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"This Maryland native, Morgan State University alum, and former captain of the Baltimore Ravens Cheerleading squad has dropped a jewel of an EP. Meah Pace is a take-charge kind of artist. She is executive producer on her latest project, 11:03. She combined elements of rock, blues, and gospel into a sound that is truly her own. There is a song entitled 'Gracefully'; when you listen to it, you just want to grab someone and just do that slow grind as if you were in New Orleans at some hot sweaty club. The tracks 'I Don’t Need You' and 'On My Brain' are two standouts that are sure to get your toes tapping." 

The Baltimore Times


"Forget Adele  Meah Pace is the real deal. 
A graceful whirlwind, she took over centerstage and then moved out into the crowd, pouncing and seizing the first few feet in front of the stage as her own, as if in a ballet choreographed by Tina Turner. Pace has the kind of charisma that only comes along every few years.

Her style is strictly old school, mid-60s soul, from all over the map — Memphis, Detroit, Chicago, it doesn’t matter, she goes there. Her voice has a sharp edge that reminds a little of a young Aretha Franklin, but it’s different, a lot sweeter and warmer. A little like Tammi Terrell — how she moves so effortlessly between the high and lows is absolutely breathtaking. Yet that warmth also carries a 100-proof punch. 

The band was like the Dap-Kings on steroids. Brisk, two-chord King Curtis vamps; bouncy, syncopated Memphis grooves; slow, slinky ballads — they could do them all. In front of them, Pace mixed it up  other than the obvious covers (a funked-up version of 'Your Cheating Heart' that got everybody singing along), it was pretty much impossible to tell her originals from the classics. She opened with one of hers, a potently catchy number: “You can dance to the music  you gotta dance through the fire,” she wailed, and she danced along, but as if she was fireproof, or part of the flame.

They reinvented the oldies radio hit 'I Got You Babe' with a Sergeant Pepper-style intro and turned it into a hypnotic soul/funk tune, with a split-second breakdown to just the drums and vocals. A considerably slower, warm, Bill Withers-style song fueled by cascading waves of electric piano was even more hypnotic, like a soul classic the Rolling Stones might have ripped off around 1968. They wrapped up the set with a Memphis-flavored tune and a surprisingly blistering rock version of 'High Heeled Sneakers,' Pace’s wordless vocal outro just as full of longing as ecstasy. Which is pretty much what soul music is all about, isn’t it?" 


—New York Music Daily