Few artists in Aotearoa’s drum and bass landscape have navigated longevity quite like MC Tali (Natalia Sheppard). Across decades in the industry, she has built a reputation not only for her unmistakable vocal presence, but also for her ability to blur genre lines without losing the rhythmic pulse that defines drum and bass. With Empress Era she returns with a record that feels intentional in every sense, a seven track project that reflects on transformation, resilience and the unmistakable authority that comes with experience. In other words, the crown fits and she (rightfully) knows it.
From the opening moments of I Feel Too Much, featuring jazz heavyweight Nathan Haines, the album signals that this will be a record comfortable moving between worlds. Haines’ presence immediately tilts the sonic palette toward jazz, his phrasing weaving through breakbeat-driven rhythms that feel fluid rather than rigid. It is a reminder that drum and bass has always carried traces of jazz in its DNA, from syncopated rhythm structures to the sampled breakbeats that helped shape the genre’s earliest foundations. The groove here feels less like a grid and more like a conversation. There is a lingering ideology that drum and bass is music only reserved for the “breathers”: i.e. – rhythm over musicality and brute energy over nuance. Frankly, that assumption usually reveals more about the listener’s playlist than the genre itself. Actually spend time with the deeper lineage of drum and bass and its roots quickly become clear; at its core the genre is built on jazz rhythm, orchestral texture and an astonishing level of musical complexity. It objectively has some of the most intricate musical architecture in electronic music, and this record is no exception.
That lineage becomes a thread throughout Empress Era. The first half of the record leans into those breakbeat textures where groove and swing take centre stage, cinematic soundscapes and strings melt even the coldest of hearts, before gradually settling into the propulsive drum and bass energy listeners will recognise. Tali’s production feels spacious and deliberate, allowing each element room to breathe. Nothing feels rushed and nothing feels accidental. Everything is purposeful, meticulous and exceptionally crafted.
One of the album’s most striking features is its balance between electronic precision and organic musicianship. Live flute, saxophone, guitar, bass and drums appear across the record introducing small human variations in timing and texture that soften the rigidity of maximalist production. The guest appearances also add dimension without overwhelming the record’s identity. Nathan Haines anchors the opening in jazz-infused warmth while Young Daylight pairs Tali with Aotearoa vocalist Jordyn With A Why whose voice lifts the track into brighter territory. On Amongst Kings & Queens UK drum and bass veteran Stamina MC brings a sharp edge that grounds the record firmly within the genre’s global lineage. It feels less like feature collecting and more like a carefully chosen cast.
Even the album’s title feels significant. In a scene historically dominated by male producers and MCs, Empress Era reads less like a declaration and more like a reclamation. There is a confidence running through the record not the urgency of someone trying to prove themselves but the steadiness of an artist who has already done the work and lived to tell the tale. Beyond the production, Tali’s greatest instrument remains her pen. Her delivery moves effortlessly between sung melody and rapid-fire lyricism, each line landing with the precision of someone who understands rhythm not just as a vocalist but as a writer. It is a reminder that drum and bass has always had space for storytelling as much as energy and Tali commands both with ease. The flow is sharp, the phrasing intentional and the perspective unmistakably her own.
Tali speaks openly about dreaming big, believing in the life you want to live and then doing the very real work required to get there. There is a refreshing honesty in that. The record acknowledges the power of vision and intention but never pretends the journey is effortless.
The message is clear. Dream it, manifest it, then get up and work for it.
In a culture that often worships youth and novelty, Tali instead leans into longevity. This is the voice of someone who has spent decades inside the genre, watched it evolve and helped shape it along the way. Tali stands comfortably and firmly within her legacy.
Structurally, the album quietly reinforces its themes of transformation. Life On The Line appears twice, first as a live mix raw and immediate and later in a more polished production with Polaris. The repetition feels intentional almost like a reflection in two mirrors with the same idea presented through different lenses.
Made with the support of New Zealand on Air, Empress Era was written and recorded in Tali’s home studio in Tāmaki Makaurau, Auckland and mixed by Aotearoa musical legend Tiki Taane. All tracks were produced by Tali apart from Life On The Line which is produced by Polaris (Canada), and the live version of the same song, which is produced by both Tali and Orlando Cooper, with live drums by Cam Sangster, live guitar and bass by Orlando. In addition to the previously mentioned music talent, Young Daylight features flute by Geo Seato, while Isdale lends his saxophone skills to Empress Era.
Driven by a hugely successful fundraising campaign, Empress Era is not only being released on select streaming platforms, but also on vinyl! Pressed by Holiday Records, this is Tali’s first vinyl album since 2003. “Expect a beautiful baby pink vinyl with cover art hand painted by Samantha Spence.” The artwork leans unapologetically into this beautiful feminine symbolism.
At just seven tracks Empress Era avoids excess. Instead it unfolds like a carefully sequenced chapter, reflective powerful and assured. No filler, no fuss, just the good stuff.
The album feels like a moment of creative sovereignty. Tali is not chasing trends or trying to outrun time. If anything Empress Era suggests an artist settling fully into her power with her crown firmly in place. 5/5 stars.
PS: Be sure to mark March 21 in your diary – when you can catch Tali perform live at Synthony in the Auckland Domain!
