I’m not Guy Talese nor has anyone notable caught a cold, but if we take into account that Razzmatazz’s departure at midnight last Tuesday the 6th exuded an Antarctic atmosphere – always compared to the hour and a half of musical pyrotechnics that occurred within the local – the one who gets the snot is the chronicler, me, with the eardrums deserting their functions and the whistle of the saxophone impregnated to the tonsil, even wondering how the hell he did it.
The phenomenon” Blessings It’s no secret. The brilliant Jamaican multi-instrumentalist’s art has been appreciated, captured and reviewed ad nauseam, through videos or collaborations, circulating on networks and live shows, thus immortalizing his saxophone solos, his sunglasses and a charisma that scratches diamonds and evaporates lead. Even with those, and believing that he enjoyed immunity after years of watching and listening to him behind the screen, I have come to the conclusion that no one is prepared for the avalanche of seduction and talent that comes with seeing good old Masego live.
This goes from solos and keyboards on the floor, from cannabis smoke and roses flying from the stage, with the fans howling his lyrics and the upper catwalks of Room 1 of Razzmatazz with the appearance of a beam full of workers in the 30s: tight , with feet dangling and expectant. Being up there, comfortable to take notes and from a grateful dive, I felt nerves among the attendees, segregated into couples and solitary sybarites. The rumination, composed of kisses and adjectives as pompous as “synesthetic” or “versatile,” only foreshadowed the breaking latest news of an announced great concert.
Around 8:05 p.m. the stage emitted a strong bluish light and the people went crazy; From the darkness a slender female figure emerged, Tanerellewho was the singer who opened for Blessings and it premiered before the Barcelona public. Dressed in a black diamond jumpsuit and possessing sidereal Afro hair, more typical of Pam Grier’s Foxy Brown than of a budding singer, she made the starters and charged the room with suggestion and eroticism for almost an hour, through a powerful range vocal content and a cadence in his movements that left the space bewitched.
Not even 10 minutes passed between Tanérelle’s departure and the setting up of the stage, where, despite the screens, lights and palm trees, his legendary saxophone was still not visible. “What do you risk going out with him hanging from your neck?” I heard there. And, indeed, this is how he came out: dressed in shades of khakis, military pants, a cap and sunglasses, as well as some shiny green Air Jordans that made the stage shake, with the happy saxophone hanging from his neck flashing in the light of the concert.
He stood motionless, and, of course, with that imposing six feet tall and a pose that radiated the presence of a titan, people cheered him like a messiah. He mentioned “Barcelona” to the ensuing fanatic hysteria, but he didn’t let himself be loved too much and started like a tornado: he sang “Queen Tings”, “Old Lady” and then he introduced the musicians who would accompany him in the concert, two other multi-instrumentalists surrounded by infinite keyboards and a cloud of smoke that was already performing their own music.
Beyond the tracklist of the concert, which ranged between classics and some more recent songs, the event stood out for being the “Masego Show”. In a show of taking over the stage, the Jamaican singer made moonwalks everywhere, he threw bouquets while singing his classic “Mystery Lady” in addition to putting on an apron, pretending to be a chef, because he felt like cookin’; She sat before the audience, appealing to them all the time; She threw fake bills while singing Nayhoo, in addition to dancing suggestively on the microphone stand and singing happy birthday to a fan who, as you can imagine, was dissociated from the space out of emotion.
The end was when the artist, at the climax of the event, brought on stage a street musician that he had met in Barcelona that same morning. Bewitched by his Gibson Les Paul guitar, Blessings He gave him the spotlight to play the chords of the legendary “Tadow,” the singer’s canonical classic, for the enjoyment of the public. Despite the visible nerves of a boy who already had an anecdote for family dinners, he won over the audience and they chanted for him.
The concert, on the other hand, did not cease to surprise. Between the songs he hummed and briefly covered classics such as “Crazy” by Gnarls Barkley or “Toms Diner” by Suzanne Vega, with a rhythm and flow with a clear designation of origin. At one point, the lights turned into darkness and the main screen focused on a top-down shot of the drums, so that the performer himself could give the audience an extensive solo that was closer to a precise atomic clock than to that played by an instrument. Already at the end, and still conducting the solo, Blessings He reappeared dressed in the Jamaican flag and a crown above the microphone, to take off his glasses for the first time after almost an hour and a half of the show. Only someone with confidence up to the troposphere can proclaim himself king, but only someone like Masego can unanimously convince everyone that he is right.
The icing on the cake came when he returned to rescue “Tadow”, this time starring his very famous saxophone solo, and thus saying goodbye to an audience that, despite being exhausted, gave the feeling that they could spend the entire night in that bubble that was Razzmatazz last Tuesday. “Give him any instrument and he will know how to play it” a girl next to me told me. Although that sentence is improbable, she said it with the conviction of what she believes and the security of what she knows. And she would bet anything that the more than 2,000 people who ended up filling the narrow Barcelona room would have sworn the same, after seeing how Blessings He was crowned above noise and, at least also for the person writing these lines, time.