Start lining up! As officially announced via Billie Joe earlier tonight, the great Pinhead Gunpowder returns to Gilman tomorrow night to play a benefit for Anandi Wonder, an old friend from Santa Rosa, longtime MRR shitworker and a wonderful person who’s been dealing with medical bills related to breast cancer.
Pinhead Gunpowder, Grass Widow and more play Friday, Feb. 12 at 924 Gilman in Berkeley. Starts at 7:30, $7-$10. All ages. Official confirmation here.
The last time Pinhead Gunpowder played Gilman, the first people got in line at 7:30am, and that was with the show being slightly hush-hush. This time around? There’s probably people camped out on the sidewalk right now.
UPDATE: Gilman is offering a complete free download of the show here.
A favorite pastime firmly rooted in the modern day has become looking over people’s shoulders at shows while they compose texts-in-progress. At last night’s Mos Def show in San Francisco, dude next to me gets another one of many Facebook updates throughout the night on his iPhone: “So-and-So commented on your status: ‘You’re updating your status more than you’re watching the show.’”
His response, thumbs twitching with Mos Def less than 10 feet away: “I’m pissed and he’s boring.”
Indeed, the crowd last night was subdued to Ritalin-like extremes while Mos Def pulled almost exclusively from his new record, The Ecstatic. And in a way, that album’s version of Hip Hop 2.0 isn’t entirely conducive to losing your shit. Like other off-kilter artists—Georgia Anne Mudrow, Shafiq Husayn, Declaime, Erykah Badu’s recent material—Mos Def is riding a weird phase where driving boom-bap beats have given way to implied rhythm. At one point last night he told people to stop clapping, which says a lot about where he’s at. He also stopped the show early on to ask the sound man for “some of that psychedelic sound” on his red bullet mic. The relatively low volume of the Independent’s sound system magnified it: this was not music for getting down to.
And people weren’t having it. Requests for “Definition,” “Respiration” and “Ms. Fat Booty” were met by Mos Def with a shit-I’ve-heard-this-so-many-time look and a schooling. “Stop doing that. That never works,” he said. “No one ever does the song you yell for. I create the magic of rock. You enjoy it.”
What people got instead was, to my mind, a really good look at an artist who’s trying, despite his fans’ reluctance, to stretch hip-hop into unchartered territory. It’s not just jazz and it’s not just rock. It’s a weird world of Mos Def’s own making, and which even he might not be comfortable in just yet. But he has his enablers, especially in the form of Jay Electronica, who was billed as an opener but essentially co-headlined. Jay’s famous for releasing 15 minute-long songs with no drums whatsoever and bursting lyrical over looped samples from Eternal Sunshine of the Spotless Mind. He has no official album out, just internet mixtapes and a huge buzz.
So Jay Electronica came out and killed—lots of a capella, lots of drumless samples—and for a while there Mos Def spent a good deal of time showering praise on Electronica (“You’re a genius, man”) and criticism on a heckler who kept shouting for “Exhibit B.” (“There is no Exhibit B! Exhibit C is Exhibit B! You’re shouting for something that doesn’t exist!..” ad infinitum.) Jay’s highlight was his one-two of “Exhibit A” and “Exhibit C,” and when he left the stage I counted four people around me leaving the show.
At the end of the set, Mos Def finally announced “Okay. And now… for the classics.” But the plural was a cruel tease. “Umi Says,” the most Ecstatic-like track off Black on Both Sides, closed the show. There was a lot of head-scratching out on the sidewalk, but I left feeling like at least someone is trying something new. And I say that as a fan who sold back his copy of The Ecstatic after a week.
Also—and I feel bad mentioning this at the end—the night was a benefit for Haiti, and organizers didn’t skimp on the pressing need for help. Pierre Labosierre of the Haiti Action Committee and Walter Riley of the Haiti Emergency Relief Fund both spoke very, very eloquently about the history of Haiti and the truth about the situation on the ground. Freestyle whiz Supernatural did his usual amazing act while dropping “Liberation,” “Unity” and “Hope” into his “Three Words” routine. Mos Def talked about how Haiti’s independence represented the first uprising against slavery in history, and “When they’re suffering, it’s not just Haiti that’s suffering. It’s… it’s…”
“Freedom!” someone yelled.
“Right! Freedom. It’s freedom that’s suffering.”
(“Latinos!” yelled the Exhibit B guy. “I’m not sure what that has to do with what we’re talking about,” Mos Def replied dryly, “but right on.”)
So for real, whatever you think about his new album, or the show, or his direction, you’ve got to admit that the Haiti aspect of the night was a success. At $35 a head I’m sure it sent a lot of much-needed help, plus it did what a benefit should do, by both educating and entertaining the people. That is, if you were actually paying attention and not composing useless passive-aggressive tweets about the drunk girl next to you who kept hitting you with her purse.