WINDHOEK – Last Friday night’s Afro Music Dance live concert promised to be a night to remember with music from legendary Ras Sheehama as the top bill in the night of Namibian Soukous singer, Dolar.
But the night proved disappointing, chiefly because Ras Sheehama did not show up. Nor did Freeda but with no apology to the handful of live music and Ras Sheehama’s loyal legions whose unequivocal and insisting dedication lured patrons to the show at the Warehouse Theatre on Friday evening.
These minor disappointments aside, it was a fun-filled evening, a lovely concert, safe for the brief moment when our ears were so savagely assaulted by out-of-tune screams that have come to signify Namibia’ own version of the Hip-Hop genre where people hop about mumbling words a t a high pitch in a microphone. But then again the problem, we soon learnt, was because of our age. You see, as is with fine wine and whisky, music too taste better when it is matured. Unfortunately some of Namibia’s Hip-Hop genres just do not mature enough for some discerned listeners – like this quartet of men and women with age bracketing between the early 40s and late 30s. Had this foursome been average, they would qualify as 30-year single malt or 15-year aged wine and with a price tag of triple digits.
Nevertheless, after a late start, apparently the norm for The Warehouse Theatre according to the regular patrons, the Afro Music Dance kicked off with Tura Freaks, a two boys act, each with a mask, dancing to techno music. Their moves were so captivating, refreshing and even when they moved out of sync, their professionalism prevailed, eliciting a standing ovation from at least the four people that made up our row of seats. It would have been a grand standing ovation but then again the hall was empty, so empty that one could stretch out to watch the concert leaning comfortably as though in one’s own home. It was simply fantastic! We felt as though we were having a private concert, especially when two young girls, calling themselves the Sexy Duo, appeared on stage to do their one-track rendition in tight jeans and sexy apparels. They were just marvellous, in those tight jeans. It was simply angelic, or rather their voices, as was their music.
Then it was time for Dolar, with that husky voice of his. Sokous has never sounded this better, with fusion of Namibian flavours and other essences, which according to Dolar are from all over Africa. If music was a dish then this Dolar infusion would qualify to be referred to as an exotic dish.
The performance elicited the déjà vu of the Soukous music when République Démocratique du Congo (DRC) was still Zaire, which with Congo, Brazzavile, was spitting out Rumba or Soukous bands in hundreds to the rest of Africa, and the world over. Dolar’s voice reminds of Zaiko Langa Langa’s Papa Wemba, and the likes of Antoine Agbepa, whom many call Koffi Olomide, Aurlus Mabele, Kanda Bongo Man, and Pepe Kalle.
The music was so Zaire’s Kinshasa that even the bouncers at door abandoned their duties for a while to take on the rumba infusion with a twist of hips of their own. Right there at the door. Kwasa Kwasa style indeed, until someone reminded them about manning the door. The only thing missing was the sapeurs to revive the La Sape culture of good fashion on the stage. After all, how can Soukous be complete without the La Sape of men draped in fine clothing and shoes, doing their moves in elegant style?