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A hooded figure appears on a dark stage, standing behind a table that is covered with drum machines, whose mechanoid frames remain a mystery. Few of the gathered crowd, notice, still labouring to the beats provided by the nights DJ. The focus remains on body movement and the beat. The music fades replaced by a single drum beat, attention turns towards the stage. Off go the cameras flashes, with little announcement High Priest has introduced the Anti-Pop Consortium to Vancouver. His rhyme partners M. Sayyeed and Beans materialize stage right and stage left. Taking their place at the table, taking part in this opening ceremony of electronic drums and FX, straight fucking the heads of an eclectic full house. Zap! The Anti-Pop Mothership has arrived. Except these cats use their drum pads as the steering wheel, their words the vehicle, to a night that transcended expectations and probably left a lot of heads itchy.
To start, if you are unfamiliar with "Tragic Epilogue" you have to understand that it is an album that brings the channels down a couple of notches. Yet, engineered by Earl Blaize, still pops eardrums, and keeps fingers on rewind. This live performance, destroyed notions of DAT and a DJ performances…the beats were almost just that, live programmed drumming and FX. The emphasis, you understand, was the word. Understand that APC's album was one of my summer mainstays while travelling the joyous TTC, and I'm still finding new treats every time I pop it in.
As a unit APC was more than willing to give each other the spotlight. Allowing the focus to fall on whoever was dropping at that moment. Punching in simultaneously and literally fading away into the shadows presenting an almost ritualistic approach to their show. As a unit Anti-Pop is definitely a group of individuals.
High Priest the mad scientist enigma willing to turn his back on the audience. Beans the No/New Wave time warp in presentation and appearance. M.Sayeed the B-boy intelligentsia and group spoke person. These words hardly capture this seemingly odd partnership, which combined, forms one of the most refreshing groups to enter this Hip-Hop arena in a while. Next level school is now in session.
Check for the Tragic Epilogue (75 Ark) and Anti-Pop Consortiums latest work "Tri-Pinnacle Project - Diagonal Rhyme Gargantula" Ozone/Caroline in stores now!!!
It was a last minute decision to check out Buju Banton at the Commodore Ballroom (Granville Street, Vancouver), but it was definitely a decision EYE don't regret. First up, EYE finally found out that there really are black people hiding out in this city. Seven months of scouring the city limits turned up less brown skin than this one concert.
The opening act was an up and coming hip-hop/reggae MC from the Rascalz camp. EYE don't quite remember the MC's name, but this is probably for the best since his set was no better than lackluster. He performed some original material with Red One (Rascalz) as his hype man. His flow was aiight, with patois in the mix for most rhymes, but his lyrics were hard to follow, and it was clear the crowd wasn't really feeling it.
Of course, Tings Changed when the true opener came out. The audience was treated to a half hour set by none other than Wayne Wonder, backed up by a live band called Shiloh! EYE was already packed up at the front by this time, but as far as EYE could tell, Wayne really got the crowd hyped.
At last it was time for the man himself. Basically, there's not much to say here besides for the obvious - Buju was magnificent. Before he was even on stage, the lion's roar could be heard and the crowd immediately lost it. Everyone was jumping up with the exception of the Weave Crew who for some reason decided to jam up the front row and then stand still (maybe the horse hair was coming loose - who knows!). This didn't last though, since the live people (i.e. everyone else) eventually cleared them to the side. Nuff respect to the Drunken White Boy crew who EYE chilled with for most of the show. They knew all the lyrics and shared my propensity to get buck wild at concerts.
Buju performed material from the extent of his illustrious career. Drenched in sweat with fingers clenched around his talisman, Buju ran through jam after jam with no regard for pace. It's not often you see an artist put everything into a show, but EYE wouldn't deny Buju such praise. After two hours of growling, Buju finally called it quits. Even after such a long performance, he was still willing to honour the crowd's enthusiasm with an encore. Shiloh kept the show tight and reinforced my belief that any show is better with a GOOD live band.
When EYE walked into this concert, EYE was asked for 36 hard-earned ducats. Like most people, EYE didn't think this was reasonable. But after this concert, EYE would gladly pay the same amount to see Buju again. My advice to you - if Buju Banton rolls through your town, you should be front row center.