July 16, 2007
Mos Def @ 9:30 Club
By DCist contributor W Jacarl Melton
When Mos Def dropped the mic à la Randy Watson in Coming to America at the conclusion of Saturday’s 9:30 Club show, it was hard to tell if he was just being playful or if it was indicative of sentiments he harbored.
A name like Mos Def, when announced to hip-hop heads or general music aficionados, is bound to create some buzz. This night was no different as the sell-out crowd stood shoulder-to-shoulder on the main floor and nearly the same in the balcony. Opening act Anwar Superstar couldn’t inspire a genuine positive response from attendees unless he uttered Mos’ name or kicked verses from popular rhymes like Pharoahe Monch’s “Simon Says” or Talib Kweli’s “Get By,” As Mos made his entrance two hours after some folks had arrived, the audience was more than receptive.
While out of view, he began singing an ode to the District to the tune of Gil Scott-Heron’s “New York City.” Club denizens began to roar. Sporting a backpack which harkened back to his early days on Rawkus Records, Mos took center stage supported by two DJs and went into tracks from his last two solo projects, New Danger and Tru Magic, as well as some new material from his forthcoming release. Unfortunately, the last albums weren’t as popular as his Black Star or Black On Both Sides recordings and, therefore, left us feeling that the palpable admiration in the air was just for the man and not necessarily the music.
After a nice freestyle over J Dilla’s “The $,” Mos Def asked the crowd if they wanted to hear more of his old material. Unsurprisingly, the answer was an emphatic “yes." He responded with “Ghetto Rock” and followed with songs such as “Hip Hop,” “Definition,” and “Umi Says.”
Interspersed between the “Ghetto Rock” and the show’s closing were assorted breaks, lulls, and, at least on two occasions, requests from the headliner to the audience to quiet down as he worked with the DJs to overcome what seemed to be significant technical mishaps. The performance lags began to take their toll on the crowd as even oldlies-but-goodies like “Brown Skin Lady” faltered at garnering a large scale audience reaction. By the time Mos reached his standard close of “Travellin’ Man” from DJ Honda’s II album, it seemed as though he was at his end after having gone through a lot of material and miscues for an hour and a half.
That said, Mos’ “SEXUAL CHOCOLATE!” declaration upon conclusion was probably more for dramatic affect than anything else. The crowd did seem to appreciate the performance. Still, though, we had a hard time not envisioning the indignant Watson walking off stage, Jheri curl and all.
Photo from Geffen Records
|
Did Mos engage in excessive air-guitaring like last time he was in d.c?
This review is quite poorly written. There must be better people out there to review hip hop. You guys should post a call for submissions.
What does his backpack have to do with anything? I find that these days, so much "indie" music coverage (Mos Def included, as he is part of the cabal of hip hop artists revered primarily by hipsters) has to put in the requisite coverage of the performer's fashion/hair/clothes. I don't care what brand of designer jeans Julian Casablancas wore this time around compared to last, just tell me how his derivative flashback schlock-rock sounded.
I agree that the writing game could be stepped up in this review.
Guest 2 - I disagree. While the review didn't include an exhaustive setlist or lots of pithy turns of phrase to showcase the authors writing prowess, it did convey the essential information about the show and the mood.
Randy Watson wasn't indignant when he left the stage. He was triumphant, powder blue tux and all.
Mos Def might've been indignant last night. (i wasn't there and saved myself the $30 ticket price.)
This is guest 2, responding to Hillrat--reviews aren't just supposed to convey the "essential information" about a show. That's what, say, short posts that preview a show are for. Reviews are supposed to give you a feel for the show as a whole and do so using good writing--which need not include "pithy turns of phrase." It's not artifice; it's just clarity and a general avoidance of cliche. (Avoiding the words "us" and "we," not to mention knowing the difference between "affect" and "effect," also helps.) DCist generally has very good writers; this review just didn't live up to what they usually publish.
What I couldn't tell from the reivew was what did Mos sound like? Was it the fiery, passioned Mos from Black on Both Sides or the mailing-it-in Black Dante from Tru Magic? The New Danger and Tru Magic would have been decent albums had he actually made the effort to sound like he gave a f*ck.
THIS IS GARBAGE. PLEASE GET A REAL WRITER TO DO HIP HOP.
I just noticed at the top, "By DCist contributor W Jacarl Melton." I assume that's for the review and not the photo, yeah?
Seeing as how there's a photo credit down at the bottom of the article, you don't have to assume. It's spelled out for you.
Reading really is fundamental.
Reading is fundamental, guest 11.
So is writing.
guest 2 - I guess where our opinions diverge is that I did get a "feel for the show" from this review. When I read that Mos
I got the distinct impression that the crowd was more about Mos Def jock-riding (and congratulating themselves on how cool they are) than the music or any message he may have been trying to convey. It also seems like Mos may have phoned it in a bit, or at least wasn't at the top of his game, and that was reflected in Melton's less than passionate review.Regardless, I think we can agree that the recent uptick in hip-hop coverage on DCist is a good thing even if we disagree about the writing.
Cheers,
HR
Gotta say, hillrat you do make me think there: perhaps the lack of review isn't from the writer but from the subject. Sounds like there wasn't much of a show to review.
Don't know, wasn't there myself; but my friend who was there, and with me at the show with Talib Kweli, said it wasn't as good. Jumbled and disappointing for thirty dollars.
I'd like to think that part of what makes Mos Def so innovative as an artist means that also he can be hit or miss. Some are more dependable and more mediocre. Anyway, he certainly doesn't need me to apologize for him, maybe I'll get lucky the next time he comes thru.
I'd like to think that part of what makes Mos Def so innovative as an artist means that also he can be hit or miss.
Speaking of artists who are "hit or miss" live, any word on if the Bad Brains are going to play any hometown shows before or after Vfest?
2 all of u haterz..u can eat a dick...keep frontin and shit thinking u know whatz good, etc.. about the "real hip hop" u prob think Kayne West is dope....about the user who was bitchin about the backpak.....ask ur moms about it cuz that was the same type Mos wore when i wuz hitting it from behind...also one more note..i challenge any of u fuckerz about real hip hop knowledge...me and my boy will skool u no doubt.....peace
what i meant by "my boy" wuz my DICK!!! (the otha half)
...about the user who was bitchin about the backpak.....ask ur moms about it cuz that was the same type Mos wore when i wuz hitting it from behind...
Hold on second, I'm confused. Why was DCfist's Mom there when you were getting anal from Mos Def?
guest 16/17 - Didja get ahold of 'em?
hahaha 2 guest 18/19... i like ur humor