As I left the Ministère on Wednesday, it was clear to me that KillaBeatMaker was making its contribution to Latin music in the digital age. In any case, the Nuits d’Afrique edifice has been enriched. On Wednesday evening, the Medellin resident more than lived up to the expectations of the festival-goers who turned out to meet him. Two heartfelt sets at the Ministère were delivered to the delight of some of his earliest Montreal fans.
The master of the game is at the center of a trio focused on electronic rhythms and patterns, rhythms emanating from acoustic percussion, vocals and a synthetic pan flute.
To her right, Guadalupe Giraldo on percussion, synthetic gaita with a sound reminiscent of panpipes, and vocals (a beautiful voice!). To her left, Julian Ramirez on percussion and backing vocals. KillaBeatMaker triggers machine sounds, and can add human beatbox, rap and vocals. An authentic frontman, he knows how to sing, rap, beatbox and motivate a dance floor.
The dynamism of this performance is contagious, its dramatic framework meticulously designed to heat up the crowd and bring it to the desired paroxysms.
The references highlighted are the result of a fine artistic direction, with a feel for local cultures, cumbia, champeta, Andean music, music from the Colombian Pacific and Caribbean coasts, and also current world music – afro-house, afrobeats, reggaeton and more.
And KillaBeatMaker proves to be more than just a party animal, adopting a critical and progressive stance through the themes of his tracks – the precariousness of Colombian biodiversity, economic injustice, unjust concentration of wealth, imperialism.
Just because it’s fun doesn’t mean it’s funny…
