Tuesday, 24 September 2019
6 pm doors, 7 pm show
$20 (free for hotel guests)
All ages welcome
Born and raised in Buenos Aires, Argentina, Fidel grew up in an artistic and academic family--his mother, an anthropologist and artist, and his father, Enrique Nadal, a filmmaker, journalist and leading activist for the recognition of the rights of Afro-Argentines. His earliest musical influences came from his parent's interest in music from around the world--soul, jazz, blues, calypso, rock, etc. Fidel recollects, "All of this music, alongside my father's political activities and cultural studies activities, greatly inspired me. I grew in a different ambiance, which helped me when I started in music."
As a young teen, Fidel's love for reggae began when he found a Peter Tosh album in the neighborhood record shop. He began listening to Bob Marley and other reggae music, translating lyrics into Spanish, identifying with the struggle, rebellion and Rastafarian movement.
Fidel began his musical career in 1985 as co-founder and lead singer of the radically political rasta-punk band Todos Tus Muertos, named in honor of tens of thousands killed in Argentina's Dirty War from 1974-1983 under the dictatorship of Rafael Videla. TTM exploded on the underground scene in Buenos Aires with a genre mashup of rock, reggae, ska, rap, salsa, cumbia, delivered with a fury of raw energy and emotionally charged messages of social consciousness. TTM recorded their first album in 1988 with RCA, with the promotional single "Gente Que No." After being named the "Best International Group" by the leading Latin-rock magazine La Banda Elastica, Todos Tus Muertos gained attention and began playing larger venues, opening for the Ramones in Buenos Aires in 1992, recording "Casa Babylon" with Mano Negra in 1994 and embarking on groundbreaking world tour. Fidel recorded six albums with TTM and toured extensively throughout Latin America, Europe, USA and Japan, influencing a genre and a generation with their revolutionary sound and style.
By the mid-90's, Fidel's interest in Rastafarian philosophy deepened and he began to focus on the spiritual nature of reggae. He formed Lumumba, a roots reggae trio, with Pablo Molina (from TTM) and his brother, Amilcar Nadal. Lumumba released four albums, including their first demo which was recorded in Jamaica at Junior Reid's studio. After their second album "Raizes e Cultura" was released in 1997, Fidel began touring with both Lumumba and Todos Tus Muertos.
In 2001, Fidel decided to launch a solo career with a focus on reggae. To date, he's released 21 albums as a solo artist, collaborated with over 70 artists and groups, and since 2009 his official videos have racked up over 199 million views. He's most well known for his hit 2009 single, “International Love” which was included on the FIFA 10 Soundtrack.
Featured twice on the cover of Argentina’s Rolling Stone, Fidel was described in 2009 as “El Rasta Que Revolucionó el Rock Latino” (The Rasta Who Revolutionized Latin Rock) and in 2012, “Fidel, el Primer Rasta Afro-Argentino” (Fidel, the First Afro-Argentine Rasta). In 2011, Fidel was nominated for two Latin Grammys including Best Alternative Album "Forever Together!"and Best Alternative Song "Te Robaste Mi Corazón".
Fidel commands the stage with his high energy performances, contagious melodies and powerful lyrical flow. Never one to mince words, Fidel sings of social and political oppression, revolution, and also connects with his audience through his Afro-Argentine identity, Pan African consciousness and messages of spirituality, freedom and love.
Much to his fans delight, Fidel reunited with Todos Tus Muertos in 2016, released a cumbia-remake of TTM's first hit song "Gente Que No" with Damas Gratis, and kicked off a Latin American tour to celebrate 32 years of the legendary band. After 14 years, Fidel returned to play and tour with Lumumba in 2014, releasing two new singles in 2018 and a 5-track EP in 2019. Fidel continues to make musical history, record new music, release new videos, and tour locally and internationally with Todos Tus Muertos, Lumumba and as a solo artist.
WA – Seattle
hip-hop artist and accomplished painter Perry Porter released his debut album
“Bobby Ro$$” on May 17th. The album features different
Seattle-Tacoma production on each track including Chong The Nomad, Jamie Blake,
Khris P & more. The album features rappers Blake Anthony, Romaro Franceswa
and Jarv Dee.
record is based around color theory, Perry as a painter and his alter ego
“Bobby Ro$$” and is produced by all Seattle & Tacoma area producers. The
album was mixed/mastered by Sendai Mike.
