Out To Lunch Festival: Ghostpoet
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Ghostpoet
The Black Box, Belfast
12th January 2012
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The hype of the awards and the critics has done its job as the much acclaimed has sold out in advance, and it’s a bunged Black Box that waits for the evening’s sole performer. Although he’s not alone, instead accompanied by a drummer, guitarist/keyboardist/multi-instrumentalist and, of course, the now ubiquitous box of tricks and technicalÌýgadgetryÌýthat accompanys every musician these day.
Before the gig actually starts the trio have a little sport like team huddle, as though gearing themselves up for the big match. Its not a common sight at gigs – usually such things take place backstage – but perhaps they need a bit of reassurance for (as we’re reminded a few times) this is their first gig of the year.
Stylistically, he draws from the traditions of hip-hop, the vocal performance recalling Saul Williams and Roots Manuva in its mix of half-sung/half-rap drawl rather than pure rhyme-spitting. However the beats are less conventional, mixing the contemporary dubstep influences of night-time urban industrial hiss and rattle with post-rock, making a much less oppressive performance than the recorded material.
This change in vibe is helped by the gregarious nature of Ghostpoet who comes across a lot warmer than the detached, isolated voice of the album. Instead he's bantering with the crowd (the usual festival mix of the curious, the middle-aged/middle-classes getting their critically approved culture, the chin-stroking musos, the fans and the kids), exhorting us to enjoy ourselves and sing along with the ‘na na na-na-na’s of ‘Survive It’.
Of course, being only one album in, there isn’t a lot of material to draw on, and it’s the more dance/dub influenced tracks like ‘Us Against Whatever Ever’, ‘Finished Ain’t I’ and closing number ‘Cash And Carry Me Ö÷²¥´óÐã’ that work best with the audience. Although ‘Liiines’ deserves special mention for it’s repetitive euphoria and post-rock wig-out ending, a contrast to the claustrophobic paranoia that comes across from the album. This appears to be the influence of the live performance as part of a band, as he bounces off his drummer and guitarist, exchanging looks and glances as the material develops into a performance from his original ideas. This may explain new track ‘Hurt Yourself’, which is almost Latin in flavour, seemingly developed on guitar and drums rather than a collection of beats on a laptop.
Either way, he’s no longer a mysterious Ghost to Belfast.
William Johnston
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