Xenophiles Celebrate While We Still Can at Globalfest
Last night’s Globalfest multi-band extravaganza at Webster Hall began gently with Ranky Tanky – the Alabama Shakes of South Carolina retro gospel-pop – and ended with EDM in the basement and its even more stomping analogue two flights up. A packed, sweaty crowd got to revel in electronic musician/rapper Batida‘s sharp, sardonic sense of humor, his archive of Angolan beats and multimedia show, while the big rock room was bouncing with dancers getting down to the mighty shout-and-response of fourteen-piece Washington, DC proto-rap collective Rare Essence.
That’s the main premise of Globalfest. Over the years, the annual festival has become more eclectic, extending to acts from around the world whose music is more contemplative than danceable. Artists playing the three stages are staggered so that you can catch a little of everybody, more a nod back to the evening’s origins as part of the annual booking agents’ convention than to, say, Warped Tour. While Ranky Tanky was reclaiming the old Bible Belt folk standard O Death as a stark gullah hymn, goth-folk singer Maarja Nuut was doing her Estonian girl-down-the-well act one flight up.
The night’s most intricately entrancing moments happened right afterward, when alto saxophonist Rudresh Mahanthappa was joined by guitarist Rez Abbasi and drummer Dan Weiss, the trio working out new material over an exploratory forty-five minutes or so. Watching Mahanthappa air out one sleek wind-tunnel volley after another of variations on jaunty bhangra riffs was as adrenalizing as Abbasi’s own detours from sizzling, rapidfire raga-inflected riffage, to flurries of erudite postbop and the incisive, purposeful, judicious melodicism he’s made a name for himself with. Putting Weiss on a riser, centerstage, reaffirmed the deep rhythmic roots of the ancient Indian sounds the saxophonist and guitarist have explored so individualistically both here and elsewhere.
But as inspiring as that set was, nothing compared to Hoba Hoba Spirit. They’ve earned a rep as the Moroccan Clash, and in a sense they are. Not only because a lot of what they play is punk rock with fearless, politically charged lyrics, but also because, like Joe Strummer’s band, they take that punk sound to so many different, complicated places. And there were times where it would have been just as easy to call them the Moroccan Stooges. When Strat player Anouar Zehouani, his amp ablaze with a blast of searing, reverbtoned midrange, hit his wah pedal for a solo, he channeled Ron Asheton at his most surreal and incendiary.
Co-frontman/Telecaster player Reda Allali catchy, emphatic, minor-key riffs throughout the show, opening with a rapidfire hardcore number straight out of the GBH catalog circa 1983. When charismatic singer/percussionist Othmane Hmimer put down his boomy dombek goblet drum for a pair of clanking qraqab castanets and the band launched into a hypnotically leaping gnawa groove, the crowd went wild: much of the posse from New York’s own Innov Gnawa, including the band themselves, were in the house. From there, drummer Adile Hanine and bassist Saad Bouidi shifted briefly toward roots reggae. There was an arena-rock number for whatever soccer hooligans might have been on the floor, as well as plenty of darkly slinky, serpentine art-rock. The group’s 2015 Lincoln Center debut was a lot more intimate and an awful lot of fun, but this might have been even better even though their set was shorter.
Which is where Lolapalooza-style staggered sets get vexing. It sure would have been fun to catch all of Ssing Ssing, who treated a crowd in the basement to a similarly slinky if completely different set of pansori-tinged Korean disco-punk. Bassist Young-gyu Jang played with a sly, note-bending edge that was as freaky as it was chic while the band’s three frontwomen – Hee-moon Lee, Da-hye Choo and Seung-tae Shin strutted and harmonized like a young Madonna on steroids. Dressed respectively as femme fatale, ingenue and badass, they kept a multicultural crowd on their feet and gave the downstairs headliner, Batida, a solid launching pad. Nights like these draw your eyes to the calendar: how many days are there left before 1/20/17 and we have to really dig in and figure out how – and if – we can stay on our multicultural feet in a nation fronted by an anti-culturist?