Capital Fluxus, waiting for the beat 2 drop since 1991

One of the exciting side-projects that I am working on right now is a hip-hop band that goes by the name of Capital Fluxus.

Contact me or use the details provided at the bottom of this post if you want to hear more or join us at Rust nightclub in the heart of Copenhagen’s Nørrebronx on the 3rd of August.

Capital Fluxus put the m in ‘multicultural’, with their French, Rwandese, Danish, Swedish and English influences. Theirs is a music replete with variation and contemplation; a sonorous repertoire that challenges, thrills and questions all at once.

Capital Fluxus Are About To Take Denmark By Storm

Even the most savvy of music nerds may not yet have heard of the name Capital Fluxus. Mark my word and watch this space though, for this exciting hip-hop quadrant is about to burst onto the scene with a vengeance.

“Waiting 4 the beat 2 drop since 1991”

Capital Fluxus are an unlikely combination of two Swedes (Jacob Schill & Jonas Algers) a Frenchman (Robin Houselstein) and a Dane with Rwandan roots (Céleste Nshimiyimana). A potpourri borne of a common affection for hip hop and beats, the name Capital Fluxus is a reference to the economic narratives of our time and life around them.


Listen on Spotify

With the release of their first single, CTD (“Cherish The Day) in the bag earlier this year, Capital Fluxus are moving on to bigger and brighter prospects. Leading the charge with their latest release, “BYS” (“By Your Side”) – an upbeat tribute to the ups (and downs) of the summer, Capital Fluxus have also been booked for a first appearance at Copenhagen’s Rust night club on the 3rd of August.

The BYS release is one of a quintet of refreshing tracks off the “Capital Fluxus EP” which continues the tradition of re-interpreting the diverse music of English singer-songwriter, Sade.




For Booking + Enquiries contact:


OR (+45) 50198706



Don’t take my word for it though, check out the following review of Capital Fluxus:


 Bitchslap Magazine

“Hailing from Sweden, Denmark/Rwanda and France the lads have just dropped their first tune, Cherish The Day, and it’s perfect Friday evening warm down material.”















