(Above: Thievery Corporation gets the whole room jumping by firing “Warning Shots.”)
By Joel Francis
The Kansas City Star
Dance ensemble Thievery Corporation took fans around the world and through its considerable catalog during its inaugural performance in Kansas City on Wednesday night at the Midland.
Many of the best moments, however, belonged to the women. “Garden State” soundtrack staple “Lebanese Blonde” featured Natalia Clavier’s silver tongue paired with Hilton’s sitar. French singer LouLou delivered a spellbinding “La Femme Parallel” in her native tongue. LouLou also was featured in the most organic moment of the night, when Hilton and Garza strapped on six-strings for the ballad “Sweet Tides.”Despite the globetrotting nature of the night, many of the songs featured similar downtempo beats and relied on textures to keep them fresh. As the band moved through trance, bossa nova and dub, detours into reggae, hip-hop and dancehall were welcome. “Vampires,” an anti-International Money Fund screed set to Afro-Beat, was especially energetic. I’m not sure whether the political message got through, but it was hard to find anyone not dancing.
The small crowd fit comfortably on the first three tiers of the Midland floor. The engaged crowd made the most of the ample space, letting the music inspire large, sweeping dances with plenty of room to move around. With no backdrop and a basic light show, Thievery Corporation relied on its music to inspire the audience, and it definitely worked. The constant movements seemed to close in the cavernous room and make it feel more full and energetic.
With the band and audience in complete simpatico, it seemed a little soon when the musicians called it a night after nearly two hours. It felt as though the spell could have lasted all night, especially given how long many fans had waited. It took 15 years and seven albums for the band to finally find Kansas City. Hopefully it won’t take that long for it to come back.
Keep reading:
Fiasco Friday sparks Howard Beale moment
Posted in Industry commentary, tagged 1996 Telecommunications Act, Atlantic records, change, corporate radio, fan protest, Fiasco Friday, Fiona Apple, grassroots, hip hop, Howard Beale, Kanye West, label beef, Lasers, Lost Tapes, Lupe Fiasco, major label meddling, Matthew LeCorte, Nas, negativity in media, Network, radio airplay, rally, Wilco on October 15, 2010 | Leave a Comment »
(Above: “Go To Sleep” is one of many new songs rapper Lupe Fiasco has completed for his new album, “Lasers.” Despite submitting the album to his label two years ago, a release date of March, 2011, was just announced last week.)
By Joel Francis
The Daily Record
Today hundreds of young music fans will protest outside the headquarters of Atlantic Records in New York City as part of Fiasco Friday. A similar rally will also take place in Chicago.
The gatherings started as an frustrated discussion on an internet forum over Atlantic’s two-year refusal to release an album by rapper Lupe Fiasco. Inspired by success stories of similar incidents with Wilco and Fiona Apple, this new generation of fans want major labels to respect their voices.
“Lupe is just one part of a larger issue,” said 17-year-old Matthew LaCorte, one of Fiasco Friday’s organizers. “I would like Atlantic to stop interfering in the creative process of its artists and to help get a more positive message – a message like Lupe’s – on commercial radio.”
Tall requests, to be sure. Artists complaints of label meddling can be found in ever era of the music industry, and are a major reason why artists from Trent Reznor of Nine Inch Nails to the Eagles have divorced themselves from major label. Complaints of commercial radio playlists have increased – while overall listenership has decreased – since the 1996 Telecommunications Act allowed single corporations to gobble up more and more of the national spectrum.
Rapper Lupe Fiasco.
“Our goals mirror Lupe’s L.A.S.E.R.S. manifesto, which he posted online,” LaCorte said. “We want to alert people and tell the message of Lupe Fiasco, who’s music has a drastically different message from what you hear on the radio.”
In part, the 14-point manifesto declares an end to glamorizing negativity in the media, promotes environmental responsibility, individualism and political accountability, elevates substance over popularity and calls for the end of war and a “processed culture of exploitation, over-consumption and waste.”
But it will take more than T-Pain’s ubiquitous and chart-topping auto-tune to make these lofty goals part of any mainstream discussion.
“I’m not exactly sure what to expect from the rally,” LaCorte said. “I know we’ll have lots of signs and so some picketing. I’m planning on giving a speech, and I know we’ll have lots of chants and rally calls based on Lupe’s music.”
Oh, and Fiasco will be personally participating in the New York rally. In late September, Fiasco tweeted “well if y’all there…I guess I gotta be there too!”
“This started because we all wanted ‘Lasers’ to come out,” LaCorte said. “Last week Atlantic finally gave us a release date of March 8, 2011, so in a way we’ve succeeded. Fiasco Friday will be both a celebration of our success and a chance to protest issues we feel still need to be addressed.”
Fiasco is hardly the only rapper facing label resistance right now. Last week Nas raged against Def Jam’s refusal to release the second volume in his “Lost Tapes” series as part of his contract.
“Beefing with record labels is so 15 years ago,” Nas wrote in his open letter. “I could go on twitter or hot 97 tomorrow and get 100,000 protesters @ your building but I choose to walk my own path my way because since day one I have been my own man.”
LaCorte said he was fine with Nas’ perspective. But when the original petition calling for ‘Lasers’” release was ignored by Atlantic, he knew it was time to make a bigger noise.
“Having fans protesting is not good for business,” LeCorte said. “But if we fans do this – petition, boycott, make phone calls, send letters and stand up for the musicians we admire – if we make our voices heard, there will be a change.”
Keep reading:
Review: Lupe Fiasco
Chuck D looks forward in reverse
Review: “How to Rap”
(Below: Howard Beale’s ever-relevant rant from the 1976 film”Network.”)
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