Opening to double handclaps, a spare hip-hop beat and a middle- eastern twang, Bulgarian born Denitza Torodrove, aka DENA’s, third single “Guest List” brings to mind MIA when she was fresh out of art school on her 2003 debut “Galang”. Also sharing the Grammy nominee’s anarchic political stance, DENA twists ‘everyone’s trying to get their name on the guest list’ to a double meaning; her music will be played in clubs where status can be everything but she is also directly referring to her native country’s immigration policies. Unlike MIA, DENA’s delivery is more relaxed and measured, eccentric swoops in her vocal delivery maybe but she’s no kooky novelty MC either.
The track builds from its initial bare bones and features some lovely vibes and jagged, buzzing synth shards as it finds its alt-hip-hop rap feet. It is somewhat crude sounding and doesn’t come with the sonic bells and whistles we’ve come to expect with some American artists’ early releases, such is the level of sophistication coming through, but this is welcome in an overly producer-dominated genre.
DENA is a rare find indeed. Female Bulgarian rap artists aren’t dominating anywhere at present and she has enough cultural blends and savvy not to alienate a more far reaching audience ( her work is so far performed in English) with a clear understanding of how to captivate just the kind of audience who will embrace her (hipster alert!). Her debut album is out next year and my ears are ready and waiting.
I’ve seen a lot of gigs in London pubs this year; in basements, back rooms and upstairs rooms. I’ve seen indie bands, electronic bands and Americana artists, but I haven’t been to a gig that was as much fun as Dean Owens supported by Drumfire Records latest signing, Ags Connolly, at The Cabbage Patch in Twickenham. If you pay any attention at all to MusicRiot (or even Ricky Ross or Bob Harris), you’ll know that we’re all big Dean Owens fans; he’s always a great live performer and The Cabbage Patch is a lovely venue for an intimate acoustic performance.
Ags Connolly’s opening set featured songs from his upcoming country and Americana-tinged debut album (produced by Dean Owens) on Drumfire Records and was well received by the enthusiastic and knowledgeable audience, setting things up very nicely for the headline act. I’ve seen arena gigs and festivals this year, but I haven’t experienced an atmosphere as warm as this one.
Dean’s current mini tour is still under the “Cash Back” banner and is partly in support of his current single from “Cash Back”, “I Still Miss Someone” but, from the beginning of the set, it’s obvious that this is about giving the audience what they want, rather than sticking to a rigid set list. What we actually get is a mix of songs from Dean’s three latest albums, “Cash Back”, “New York Hummingbird” and “Whisky Hearts” (and that’s a pretty impressive set of songs to choose from) and a few surprises. Dean’s a very relaxed and accomplished performer, full of self-deprecatory chat and dry Scottish humour between songs. From the start of the set Dean lets the audience know that requests are very welcome and the audience can play their part in the performance.
At various times during the set we hear “Whisky Hearts”, “Man from Leith” and “Raining in Glasgow” from “Whisky Hearts”, “Lost Time”, “Little Baby Fireworks” and “Desert Star” from “New York Hummingbird” and “I Still Miss Someone”, “Delia’s Gone”, “Cocaine Carolina” and the self-penned “The Night Johnny Cash played San Quentin” from “Cash Back”. They’re all stripped-down versions relying on guitar, vocal, harmonica, whistling and a few other vocal tricks, but it’s a mark of the quality of the songwriting that they all work perfectly with the minimalist approach.
There’s also an interesting selection of other people’s songs including “Teenage Kicks” (which Dean played live and acoustic during an interview on an Australian radio station just as the news of John Peel’s untimely death broke), Springsteen’s “I’m on Fire” and the totally unexpected “Heart of Glass” (yes, that “Heart of Glass”). The evening had everything you could ask for from a gig, great songs, great performances (from Ags and Dean) and an audience that actually wanted to see and hear the performers. There’s a lot that’s wrong with the live scene in London at the moment (pay-to-play and play for exposure, for example) but when you see a gig like this, you think there just might be some hope. When everyone plays their part (the performers, the promoters, the venue and the audience) as they did at The Cabbage Patch it can be a truly uplifting experience. Thanks everyone.
