Selling out four consecutive shows at Melbourne’s Hi-Fi Bar is no easy feat. Judging by the line out of the front of the venue and the many disappointed faces told there were no extra tickets available, Sharon Jones and the Dap Kings was undoubtedly the hottest ticket in town.
Every lucky punter knew this and the sense of anticipation was palpable throughout the supporting act, odd-ball bluesman C.W. Stoneking. His brand of authentic delta blues is lifted straight out of the Daniel Johnstone songbook, and his brooding sparse performance, backed by an ominous looking three piece horn section, was well received by the crowd who made themselves comfortable by sitting on the floor.
A wise decision too; for Sharon Jones and her funky merry men are know for creating dancing riots in their gigs. To prepare, two girls behind me introduced themselves in order to warn that I better watch my step. Half an hour late, the Dap Kings finally sauntered on stage, all cool with smart suits, thin ties and musical instruments straight out of an analogue dream.
Musically conducted by shades-wearing bass player Bosco Mann, and MCd by lead guitarist Binky G, the Dap Kings stage presence is a homage to legendary funky backing bands such as James Brown’s Soul Generals. The 3 piece horn section are located stage right, the backing guitarist and drummer elevated back of stage, the diminutive conga drummer snuggling in the middle, while the bass and lead guitarist stood to the left. The band immediately launched into a couple of instrumentals to warm up and to showcase their killer musical chops.
It was Binky G that introduced the main attraction, welcoming Sharon Jones as “the star of our show, the super soul sister with that magnetic je ne sais quoi…” and the funk whirlwind that is Sharon Jones began. This lady is 4’11 and 51 years old, but it seemed she never read that memo. Never have I seen a performer so physically own the stage. Sharon Jones attacked each track them with a mixture of good old 60s soul stomping and frenetic dance moves reminiscent of the musical Hairspray. Meanwhile, throughout all the bedlam, her golden voice miraculously remained steady and pitch perfect.
Despite the community dance spirit of the gig, there is a very personal singer-songwriter element to Sharon Jones’ performance. Most of her songs deal with tried and tested blues subjects, detailing a catalogue of men doing her wrong (Nobody’s Baby), asserting her female independence (Keep on Looking) and burning the midnight candle awaiting a lover (100 Days and 100 Nights). Yet she performs them all with the sincerity and vulnerability that would make Aretha Franklin and Billy Holiday proud. The stand out moment of the show was the quite shuffle ‘Humble Me’, a track so personal that left the sweaty crowd stunned in a rare moment of silence.
Although Sharon Jones will always be the centre of attention, the Dap Kings’ virtuosity really needs to be admired. Simply put, the eight piece is currently at the top of their game and it easy to see why they are the backing band of choice for artists such as Amy Winehouse, Kanye West and Mark Ronson. Despite all the stylish 70s poses, they share a genuine devotion for this genre that leaves retro dance moves such as the horn section swinging together in unison devoid of fakeness.
This is the key to the Dap King’s success; they are able to take a musical form that is considered derivative and injecting it with a new life without ever compromising its integrity. But, at the end of the day it was all about that jumping pocket rocket on stage. For Sharon Jones success may have come in her 50s, but judging by her adoring fans – spanning all ages – it couldn’t have been any sweeter.
