November 8, 2020

Concert Review: JessB, Neck of the Woods, 7 November 2020

JessB debuted three years ago at Neck of the Woods. Late Saturday night moving like an MMA warrior, rapping and rocking the house in triumph. Rapidly gaining fans, working the music circuit in New Zealand. Also, time in Europe and America connecting to and absorbing influences.

A new EP dropped a few months ago. 3 Nights in Amsterdam. One of the cuts is featured. Tribal African conga beats mixed with syn-drum sounds in contra rhythm. Lithe, limber and snaking through the backbone. A Black Snake Moan.

Performing first is Rubi Du, formerly Silva MC. A well-known Reggae artist around Auckland but this is the first time I have seen her. Supporting her and JessB is DJ Half Queen.

Purveyor of Hip-Hop dance but she is a Reggae Toaster and immediately brings back to mind the likes of Yellowman, Dr Alimentado and similar. She dominates the stage and quickly corrals everyone to dance and groove. Practiced and in command.

I understand she is of West Indian heritage, but her vocals also seem interwoven with Southern African melodic colour. Heavy staccato bass beats like classic White Lines. Chopped Bo Diddley rhythms. Predominantly louche off-beat electronic Reggae.

Gathers momentum as each tune is prefaced Are you ready for one more?

She has been support for Fat Freddy’s Drop and I can hear why. Certain to be heard at this summer’s upcoming Festivals, provided we are not to be confined to quarters.

JessB starts her set with chants. The beats go back to Old School NewCleus dance Hip-Hop. Shut the fuck up is a welcome to those who have been experienced, and it’s clear everyone in here has.

Rap has become a foundation pillar of African American art, just as much as Blues and Jazz. I feel privileged to have heard it develop from birth in the late Seventies with DJ Cool Herc, Kurtis Blow, the Sugarhill Gang and Grandmaster Flash. To current times with Lamarr Kendrick and Kanye West via Public Enemy. Too big to condense like that, I know. Although there were some women there at the start, a feature of Rap still continues to be misogyny and braggadocio. A self-deprecating sense of black humour there may be. But. Women are owning it too now. Empowering and liberating and this is not just wishful thinking I feel.

Jess Bourne herself is of mixed Kenyan parentage. Grew up in New Zealand with adoptive parents. Afri-Kiwi as she has called herself. Has spoken of the fluidity of identity and culture, which are not fixed states of being.

Being a professional sportswoman who has morphed into a professional artist. A sport credo. Talent is constant although Form can be transitory.

Mood is Rap with a smooth delivery. The vocals jab and hook but it is the body shots that do the damage and the head follows.

Rapid-fire lyrics are in themselves a musical instrument.

Bringing a pack of loose forwards off the bench late in the game are BLKCITY. A new group. Four young guys of African heritage, first generation Kiwis. Bring some testosterone energy to the stage. Public Enemy style wit and bravado. Chants come close to a Rap Haka.

Bullseye is combative and triumphant as a closer. After Rubi Du has returned to help take the ball back.

We don’t follow you we innovate/ We roll with the punches! And you know that.