Gig Review: De La Soul

Now twenty years deep into their ‘Daisy Age’ odyssey, seminal Hip-Hop trio De La Soul remain one of the most criminally overlooked bands in the music business. Their innovative and playful approach changed the face of the genre, yet in 2009 they are labelled ‘out of touch’, purely because they refuse to compromise their originality for chart success. In a recent interview, DJ Vincent ‘Maseo’ Mason remarked that their ability to stay rooted and recording in an industry that disagrees with them, was due to the fact that they never forget who they are really working for, the fans. Whilst they may never recapture the commercial and critical success of 1989 debut 3 Feet High and Rising, De La’s set at the Camden Centre on the 11th June 2009 proved that now pushing 40, they still embody the vibe and sentiment of the Daisy Age.

On the night of the 11th, the odds seemed stacked against the Long Island troupe. The venue was small, the sound was sub-par and an unfortunately timed tube strike meant the Camden Centre never reached full capacity. Yet as soon as Maseo stepped up behind his decks and beckoned the crowd toward him, such matters became insignificant. Opening with the title track from 2004’s The Grind Date, emcees Kelvin ‘Posdnuos’ Mercer and Dave ‘Trugoy’ Jolicoeur emerged from the wings, and De La’s unrelenting energy and physical presence continually went beyond what could possibly be expected from three men, two mics and two turntables.

A mere two songs into the set, Dave declared “There are no rules at a De La show”, and a man of his word, he and Pos soon leapt down from the stage, rhyming and dancing as they disappeared into the crowd. Indeed, whilst the size of the venue felt hardly befitting their legend, it did provide a unique intimacy. There were no barriers and no surly security guards separating the crowd from the stage, creating an even greater sense of a communal experience.

As expected, the show was a tidy summation of De La Soul’s back catalogue. The set list ranged from upbeat roller skating anthem ‘A Roller Skating Jam Named “Saturdays”’, to the hard edged ‘Rock Co.Kane Flow’. Yet naturally the most magical moments came in the form of the spirited rap-along’s from their 1989 debut, the most notable being a triumphant rendition of ‘Me Myself and I’. As old fans and new, sang the seven ‘Ooh’s’ of the chorus, the song’s timeless glory shone through.

Two decades on from their sensational entrance into the music business, De La Soul’s perceived inability to match up to the precedent of their debut, means their worth is constantly brought under scrutiny. Whilst many will continue to look to their albums as proof of their diminishing relevance, the fact that approaching 40, a band two thirds overweight in an under equipped venue can still transfix and hold audience is telling of their worth and ever-growing legacy.

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Gig Review: Q-Tip

Now over 30 years old, the Hip-Hop genre is in serious danger of losing its charm. Nowadays, a Hip-Hop fan is nostalgic; looking back on the great albums of yore. A figure that will forever win such peoples’ hearts is Q-Tip. Whilst the outstanding five albums of 90’s band A Tribe Called Quest and his own solo work is enough to secure his place as a legend of the genre, he is first and foremost incessantly likable, charming and talented. Having not visited these shores for fourteen years, and with a stellar album released last November, the Abstract One had to deliver, and Saturday’s show at the Roundhouse proved to be a performance befitting our towering expectations.

From his smooth laidback vocals to his ever-calm interview demeanour, one would expect a funky and relaxed show. Yet from the opener onwards his infectious energy was a remarkable and joyous surprise. With the frenzied opener ‘Shaka’, Q-Tip relished the adoration of his love-starved crowd, and his tremendous vivacity didn’t once relinquish in his triumphant set.

For the Tribe fan, there was a wealth of favourites, from Midnight Marauders gems ‘Sucka N***a’ and ‘Electric Relaxation’ to The Low End Theory classic ‘Check the Rhime’. With the ATCQ reunion over and done with, these additions may provide little consolation for those who never had a chance to see the band live. However, as Q-Tip soldiered through his best work, rapping former co-member Phife’s verses as he did so, he at the very least reminded us of what Quest meant to rap music.

Naturally, much of the set was comprised of his most recent album The Renaissance, from the anti industry anthem ‘Dance on Glass’ to the jazzified ‘Gettin Up’, which shifted into a whirlwind of improvisation from his six man band. Tip seemed to relish every second, as his veteran status shone through. As he climbed the speaker set for a rousing rendition of ATCQ’s ‘Award Tour’, he had the adoring crowd in the palm of his hand.

Q-Tip’s musical range has always been what has set him apart from his contemporaries, and his most recent Neo-Soul experiments sparked some gorgeously intimate moments in the show. From the political yet danceable ‘We Fight/We Love’ to the sombre break up number ‘You’, Tip added another dimension to the show. With the latter, the crowd seemed almost transfixed, as Q-Tip sprawled across the stage pointing, singing and unifying his audience.

