Variously described as purveyors of afrofuturistm, left-field hip hop, or feminist funk, what makes THEESatisfaction work is their undeniable chemistry, the push/pull dynamic between the more soul-oriented Cat Harris-White and the always animated Stasia Irons, an impish figure in a LA Kings baseball cap.
Having contributed to the similarly-minded Shabazz Palaces’ 2011 breakout Black Out, their stocks have been rising rapidly through mixtapes and underground releases, and while Harris-White’s extravagant afro may be no longer, the sense of fun and irrepressible mischievous streak that made the pair’s debut full-length awE naturalE one of the most acclaimed hip hop releases of the year was on display in spades throughout the show.
Before the headliners, DJ Huwston had the thankless task of playing to almost nobody, perhaps hampered by the early start time. But he remained undaunted and provided a slick mix, mainly running towards funk and thudding bass.
An old pro after years writing about music and running a record label, Huwston’s knowledge of rare funk was a particular feature and he proved a good warmup for the headliners as the dancefloor slowly but surely filled through his set. Excitement had built considerably by the time he handed over to THEEsatisfaction.
Their stage setup was minimal: an Apple Mac with the beats, and the two girls out front. Self-described “Queens Of The Stoned Age”, the pair’s rhymes lit up album cuts like the typically confident “Bitch” and “Enchantruss”, the tunes coming thick and fast with barely a pause for breath in between.
While the programmed beats left little room for spontaneity, the show was no worse for it. Completely bypassing the maximalist aesthetic of many of their hip hop peers, attention instead focused on the often personal rhymes and the yin/yang contrast of Irons’ ratatat rhyming style and Harris-White’s slightly more subdued presence and classic soul vocals.
‘Deeper’ hit pretty hard, a great example of how their lyrics see cosmic philosophy and tongue-incheek sexuality sit side by side: “When you look at the Earth/ the surface is flat…flatter than your ass’. The playful funk and sly wordplay of ‘Bisexual’ was another highlight, with their confidence and sense of self shining through once again.
The seriously smooth “Got Away” went down easy, while “Queens” was probably the high point, an infectious candy-coloured party tune that is so effortlessly upbeat you might not notice its political bent the first few listens.
Finally they left the stage, not by simply walking off, but marching out of view via synchronised dance moves. It was a fittingly fun and quirky exit from a duo who are difficult to categorise and harder to dislike.
Their music can get pretty stripped down, at times little more than mere rhymes over a slim bassline, but as minimal as it may be, tonight it proved to be more than enough.
