Friday Jams Live
17th November 2019
Western Springs Stadium, Auckland, New Zealand.
Review by Sarah Kidd. Photography by Doug Peters.
Music is a fascinating thing. It is an art form, a cultural activity and in some cases, completely timeless; never more so than when it comes to the guilty pleasure of iconic songs that despite the ever-increasing passing of the years will forever remain the firm favourites of office parties and backyard BBQ’s across New Zealand.
It is this phenomenon that saw over thirty thousand pile into Western Springs yesterday for the third annual Friday Night Jams; a festival whose humble beginnings in Spark Arena back in 2017 has now transformed into New Zealand’s largest RNB party, attracting some of the biggest names from across the world.
Unfortunately, when trying to bring that many together inside a contained area, there are bound to be hiccups, the most frustrating being the insane length of the lines to gain entry. With the first act of the day scheduled for four o’clock in the afternoon and the gates only opening at three, the lines quickly built up to the point they were spilling onto the road, many patrons not particularly thrilled by the fact that when they finally did manage to make it through the gates they had already missed several of the early acts due to a questionable time schedule that saw artists such as J-Kwon and Savage being allocated a mere ten to fifteen minute time slots each.
Breaking from tradition of beginning the day with local flavour, American rapper J-Kwon had the privilege of opening the event; the thirty-three old who hails from Missouri taking the stage in a leather tactical style vest sporting the HHM logo of the Hood Hop Music label that he is a member of. While the dedicated may be able to recite the words to a few more of the tracks off his debut album Hood Hop released in 2004, it was ‘Tipsy’ that had yesterday’s throngs raising their cups in the air.
Kiwi hip hop royalty was up next, Savage rather insultingly only allocated ten minutes with which to deliver his set. In true Deceptikonz style however, he smashed out shortened versions of his hits such as 2005’s ‘Swing’, club banger ‘Freaks’ and the perfect Sunday afternoon anthem ‘Wild Out (Cheehuuu)’, thousands of people echoing the call. Scribe followed closely behind with a performance that proved that he has still got the chops when it comes to rapping, but that also came complete with some odd statements, such as the fact that he has been to jail and “liked it”. Still, the forty-year-old rapper – who has now been drug free for six months – knows how to make a statement, his black bulletproof vest with the words PRAY4ME emblazoned across it in white a nod to the tragedy in Christchurch earlier this year where the lives of fifty-one were lost in a gutless act of terrorism, Scribe himself identifying as Muslim. And of course, his iconic track ‘Not Many’ (featuring P-Money on decks) can still get kiwis rapping together in perfect unison.
Back into the internationals and it was the Georgia born and raised Keri Hilson that appeared next on the bill, the RNB beauty curiously sporting a Kurt Cobain t-shirt. Having recently released new music, nine years after her last album No Boys Allowed, Hilson had something to prove, and certainly appeared to have the ever-growing masses on her side as she laid out tracks such as ‘Knock You Down’, Timbalands ‘The Way I Are’ for which she was a featured artist and of course ‘Pretty Girl Rock’; her vocals impressively carrying across the field. In a homage to his debut album Unleash the Dragon, Sisqó arrived just after five o’clock holding a microphone bearing a large silver dragon on it, both he and his back-up dancers looking tidy in their matching black, silver studded outfits. Again, with only a twenty-minute time slot, there was a limit to what Sisqó could do, however he and his dancers gave it their all, their choreographed moves holding people’s attention, as they shifted against the backdrop of a fiery red dragon. Illustrating he could also still rap with the best of them, Sisqó performed a medley of tracks amongst which he threw in the memorable ‘Thong Song’; the forty-one-year-old artist preferring to take a more RnB route with his ballad ‘Incomplete’.
By now, security must have managed to get the entry gate issues sorted, as thousands were pouring into the venue, many of them making a beeline for the barrier to catch a glimpse of the charming Brandy whose set was sadly plagued with technical complications. While comments soon floated through the crowd as to whether she was lip-synching it appeared to be more an issue with both her microphone and the mix; Brandy, who was visibly irritated, repeatedly asking for the music to be turned up as she pointed out that those in attendance had “paid good money” to see the show. With only her hardcore fans singing along, Brandy came off as a little lacklustre, the audience finally jumping on board when her 1998 hit ‘The Boy is Mine’ made an appearance. Promising to bring some “real music next time” Brandy left the stage only to reappear a short while later down in the pit. Chatting with both the local photographers as well as fans in the front row and pausing to take selfies with as many people as she could, her care and consideration for not only her followers but some of the local media heart-warming to witness.
