Gig review/ Demetria Taylor @ NCPA Soulful Blues

BY NARENDRA KUSNUR

Artiste: Demetria Taylor

Event: NCPA Soulful Blues 

Genre: Blues 

Details: Tata Theatre, March 16

Rating: **** 1/2

Those who attended British star Ed Sheeran's show at the Mahalakshmi Race Course on Saturday were raving about it, even though the terrible traffic made many attendees miss half of it. A much smaller chunk - probably just 1.2 per cent of Ed's estimated 50,000 turnout - would have no regrets.

What they saw at the Tata Theatre at the same time was something unbelievable, as Chicago blues singer Demetria Taylor provided the kind of entertainment that kept people on their toes. As far as Mumbai auditorium concerts go, very few shows have perhaps matched up in terms of sheer energy and crowd interactivity. At the same venue, one can only think of gigs by African singer Angelique Kidjo and Brit sensation Jacob Collier. But they had their subtle and slower moments, whereas this one was an out-and-out party.

Taylor was playing on the opening day of the NCPA Soulful Blues event. It was the festival's second edition, and the mix was unlike last year's, which tilted more towards soul and rhythm n' blues. This evening's performer, Terrie Odabi, is active on the San Francisco blues scene. 

The 51-year-old Taylor, as host Brian Tellis said, has blues in her DNA. Her father Eddie Taylor was an accomplished guitarist who played with the likes of Jimmy Reed. Her brothers are blues musicians and her mother Vera has been an intermittent singer. "The blues is in my heart, the blues is in my soul, the blues is everything for me," she announced.

Yet, it may not have been the purist's idea of the blues. While a large part of her set was a mix of known numbers, her father's compositions and some of her originals, many tracks were intended primarily to make the audience have a good time. One could sense the traditionalists smirked at Taylor for playing to the gallery, maybe overdoing the 'showwomanship', but that's what set the concert apart. Therein lay the charm. The majority were having a blast, and despite two lengthy sets, still wanted more. Many had reached during the interval after being stranded in the Ed Sheeran traffic, and wouldn't mind another few songs. The night should have gone on.

On quite a few instances, Taylor walked up and down the aisles, shaking hands or doing a jig with audience members she chose randomly. While all this was happening, her band, which she called the Bad Boys, was tight on stage. A guitar, keyboards, drums and a southpaw bass kept company.

On one occasion, she called three women on stage for a dance. A few songs later, she asked five women to come up, and 18 or 20 joined up along with a young boy who was having the time of his life. They all danced to Tina Turner's version of 'Proud Mary'. There was another portion where the musicians exchanged instruments, and took turns in singing 'Sweet Home Chicago'. Taylor herself played the drums on that track.

In all this hyperactive hysteria, Taylor's voice never wavered a bit. It was raw and powerful. She had a style of grunting that was unique, and her higher register was in full control. Only thing was that between songs, she spoke so fast one couldn't catch all of what she said.

A section of crowd sang along to the familiar 'Hoochie Coochie Man', 'Voodoo Woman', 'Sweet Home Chicago' and 'Wang Dang Doodle'.  Others clapped along or danced. The in-house videographer had to move his equipment in all directions, probably a first at NCPA. We're sure those attending their first blues gig got instantly converted. Hopefully, they will see the same level of energy soon enough. Or will they?