The best concerts of Roskilde Festival 2016

Befitting the diversity of the line-up, there are precious few overlaps in our three writers’ picks for the best concerts at this year’s Roskilde Festival. Performances from all six stages and on all four of the festival’s main musical days made the cut.
From legendary acts to Colombian experimental rock and UK grime – and just about everything in between – here are our selections for the best performances.
Justin Cremer’s top five picks
1. Neil Young + Promise of the Real (Orange, Friday)
Neil Young played a three-hour set on Orange. Photo: Nils Meilvang/Scanpix
Neil Young played a three-hour set on Orange. Photo: Nils Meilvang/Scanpix
From the opening keys of ‘After the Gold Rush’ through the 30-minute extended jam encore performance of ‘Love and Only Love’, Neil Young put on a commanding, thunderous performance. Mixing old favourites like ‘Alabama’, ‘Words’ and ‘Unknown Legend’ with newer tracks like ‘Mother Earth’, Young and his excellent backing band Promise of the Real put on a show that was quite possibly the best I’ve witnessed on the legendary Orange stage.
2. Kvelertak (Avalon, Thursday)
Kvelertak played a chaotic, cathartic late night set at Avalon. Photo: Justin Cremer
Kvelertak played a chaotic, cathartic late night set at Avalon. Photo: Justin Cremer
There were an estimated 7,000 Norwegians at this year’s festival and at times during this Stavanger band’s wild and raucous late night set, it felt like I was surrounded by all of them. This was without a doubt the highest energy interaction between band and audience that I had the pleasure of being a part of.
3. Savages (Avalon, Thursday)
A terrible photo of a great show by Savages. Photo: Justin Cremer
A terrible photo of a great show by Savages. Photo: Justin Cremer
When I saw Savages play the Pavillion stage in 2013, it was one of that year’s most pleasant surprises. Three years later and on the larger Avalon stage, the London-based quartet blew me away again with their mix of attitude, sexiness and intensity.
4. Sleep (Avalon, Wednesday)
The midnight set from doom pioneers Sleep was near the top of my list going into Roskilde, and it certainly did not disappoint. This was an absolutely hypnotizing set that provided the perfect ending to the festival’s opening night.
5. Gojira (Arena, Saturday)
Gojira kept the festival's final day going strong. Photo: Justin Cremer
Gojira kept the festival’s final day going strong. Photo: Justin Cremer
I had heard good things about this French prog/technical metal band’s live performances for years and now I know why. Even though the band apologized several times for being a bit “rusty”, their Saturday evening set was a blistering display of tight musicianship and crunching grooves. The band might not have felt like they had delivered their best, but for me Gojira lived up to the hype.
Chris Manion’s top five picks:
1. Sleep (Avalon, Wednesday)
Sleep at Apollo. Photo: Justin Cremer
Sleep played behind a wall of fog and lights at Apollo. Photo: Justin Cremer
I sceptically joined a group to see the band Sleep with no prior knowledge of them or ‘stoner doom metal’. As soon as we were about 50 metres from the show, I could sense perfect harmony between the music and the audience. It was this symbiotic relationship that some artists simply failed to capture in the same enigmatic style. The music was expressing a shared feeling, a collectiveness, and that is what Roskilde Festival is essentially about, being together for the love of music.
2. Neil Young + Promise of the Real (Orange, Friday)
One legend meets another: Neil Young on Orange. Photo: Justin Cremer
One legend meets another: Neil Young on Orange. Photo: Justin Cremer
The 70-year-old Canadian legend delivered a breathtakingly energetic performance. The show progressed from heartfelt renderings of classics such as ‘Heart of Gold’ to a full throttle rock’n’roll experience like no other.
3. MØ (Orange, Saturday)
Danish superstar MØ on Orange. Photo: Sara Gangsted/Scanpix
Danish superstar MØ on Orange. Photo: Sara Gangsted/Scanpix
The Danish international star came to the Orange stage on the final evening of Roskilde 2016. There were many festival-goers looking defeated and deflated, a tough crowd to bring alive. As soon as MØ came to the stage, it all changed. She brought a passion and energy that could not be topped by many other artists in the world.
4. Courtney Barnett (Avalon, Thursday)
Courtney Barnett at Avalon. Photo: Ólafur Steinar Gestsson/Scanpix
Courtney Barnett at Avalon. Photo: Ólafur Steinar Gestsson/Scanpix
A first-time Roskilde Festival experience for the young Australian singer-songwriter and she did not disappoint. She gave festival-goers a powerfully sincere performance. Many times throughout the show, you could see that this was still a 28-year-old playing songs that openly confess her deepest fears and regrets. That humility gave the performance a beautifully personal touch.
5. Mac DeMarco (Arena, Friday)
Mac DeMarco at Arena. Photo: Ólafur Steinar Gestsson/Scanpix
Mac DeMarco at Arena. Photo: Ólafur Steinar Gestsson/Scanpix
The cheeky Canadian up-and-coming star strutted on the stage with unabashed confidence, and then looked at the audience like a naughty schoolboy and gave his famous gap toothed smile. From then on, it was a fun, energetic and charismatic performance.
Allan Mutuku-Kortbæk’s top five picks
1. House of Pain (Orange, Thursday)
Old school rappers House of Pain showed that they still have the skills. Photo: Mathias Løvgreen Bojesen/Scanpix
Old school rappers House of Pain showed that they still have the skills. Photo: Mathias Løvgreen Bojesen/Scanpix 
The guys that brought us the legendary ’Jump Around’ tune rocked the Orange stage to its core during their Thursday afternoon performance. Who would have thought that a hip-hop mainstay such as this would play Johnny Cash’s ’Walk The Line’ in their set?  Schoolboy Q and Young Thug should take notes from these OGs.
2. Tame Impala (Arena, Friday)
Tame Impala put on one hell of a party on Friday night. Photo: Mathias Løvgreen Bojesen/Scanpix
Tame Impala put on one hell of a party on Friday night. Photo: Mathias Løvgreen Bojesen/Scanpix
Australians Tame Impala are a class act and have grown in presence and stature since their previous appearance at Roskilde a few years ago. Backing their performance with an impeccable light show and a ton of confetti, they were simply insurmountable on the Arena stage.
3. Los Pirañas (Gloria, Saturday)
Los Pirañas gave a commanding performance on the intimate Gloria stage. Photo: Allan Mutuku-Kortbæk
Los Pirañas gave a commanding performance on the intimate Gloria stage. Photo: Allan Mutuku-Kortbæk 
Colombia’s Los Pirañas churned out an endearing stream of psychedelic rock fused with South American influences that blew the roof off the intimate Gloria stage. Hats off to the stage crew for outfitting the stage with an epic light show to match an assured performance.
4. Tenacious D (Orange, Thursday)
Tenacious D gave a weird but wonderful post-midnight show on Orange. Photo: Nils Meilvang/Scanpix
Tenacious D gave a weird but wonderful post-midnight show on Orange. Photo: Nils Meilvang/Scanpix  
Honestly, I’m not a Jack Black fan and even after his momentous performance at Orange, I still have my doubts about the man’s sanity. Credit is due to him, however, for providing a fun and at times mesmerising show amidst the rain. Where others would have stumbled, Tenacious D were sure-footed, weird and even wonderful.
5. Elf Kid (Apollo, Saturday)
Elf Kid's early afternoon set helped wake up the Apollo crowd. Photo: Allan Mutuku-Kortbæk
Elf Kid’s early afternoon set helped wake up the Apollo crowd. Photo: Allan Mutuku-Kortbæk
Grime’s renaissance was reflected in Roskilde’s bookings this year. Of those on the billing, South London’s Elf Kid was, for me, the most impressive of the lot. Backed by his DJ, the kid spat out one lyric after another before getting bare-chested in the early Saturday afternoon chill, encouraging everyone to banish their hangovers to mere memory.

