Angelique Kidjo
Angelique Kidjo
Carver Community Cultural Center
San Antonio, Texas
“This is my first show in San Antonio, and I feel like a queen.” The arresting Angelique Kidjo, dressed in an African patterned print dress, performed an international musical montage, supported by musicians from diverse ethnicities, cultures, and regions, from Boston, Massachusetts to Congo and from Senegal to Brazil. Kidjo’s galvanic performances of thrilling, electric grooves and her fiery, charismatic persona landed her the title of successor to Miriam Makeba, prestigious awards such as the Grammys, and linkups with Herbie Hancock, Branford Marsalis, Bono, Carlos Santana, Alicia Keys and Peter Gabriel. Her global sounds—at different times dabbling in salsa, Bollywood, reggae, soul, gospel, electronic music, American jazz, African makossa and everything in between—as well as her positivity and encouragement have earned her great international musical esteem from critics and humanitarian organizations.
Kidjo’s transatlantic spirit, especially her spiritual home in Africa, permeated every corner of the theater, grew in a multicultural and multigenerational audience. Kidjo’s slow burning rendition of Sidney Bechet’s standard “Petite Fleur,” which she dedicated to her father (a favorite song of his) and strong African men, evoked every emotion, ranging from pain to compassion, even if her eyes were shut. The blue screen behind her created the mood of a smoky blues bar or jazz haunt, a theme that would contrast with the bright orange background that accompanied muscular rhythms and fevered, exhilarating emotions.
Everybody wanted to be James Brown in Africa during his peak,” she informed the audience. “But I’m glad to have breasts!” Indeed, the influence of the musical revolutionary can be seen in Kidjo, who danced in black heels, incorporating traditionally based African dances to modern rapid rhythmic swaying, shaking, and stomping. In addition, her Afrobeat version of Brown’s seminal “Cold Sweat” revealed the kinship and lineage of American funk to African rhythms. Her robust reading of Curtis Mayfield’s “Move On Up” continued the uplift. Towards concert’s end, Kidjo not only welcomed the crowd to chant (particularly with her classic “Afirika”) but to shake her hand and eventually dance with her on stage. It was like a raucous church congregation: many danced in the aisles and at their seats, as if a musical spell had taken over nearly everyone.
Angelique Kidjo’s plea to “celebrate life now” is amplified by her music and interludes with messages of hope, commentary on social ills, and funny anecdotes. Her ability to be intimate and introspective, intriguing and inspiring all at once and to be a symbolic link between Latin music, African music, and African American music made the concert a fascinating spectacle with few peer and showcased her role as a vital artist in world music.
by Jeff Boyce
Carver Community Cultural Center
San Antonio, Texas
“This is my first show in San Antonio, and I feel like a queen.” The arresting Angelique Kidjo, dressed in an African patterned print dress, performed an international musical montage, supported by musicians from diverse ethnicities, cultures, and regions, from Boston, Massachusetts to Congo and from Senegal to Brazil. Kidjo’s galvanic performances of thrilling, electric grooves and her fiery, charismatic persona landed her the title of successor to Miriam Makeba, prestigious awards such as the Grammys, and linkups with Herbie Hancock, Branford Marsalis, Bono, Carlos Santana, Alicia Keys and Peter Gabriel. Her global sounds—at different times dabbling in salsa, Bollywood, reggae, soul, gospel, electronic music, American jazz, African makossa and everything in between—as well as her positivity and encouragement have earned her great international musical esteem from critics and humanitarian organizations.
Kidjo’s transatlantic spirit, especially her spiritual home in Africa, permeated every corner of the theater, grew in a multicultural and multigenerational audience. Kidjo’s slow burning rendition of Sidney Bechet’s standard “Petite Fleur,” which she dedicated to her father (a favorite song of his) and strong African men, evoked every emotion, ranging from pain to compassion, even if her eyes were shut. The blue screen behind her created the mood of a smoky blues bar or jazz haunt, a theme that would contrast with the bright orange background that accompanied muscular rhythms and fevered, exhilarating emotions.
Everybody wanted to be James Brown in Africa during his peak,” she informed the audience. “But I’m glad to have breasts!” Indeed, the influence of the musical revolutionary can be seen in Kidjo, who danced in black heels, incorporating traditionally based African dances to modern rapid rhythmic swaying, shaking, and stomping. In addition, her Afrobeat version of Brown’s seminal “Cold Sweat” revealed the kinship and lineage of American funk to African rhythms. Her robust reading of Curtis Mayfield’s “Move On Up” continued the uplift. Towards concert’s end, Kidjo not only welcomed the crowd to chant (particularly with her classic “Afirika”) but to shake her hand and eventually dance with her on stage. It was like a raucous church congregation: many danced in the aisles and at their seats, as if a musical spell had taken over nearly everyone.
Angelique Kidjo’s plea to “celebrate life now” is amplified by her music and interludes with messages of hope, commentary on social ills, and funny anecdotes. Her ability to be intimate and introspective, intriguing and inspiring all at once and to be a symbolic link between Latin music, African music, and African American music made the concert a fascinating spectacle with few peer and showcased her role as a vital artist in world music.
by Jeff Boyce
