Gig review: The London African Music Festival (Sep ‘09)

(c) Joyful Noise

Last Month the Southbank Centre played to the much-rated London African Music Festival, writer Uchenna Izundu was one of the lucky ones to attend. Read her report.

Hil St Soul
It is amazing that Hilary Mwelwa, the Zambian lead singer of soul groove group, Hil St Soul, is underrated in the UK as an artist with five albums under her belt and a stunning smile.

Wearing black knee high boots with spiked heels, she delivered a rootsy, mature, and mildly retro vibe with a distinct British sensibility. This girl can drop it like it’s hot – with a warm and personable aura her dulcet tones plunged straight into songs like Hey Boy, the infectious and cautionary Don’t Forget The Ghetto, Until You Come Back To Me (her acoustic guitar cover of Aretha Franklin’s classic), and the reggae infused Washed Away, which triggered memories of the bogle and a white sandy beach in the Caribbean.

In a reflection on the credit crunch, Fidel, one of the songwriters on her Black Rose album, strummed a comical rendition of the problems with taxes in The Tax Man Cometh with a banging reggae beat spliced with yodelling.

There was a rousing reaction from the audience when Mwelwa performed Pieces, one of the highlights of the concert with a slow and pulsing beat and powerful lyrics about the snubbing of love that transcends the typical clichés.
This was the hook that introduced us to her three backing singers: Seems you’re always right and never wrong, one of which was shy to share her vocal range with the audience. That was definitely a first! But there were problems with sound quality and at times, the support of the bakcing singers was patchy.

Mwelwa then funked up the mood with the refreshing It’s ok , which was the antidote to all the pain of love. We sang a belated happy birthday to her brother who seemed embarrassed by the attention. Mwelwa, on the other hand, gives the impression that she’s not afraid to laugh at herself Her throaty laughter and feel-good-girl-next-door vibe exudes onstage in the electrifying cocktail of pop, R&B, jazz, folk, and soul that was finished off by the political Woman’s Worth that spoke of overcoming challenges. She is an artist for the grown and sexy.

Oliver Mtukudzi
The demise of Zimbabwe over the past 20 years from a prosperous, stunning nation to one of meaningless billionaires because of hyper inflation is terribly painful. And that explains the political rally cry from some audience members that perforated this wonderful performance by the Zimbabwean great Oliver Mtukudzi: “Get rid of Mugabe!”

Mtukudzi, however, ignored the remarks as he gracefully strummed the guitar across the stage. Posing in white with a beige cap, he calmed the audience in a lilting tone by stressing that where he comes from, music is like food. “We use music to defuse tension; we talk about pain and about frustration.”

This long legged artist has defined a style so unique in mixing Shona, Ndebele, and English that it is nicknamed Tuku. This frail looking man can skilfully blend sadness with joy. Although very little was sung in English, the upbeat nature of his socially conscious music brought some of the audience to the front where they danced, clapped, and whistled for at least half of the concert with smiles of delight stamped all over their faces.
Supported by the Black Spirits, comprising guitars, wooden xylophone, mbira (thumb piano) drums, and percussion, Mtukudi who is clocking almost 60 jived like he was 25. During his festival debut, he commanded the stage with a hop, skip, dance routine with his band and challenged them to mini dance offs and striking a pose that was enthralling.

The band attracted a diverse audience – young, old; black, white; men, women; dressed in headties and traditional to casual Western clothing: all of which demonstrates Mtukudzi’s international appeal. An entertainer for over 30 years, he has developed a loyal fan base who sang his lyrics back at this last concert from the London African Music Festival. Mtududzi’s imploring, soft voice about the gritty realities in Zimbabwe is underscored by a light, bobbing, and charming mix of South African township pop, a dash of rumba, and lush rhythmic nuances.

(c) Joyful Noise

YolanDa Brown
There’s something about YolanDa Brown; light, airy and smooth, this cool saxophonist has received her second in a row MOBO nomination for the best jazz act in the UK.

Her act is for lovers with a glass of wine, chilling by a log fire in a cosy love nest isolated from the rest of the world and the perfect tune to snuggle up to is her beautiful rendition of Lost Without You.

Brown has various influences that penetrate her style: grime, gospel, salsa, afro-jazz, and RnB. Her song Story, which she dubs an insight into her musical journey, is an intimate, textured piece.

Born and raised in London, her profile has rapidly increased over the past 2 years with tours around the world and sold out gigs at the Jazz Café and other venues. But it’s not often that a rising star shares the limelight with a fly on stage! In her pretty green and yellow Ankara dress, Brown laughed off one that buzzed around her head and attempted to steal her thunder. That aside it’s a powerful image of a young female saxophonist the centre of attention with an all male band.

Just Say is a song about actions speaking louder than words and worked beautifully with the falsetto harmony provided by her backing singers. A jazzed up reggae beat underpins Carry me, ackee, which was clearly invoked delightful memories of the Caribbean and home for many in the audience as they sang the lyrics. Festac, written by Brown, is a lively Afro-funk number that demands a little shoulder shake.

Her debut album, which will be dropped by year end is sure to receive support from her fan base – particularly when she starts her promotion tour next year. There will be no need to fall back on her PhD in business studies as undoubtedly she will take off as a star.