It was “mos definitely” a show to be remembered. Teatro Caupolicán has a ticket capacity of about 4500 and on Sunday it seemed to be at its maximum.
While people were streaming in bit by bit, Conchali’s (a peripheral area of Santiago de Chile) own Portavoz opened. A respected producer and rapper in the underground scene of Santiago, his lyrics center around political issues and social problems. His dynamic flow and complex rhymes manifest themselves in songs like Escribo Rap con R de Revolución. Alongside Funky Flu and DJ Cidtronic, with whom he forms part of the group Salvaje Decibel, he fired up the crowd, above all with the song El otro Chile, which paints a very realistic, vivid and critical picture of the country. Hordatoj, another artist from Santiago, who collaborates with Habitación del Pánico, was also a welcome guest.
Next, the audience was presented with international Spanish rap from Seville, Spain. ToteKing and Shotta, two Andalusian brothers, heated things up with tracks from their 2012 album Héroe. “Naaah Naaah Naaah” and “Pura Mierda” went down well with everyone, as did “Felicidad”.
The suspense just before Mos Def honoured Santiago with his presence on stage for the first time was truly tangible and the cheering crowd full of anticipation, which is usually the greatest joy. This time, however, the greatest joy was to see hip hop legend Mos Def fill the whole hall with enthusiasm by performing and living his music.
A very charismatic and laid-back personality, Bey instantly connected with everyone greeting his Chilean fans with his mellow and catchy Spanish song “No hay nada más” from his newest album The Ecstatic, which was highly appreciated.
“Santiago, we’re going to have some fun tonight!” Bey announced. And so it was.
It is difficult to decide which was most ejoyable: the vigor with which he danced on stage getting lost in the music, his skilfully performed freestyle which is held in high esteem, his powerful voice, his contagious smile and sincerity or the moment when he tried to calm the high-spirited audience down: “Relax! And now breathe in … and breathe out!” joining their laughter as he did so.
It was just so hard for the spectators to restrain themselves when some of his hit songs swept through the room. The atmosphere during the sounds of “Miss Fat Booty”, “Mathematics” (both from his greatly successful debut album Black on Both sides) and “Supermagic” (The Ecstatic) was overwhelming. One of his new tunes was in no way inferior to his previous work. The songs “Boogieman” (The New Dager) and “Fear not of Man” were on the playlist as well.
A nice choice was to show “Wild Style” (1983), which is regarded as the first hip-hop motion picture. It created a genuine ambiance of the early days and so everything hip-hop is about, the DJing, the mcing, the graffiti and the breaking, was present throughout the show, reminding everyone where it all began and how hip-hop was shaped.
It was like a dream. And Bey used exactly these words to commemorate “the good kid Christopher” performing Christopher George Latore Wallace’s (aka Notorious B.I.G.) “Juicy”. The fans were thrilled.
All too soon and surprisingly so, Mos Def’s single “I’m leaving” was to be heard. Everyone had been so caught up in the show that all sense of time had been lost. To send the crowd home on good vibrations, Mos Def danced to in his opinion one of the best songs in the world: Wildlife by Tony Williams Lifetime, a very soulful jazz rock fusion instrumental tune.
To sum it all up: it was a spectacular night with outstanding artists and an enthusiastic audience, who all shared their passion for great hip-hop with one another.