Above & Beyond, Store Vega Jan 2015

Original article published for Mediazink, available here :

Store Vega, 22nd January 2015

5 0ut of 6 stars

Trance trio Above & Beyond brightened an otherwise dull and insipid Thursday evening with a furore of a party that attested to why they are as highly ranked an outfit as they are.

Playing to a capacity – packed Store Vega, Jono Grant, and Tony McGuinness put the loyal crowd into hysteria with wave upon wave of cathartic anthems, punctuated by epic, beat – free pauses that have come to demarcate the trance genre. And whilst the third member of the project, Paavo Siljamäki was absent from the festivities, if he was missed on stage, it certainly did not show.

Skærmbillede 2015-01-26 kl. 19.20.58

Above & Beyond: Jono Grant, Tony McGuinness and Paavo Siljamäki . Photo – Dj Mag California

Above & Beyond’s latest album, We Are Are All We Need provided some of the evening’s fodder and went down well with the jubilant crowd. This is a work that has been well marketed, in keeping with the strong marketing backing that the trio are flanked by in all that they do. And whilst there are certainly several gems on the album, such as the eponymous ‘We Are All We Need” track featuring the talented Zoe Johnston, I personally find myself more inclined to some of their older material such as Tri – state, from as far back as 2006.

The electronic music world finds itself increasingly dominated by the EDM sub-genre and the nefarious showbiz fascination that it pulls in its wake and much to many’s dismay, it is clear that no genre, trance included, can escape its clutches- as much of the material on the latest album demonstrates. This notwithstanding, the music of Above & Beyond has consistently stood out for its sentimentality and thoughtfulness; two elements that are are in abundance on We Are Are All We Need, as they were at Thursday’s show.

