Canberra’s own dynamic ensemble, Casual Projects, surely got the party started
and it was obvious they were having a blast, up on the ANU (Australian National
University) Bar stage. With eight guys crowding the stage, they each played a crucial part in
the performance, creating their own distinct sound while giving each other all the space to
let their talents shine. There was no lack of instruments, as guitars, bass, percussion,
drums, turn tables, sax and horn filled every frequency, along with vocals that varied from
hip-hop-rap to melodic harmonies.
The crowd seemed to be slightly confused when Natty Sistren Sound played their
first set (later to play again after N’fa), as it seemed unclear if they were performing or just
filling up the gap between artists by playing some awesome reggae and hip hop music. The
people on the dance-floor seemed unsure whether they had permission to dance or should
instead stand and wait till the next band was set up. Or perhaps the crowd was unfamiliar
with dancing to reggae music, even though Sistren MC sang along to the turntable-
beats on occasions, and was doing her best at some funky dance moves on stage. Perhaps
she should have encouraged more audience participation by teaching the crowd some
moves to get them more involved with the music.
The crowd seemed almost relieved when MC N’fa began. Former front-man of
1200 Techniques had no trouble in getting the crowd to sing along to some classic
rap lines that they included into some of their choruses. He made sure everyone’s toes
were tapping, backed up with a drumkit enforcing the loops and sounds from the
turntables. N’fa earned complete respect from the crowd when he free-styled
improvised lyrics and rhymes, a-Capella on the spot.
From one moment to the next, the stage grew dark, it got more and more crowded as
everyone drew closer to the stage. The smell of sweat filled the air as it was finally time
for Blue King Brown to break the mood of anticipation. The lights faded up on
drummer Peter Wilkins’ beats and the crowd went wild. Percussionist Salvador
Persico was next to join him and the rest of the band soon followed suit. Lead singer
Natalie Pa’apa’a, made an impressive start on the megaphone while keys and
backing vocals fell into place, moulding a sweet new-modern reggae sound. It was almost as
if the whole building itself was grooving to their entrancing beats and inspiring lyrics.
Blue King Brown provided what they do best, transporting listeners into another
world simular to an outdoor festival that could have been set in the 60s, as they recreated
the vibe, passion and feeling of the great reggae kings, yet made their intention and
message applicable to the issues of the times of today. They showed off amazing technical
musicianship in epic instrumental solos, perhaps a bit too much for some who seemed
gasping for air while dancing and trying to keep up with one crazy percussionist who went
wild with an over-sized shaker. Natalie brought it all together vocally, with her husky and
sultry reggae voice, while also playing electric guitar and for one song bringing out her
djembe drum. As if that wasn’t enough, she truly got everyone enthusiastic when she
invoked audience participation and gave the crowd their own eight bars to scream, cheer,
clap or make some form of noise. The highlight of the evening was one of the back-up
singers performance of “Good, Good Loving” by Bob Marly. The crowd fell in
love and roared in awe, cheering and applauding frantically.
