By Robin Riskin
While most of Dakar’s artsy intellectuals thronged to the Institut Français (ex-CCF) on Saturday, Nov. 3 for the Danakil and Natty Jean reggae show, the best place to be was practically around the corner for the 8th edition of the Wakh’Art Invite at Le Big Five, featuring S’killaz, Goormak, Belzo-o and more.
(film by Wakh’Art, footage by Framework5)
The killer set of underground hip hop artists transformed the cozy resto-lounge into a pulsing concert venue wild with music and energy. Guests packed around dining tables and piled out the door. Wakh’Art had pulled off another fabulous event, in its efforts to provide platforms for young urban Dakaroises working in arts and culture.
Kicking off the night was Goormak accompanied by Niaxtu, with politically charged songs sending positive messages. They had the crowd singing along to “Complexé,” which urged against inferiority complexes for black skin or African origins. Spitting fast lyrics in Wolof and decked in bright tees emblazoned with their name, they served up smart and heavy rap to a horde of hardcore fans.
Goormak (right) accompanied by Niaxtu spit smart and heavy rap in Wolof.
The lights dimmed and the trio S’killaz mounted the stage. An electronic beat thrummed. Band-member Charly Alves a.k.a. Chazy spun forward, aviators cocked. The group began to sing in combinations of French, Wolof, and English, with coordinated dance moves, humorous scenarios, and unstoppable energy.
The crowd joined in to chant, “Uh, it’s popping, who got it? S’killaz!” in the song “There he go,” and bumped along to “Ngeum Ngeum” (“Faith”), singing, “They don’t understand, no pain no game / If you’re feelin’ the same / Then let me see your hands up / Let me see your hands up (ooh oooh oh oh).”
S’killaz seized the stage with humorous songs and unstoppable energy, riffing off Jay-Z and Kanye while referencing Dakar pop culture.
At one point, the brother of band-member Francis Manel Bassène a.k.a. Manel hopped on stage with his soul-throated wife for an impromptu guest feature by their group I Science. Two young ladies became a part of the action in the song “Put it on my phone,” wherein S’killaz begged for a phone number from audience members of their choice (“Baaaby, you’re so fine / I might go craaazy / If you don’t give me your number (your number)”). Everyone got to join in for the call-and-response, “Gimme that–” “77!” “Put that number–” “On my phone!” referencing the “77” digits that begin most mobile numbers in Senegal.
Rapping on life in Dakar, referencing pop culture, and riffing off well-known American songs, S’killaz offered a globally appealing sound with a distinct local flavor. The group remixed Jay-Z and Kanye’s “Ni**as in Paris” to “Ni**az in DK (Dakar).” They turned the DJ Khaled/Drake-Rick Ross-Lil Wayne song “I’m On One” into their own freestyle commitment to take music seriously.
Belzo-o (right) accompanied by Micaddict served up hip hop infused with a reggae style. It was his debut show back in Dakar after finishing his studies at UKansas.
With most of their choruses in English (Manel sounds straight-up American thanks to much time spent listening to rap, jazz, and soul) and a fair amount of lyrics in French as opposed to Wolof (Ludovic Evora a.k.a. Lou spits fast rhymes en français), S’killaz was especially accessible to a non-Senegalese international audience (ahem, yours truly).
Next up, Rhapsod softened the mood with light guitar strumming and soulful tunes on life, love, and loneliness. Then Papa Belal Ndiaye a.k.a. Belzo-o “you better know” heated up the room with his sidekick Micaddict, singing hip hop songs infused with a reggae style.
Belzo-o sported hipster glasses and a gold chain, and rapped mainly in English. He’s picked up an American edge after four years studying at the University of Kansas, where he gained a considerable following through his song “Hawk Nation,” which became a Jayhawks team anthem. The Wakh’Art Invite was Belzo-o’s first show back in Senegal, and even his mother came out for the debut.
framework5 