Photos

In Photos: Solange's Groundbreaking Guggenheim Concert

This is what Solange's powerful Guggenheim performance looked like.

Solange played the show of the year last night.


The singer took over the Guggenheim space for a Red Bull Music Academy event that was billed as an "interdisciplinary performance piece and meditation examining themes from A Seat at the Table"—and it was masterful.

Solange used the entire Frank Lloyd Wright-designed rotunda of Manhattan's Guggenheim museum and made it entirely her own.

The performance started with Solange, her band, and dancers taking a circular walk down each floor of the museum, walking directly in front of the audiences watching from the balconies.

The singer had asked audiences to dress in all-white, which most concertgoers did in style. While the audiences matched the color of the museum walls, Solange and her backup singers were dressed in a brown-orange outfits, with the rest of the band in other strong colors—yellow, dark blue, red.

Carys Huws / Red Bull Content Pool

Throughout the performance, Solange ran through reworked, and sometimes very minimal, versions of favorites from her outstanding album, A Seat at the Table.

"It's not about just being here at the Guggenheim," she mentioned after the performance, "it's about tearing the fucking walls down."

And she did.

Through dance and reworked interpretations of her songs, Solange led the audience through a near hour-long journey into modern, black, female consciousness.

Standout moments included the singer going into the crowd, inching up to black audience members and singing "F.U.B.U." directly in front of their faces. She even went up to a security guard and sang to him.

Other highlights included the soaring "Cranes in the Sky," a highly stripped-down version of "Mad," and "Don't Touch My Hair."

Carys Huws / Red Bull Content Pool

But this was more than a concert. There were interpretive dance interludes which flowed in and out seamlessly throughout the performance.

The performers joining Solange seemed endless. At one point, with the full band at ground level, three separate rows of trumpeters popped up on the three levels of the Guggenheim rotunda.

We've written about the beautiful audacity of Solange's album and how it's balm for black suffering. All of this was present in what was a highly powerful, and emotional, performance.

After the show, Solange's message was clear: this was a show about blackness, pride and, over everything, black feminism.

"Its not about allowance, because we belong here," she said after the show. "We built this."

Carys Huws / Red Bull Content Pool

Carys Huws / Red Bull Content Pool

Carys Huws / Red Bull Content Pool

Carys Huws / Red Bull Content Pool

Carys Huws / Red Bull Content Pool

Carys Huws / Red Bull Content Pool

Carys Huws / Red Bull Content Pool

Carys Huws / Red Bull Content Pool

Carys Huws / Red Bull Content Pool

Carys Huws / Red Bull Content Pool

Krisanne Johnson / Red Bull Content Pool

Krisanne Johnson / Red Bull Content Pool

Krisanne Johnson / Red Bull Content Pool

Krisanne Johnson / Red Bull Content Pool

Krisanne Johnson / Red Bull Content Pool

Krisanne Johnson / Red Bull Content Pool

Krisanne Johnson / Red Bull Content Pool

Krisanne Johnson / Red Bull Content Pool

Krisanne Johnson / Red Bull Content Pool

Krisanne Johnson / Red Bull Content Pool

Krisanne Johnson / Red Bull Content Pool

Stacy Kranitz / Red Bull Content Pool

Stacy Kranitz / Red Bull Content Pool

Stacy Kranitz / Red Bull Content Pool

Stacy Kranitz / Red Bull Content Pool

Stacy Kranitz / Red Bull Content Pool

Stacy Kranitz / Red Bull Content Pool

Interview

Kofi Jamar Switches Lanes In 'Appetite for Destruction'

The Ghanaian rapper and "Ekorso" hitmaker presents a different sound in his latest EP.

The drill scene in Ghana has been making waves across the continent for some time now. If you're hip to what a crop of young and hungry artists from the city of Kumasi in Ghana and beyond have been doing over the past year, then you already know about rapper Kofi Jamar.

Towards the end of November last year he dropped one of the biggest drill songs to emerge from Ghana's buzzing drill scene, the popular street anthem "Ekorso." In the December and January that followed, "Ekorso" was the song on everyone's lips, the hip-hop song that took over the season, with even the likes of Wizkid spotted vibing to the tune.

Currently sitting at over 10 million streams across digital streaming platforms, the song topped charts, even breaking records in the process. "Ekorso" maintained the number one spot on Apple Music's Hip-Hop/Rap: Ghana chart for two months uninterrupted, a first in the history of the chart. It also had a good stint at number one of the Ghana Top 100 chart as well, among several other accolades.

Even though he's the creator of what could be the biggest song of Ghana's drill movement till date, Kofi Jamar doesn't plan on replicating his past music or his past moves. He has just issued his second EP, a 6-track project titled Appetite for Destruction, and it would surprise you to know that there isn't a single drill song on it. Although drill played a huge role in his meteoric rise, he wants to be known as way more than just a drill rapper. He wants to be known as a complete and versatile artist, unafraid to engage in any genre — and he even looks forward to creating his own genre of music during the course of his career.

We spoke to Kofi Jamar about his latest EP, and he tells us about working with Teni, why he's gravitating away from drill to a new sound, and more. Check out our conversation below.

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