Kes the Band, a well-loved soca band from Trinidad & Tobago premiered Tuesday on the Rocks at the Coney Island Ford Amphitheatre in New York City on June 11, 2019 as part of the SummerStage series. Although not well advertised the person-to-person buzz about the concert was significant, probably due to the band's widespread following and the fact that the concert was free.
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| Image from SumerStage on the Rocks 2019 Photo credit: Kes The Band's Facebook Page by Theworldisrich |
Kees Dieffenthaler as an entertainer is known for his strong, clear vocals, warm and charismatic stage persona and energetic performancel delivery. His fans, a loyal bunch came ready to ‘get on’ with him from the audience, as is emblematic of Caribbean carnival ‘fete’ culture. From the boardwalk outside the venue, to the wait for the show-start, the temporary community formed for the event begins to enact itself through the shared love for Soca but also for the opportunity that it begets to its followers to perform ‘themselves’. As the band enters stage and the magic of the show becomes more apparent, the spirited swell of the show’s patron community is like a wave gearing up to peak and then descend in all its glory. Starting simply with the musicians playing the melody of the group’s most popular song from Trinidad Carnival 2019, ‘Savannah Grass’, the audience now on their feet, is already transported to an even higher plane. Kees’ entrance to stage like a lightning bolt on what feels like the most power punching part of the song, strikes the space to a glow.
Now this moment is the culmination of a few things. One being the popularity of the song itself having dominated parties and the airwaves locally since January of 2019. Two, many in the crowd were possible Carnival-goers and have their own vivid cinematic memories that are recalled through the live performance. Three, it reflects the emotional investment and anticipation of those experiencing the song live for the first time. From the general sentiment after the show, it did not disappoint. The band’s set continued for close to two hours - a well selected walk through their varied repertoire from the high energy Soca, to more groovy hits, to a considerable section being devoted to reggae and dancehall. Renditions of ‘Wotless’, ‘Where yuh From’ and ‘Hello’ veritable song-legends of the last decade met reggae covers of ‘Driver’ and ‘Murder She Wrote’.
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| Photo of me taken by André M. Zachery outside the event. |
Although I attended the event with a good friend and my husband (neither of whom is West Indian), I found myself in consistent dialogue with the stage and a few others around me who could share in the story of the songs played. Thankfully they (the former) understand! As a member of the audience, and a fan, it felt almost impossible to be quite so engaged throughout: the peppering of choreographed movement on stage - let’s not even talk about the infamous ‘Kes Jumps!’, the witty repartée with the audience and the chemistry of the musicians on stage, all amplified the magic of the music. Every ‘one drop’, and ‘small wine’ led us closer together.
As the show was coming to a close, Kees dramatically exits, leaving the band on stage and we the audience are completely satisfied acknowledging the sustained outpouring we have received. Surprisingly to us, he returns with the opening number. To say this was a gift is an understatement. When the show finally ended the wave of energy had indeed crashed and we the audience members, were happily slinking to the shores of our cars, subways and homes.
Yours in Arts and Feelings,
Candace Thompson-Zachery
Yours in Arts and Feelings,
Candace Thompson-Zachery
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Disclaimer - These words are my own and are written as a pensive, analytical, artist and recent full-time arts administrator, who is prone to do (too) many things but is attempting to stay connected to said artistic practice and is lucky to be living the life she is.