Amping the experience, a beautifully -strung light show and massive background imagery turned Store Vega into an amphitheater of dreams; propelled by the pulse of life and the tick of the soul. A monumental confetti burst towards the end summed up the feeling of ethereal nonchalance that the concert created; a sheer elation of being in a very, very comfortable place and a wistful longing for more of the same. . Above & Beyond exited as they’d come; playing softer material that left space for contemplation and unobscured imagination.

Tetiur, Vega Feb 2014

A fair weather fairytale from the stormy Faroe Islands


Five out of six stars


Faroese musician Teitur his storytelling, captivating self (Photo: Wikimedia Commons)

February 25, 2014

by Allan Mutuku-Kortbæk

Faroese musician Teitur has the unusual ability of being able to connect with his listeners through poetic, captivating storytelling.

His lyrics are the winding tales about a multifaceted collection of people in all walks of life, from the desperate hipster, through to the cell-phone vendor and the merry-go-man at amusement parks. Each character is treated with equal amounts of love and humor in the Teitur universe.

Backed by two cellists and another singer / guitarist, a drummer and a chap who was introduced as “the late Philip Seymour Hoffman, on percussion,” Teitur was at his usual captivating self.

His latest album, Story Music was at the helm of his set on Saturday which also featured a bit of his older material and was almost a carbon copy of his set in Århus ‘Run the carousel’ and ‘Louis Louis’  are but two tracks that were well received.

The former brought a welcome kicking impetus to an otherwise tame concert whilst ‘Louis Louis’ took a cocky stab at the politics of George W Bush when he was president.

The mixed audience reacted with discreet laughter at the political touch, and this was where the politics started and ended on the night.

The rest of the evening featured Teitur’s lengthy banter accompanied by soft-spoken, discreetly placed musical arrangements that echoed with the unique creativity of Faroese musicianship, a lot of which has an almost spellbinding quality to it.

His is a form of musicianship that is replete with warmth and positive energy, elements that have been in short supply locally of late and that, by such virtue, were well received.

An extended three song encore came all too soon for many, most of all Teitur who looked as if he could have played for the entire evening and into dawn. Whilst his show was indeed a credible performance and an enjoyable experience that was shared by a very mixed crowd of old and young, there are some who felt that it was too close a copy of an earlier show in Århus.

This notwithstanding, originality was still an element that was present in plenty insofar as Teitur’s musicianship was concerned. There are well and truly few Scandinavian musicians that can cultivate an identity as well as he does through his anecdotal renditions.


The Range, Ideal Bar Feb 2014

Ideal Bar, 5 out of 6 stars

I traipsed lazily into the warm environs of Vega’s Ideal bar not really knowing what to expect on Wednesday night. Dark wintry evenings are not the best fodder for even the most ardent music lovers but Ideal bar, the smallest sibling in the Vega family, tends to impress almost every time out.

I got in just in time for opening act Jongpadawan (Pronounced Young Padawan, a reference to star wars), who paved the path for a lo-fi evening with a serving of sautéed bits and pieces that contained a solid electronic foundation, lightly glazed with merry, abstract beat wizardry. For a 21 year old with only a handful of releases to his credit, Jongpadawan proved to be a class act, worthy of a stage at either August’s Strøm or Distortion later in the year , so keep an eye open for him.

Moving back to the main act; The Range, aka James Hinton, waltzed casually onto the stage and got straight down to business with his set, playing a tightly woven sequence of tracks that mixed seamlessly with each other from the get-go. Hinton’s music draws from influences as far wide as grime, hip-hop, and jungle, side-dishes around a main platter of electronic nature. The result is a complex sound, that sounds remotely similar to the surreal composition of underground British artists like Burial fused with infusions of Andreas Trentemøller’s driven experimental forays.

