Afriqoui

21.05.17 

The Mangle (Warburton) 

This review shall only be short and sweet primarily as I was off ‘review-writing-duty’ and therefore took no notes and had no intention to write a review. However after taking along friends whom had never seen Afriqoui and seeing their reaction, I decided I had to write just a little bit about this amazing super group. Formed of a five piece; Afriqoui represent the true meaning of underground fusion. With Congolese guitar parts and Malian Mandinka percussion made up from  Djembe and Congas, Afriqoui mix these traditional instruments with electronic music drawing on house, soca, hiphop and soul. Not to mention the use of the Gambian kora played by Jallykebba Susso; a hereditary griot. Really on paper it can not be stressed enough the amazing unique blend this band have made. It’s high-life, it’s fun, it’s dance and it’s traditional too. 

The band is based in London, and I have been lucky enough to catch them playing a number of times over the years and honestly, they only get better with age. Each member of the band form this ‘super-group’ as they are all band leaders in their own rights, however when they come together to create this eclectic explosion of sound, no other music can be remembered in that moment. 

The evening was a celebration of a special release E.P limited print of which they had on sale. The E.P is called Starship and was available only on vinyl. They released their first E.P in 2015; Kolaba, and then two more in 2016 entitled Abobo Nation Part 1 & 2. So although new to the recorded releases, this formation of musicians have actually been rocking festivals and concerts for years longer. 

I brought three tickets as soon as I found out about the concert, as they often to DJ set’s; it was something not to be missed seeing them perform as a live band. I brought three because without hesitation I knew I’d have no problems at all in convincing friends to come with me. I brought along two very good friends, one who had already seen them with me at Boomtown Festival (2016) and had snatched the ticket up the second I mentioned the event, and another friend who had never seen them. The evening was held in a club that I had never been to before; The Mangle but had sadly however been in the news very recently for a horrendous attack that took place only nights before. This dampened our spirits a little perhaps in the queue outside as we realised this dreadful occurrence. However it took no more than two heart beats from stepping inside the club to fully and completely get in the spirit of things. With DJ Khalab, iZem (DJ set) and Cervo (Banana Hill) preparing the evening, for the band themselves weren’t due stage time till 12:40pm! 

Unsure how I was going to deal with such a horrendously late night; the beats spun throughout the hours waiting where impeccably worth it. I barely stopped dancing for a moment to concern myself with the time. Then sure enough before what seemed like too long, out came Afriqoui. The beautiful instruments filled the stage, and they started. 

There’s not much to say from this point on, as it really is one of those occasions that you ‘had to have been there’ type of events. They played all their songs, and played their new tracks from the E.P, and from beat 1 to the very last song (and the three en-chores demanded of them) the roof was raised and people were jumping high. Barely a moment went past that wasn't ram packed with exciting raving beats. This explosive African electronic band in my opinion are doing what they do better than anyone else. It is such a treat to hear a perfect fusion of music, so perfect it begs how it hadn’t been done before. 

My friend whom was new to the band couldn’t keep still for a single moment the whole evening, along with the band, there wasn’t a stationary space to be seen, everywhere jumping, dancing, singing, clapping, a true concoction of energy. 

I really wrote this small review to promote the band, if I were to personally send you a link to their music, you would immediately add it to your playlists, and further link all your buddies to the music too. Once heard, you can not un hear the brilliance. 

BaBa Zula

27.04.17

Under the Bridge (Chelsea) 

Having never been to the venue ‘Under the Bridge’ before, I hadn’t realised that the location was placed directly underneath the Chelsea football club. Earlier in the day a friend had told me that the owner of the grounds, had a passion for music and have famously said “ I want to have the best sound-system in London underneath my club”. Despite being told this, I still took a double look when I realised the little blue dot on Google Maps was telling me I had reached my location; to look up and see a huge looming stadium shadowing over me. I enjoyed, for the first time, a look through history at previous players as we took the path around the stadium, past the in-house sports bar, and down following the flashing florescent sign that climbed up the wall. It’s immediate noticeable how glam and glorious this venue was. With she black shiny walls, and dim lights. Then in the main area there’s swanky booths and bar stools. The entire back drop to the stage meets with ceiling in rows of lights that create really immersive lights displays. Needless to say the entire place is decked out with high quality speakers everywhere, complete with two larger than life mixing desks. Decorating silver grating that separated booths and bars are multitudes of large framed photos each with live concert photos from all musicians imaginable. The atmosphere and decor made no secret of the glitzy money put into the place, but also showed a real love for music. 

