Music / afrobeat
Review: Kin’Gongolo Kiniata/King Ayisoba, Jam Jar – ‘The dance energy never flagged’
With Storm Bert starting to kick off in Bristol the reliably warm glow of the Jam Jar’s decor was a welcome retreat made doubly welcome by two uplifting portions of African musical joy.
After those grey streets the combination of the venue’s technicolour stage and the ebullience of Kin’Gongola Kiniata and King Ayisoba transported an enthusiastic crowd but left us ill-prepared for the wet misery awaiting us on the journey home.
King Ayisoba
Hailing from the Frafra culture of Northern Ghana King Ayisoba announced himself in song: “We are Modern Ghanaians, my name is Ayisoba and I come from Bolgatanga City”.
is needed now More than ever
The ‘we’ was more royal because while his recorded music is quite high production, with a large band, backing singers and the occasional rapper, this was a solo performance.
Armed only with his two-stringed kologo, big flat flip-flops and his remarkable collection of voices this acoustic set-up was to prove more than enough to create a happy party within a few minutes.
The key ingredient, of course, was the man’s irrepressible charisma but that was the icing on the cake of some remorselessly catchy kologo rhythms and melodies.
KIng Ayisoba
The numbers ranged from the Fela-esque politics of Wicked Leaders to a charmingly absurd number about caring for goats, complete with a bleat-along chorus that we happily provided.
There was an equally successful stamp-along song, too, and outbreaks of Afro-line dancing. “Are you feeling happy?” he asked, several times, and the answer was always obvious.
Kin’Gongolo Kiniate
Something about life in DRC capital Kinshasa seems to have inspired a subculture of homemade instruments – think Konono No 1, Staff Benda Bilili and KOKOKO!
Electro-acoustic fivesome Kin’Gongolo Kiniata epitomised that ethic, using old washing up liquid bottles, tin cans and – yes! – jam jars alongside a conventional drum kit, a homemade single string guitar and a sawn off two-string bass guitar/banjo.
Underneath the chattering percussion, however, the music had a distinctively European feel with four-to-the-floor grooves, solid bass riffs and neat repetitive guitar licks.
Kin’Gongolo Kiniate
The four front men gave it their all, with high energy vocals and flamboyant stage presence, and the guitarist’s deployment of a single string was awesomely eloquent, but the star of the show was concealed behind that ebullient front line.
The tastily named drummer Mille Baguettes aka Jonas Kipanga Bende was a powerhouse, brilliantly disciplined and yet creative, with a strong vocal presence on several numbers.
It created a brilliant Afro-Euro fusion as elements of Afrobeat polyrhythms enriched the basic House template and the dance energy in the room never flagged as a result.
We may not have understood their Lingala lyrics but the joyful intent was always clear. When they too asked if we were happy – well. you can guess what was the resounding answer.
All images: Tony Benjamin
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