Kuimba 9 here at last
Good people, Black Missionaries finally launch Kuimba 9 at Robin’s Park in Blantyre tonight.
Waiting for the ninth born of Blacks fallen founder Evison Matafale’s sparkling series has been some experience.
But it had to be. Matafale and Kuimba represent a vibe like no other—but the finest of local music and lessons for lousy loudmouths that subject anxious ears to unnecessary wear and tear.
Just three years ago, entertainment journalists had to endure torturous taunts and accusations of silently snoring while the 2012 Malawian Music Awards best band was rolling off the rails.
With Kuimba 8 flop attracting hostile public perception, bandleader Anjiru Fumulani kept saying the taste of the pudding is in the eating.
Our ears feasted, but the real relief came when Anjiru disclosed in December 2010 that another Kuimba would only be on the shelves last year, a break that was preconceived to restore sanity in their production.
The two-year wait became three years of yearning for nosy fans and reporters.
Questions abound, a perfect penalty one pays for being no ordinary Johnny.
Having helped their collaborator Anthony Makondetsa release his hit album Fuko Lokondedwa, the Kuimba hit-makers tonight face the unenviable task to illustrate that the extended wait was worthwhile.
But it’s simple: Not only showing why they are called the ‘people’s band’ but also demonstrating that the new album is better than the previous.
For better results, they must present a better choreographed concert with all the skills often underrated, particularly stage movement, audience contact and relevant gestures.
Nothing can be more boring than going to a live show to see stiff singers sticking to microphone poles and spitting lyrics that are clearer on CD.
Makondetsa has surmounted this rigidity. The result—a record 25 000 overjoyed music lovers witnessed the launch of his masterwork at Lilongwe Golf Club where the Blacks perform on Sunday.
As Blacks take their turn, gig-goers minimum expectation remains: Those who perform last must perform best—at least for gig-goers’ sake.
