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Review: Thundercat, Bristol Beacon – ‘ ‘A remarkable technical prowess’
Thundercat is a name that needs minimal introduction.
From working with the likes of Kendrick Lamar, Erykah Badu, Kamasi Washington and the late Mac Miller to winning a Grammy for his album It Is What It Is, the bassist’s musical prowess has reverberated throughout the industry, solidifying his position as one of this generation’s standout talents.
Stephen Lee Bruner’s – AKA Thundercat — music is a testament to his unparalleled skill in crafting irresistibly groovy basslines and his fearless approach to musical experimentation.
is needed now More than ever
With each track, he showcases a remarkable technical prowess and a captivating yet distinctive sound that has certainly helped bring jazz and funk back into the mainstream, making the genres ‘cool’ once again.
Now, when I first found out that Thundercat would be bringing his tour to Bristol I must admit I was a little shocked.
That’s not to say Bristol’s music scene isn’t top-tier or that the world-class Bristol Beacon is beneath the L.A.-born bassist, I would’ve just guessed that an artist of his size would head straight for London and not much else – maybe Manchester or Glasgow at a push. Thankfully this was not the case.
Perhaps, with this in mind, it is of no surprise that the Grammy-winning artist would be performing to a sold-out crowd on the Bristol leg of his tour.
With the Bristol Beacon’s hall bulged at capacity, a large banner of a cat looked on from behind the stage, mouth beaming a mighty roar (or meow) and fierce fangs bared.
In anticipation of Bruner’s appearance, the lights would dim, leaving only two large red beams from the cat’s eyes to illuminate the endarkened room.
Preceded by a drummer and keyboardist, Thundercat would emerge, delving immediately into a silky smooth rendition of Lost in Space / Great Scott / 22-26 followed by Interstellar Love.
What became immediately clear was to expect the unexpected. Diverting from the studio recordings, Bruner would often skilfully but suddenly descend into a jam, ditching the familiar for the experimental as he welcomes the crowd into his world of improvisation.
The L.A.-based artist would create a rich tapestry of sound as he plucks almost manically at his six-string bass, demonstrating technical melodies that push the boundaries of what one would think is possible on the instrument.
While this was to the bemusement of certain sections of the crowd, who were perhaps expecting the more chilled vibe exhibited from his studio albums, it was clear that we were truly watching a master at work.
Alongside his undeniable musical talent, part of what makes Bruner so likeable is his eccentric yet bubbly personality. As he weaved through his glowing catalogue, the artist would regularly interject to tell a story or interact with the crowd.
Most notably, preceding his song Tokyo, Bruner would go on a five-minute tangent discussing one of his favourite things in life: anime.
I’d be lying if I said I had any idea what he was talking about, but clearly, his passion was shared with sporadic sections of the crowd delivering a rousing response when questioned on whether they prefer Goku or Vegeta from Dragon Ball Z.
Anime monologue over, Bruner would transition suddenly into Tokyo a fast-paced yet funky track about the musician’s love for the Japanese capital, his antics whilst visiting and, of course, anime.
As the track hit its second verse, Bruner would playfully interrupt to comment (and apologise) for some of the more questionable lyrics (I’ll let you Google it) found in the song.
“This was 7 years ago don’t get mad at me”, “I would never say that shit now” he laughingly declares in between each line as the song progresses towards its completion.
Following on, Bruner would let his music do the talking, gliding effortlessly through fan favourites such as the light-hearted Dragonball Durag and the flawless Black Qualls.
Thundercat is responsible for one of modern hip-hop’s funkiest basslines – at least that’s what I think. Mac Miller’s What’s the Use?, on which Bruner plays the bass, can only be described as infectiously groovy and is regularly lauded as a standout on Miller’s critically acclaimed album Swimming.
Paying tribute to his close friend, who sadly passed shortly after the album’s release, Bruner performed the track’s bassline to the Bristol crowd who erupted in applause following its completion.
As the set nears its conclusion, it became apparent that Bruner had left the big hitters until late, ending with a showstopping three-track run.
The bassist would go on to perform arguably his two most popular tracks; Funny Thing and Them Changes to raucous reaction from the audience.
The studio recordings of the tracks are great enough themselves, but when performed live they reach a whole new echelon of excellence.
Thundercat would then finish his new track No More Lies, a synth-infused summery banger that features none other than Tame Impala.
While the performance itself was immaculate, I do have to somewhat question this decision.
The final track is supposed to be the big one, the knockout blow, the grand finale that sends the fans out into the night on a high. So why finish with a track in which the featured artist – Tame Impala – plays such a crucial role?
It even sounds overwhelmingly like a Tame Impala track with the Australian multi-instrumentalist clearly possessing a direct influence over the song’s production.
Look, I lack even an ounce of the talent of Thundercat and am in no way downplaying his performance of the song, but in many ways, it felt like something was missing without Tame Impala himself on the track.
That being said, you’d be hard-pressed to find someone who wasn’t in awe of the talent on display during the show.
If you like silky basslines, electrifying improvisation and anime, get yourself to a Thundercat show as soon as possible.
Main photo: Josh Templeman
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