is great. She’s really coming into her own and I’m excited to see what she does next. I’m paying special attention to Earl Sweatshirt and Mick Jenkins. They’ve revolutionized the art in such amazing ways. They consistently push the envelope of what some consider to be the “classical” check boxes of Hip hop.
How do you feel about the new artists vs the old artists in hip hop? What is your stance on that?
This one is simple for me. Everything must change and evolution is inevitable. There is no old and new, there is only evolution and growth and progress. We’re all simply reflections of those who came before us. Without a proverbial blueprint, none of us would be here.
What city do you think if you had to choose one, that you would want to be based out of?
I’m such a Cali girl at heart…it’s hard to believe I stayed in the East. I grew up listening to Bay Area artists like Maze & Frankie Beverly, Tony! Toni! Toné!, and even Hieroglyphics. I can imagine myself being there in a few years. LA, Houston, Dallas, maybe. Either that, or Paris. What girl doesn’t love Paris.
Name your top five dream producers you would like to work with or have worked with?
Jake One: Numero Uno always. He’s worked with everyone from 50 Cent to Casual to Brother Ali. His creative process is phenomenal, he’s incredibly daring, and he doesn’t limit himself to any one style. He can do Boom Bap to Love Songs and that’s why he’s first on this list. Others include: Flying Lotus, Paris Strother (of King), M-Phazes, Elaquent, and locally based but internationally known sonic superheroes The UnOwn and DubLohSkytzo. It’s hard to pick just five. That’s a dream list of production for me.
How did you get linked up to Delegation Music?
I was already working with Far Exp and when they decided to restructure under the Delegation Music umbrella, the idea was pitched to me as a means of assuring ownership of my creative works. I loved the idea of generating revenue for myself as well as my peers as a “musical hedge fund” of sorts. We invest in ourselves and each other’s various creative projects and then find ways to increase the profit margins. It’s one big innovation lab. The idea of being able to contribute as a thinker and decision-maker as well as an artist really fit me. It was a no-brainer. I love my team and I feel supported and inspired in creating music with them.