Issue 5, Article 12
This was a concert larger than the MPR, the campus center, and even Wesleyan itself - it was all-world. Driving, hypnotic repetition (supplemented by intricate musical flourishes of saxophones and electric guitars) on this night created high-energy, danceable chaos. The musical ensemble, playing the songs of Fela Anikulapo-Kuti, a popular Nigerian music legend, presented his work with vigor and raw emotion. Fusing every kind of music imaginable, Anikulapo-Kuti's songs are candy for the ear, because there is so much at work. From the constant clip-clop of the wood block, to the six dancing, chanting women-in-black, to the impressive horn section (about 8 in number), this ensemble did justice both to the spirit of the composer and to the music itself.
The crowd was standing room only, and by the end of the concert, the standing room had become dancing-only. Societal constraints and the laws of physics kept you from flailing every limb with the pounding repetition of the extensive rhythm section (two guitars, bass guitar, two bongo drums, wood block, keyboard, full drum kit). But it was not just dance music, since the solo showcases were musically intricate and jazzy and soulful at the same time.
In each song, there was a distinctive pattern. Most featured an effective use of the keyboard by the leader, Michael Veal. He would play one note that increased in volume, the band would build up to a fury, and then the music would segue into the next section with a single loud beat of the drum. The section that followed was usually a main theme played by an intense horn section and a very unique and enticing call-and-response sing-shouting between the leader and the women-in-black. The second song they played was a politically charged tune about arrests of petty criminals made in 1981 in Nigeria. These arrests were highly hypocritical because, at that time, government officials were known to be engaging in embezzlement. The song had a reggae beat and featured excellent sax solos, as well as a challenging and an almost rock-esque guitar solo. The women-in-black chanted something about deceiving. They were insistent to a spine-tingling effect.
The third song was introduced, as all the songs were, by a somewhat lengthy clapping introduction followed by the rhythm section beginning their trance-like beats and repetitive musical patterns. In this song, there was an interesting interplay between the keyboard and the drum kit. They played the same unique and interesting rhythm sequence at different times throughout the song. The fourth song kind of mellowed things out, and got a little mundane only because it sounded similar to the earlier pieces. I liked the floaty keyboard at the beginning, and the juxtaposition of repetition and musical solos was still impressive. The fifth song, however, seemed like blues-rock fused with traditional African music. It was high-energy, danceable, and perhaps the highlight of the night. It went on forever, infusing into the audience an irrepressible need to move. And move they did, for almost 20-25 minutes. The best elements of Anikulapo-Kuti's music were showcased in this song.This music is multi-layered with poundings, catchy phrases, emotional choruses, challenging solos, and an imminent, irrepressible feeling of "this is where I want to be right now." Buck the system, feel the vibe, let music reign, and love will prevail. I loved it.
-Tom Santilli