Saturday, live band hip-hop descended on the Barrymore Theatre, 2090 Atwood Ave. The Youngblood Brass Band headlined an evening that brought underground hip-hop and live instruments together. Underappreciated, independent rap groups The Micranots and Mission opened for the popular Youngblood Band.
The night started with the fresh jazzy sounds of Oakland-based Mission. Compiled of a three-piece band and two emcees, this group knew how to deliver exciting live hip-hop. Frontmen Raashan Ahmad and Moe Pope demanded crowd participation and the concert-goers heeded their request with fists bouncing to the beat. Mission's musical talent was displayed through sly beats and solos on the drums, bass and Fender Rhodes electric piano.
Ahmad and Pope's underground lyrics were on point, but at times overshadowed by the heavy beats. A capella poems and samples inserted by producer Woodstock nicely offset the live music with a taste of rap. This balance achieved by Mission makes it a must see for the underground hip-hop enthusiast.
Indie hip-hop duo The Micranots grabbed the stage next. The emcees, I Self Divine and Kool Akiem were forced to prove their worthiness by keeping an overly stimulated crowd pumped. The Micranots stepped up to the challenge and won over the crowd through tight lyrics, topic-oriented freestyles and a modest stage presence. The beats of producer/DJ Kool Akiem were beautifully melodic and bumping. I Self's lyrics were innovative (a sci-fi rap song?) and rich of content. The Micranots were another treat from the underground that is seen too rarely in Madison.
When headliner The Youngblood Brass Band started to assemble on the stage the crowd could not conceal its excitement. There has been quite the buzz surrounding Youngblood in the last month due to the release of a new album and appearances in local news magazines. Youngblood had been receiving kudos from press and fans for their impressive melding of New Orleans jazz and hip-hop. Yet, as Chuck D. reminds us, 'Don't believe the hype.'
The exclusively horn and drum crew quickly entranced the crowd with a loud Cuban beat. There was no question that the two trumpeters, the saxophonist, the two men on trombones, the two drum corps drummers and the sousaphone player have a gift for playing their instruments with a passion seldom seen. Many of the members were knocking on the drums while blowing their instruments. Unfortunately this was the extent of Youngblood's endearment.
The inflated ego of the band was exposed in the first song when members began chanting, 'You don't want to fuck with Youngbloods.' Vague threats from trombone- yielding musicians seem out of place over a smooth Latin groove. Posturing before each and every toot also reflected an arrogance that made it difficult to warm up to the band. The Youngblood Brass Band may find it helpful to tone down the egotism a little, just to make it easier for fans to relate to them.
The hip-hop vocals supplied by members within the group were also disappointing. The lyrics were hard to hear over the eight instruments. When a line or two could be pieced together, they lacked both content and originality. A Rage Against the Machine cover, where the vocalist yelled 'Take the power back,' did not answer the question of whom the Youngblood Brass Band wanted to take the power back from. If this band is interested in dabbling in hip-hop it should first find a full-time emcee. Next, take out a few of the horns because there is no way to relay lyrics to the masses if they can't be heard over an eight-piece band.
Highlights from the Youngblood performance included a wonderful sousaphone solo. The meek sound that came out of the massive tuba-like instrument amazed the crowd. The Youngblood Brass Band definitely captured the crowd at times and many seemed tired afterwards from dancing.
The Youngblood Brass Band most certainly has potential to become a stellar live hip-hop group, but they are not there yet. Maybe by taking cues from Mission or The Micranots, Youngblood could learn the importance of crowd control, lyrical substance, modesty and other aspects of hip-hop. If the Youngblood ensemble is unwilling to evolve in these ways then they would be better off not tampering with hip-hop at all and settling on being a solely instrumental brass band.
