Let's not beat around the bush. Radio waves, video channels or whatever other medium we find ourselves receiving music through are cluttered with nonsense, more times than not. The effort required to wade through this audio morass can be daunting, but when that special "something" is found, it's rewarding. Much like her debut album, Moments of Clarity, Wayna's newest release, Higher Ground, displays a level of artistry that's rarely found among the plethora of singers presently occupying the musical landscape.

Over Ground's 13 songs, the Ethiopian-born, D.C. area-raised Wayna manages to accomplish the often unmanageable task of coupling meaningful, decipherable lyrics with well produced and compelling tracks. Although not representative of the album's overall subject matter, "Billie Club" captures this sentiment perfectly. With vocal and production assistance from Three Stars alumna Muhsinah, Wayna delivers a soul deadening essay on police brutality that captures, quite convincingly, the depth of emotional damage caused by less than perfect interactions between citizens and the authorities. Her tone and delivery, while angry, seems more disappointed about the betrayal of the public trust caused by the abuse than being out to obtain immediate vengeance. Matched with Muhsinah's somewhat dark and moody creation, "Billie Club" is eerily beautiful.

With "Office Politics", everyone who's ever worked somewhere in the Beltway will likely be able to relate. The tale of conniving and conspiring blasts those who might aspire to obtain a more substantial position within their workplace but also captures the touch of envy that exists among those complainers who, too, want to move to the coveted "corner cube." Wayna is able to tap into the undercurrent of jealousy that taints the entire situation and build an interesting narrative which, in its own way, asks the listener whether or not they've ever been involved in such a circumstance, with all probabilities suggesting they have been. The ho-humness of the production plays up the idea that such circumstances are definitely mundane and come part and parcel with office life in any organization.

While listening to Wayna, it becomes apparent where her musical idolatry lies, and that is with Minnie Ripperton. No song points that out more so than "Loving You (Music)". Covering Minnie's signature song, she manages to make it her own by having music be the focus of her love as opposed to an individual. The shift in subject demonstrates her devotion to her craft and has the listener wishing some other "artists" had a similar dedication to their own work.

One of the great things about Wayna is that while she can have a track like "Billie Club" on her album, with all of its potential explosiveness, she can also have "Mr. Duracell", which is less about batteries and more about a device in which said brand could be used to power (hint, hint). She recognizes that as humans, we go through a range of emotions and, as a result, can't stay in one feelings box for all times. Artists who understand this and have the tact to convey it in a way where their audience can relate it to their everyday lives will always have supporters. Wayna has done this, and with the help of a talented group of local producers, has put out a noteworthy sophomore effort that deserves to be heard by all who consider themselves musically literate and love music by artists who strive to make a connection to their listeners that is more than superficial.