After looking through some of my old work, I stumbled across the disseration that I wrote for my final project at university back in 2016, and decided to give it another read. Lockdown boredom may have reached new heights, and brought me to an educational read which I enjoyed more than I thought I would. Perhaps as it brought back the memories of writing it, which with the benefit of time and rose-tinted glasses seemed great, but the sleepless nights and Red Bull driven researching weren’t. Whilst I’ve ditched the Red Bull, and seem to be sleeping fine, going back down memory lane and the same rabbit holes as I orginally had, seem like the perfect distraction to another stressful time, as we are in now. As you may have ascertained from the title of this post, my disseration was about European hip-hop, in particular the development and impact of the genre in France, Italy and Germany during the 1980s and 1990s. In that, I waffled on about Globalisation, Americanisation and the history of hip-hop, but I’ll save you from the academic jargon, and dive right into the various scenes themselves.
Last night, Fever 333 performed a live demonstration to support the #BlackLivesMatter movement, with all proceeds of the livestream going towards the Black Lives Matter and the Minnesota Freedom Fund. Further to the performance, the band shared the below message:
Like many, I’ve been following the news of the shocking and appaling murder of an unarmed black man, George Floyd, by police in Minneapolis, USA. The consequential outrage of his killing has not only sparked protests there, but spread to other cities in the United States too and across the world, with demostrations in Auckland, Berlin, London, and more. George Floyd’s death, and the circumstances surrounding it, is one of many examples of police brutality and racism towards the black community in America. As things began to boil up over the murder of Ahmaud Arbery in Georgia, and Breanna Taylor in Louisevill, and the consequent investigation (or the lack of), things have now boiled over to the point where enough is enough, and things need to change. The worldwide response shows that this sort of racist behaviour isn’t just succluded to America, the insututional day-to-day injustices and the things we don’t see, are happening all over.
The current situation with COVID-19 has left the world in lockdown, with venues closed and tours cancelled or postponed, a lot of artists have been forced to find new and innovative ways to stay connected wth their fans, such as live streaming performances from their home, going back through the archives and releasing footage of previous shows, or hosting Q&A’s and listening parties. Like many, I’ve had the extra time on my hands to watch a lot of these performances, and found it interesting to see the various ways in which bands and artists are approaching these difficult times.
It was August 3rd, 1995. The second annual Source Awards was taking place, at the Madison Square Garden’s Paramount Theater in New York. The events that night would change the course of hip-hop forever. At the time, Tupac had been shot and was sequestered in jail, with a bitter rivalry between the East Coast and the West Coast reaching a boiling point. This boiled over at the Awards ceremony, with Suge Knight, of Death Row Records (West Coast), taunting his rival Sean ‘P Diddy’ Combs, of Bad Boy Records (East Coast), onstage. The nature of the attack didn’t go down well, and the night descended into a tit-for-tat between the rival areas, with Snoop Dogg confronting the crowd after getting abuse, and Diddy throwing shots back at Suge by saying, “I live in the East, and I’m gonna die in the East.” The rivalry ballooned into violence and ultimately culminated in the deaths of Tupac and the Notorious B.I.G, a year later.
It was a night of spectacular performances, shock appearances and plenty of important social/political comments, as the annual Brit Awards took place last night at London’s O2 Arena.
The annual Brit Awards takes over The O2, London next Wednesday 20th February, and here’s my lowdown on who’s been nominated and for what, who’s due to be performing on the night, and a look into some of the artists to watch out for, with my pick for each award.
Now in its third year Mad Cool Festival has already delivered some stunning line-ups, with the likes of The Who, The Prodigy, Foo Fighters and Green Day all featuring in past editions of the Madrid-based festival. This year was perhaps one of the most stacked line-ups to date, not only in the small history of the festival, but also compared to other festivals around Europe. Spanning across seven different stages this years edition featured some amazing acts, from Tame Impala and Arctic Monkeys, to Depeche Mode and Pearl Jam. But where most of the attention was drawn to the headline acts, and I guess understandably so, this year also featured a bunch of fantastic up-and-coming bands too. Both local and international artists took to the two smaller stages, called the ‘Mondo Sonoro Stage’ and the ‘Thunder Bitch Stage’, and it was here where I had the pleasure of discovering these five new (to me) bands.
Since 2008, National Public Radio have hosted an online live music series called ‘Tiny Desk Concerts’. Featuring artists from all genres, the show has starred musicians such as Chance The Rapper, Sampha and Cigarettes After Sex, to name a few. The format continues to routinely deliver, allowing artists to perform a few of their favourite tracks in an intimate office enviroment. After watching Jorja Smith‘s mesmerising performance in her latest Tiny Desk Concert, I decided to pick out five of my favourite sets from recent months.
I saw these guys whilst at All Points East festival in London last weekend and fell in love with them straight away. Their infectous grooves are undeniably influenced by the great Bee Gees and electronic duo Daft Punk, who they have recently worked with on their single ‘Overnight’. Originaly from Byron Bay in Australia, they’re now based in Berlin.