Epitomising the power and vibe of the show, the closer ‘Life is Better’, a song celebrating the rich history of Hip-Hop, saw Q-Tip dive into the crowd allowing all of the willing to sing the chorus. Whilst the fourteen year wait has provided that sense of occasion that is always synonymous with ‘classic’ shows, the fact remains that it was a master class in live Hip-Hop. Q-Tip was energetic, relentless and left the crowd aching for more; let’s just hope it won’t be another fourteen years.

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Gig Review: Billy Bragg

Ever since a pentagram of fire called Maggie back to daddy (forgive me for being obvious), and Major bowed out to a then youthful Tony Blair, the insights of Essex Troubadour Billy Bragg have seemed less and less relevant. As an outspoken Socialist, and all round lefty icon, he represented the excluded liberal youth, but as soon as his fans grew up and voted Labour, Bragg’s political protests became nothing more than songs. Yet now, with another financial crisis looming and a conservative buffoon waiting in the wings to fuck it all up, it would seem 2008 is a year ripe for Bragg’s return. His 22-song set at Shepherds Bush last Monday, saw the 51 year old perform with a youthful tenacity, as these trying times return meaning to his words.

No longer backed by The Blokes, Billy took the stage with nothing but a silver Telecaster and a mug of tea. Whilst Bragg naturally felt the need to promote his latest album Mr Love and Justice, the nostalgic joys of ‘To Have and To Have Not’ and ‘The Milkman of Human Kindness’, saw the most grey-haired heads nodding to the voice of their youth. As is expected with any act past 40, the show was in effect a greatest hits, though thankfully room was left for some more unexpected additions to the set list. Whilst Woody Guthrie cover ‘I Ain’t Got No Home’ was fairly predictable, the inclusion of The Shangri-Las’ ‘Give Him A Great Big Kiss’, with help from Kate Nash, was a delight.

Indeed Bragg is ever capable of keeping it light, and in between songs documenting heartbreak and injustice, he remains able to be genuinely hilarious. His infectious humour even crept into the songs themselves, as one altered lyric on ‘Waiting for the Great Leap Forwards’– “John Sergeant proved the public will vote for a clumsy fuck/Old Gordon Brown can’t believe his luck”, was met with riotous laughs from the audience.

Whilst a second encore teased the audience with the prospect of leaving out fan favourite ‘A New England’, Bragg’s performance remained near flawless. It would be easy to see his highly political material as pretentious and boorish, yet his saving grace is that despite this, he remains completely relatable and genuine. He won’t change the world, he knows it, but who cares? He’s Billy Bragg, and he’s back!

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Gig Review: Death Cab For Cutie

Whilst their legions of be-fringed disenfranchised fans, and a collection of hits akin to the Grey’s Anatomy sound track seem to suggest otherwise, I have always persisted that Death Cab For Cutie aren’t an ‘Emo’ band. Always seeming more sincere than their ‘Emo’ counterparts, Death Cab’s melancholic lyrics always seemed due to their influences as opposed to convention. Nevertheless, last Wednesday’s set at the Brixton Academy, seemed to prove that at the very least, Death Cab For Cutie have the tunes to hang with the big boys.

As Walla, Gibbard, Harmer and McGerr jogged on stage to the usual riotous applause, the now skinny as a rake Ben Gibbard took the spotlight and quipped “What’s goin’ on?”. Whilst the choice of opener; ‘The Employment Pages’, was a lacklustre ease in to the show, it didn’t fail to captivate the adoring audience. As the lads settled into what was to be a typically laid back set, it was nigh impossible not to be struck by a mix of their absolute sincerity and flawless instrumentation.

Being a band whose sound is largely defined in the studio, one would expect that their intricate songs would be impossible to recreate on stage. Armed with only two guitars, a bass, drums and an organ; Death Cab managed to perform the likes of ‘Soul Meets Body’ seamlessly, whilst still maintaining a delightful spontaneity.

Just when you thought they couldn’t be upbeat, Narrow Stairs’ ‘No Sunlight’ and Plans’ ‘Crooked Teeth’ brought movement to the crowd. Then Gibbard took the spotlight alone with an acoustic guitar, and sparked the most intimate sing-along of the night, with ‘I Will Follow You into the Dark’.

The post encore treats including the sombre piano ballad ‘What Sarah Said’, and the beautiful ‘Title and Registration’. The epic ‘Transatlanticism’ in all its eight-minute glory, closed what was a quietly powerful set.

They may not be the biggest live act in town, but through their at times sedate performance, shines an aching sincerity. Their music isn’t designed for stadium rock, nor will it ever be, yet in a setting slightly more intimate, their song writing shines.