The Odeon, a dark and high-ceilinged club, finds its home nestled in the Flats district of Cleveland. A perfect venue to see the dark malaise of beats and rhythms that make up Tricky's oeuvre.
The actual performance started on a shakey foot, with vocals set too low to be heard over the powerful background music. It soon moved into a smooth balance between hard beats, with quick, prickly lyrics from Tricky's skinny frame and the willowy, ethereal sound of his female singer, the legendary Martina. When he was not singing in whole range of songs from his five-year solo career,Tricky had his back to the audience and a cigarette against his lips.
The crowd rocked to the hard rhythm, completely captured by the energy on stage. Smoke swirled through the lights and cast a red glow on Tricky's bare chest. His musicians were glued to their instruments as they played for more than two hours without a pause. The crowd screamed its approval every time a favorite song began. Many were unknown, falling between the lines of rock, rap, hip-hop, trip-hop, trance and alternative. All had the complete focus of the audience.
During the brief, pre-concert peep into Tricky's projects and passions, he was flanked by a shy-eyed rapper called Mad Dog. Later in the concert, Tricky invited him onstage, mid-song, to do a joint performance. When Mad Dog came on stage, his vocal energy and power were evident. Although Mad Dog's mannerisms were reserved, his energy and presence were undeniable. He is also featured on Tricky's latest solo album Juxtapose.
Tricky has always shunned media attention. He has even gone so far as to hide out in New York, fairly secretly, to avoid the admiration brought on by his success. Perhaps now, however, he'll be more interested in getting the word out about his label, Durban Poison Records, and its revolutionary mission. That name will certainly be on the tongues of many if Tricky recruits young musicians with as much talent and promise as he has shown over the years. Let's just hope he comes back to Oberlin sometime soon.
Copyright © 1999, The Oberlin Review.
Volume 128, Number 4, September 24, 1999
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