Beginning of our concert
In Mexico everything seems to change the last minute, so when somebody asks us when we play, either we just don’t know, or in 5 minutes it will be different anyway… But if you accept that fact, there is also quite some vitality hidden in the process. Anything seems possible, and most of the time it really is. We were reluctant to do a soundcheck in early morning, because we were supposed to play as the first band: consequently we should have the last soundcheck, so that we don’t have to change the stage anymore. The organisation agrees with a soundcheck right before our concert. But when finally there seems too little time left, the decision is made to change the schedule, and we play the second concert with only a line check. A bit risky strategy because of the boomy pump bass sound concept of the sound guy, but after adjusting some things after the first song, the sound is loud, but good.
We play for about 2000 Mexicans. And the great thing about the Mexican audience is that they are really open to anything. When we play a slow ballad for Behsat, they aren totally concentrated, when we play groovy stuff they dance, and if we play our shamanistic free jazz piece Wild Horses (Cavallos salvajes!) they just go wild also. This is worth a lot. I think the Mexicans have made ‘concert watching’ into an art itself!
I go to a small after party, where there are nice people, Tequila, and music around ‘pater familias’ Cheick Amadou Tidiane Seck. Agreeable end of a memorable festival. Thank you Ollin Kan!
Cheick during the after party