Outkast
Continued from Page 8 “
kinky halo of hair, Melky floored the house with her
rich vocal talent. Her sound, a mix of Lauryn Hill,
jazz and gospel influences, particularly shone
through in “I got a love jones for you,” originally re
leased on the “love jones” movie soundtrack.
The outstanding performance from the Black Eyed
Peas was an exceptional highlight. The seven-piece
band from Los Angeles provided a tight set complete
with the “four elements of hip-hop: graffiti, break
dancing, freestyling and instrumentation.” Their ef
fective blend of jazz instruments and Df turntables,
combined with earnest lyrics and skillful breakdanc
ing, elevated crowd energy to a new level.
A technical “misunderstanding” translated into a
one-hour gap between the Peas and Outkast, which
definitely stalled crowd morale. Luckily, freestyling
audience members entertained each other until Out
kast appeared and reanimated the concert.
Touring on the heels of their new album, Outkast
electrified the audience with onstage charisma and
musical integrity. Atlanta natives Andre and Big Boi
deftly combined the best elements from all three al
bums, including “Southemplayalisticadillacmuzik,”
“ATliens,” and their latest release, “Aquemini."
Songs such as “ATliens,” “Two Dope Boys (In a
Cadillac),” “Mamacita” and “Rosa Parks” produced
exhilarating audience feedback in the form of raised
hands and bobbing heads.
The bass shook the floor as the boys went to work
with “Elevators (Me & You)” and “SpottieOt
tieDopaliscious. ” “Wheelz of Steel” featured complex
turntable maneuvers, while “Y’all Scared” revealed
the tongue-twisting talents of guest stars T-Mo, Big
Gipp and Khujo. Poignant lyrics addressed topics of
racism and classism in American society, hip-hop
commercialism and various feminist issues.
Courtesy art
The recent Portland concert with Outkast featured tracks from the
group's new album, Aquemini.’
Overall sound quality proved to be the lone down
fall of the concert. Unstable treble tones and squeak
ing microphones detracted from listener ease and
unintentional distortion of the Outkast portion
lacked technical polish.
But talent, tight tunes and the celebration of heavy
bass certainly overshadowed minor mechanical
problems.
Ringing ears or not, the audience tolerated techni
cal difficulties in exchange for a priceless hip-hop
performance.
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