Floetry presale codes

Floetry is the London-born duo of Marsha Ambrosius and Natalie Stewart, blending velvety hooks with spoken poetry cadences.

Poetry warmed by soul, sharpened on stage

After years apart, their recent reunion runs have leaned into that push-and-pull dynamic, with Marsha soaring while Natalie frames the stories. Expect a set built around Floetic, Getting Late, the title cut Say Yes, and a burst of Supastar to reset the energy mid-show.

Songs to hear, faces in the room

The crowd tends to be cross-generational neo-soul fans, couples and close friends trading smiles, with notebooks, vinyl tote bags, and low-key singalongs. A neat bit of backstory is how the duo refined their feel in Philadelphia with the A Touch of Jazz team, giving their live band arrangements a warm, woody glow. They also wrote Butterflies for Michael Jackson, a wink Marsha sometimes teases before sliding into Getting Late. Bill partners Raheem DeVaughn and Teedra Moses keep the mood seamless with groove-forward sets. Take this as a preview, not a blueprint, since songs and production touches can change by night.

The Floetry Circle: Rituals, Style, and Quiet Flex

You will notice a patient hush before the opener, then a ripple of voices when the first spoken lines cue a collective reply.

How the room moves

Chants of 'say yes' pop up between songs, and fans often echo the spoken-word cadences on the intro to Floetic in a low, friendly murmur. Dress codes lean toward soft tailoring, natural textures, and sneakers that can stand for two hours without fuss.

Tokens and throwbacks

Merch tables favor earth tones, with tees nodding to songstress and floacist titles, plus double-LP reissues that many actually spin at home. Between sets, people trade favorite verse lines more than gossip, and the vibe stays conversational rather than rowdy. When the beat drops out, there is a soft sway across the floor, and pockets of folks keep time by clicking fingers instead of shouting. After the show, the talk tends to be about phrasing, how the band shaped a bridge, or a single line that hit close to home. It feels like a community checking in with itself, anchored by memory and a groove you can carry into the week.

How Floetry Builds the Room, One Groove at a Time

Marsha Ambrosius leans into long, ribbon-like lines, then clips a phrase short to make room for Natalie Stewart to answer in spoken rhythm.

Voice and verse, sharing the lane

The band favors Fender Rhodes, rounded bass, and tight drums, creating a soft cushion where the vocal and poem can sit forward. They like slow to mid tempos, but will flip a chorus into halftime to widen the groove without getting loud. A quiet signature is how the keys player shades chords with subtle pitch wobble, adding a tape-like sway that keeps ballads from feeling static.

Little choices, big feel

Live, Floetic often stretches into an open vamp so Natalie can freestyle a fresh verse while the drummer rides brushes or a light stick pattern. On some nights Getting Late drops a half-step in key to suit the room, and the bridge breathes longer so the bass can sing. Lighting usually stays warm and low, letting the band earn dynamics with touch instead of strobe tricks. These choices keep the focus on interplay, so the hooks land clean and the spoken sections feel like part of the melody.

Birds, Beats, and Neo-Soul Cousins of Floetry

Fans of Jill Scott often connect with the duo's mix of warmth and spoken cadence, as both build songs that feel like stories being told.

Nearby lanes on the road

Erykah Badu brings a similar slow-bloom swing and room-for-improv vibe, drawing listeners who appreciate space, humor, and sudden left turns. Live band purists who love The Roots will hear the same Philly-influenced pocket and tasteful drum-and-bass glue.

Why your playlist overlaps

Kindred The Family Soul share the grown conversation energy, trading lines as partners and keeping tempos unhurried but firm. If you chase rich keys, walking bass, and lyrics that read like pages from a journal, these artists point to the same corner of the map. They also value call-and-response moments, which makes a room feel smaller and more personal even when the stage is big. Across all of them, you hear careful enunciation, roomy grooves, and a trust in the band to carry the arc without extra flash.