The band came out and a whirlwind of wonderful craziness took over the next hour or so.

Travelling to Chelsea football club, to step into a venue with a demographic fitting for the location; it wasn’t what came to mind when imagining seeing a band who’s career is a whopping 20 years strong, and are pioneers in experimenting with instruments to span Turkish, psychedelic/rock, reggae/dub genres.  Despite the immediate dancing groves, the audience took a while to fill the standing areas. Baba Zula started with ‘Abdulcanbaz’ and jammed the song for over 10 minutes. Studying ethnomusicology it was with great pleasure that I watched as some truly magnificent instruments were played in such unique ways that it paid homage to the wonderful ‘Baba Zula’ sound.  

On the Baba Zula website, you can see their creative and quirky spin on music with their descriptions of the members and their tools; 

Levent Akman on spoons, percussions, machines, toys,

Murat Ertel on electric saz and other stringed instruments, vocals, oscillators, theremin,

As well as darbuka and percussion player Özgür Çakırlar, 

And Periklis Tsoukalas on electric ud and vocals and tMelike Şahin on vocals,

An electric ud makes for an absolutely transcendent sounds, especially hooked up to a pedal or two. A saz is an instrument traditional to Turkey, where the wonderful Baba Zula hail from. They told us actually of their travels, and not for the first time did we as an audience hear of their immense troubles traveling to England. Songhoy Blues, a sub-Saharan Malian band, had spoken of very similar troubles for their London based gig last month. They had had their instruments searched, been questioned, had belongings lost or held. Baba Zula said they had none of their own leads and pedals, nor their stage costumes. 

Not that any of this in the slightest showed effect on their performance. I was reminded a couple of times of how one can become completely lost in a rhythm, realising that for a few minutes, there were no other thoughts in my head except the rhythm and, amazingly, an electric ud soloing for 3/4 minutes, accompanied by nothing but a doumbek drum. Then hey burst back in, building tensions with the occasional vocals. Concluding in an exciting immersive explosion of groove. 

The end of the song felt like being splashed back into reality, becoming aware of your surroundings once more. I kept proclaiming my heightened love for them, absolutely intensified by a live performance. Whilst listening I was reminded of a bohemian gypsy music/Hendrix mash up. Referring to one another as ‘poets’ seemed fitting as they marched with their instruments militantly across the stage as percussion took the limelight. 

The evening was fun, groovy and absolute non-stopper. At one point the band took the somewhat intimate concert to the next level, and joined the audience in the standing area, they each came down, and continued to drum the repetitive beats, and solo saz. Together we all danced for a solid minute or two. As they re-joined the stage, the wonderfully exotic Melike Sahin joined, dressed in a stunning Turkish ‘Gatsby-esc’ dress dominates the stage and completes the powerful, colourful band.

Baba Zula blew me away with their infectious unique sound, and combine that with the genius lighting that leads from the stage floor , behind the artists, up and over the ceiling. The performance was stunningly psycadelic. One thing however, that must be said about the venue, is that it seems to have failed in completely shaking off the ‘sportsbar’ vibe, with an excellent chorus form the audience, somewhat echoes from the football field. However the real issue was with the staff, I stood at the bar whilst three elderly men were served wrongly before myself. Something that could have been an oversight, however felt more like as the only woman at the bar I was being severely ignored. Lastly, the gentleman in the audience seemed to struggle with the idea that I wasn’t readily available for their dancing pleasures. Nevertheless, after shaking off unwanted attention, and not receiving wanted attention at the bar, my evening was only slightly tainted. 

The evenings performance completely separated the world from that room. All my troubles were forgotten as I stood glued to the every beat. The audience going crazy, everyone jumping and jiving. 

I have come away from Baba Zula yearning to see them again, and desperate to buy their fabulous records. 

Songhoy Blues

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23.03.17

Omeara (London Bridge)

As soon as I received notification that Songhoy Blues were playing in town, I knew it was an evening I had to attend. I hadn’t listened extensively to the bands repertoire (e.i Album by Album), however had been absolutely attached through a few key songs. These desert punk and blues songs I believe are attractive to everyone who enjoys a taste of the worldlier music. I found that my ‘punk-loving’ Godfather was even envious of my ticket, so it seems that Songhoy have managed tospread their net far and wide, catching the interest of a huge demographic.

    The band released their debut album ‘Music in Exile’ via Transgressive Records label in onlyFebruary 2015. In that very short two years, the band have managed to secure global acclaim and have highlighted themselves an explosive band dominating the ‘desert blues’ genre. 

