Live music review/ Lyrics Born/October 9, 2015/ New Parish
When it comes to live rap performers, audience expectations tend to be on the low side. One can probably count the list of stellar live emcees with both hands. That number might drop in half if you throw in the caveat: must be able to rock with live musicians. It may come as no surprise to diligent Bay Area hip-hop fans that Lyrics Born’s recent blowout show at the New Parish exceeded expectations. What’s eye-opening, though, is just by how much.
LB, as he’s often abbreviated, has always followed the beat of his own drummer. (Read the Oakulture Q&A here and here.) Emerging way back in the early 90s as an original member of the Solesides (later Quannum) collective, the Berkeley High/Skyline alum went from alternative hip-hop pioneer to eccentric experimentalist to funky radio hitmaker to international sensation to cagey OG veteran status in the course of, oh, almost 25 years. Mixing tongue-twisting colloquialisms and an appreciation for both quirky individuality and funky, phat grooves, he’s ripped more guest appearances and collabs than you can shake a rhythm stick at, in addition to producing a solid catalog which includes four studio albums, two Latyrx full-lengths (with Lateef the Truthspeaker), a couple of remix albums and EPs, several mix tapes, a live album, and a few compilation albums. But as deep as his recorded history is, he’s straight-up supreme when it comes to live shows with live musicians, with whom he’s been working with since the early 2000s.
LB released his latest album, Real People, a few months back, but hadn’t done an East Bay date until his rendezvous at the Parish last Friday night. Wait, it gets better. Not only had LB never previously appeared at the venue, but his special guests included members of New Orleans funksters Galactic and Bay area jazzbeaux Jazz Mafia, along with musical director (and former Whitesnake bassist) Uriah Duffy, and his Latyrx spar Lateef. If that’s not a recipe for an amazing musical evening, we don’t know what is, and the show was even better in practice than it sounds on paper, er, computer monitor or mobile screen.
Let’s just get this out front: the new album has some bangers on it, and benefits from the collaborative association with Galactic, with whom LB recorded with in New Orleans. But songs that just sounded ok on the studio disc were absolute monsters in a live context. That’s all LB, right there: if you like his studio recordings, you’ll absolutely love his live stuff.
The set list contained a blend of old and new, but newer stuff like “Chest Wide Open,” “$ir Racha,” “Rockaway” and “All Hail the Queen” never struggled to keep pace with more familiar material like “Do That There,” “Top Shelf,” or “Hott 2 Deff”, and in many instances accelerated the evening’s intensity. Another major factor in the live goodness is LB’s wife and background vocalist, Joyo Velarde. They’re just so comfortable together on stage there were no real moments of uncertainty during the 24-song set. It was more like, ‘we got this,’ throughout the entire evening. Thankfully, Joyo not only took a solo turn on “Unwind Yourself,” but also supplied the “hoo-hoo-hoo-hoo” backgrounds which take 2003’s “Bad Dreams” –one of LB’s signature tracks–into the ethereal.
LB’s confidence was such that his biggest hit, “Callin’ Out,” was rather casually tossed off during the last quarter of his set; the five-song encore included a James Brown cover, two new songs, and two fairly obscure yet sublime tunes: the 2013 Latryx single “Exclamation Point” and “Coulda Shoulda Woulda,” from 2010’s As U Were. It’s a given that the ‘Message’-esque bassline of “Lady Don’t Tekno” still causes convulsions after more than 20 years, but then the idea to lay the James Brown/Fred Wesley classic “The Payback” under the naughty yet urbane “I’m a Phreak” was unforeseen yet very welcomed.
What makes Lyrics Born so good? As was the case with the Blackalicious show at the Fillmore awhile back, he just puts on a master class in emceeing. His flows are beyond stupid fresh, and his refusal to embrace stereotypical rap cliches is always refreshing. But more to the point, besides displaying incredible technical prowess on the vocals, he adds the charismatic stage presence of a seasoned performer who is impeccable when in his element, as well as an enviable rapport with his band members which lends itself to seamless musical communication. On this evening, they appeared to be one of the best bands on the planet, locked tight into seemingly endless grooves which somehow didn’t lack for elasticity.