Several songs off debut album Nonfiction were particularly emblematic; ‘the loftmane’ for it’s wicked sampled vocal, ‘Seneca’ for it’s euphoric buildup and the fact that it sounds very much like the work of revered electronic artist Gold Panda and ‘Postie’ for its symphonic piano chords that sound like they’re straight out of a 1930’s Bechstein grand piano in a cavernous hall. Hinton sang along to many of his tracks adding layer upon layer of beats, effects and the occasional turntable scratch for good measure, luring the small crowd onto a bewildering journey through the sound that has earned him a call-up to Barcelona’s legendary Primavera Sound later this year. Equally impressive were the two old school hip-hop tracks that he played towards the end of the show, a humble tribute to one of the underlying influences of his music. Where Britains Disclosure have gained fame through accessible, pop-influenced tunes laden with wonderful electronic influences, The Range has developed a slightly similar style, rooted in hip-hop and woven in contemplative beat work that should see this kid kick it with some of the very best, if his present trajectory continues on the blazing trail it has lit over the last year or so. 

Point Blank, Ideal Bar January 2014

Original article in this week’s Copenhagen Post


5 out of 6 stars

After bearing witness to a mere five minutes worth of performance time by hip hop orchestra Point Blank, the first burning question in the back of my mind was why on earth lively boys from Århus were stuck in the miniature confines of Ideal Bar and not filling the floor at Store Vega. As the concert went on, it became evident that these chaps are surely destined for bigger and brighter prospects in the future, which is saying a lot, considering that they’ve already notched warm-up gigs for the likes of Ice Cube, and France’s Hocus Pocus.

Point Blank waltzed onto the small stage at Ideal Bar sporting smiles and heavily armed with an array of brass instruments with which to lay their mark on the cold evening. Their merry sound is one that is comparable to some of the epic hip hop tracks of the eighties, with a witty modernist touch that features rapid lyrics from their frontman that are not too unlike those employed by rapid rappers such as the U.S.A’s Ludacris. And whilst one may draw all manner of parallels with seminal bands like The Roots or point to their sound being a very Brooklyn- like affair, Point Blank are quick to distance themselves from most forms of classification, with good cause too, for theirs is a sound that is as unique as it is innovative.

Screen shot 2014-02-01 at 2.17.29 AM


Ideal bar have made considerable improvements to their sound and ambiance, through better insulation and a revamped wall section that contains the sound a bit better. It showed on the night, with the brassy sounds of Point Blank ricocheting stylishly off the wood-finish walls. Ahead of their debut album, set to drop in Autumn, Point Blank’s repertoire is not the most extensive but the few tracks they do have were played with passion, aplomb and Jutlandish humility, three tenets that underscore what they are all about musically. With sub-zero winds and gnarling temperatures lashing at people’s humour, the audience can be forgiven for taking their time to well and truly open up to the night’s entertainment, though it was never a venue that was going to yield wild scenes of merrymaking and chaos. Rather, things were chilled and laidback; a mellow, systematic buildup to a finale that saw Point Blank churn out some of the more lyrically driven tunes in their arsenal as their lead singer charmed his way into the crowd with a series of rapid-fire vocals. Expect bigger and better things from this band, probably the best in Danish hip hop at the moment and for some time to come.

Polica, Lille Vega, January 2014

Polica better than the last time around

original article in this week’s version of The Copenhagen Post

A solid improvement over their last Lille Vega show and a sign of better things to come (PR Photo)

January 24 at Lille Vega

Synth pop dreamers Polica had a solid if underwhelming debut on Danish soil last summer when they performed at a steamy Lille Vega. Wind the clock forward and plummet down the temperature gauge a good 30 degrees and the Minneapolis quintet are back in town, this time around having grown musically over the past half a year or so.

A welcome blast of brooding bass served by Marijuana Death Squads, the industrially inclined, R&B-influenced warm-up act, breathed life into a frozen audience that quickly warmed to the evening’s entertainment. Whilst solid in their performance, the Death Squads were perhaps too hefty a cocktail to start the night off with, as their high pitch frequencies tore into the thin evening air with a menacing vengeance.