    It was for this reason that the venue came as a little surprise as it’s not the largest (by far) of venues. It seemed that the evening was set to be an intimate performance as apposed to the larger capacity space I’m sure they could pull off. 

   The Omega is a fantastic little venue, with an incredibly exciting buzz. With a wonderful, if slightly confusing lay out, you can get lost in the little mysterious stairways that lead to upstairs bars, that themselves hang over a dance floor bellow. With twists and turns here and there you’ll be forever discovering small places to enjoy a beer, have a chat or get a bite to eat. Some may not even notice that beside their eating and drinking; there is a modest venue playing live music. 

    Upon arrival I was treated by extremely polite staff who directed me to the venue and gave us the obligatory stamp on the wrist and in we went. 

   Set in a all-brick arch, with a theatre-esc stage, the space is wonderful for live music, with the sound bouncing of the arched ceilings it created a small and intimate space for the audience. Given it’s size and sound quality it seemed nearly impossible to get a ‘bad’ standing space for the performance. The space of the whole building, and especially the stage area is a marvellous feat of old and new, the art with the classic architecture and innovation. It feels as though you are standing in an old underground with the best speakers and music tech surrounding you. The stage reminds me of an old pop-up book I had when I was younger, at one level we have the room and audience, then the stage pops up, then the performers pop up one behind, then finally a wall block of myst and lights to really set each layer apart. 

   Songhoy Blues came out on the stage and jumped immediately into their up-beat fast paced song; Soubour. The guitars really had an amazing sound, with the two lead guitarist playing on classic Gibson Les Pauls; their crisp sound resonated through the tiny arched space engulfing the whole room. The energy never failed to fall as they jumped straight into their next track, the extremely recogniseable Al Hassidi Terei. 

 It soon came to fruition however, that this amazing space was somewhat ‘un-drummer friendly’, seen as I came to realise that all I could see of the drummer was the occasional drum stick poking through the mist. Something the venue needs to work on, however it really must be said that the overall effect of having the stage tucked inside this unique space really is fantastic, with the lights shining through a thick layer of dry ice, made for such dramatic visuals it was actually very nearly besotting.

   The performance that Songhoy Blues then proceeded to play, was undeniably amazing. The audience; varied in every way absolutely loving every second were in the palm of their hand, with applauses filling the room mid song and nearing the end of every song too. Not once did a single foot stop tapping away to the extremely tight professional tunes. It felt as though I had never listened to another artists whilst in the concert as they took over all the senses completely and had my body and mind completely attached to their every note. 

    It was stunning the ferocity of each track, one after another it seemed they were a well established band at the end of their story playing nothing but ‘one hit wonders’. On the contrary however the Garba Touré Aliou Touré (lead singer) said to the audience;

   “This is an intimate gig, a family gig if you will… If you want to see us again, we will be headlining Somerset House on the 16th of July”

If this performance was only an intimate family version of their ‘headlining’ set, then we’d all be fools not to be there when they really go for it. 

   Their songs also carried messages that rung somewhat bitterly true for at least I’m sure all the British citizens in the room. Given that our wonderful Prime Minster had promised to start the proceedings for leaving the EU (a.k.a Brexit) it is known that this will hold complications for everyone travelling to and from the UK. So when the band made the shocking statement the the gentleman playing bass for them had only practiced a total of two hours with the band as he is not the original bass player. The reason being that their bassist had found himself refused entree into the UK, it seemed a shared sigh and a communal ‘shaking of the head’ swept the audience. I found myself wondering how many other wonderful musicians we are going to be deprived off in the future. The band expressed their feelings about this happening, and told us how it is not something new to them. They spoke of the many injustices caused by their ethnicity and skin color and then introduced a song they had written about it. The song was entitled ‘One Color’ which received a roaring applause, as one of the more well known tracks from the band, it was amazing to be apart of the story telling behind the writing. 

  “Our Ethnicity, Our skin color, Our origin - It doesn’t matter. Music is mutual, Music is different, Music is everyday” - inspiring words from Songhoy that certainly helped to build a feeling of solidarity among the audience. 

   I could have been at this Songhoy Blues concert with my best friends, having a crazy time or with my Godfather or with family, with anyone basically. I believe that their feel-good, afro funk vibes would have encapsulated any member of any audience. I came away from the gig, smiling ear to ear, a newly dedicated fan to the band; eager to get home and buy all their albums. 

   If you get the chance to see them live, it seems to me an absolute must, as their energy and happiness is highly infectious.