MUSIC: Glynis O’Hara
SATURDAY morning it was a case of: Don’t call me, I’m recovering from Senegal’s Baaba Maal. Everyone who attended his show at Mega Music last Friday night deserves a little medal with the citation: “I endured heat, sweat, crushed toes, squashed ribs and conquered claustrophobia – all for my little Baaba.”
The place was a crush-bucket.
Arts Alive officials said this week they battled to keep angry, insistent people out and had to call security to help them. This, combined with the debacle at the radio launch at the Johannesburg Stadium, indicates there’s a simple little phrase – full house – that South Africans just refuse to understand.
It’s difficult to judge the music when all you’re thinking about is your discomfort. But there were terrifically exotic, oversized costumes and delicious hats, entertaining male dancers, great use of the talking drum and kora.
The music varies from serious, slow and complex to more commercial numbers like African Woman. His lyrical French song, Minuit, which departs from tradition to cast midnight as an image of freedom and liberty and which invokes Mandela, brought the house down.
He even incorporated a send-up of ye olde European cock-rock, laughing as he held the mike on his pelvis. At least, I think it was a send-up.
South African musicians from Bayete, along with singer Max Mtambo, were brought on for one number. And while it’s a nice gesture, it’s not what people paid to see.
Phuzekhemisi, the support act, were a stroke of genius. Traditional maskanda, with loads of beads, feathers and dancing – great spectacle.
We need a bigger venue for these acts, something between Mega Music and the Standard Bank Arena. Either that, or more concerts in one venue. In the 1970s Percy Sledge did two or three weeks at downtown Johannesburg theatres.
But to pay for that, said the spokesman for Arts Alive, we will need a much, much stronger rand.