A product of Seattle, WA – by way of Spanaway, WA, Porter
started his musical journey with the duo Sleep Steady – that saw big local
success including placing a song on EA Sports UFC 2 video game. They recently
were featured in the trailer for Cyberpunk 2077 which has amassed over 10
million views. Under his management company DAY ONE ENT, Porter also recently
signed a licensing deal with SoStereo. His solo career has brought the
release of the mixtape Channel Surfing , which was included on many Northwest
Best of 2018 lists. He followed the project with the 2019 EP “Pretty Perry”.
This is his first official solo album.
To date he’s opened for national touring artists such as Joey
Badass, SuperDuperKyle, The Flavr Blue and more. He recently sold out his album
release party at Barboza in Seattle, WA. He performed to a sold out crowd on
the Neumos stage on at this years Capitol Hill Block Party.
“With one of the releases we’ve been most eagerly awaiting this
year, rising Tacoma talent Perry Porter shows there’s no limit to what he can
do with a canvas. The Bob Ross-referencing LP emerged as colorful as the
rapper/painter’s palette, with variegated beats and an accompanying
color-theory guide matching each track’s moods and themes. Porter’s “dropping
heaters for nonbelievers” (though it’s hard to imagine there are many) on the
club-ready “Surf — Extended Mix” and flashing his trademark voice-cracking
sprints on murky trap banger “Sink or Swim.” – Michael Reitmulder, Seattle
“A multimedia threat, Perry Porter initially came up in the
scene for his gorgeous watercolor paintings, which primarily depicted women of
color. Self-described as "Basquiat Meets Hov," Porter is an expert at
displaying depth and emotion in a flicker of a smile or a saucy stare. You know
a Perry Porter original when you see one. As of late, Porter has been making
his mark as a muralist, using the walls of warehouses, cafes and hotels as his
canvases. But this is only one side of Porter, who's well-known in the Seattle
scene as a skilled rapper who came onto the scene as one-half of the trap duo
Sleep Steady and now releases music on his own. His solo work continually
incorporates painting and his relation to visual art as a thematic motif. —Jasmine Albertson, NPR
“…between the three of them they devised the most striking
piece of music-video art to come out of the Northwest this year. In its
sinister, psychedelic tone and smoky color palette, its miles away from the
jewel tones and pastels of Porter’s visual art and the weeded lunacy of his
music. Porter spans disciplines, textures, feelings—and all of it is
approaching next-level.” Jonathan Zwickel, City Arts
charisma serves as a splash of additional color over the prismatic beats he has
chosen for the project. The eerie, dusky bounce of “Surf” is made playful by
the amount of fun Porter’s having before the melody changes and he ruminates on
the hidden trauma buried in survival. Both of the movements that make up
“Cruise Control” evoke riding down MLK (Seattle or Tacoma, take your pick) in a
money green Coupe de Ville with a little forest green extinguished in the
ashtray. “Paraglide to heaven like we both fools,” Porter sings in the song’s
Ro$$ relies a great deal on its impressionistic, sensation-heavy
aesthetic, very much an aural extension of Porter’s luminous, sometimes
dreamlike paintings. That’s not to say he can’t rap or he’s a vaguely defined
wordsmith coasting off a vibe; Porter is a formally and structurally talented
MC, his verses rife with clever quips and sure-handed wordplay. He doesn’t
present his words as boringly straightforward nor overly literary; he presents
these words as florid, a means to support to the worldview of the music as a
whole. Porter’s work is emblematic of the fact great artists focus on their
work. If you’re out here whining on Twitter about how your greatness is
unappreciated, you’re not working on your art hard enough.” – Martin Douglas,
Sunday, 15 September 2019
Monday, 16 September 2019
Tuesday, 17 September 2019
Wednesday, 18 September 2019
Thursday, 19 September 2019
Friday, 20 September 2019
Saturday, 21 September 2019
Sunday, 22 September 2019
Monday, 23 September 2019
Wednesday, 25 September 2019
what you got