- Kojey Radical
“I wrote an EP about a girl I liked called Daisy. But I don’t like her no more, so fuck Daisy,” is, more or less, British/Ghanain poet KOJEY RADICAL’s opening line, and to be truthful he could have walked off the stage there and then to a welcoming applause. But he entertains effortlessly for the next half-hour.
Musically, Kojey Radical is cut from a similar cloth to George The Poet but less dull, more aware and infinitely more captivating. He is backed by a laptop that repeatedly spews out some weighty beats and his live guitarist, who has an arsenal of funky licks to give Nile Rodgers a run for his money.
“K O J E Y” the wordsmith shouts out as he leaves the stage. “Ey, search it on Twitter; I’m not shit, I swear.” He’s not lying. Kojey Radical wants to be everyone’s friend. Everyone wants to be his friend too, it seems, as people mob him for a selfie.
By contrast, YOUNG FATHERS are not interested in making any friends. They’re not interested in anything except putting on a show; they made this clear when they won their Mercury prize last October. All they were concerned with was heading back to Berlin to finish their second record – which would become White Men Are Black Men Too – and then heading back out on the road to support the record.
And it’s self-evident they weren’t mincing their words on that night in London. The live rendition of these tracks have three or four times more impact than they do on stereo, largely due to their standing drummer beating the living daylights out of the skins. It adds to the tribal nature of the show, and the rhythm the four-piece have on that stage together is completely infectious.
But their biggest achievement is just how natural they make a feast of such fervour and ferocity look. Very rarely can a band put so much effort into a performance yet give the impression they’re barely trying. Don’t let the lack of smiles lead you to presume lethargy, though, they’ve put in their man hours of practice to have a live show like this nailed down.
They speak about three sentences between them. The closest they get to conversation is when G. Hastings asks if Liverpool is ready to dance. By this point the group have already ripped through the colossal singles of Get Up and Rain Or Shine, so Hastings already has his answer.
Young Fathers churned out their second effort at an industrious rate but surely they can’t be in too much of a rush to return to the studio this time round, when the material they already have is this blisteringly explosive.