Applause for Afropunk’s Artistry and Activism

August 31, 2017 by Ray Fontaine

Anais B / photo by Ray Fontaine

On August 26 and 27, 2017, Afropunk called together a fantastic showcase of fashion, music, activism, and community. This year’s Brooklyn festival , held once again at Commodore Barry Park, emphasized activism, resistance, and solidarity. Musicians, artists, hosts, poets, signage all called for freedom, equality, and action.

Kamau and Bro / photo by Ray Fontaine

The Black Stage hosted exciting smaller acts to discover all weekend long. DJ Anais B came all the way from Paris , spinning many heavyweight female artists like Lil’ Kim, Jill Scott and Missy Elliot. Late Sunday, the breakout rapper, singer and visual artist Kamau took the Black Stage just as the sun began to set. Kamau made a big splash at Afropunk this year when he closed his set with single “PohLease,” off of his recent EP, A Gorgeous Fortune, a mind-bending song discussing police brutality. At the end, when he called for a moment of silence and thrust his fist up in the air, thousands of Afropunks raised their fists with him.

Macy Gray / photo by Ray Fontaine

Between the adjacent Red and Green stages, headliners such as SZA, Solange Knowles, Protege, Simba, Michael Kiwanuka, and Gary Coleman performed all weekend. Pedestrians congested the walkway between these two main stages, at times creating an impenetrable wall of people, and potentially a fire hazard. The Solange and SZA shows drew massive crowds, onlookers packed in like sardines. The Gold Stage, on the other hand, felt spacious and hosted acts like Macy Gray, The Cool Kids, and Sango.

Michael Kiwanuka / photo by Ray Fontaine

Afropunk’s culture grows and develops to create a more powerful and inspiring event every year, becoming a more elaborate and diverse display of personality and history. The people, the hair, the clothes, the food all represent a raw unapologetic celebration of black culture in all its many forms. The scene was filled with lots of mesh tops, studs, vibrant patterns, headdresses, wigs, disco jumpsuits, nipples and more. Pop-up Braiding, Body Painting, Barber Shops, and Nail Salons represent just a fraction of the opportunities for festival goers to deck themselves out.

Headress / photo by Ray Fontaine

Editor’s Note:

While Afropunk has been instrumental in cultivating Brooklyn’s expanding music and cultural horizons since its beginnings in 2005, this year’s installment was marked by a lack of proper operational organization and security inside the gates. Because of this, there was a potential for tragic occurrences, due to overcrowding, a lack of signage and directions for festival attendees , when going from one stage to another. We applaud Afropunk’s success and its expansion into other locations around the globe, but urge Afropunk’s organizers to take steps to improve the fan experience in Brooklyn next year, with safety high up on the priority list.

Artists on our Radar

Jessi Robertson: A Voice for the Vulnerable

Jessi Robertson-Memory and Abandoned Parts Album Art

Jessi Robertson is a powerhouse voice that captivates you from the first note. In a world where music is often a safe place for personal expression, she stands out as a compelling voice for the vulnerable. With her vivid lyrics and haunting melodies, her over 15-year career as a musician has carved a way for herself in the folk and Americana music scene, captivating audiences with her raw honesty and emotional depth. Born in a small town in upstate New York, Robertson’s journey into music began at an early age. Robertson moved to Brooklyn in 2003, as she honed her craft, recognizing its ability to speak directly to the human experience with authenticity and sincerity. Once in BK, she released her debut album, “Small Town Girls,” in 2010, which gained much traction for its lyrics and soul-stirring melodies. Following this came her 2014 release “I Came From The War.” Throughout her career, Robertson has fearlessly tackled themes ranging from love and loss to social justice and mental health. Her most recent release, “Memory and Abandoned Parts (15-Year Anniversary Edition of Who We Are, What We Have Done)” is a re-release of her original 2008 album. She continues to push the boundaries of her artistry, as the release explores the complexities of the human condition. Robertson’s impact extends beyond the recording studio. Recognizing the power of music to effect change, she uses her platform to advocate for issues close to her heart. Whether performing at charity events or speaking out on social media, Robertson is committed to using her art as a force for good. Through her music, Robertson invites listeners to confront the complexities of the human experience with empathy and compassion, reminding us of the power of art to bridge divides and inspire change. As she continues to evolve as an artist and an advocate, one thing remains certain: Jessi Robertson’s voice will echo in the hearts and minds of listeners for years to come, leaving an indelible mark on the musical landscape.

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