Polica pranced elegantly onto the scene and tamed the chaos, driving home coaxing, organic-sounding synth pop that highlighted the best of lead singer Channy Leanagh’s vocal talents against a backdrop of heavier sounds. From time to time she did sound slightly at sea in the waves of instrumentation, but it was certainly an improvement on Polica’s last appearance at the same venue.

Leanagh’s charm is by and large her greatest asset as a performer and this was ultimately what allowed her to gain the respect and attention of the begrudging audience who fronted their usually icy first impression upon Polica’s stage emergence.

Songs off 2012 album Give You The Ghost were the order of the day, performed with flair, fluency and a remarkably quick wit. The highlight of this was signature track ‘Dark Star’, a number that encapsulates all that is good about Polica: Leanagh’s soft vocals over a firm foundation of synth pop brilliance that sparkles with flares of distant melancholia and elation in equal measure.

The audience warmed to Polica as the show neared its conclusion, charmed no doubt by the quick wit of Leanagh, who reinforced her performance with short bursts of creative banter in between songs. After a short, swift encore Polica exited the stage as they had come, humbly pleased with a good performance on the night. Though just shy of a five star rating, it is pleasing to note how much the band have grown in just six months and fair to expect even better from them in the future.

Cut Copy, Lille Vega Nov 2013

Aussies bring back the glory days of acid house

original article:

Friday’s show at Lille Vega was a colourful explosion of sound (Photo: The Windish Agency)

December 17, 2013

Cut Copy
December 13 at Lille Vega

Free Your Mind. The album title of Australian indie electronic band Cut Copy is as self-explanatory as they come – a casual maxim that holds true through all aspects of their addictive synth-filled, strobe-stroked beat landscape. One of four fantastic, varied albums by the Aussies, Free Your Mind is the coming of age of a band that’s up there amongst the very best in electronic music at the moment, a point that their sold-out show at Lille Vega on Friday did its best to hammer home.

Cut Copy stepped on stage before a crowd more curious than anything else and set the ball rolling with new material off the aforementioned album. The album’s recent release date means it’s not that well known so it took some time for people to warm to the proceedings. Several songs in and material off other Cut Copy albums soon followed suit, creating a sense of familiarity that the crowd responded to with warm enthusiasm. Not so pleasing however was the crisp, almost plastic quality of some of the sound at times, as the vocals failed to hit the emotional high points that they so often do on their albums. Poor transitions between songs also did their bit to dent the evening’s promise though ultimately there wasn’t much that could dampen the rush of blood to the head from the high points of the show, which came and went with the ferocity of waves on a sandy seashore.

Things peaked midway through and once again towards the end, as the Madchester sound of the late eighties that demarcates Cut Copy’s sound, as some of the most ardent purveyors of the bygone days of Acid house music hit home. Epic strobe-light sessions and crowd surfing at the front of the action accompanied the thundering reverberations on stage, rekindling memories of the days when bands like New Order and Happy Mondays run riot on the airwaves, demarcating what music critics of the day charted as the second summer of love (after Woodstock decades before).

After minds were freed and feet were swayed, Cut Copy exited the smokey stage to raucous applause from an audience who’d been taken back in music history in a show that underlined the credentials of one of the most creative bands around.

The Lumineers, Store Vega Dec 2013

original article:

From Colorado with love


The Lumineers
December 9 at Store Vega

Colorado folk rockers the Lumineers gave a clinical performance at a sold-out Store Vega last night. Theirs is a gentle, windswept blend of rock that borrows from traditions of Americana and soft rock styles; a compact rendition that’s easy to sway to and easier still to sing along to.

