What's the point of being a critically lauded band when you can't make ends meet?
It was a career crossroads that The Roots arrived at over a decade ago when seminal albums like 2002’s Phrenology and 2008’s Rising Down made them critical and industry darlings but didn’t sell enough to make the whole enterprise worthwhile. Hence, the initially derided decision to become the house band on The Tonight Show Starring Jimmy Fallon.
To say fans were flabbergasted would be an understatement. How could such a revered band, handpicked to back live albums by Lauryn Hill and Jay-Z, allow themselves the indignity of adding a drum fill to a comedian’s punchline?
It turned out to be an inspired choice after all, with The Roots not only becoming an integral part of the programme but also sounding absolutely rejuvenated on stage when going on select tours.
Another benefit, as heard in The Roots’ electrifying set at the closing night of the Sole DXB festival on Sunday, was that the television experience, where they provided musical support to guests ranging from Pink Floyd’s Dave Gilmour to Gwen Stefani, made the already tight group sound even more adventurous.
Over a blistering hour, the band took the crowd on a muscular funk odyssey as they married well-known material from their three-decade career to new arrangements.
The icy melancholy of Respond/React was transformed into something virile and pugnacious live, courtesy of the punchy horn sections. Black Thought's precise and shapeshifting raps remain one of the wonders of hip-hop, and that pedigree was shown in What They Do and Here I Come. The rest of the 10-piece band were at the forefront with vigorous covers of funk classics Soul Makossa by Manu Dibango and Kool and the Gang's Jungle Boogie.
Ending the set with the rare commercial hit The Seed 2.0, which descended into an epic groove-ridden jam, The Roots showed us why they are a singular talent within the hip-hop landscape. A clear link to the genre’s funk forebears, their existence is vital with hip-hop emerging out of its 50th anniversary.
Also taking to the main stage that night was Hanumankind, the Indian rapper who scored a viral hit with Big Dawgs. Backed by a guitarist and drummer, he showcased a vibrant sound, taking its cues as much from rock as from Texas hip-hop. Songs like Rush Hour featured a powerful chorus whose riffs wouldn’t sound out of place in a grunge band, while the unreleased track Police at the Door was a strong display of his narrative-driven lyricism.
Of course, the big moment arrived when he dropped Big Dawgs, an absolute monster of an anthem fully warranting all those fiery guitar solos.
Latto also proved there is more to her than racy hits. The US rapper was a potent performer with a half-hour set functioning as the ideal playlist for her work. Sunday Service had an irrepressible bounce, while Brokey, an ode to dead-end jobs, made use of Latto's colourful wordplay.
The performances capped off another strong Sole DXB, which saw the event incorporate a second stage and expand musical offerings to include artists such as British jazz quintet Ezra Collective and alternative hip-hop group Arrested Development.
