To the Hammersmith Palais last night to hear Matisyahu, Hasidic reggae artist. I'd heard both Live at Stubb's (Dance Music has a short review) and Youth: his voice is terrific, the rhythms (with the forward guitar sound) immediately engaging. Pitchfork produced a snotty review of the latter; the Guardian had a brief but appreciative mention of it.
Notoriously, last December Sam Endicott said:
Matisyahu - just your average Hasidic reggae rapper. Yeah, you heard
me. This guy is a straight-up Hasidic Jew from New York who busts mad
flow over dancehall and reggae beats. This is the future of music.
Last Sunday's Observer had a lengthy interview with Matisyahu, and ten days before that there was this interview in the Guardian. PopMatters reviewed an Iowa City gig (January 2005):
He
was dressed in the conventional Hasidic style. He wore a black fedora,
dark suit and a white shirt whose tail stuck out revealing his tzitzits
(fringes of his prayer shawl) underneath.
Matisyahu's
vocal style resembled chanting more than conventional singing. He began
each song in Hebrew, and then repeated the words in English. He
introduced many of the songs as "written as a song of praise by King
David," but he rarely sang an entire psalm. Instead he would just sing
the opening four or five lines, and frequently restate short phrases
and sounds as if they were a holy mantra.
There
was a great similarity between Matisyahu's utterances and typical
reggae lyrics. For example, when the Hasid began singing "Chop 'em
down, chop 'em down, chop 'em down" over and over again, one could not
help but be reminded of Bob Marley's classic "Small Axe". Other songs
repeated lines like "Raise me up from the ground / I've been down too
long", and "I will fight with all of my soul / all of my heart / all of
my might" both of which are reminiscent of common reggae tunes. This is
not accidental, as reggae uses the same Old Testament sources as
lyrical inspiration.
Perhaps
the strangest resemblance, which seems somewhat coincidental, has to do
with both the Jamaican and Yiddish patois' use of the exclamation "oy".
Matisyahu would croon "oy, oy, oy" in three/four rhythm between the
verses -- something reggae artists commonly do, but in a slightly
different way, more like "oy, yo, oy, yo" (think of Marley's classic
"Buffalo Soldiers").
Matisyahu
also preached to the crowd. At one point he got down in a catcher's
crouch and started to sermonize. "According to Hasidic philosophy,
every person, every being, even every inanimate object has a soul, an
inner rhythm, a life force," he said. "This is the part of Hashem (the
Lord) that makes us all one, a unity, and brings us light. Our job is
to illuminate the darkness with our light. It is our true mission."
The jury's still out: 'The Crown Heights pioneer of Hasidic reggae is certainly bringing something new to the table' (Ben Thompson); 'Matisyahu earns respect as more than just a novelty act' (Steve Yates); 'it's treacle jammy stuff; with
all those natty drum fills, MOR progressions and lockstep dub grooves, the
good will goes to shit' (Sean Fennessey); 'it comes honey-sweetened and easy to swallow' (Thomas H Green).
And then there's this:
Earlier this year, Madonna sent word that she'd like to invite him to
her Seder dinner at Passover. However, Madonna, by virtue of being
herself, goes against Matisyahu's beliefs: according to Hasidic
Judaism, women are not allowed to sing in public. ('Um, yeah,' he
confirms uncomfortably, 'it's something that we wouldn't really
support.') He didn't go to the Seder, needless to say, and seems
embarrassed when the subject is mentioned.
Last night was packed. Never before have I seen such a Jewish presence at a gig, and the floor in the main knew the songs word-perfect — this man already has a cult following. The evening rocked and the final number, 'King Without a Crown' (lyrics here), was a tour de force that roused the audience to new heights. The 2006 tour has its own Flickr road journal. My photos are here.
Technorati tags: Matisyahu, gigs