Gracing the dark stage armed primarily with a mere album’s worth of recorded material off their 2013 eponymous masterpiece, the trio were all smiles as they exited the parapet and shared their music with the crowd.  Popular, catchy tracks off this work such as ‘Dead Sea’ and the merry ‘Flowers in Your Hair’. A warm, enduring cover of Bob Dylan’s ‘Subterranean Homesick Blues’ followed suit, hitting home with the partisan crowd, and showcasing their skills at playing and interpreting other musicians’ music.

This breezy start was short-lived however, as the momentum from the first string of popular songs reeled, though not for too long. Minimalist acoustic versions of lesser-known songs lifted things, as the cheery, swaying mood was subbed for a more quiet, composed intimacy that saw xylophones played and guitars strummed with a soft disposition, working wonders on the crowd, who were still and approving with the benevolence of kids at an ice cream parlor.

This quiet, simple approach to music is indeed one of the defining features of the trio’s music, which at its silent moments acquires a cinematic, ethereal quality that carries it gently through the air. Things did get louder towards the end though as the Lumineers upped the tempo, capping things off with the unforgettable ‘Big Parade,’ the tune that just about sums up all that is good about this band. The crowd made their presence felt on this particular number, yelling along the chorus and rallying for a raucous call for an encore, which duly followed.

The Lumineers re-appeared without too much hassle and closed the night on the same cheery note, signing off having captivated the audience in the most entertaining of fashions. They are surely a band to keep an eye on and their local popularity has been anything but harmed following last night’s neatly composed and well organised concert which did its bit to banish the grim stillness of the cold December night, if only momentarily, to a faraway corner of one’s mind.

Tricky, Lille Vega, Nov 2013

It’s Tricky to stay relevant after two decades

Original article:


No doubt the man is a pioneer, but his Friday night performance didn’t feel very vital

December 2, 2013

by Allan Mutuku-Kortbæk

November 29 at Lille Vega

Trip-hop is a genre of electronic music spawned in the aftershocks of the UK’s acid house culture of the early 1990s, with significant rooting in the city of Bristol. Fusing influences of hip-hop and electronica with doses of rock for good measure, trip-hop is eclectic, trippy, and experimental in its purest form. Indeed it was these three tenets that punctuated Tricky’s concert at a haze-filled Lille Vega on Friday night, as the godfather of the genre himself gave a show that didn’t well and truly get airborne but nonetheless offered a distinct musical experience.

Tricky (née Adrian Thaws) was one of the driving forces behind the legendary act Massive Attack, whose music continues to demarcate the most poignant moments of movie soundtracks today, almost two decades after they rose to fame. His forays with Massive Attack led him to branch out as a solo musician, enjoying chart success with albums such as 1995’s Maxinquaye, whose heights he never quite managed to recapture over a consistent tradition of album releases through the years thereafter.

Playing to a crowd predominantly in their 30s, Tricky walked onto the Vega stage sporting his familiar bare-chested look flanked by his backing band in low-lit, smoky confines, emphasizing the shamanic quality that characterizes his live shows.

An eerie, almost intoxicating start found a rather quiet Tricky confining himself to one side of the stage, even turning his back to the audience on many occasions. Tricky elicited a strong response from the audience with ‘Black Steel’, a riveting revolutionary tune off Maxinquaye that seemed to denote a welcome change of pace midway through. This was however short-lived as technical glitches shot down the track in mid air, prompting a switch to another song. Tricky seemed unfazed by this and oblivious to the world around him in his corner of the stage, surrounded by a maze of swirling smoke and clearly on a superlative high of his own. The audience then joined the experimentation as a good 20 or so frontrunners got the opportunity to clamber on stage for a couple of songs. Come the end, a noncommittal applause for a curtain call was the audience’s way of responding to a dull and unconvincing performance. Tricky re-appeared and like Shantel before him on Wednesday at the same venue, performed a few good songs to round off the concert, an eclectic, trippy and experimental performance that called for an acquired taste. There’s no doubting Tricky’s contribution to British music nor his talents as a pioneer in electronic music, but Friday’s show left much to be desired and lacked the spark and creativity of his earlier career.