Early evening was beginning to settle in and Western Springs soon had its buzz on, the fields and terraces littered with discarded empties; the big four – beginning with Jason Derulo – promising to make this Friday Night Jams the best yet. Granted, Derulo brought the heat early as a pair of scantily clad female dancers gyrated so hard that you feared they may injure themselves; two male dancers in black – one sporting a tactical vest, which very much seemed to be the fashion choice of the events artists – flanking Derulo himself who arrived sporting a striking red leather jacket and combat boots.
Derulo can sing – well when he does sing he can – the backing track and his devotees often doing the work for him as he busted out the moves and some gravity defying jumps. Kicking it off with ‘Whatcha Say’, he ran the full gamut of his hits, ensuring that there was something for everyone, from the cheeky ‘Wiggle’ to the more laid back ‘Ridin Solo’. Slowly removing articles of clothing as he worked up a sweat that could be clearly defined on the big screens, Derulo continued with his compendium of singles, ‘Trumpets’ enticing the crowd to boogie before ‘Swalla’ saw the more uninhibited grind against rails, the ground and each other in what looked like a kinkier version of purgatory complete with showers of golden sparks raining down from the roof as DJ Jae Murphy kept the bass pumping. Never letting the energy wane for more than a moment, Derulo finished shirtless with ‘Talk Dirty’ and ‘Want to Want Me’.
When not getting embroiled in Instagram insult wars about hairlines with his Power co-star Naturi Naughton, Curtis James Jackson the third aka 50 Cent aka Fiddy, is busy bringing his A-game. Appearing in a jacket that looked more well suited to the arctic, its rather bizarre adornments in printed brown packaging tape catching the last of the fading light, Fiddy brought a harder edge to the day as well as an accomplished full live band. ‘Patiently Waiting’ and ‘I Get Money’ were popular with his diehards stans, whereas tracks such as ‘P.I.M.P’ with that flavourful Caribbean feel to it, soon had everyone singing the chorus. Stripping back to his more customary look of immaculate white t-shirt and heavy gold chain, 50 Cent continued to work it with his hype men, but it soon all began to sound monotonous thanks to little deviation from the standard beat. ‘Candy Shop’ certainly had its admirers, and ‘Ayo Technology’ somehow still managed to hold itself up (barely) despite being over a decade old. But his band sure hit the mark dead on with a short rendition of Bob Marley’s ‘Is This Love’, New Zealand having always been well known for its reggae roots. Of course, what would a 50 Cent show be without the single that made his career; ‘In Da Club’ complete with an immense shower of glittering confetti that exploded over the front sections seeing Western Springs bounce together as one.
Throughout the day DJ Horizon entertained the assembled with his skills on the turntables, his playlist in keeping with the standard fare expected at a Friday Night Jams; Australian DJ YO! Mafia disappointingly not making the return trip to New Zealand this year. Hosts, Clint Roberts of ZM and the adorable Fatman Scoop (honestly, the man is a living ray of sunshine) also made regular appearances throughout in order to keep the good vibes peaking; Scoop soon going the whole hog with his track ‘Be Faithful (Put Your Hands Up)’, every one of the ladies present more than happy to sing the part of Faith Evans before he took it to the next level with ‘Jump Around’ from House of Pain. Refusing to break with tradition, Scoop was soon shirtless, the fans audible elation for this one simple action the liveliest they had been all day.
That enthusiasm continued as will.i.am, apl.de.ap and Taboo of the Black Eyed Peas took to the stage that was awash with neon spotlights and symmetrical outlines; ‘Let’s Get It Started’ an appropriate track to begin their time slot with; ‘Boom, Boom, Pow’ the first song of the day to truly have every person present – including the paramedics – shake what their mama gave them. A vision in black and gold, latest addition to the band J Rey Soul (Jessica Reynoso) cemented her place with vocals that were electrifying. Having met apl.de.ap on the Philippino version of The Voice, for which he was a judge, Reynoso has since been catapulted into the spotlight; she is not however the new Fergie, Reynoso already an established creative in her own right, and frankly far superior live than Fergie ever was.
‘Pump It’, with that scintillating Dick Dale guitar sample from ‘Misirlou’ made famous by the Tarantino movie Pulp Fiction and delivered live by New Zealand’s own George Pajon of Cairo Knife Fight continued the frenetic pace; Friday Night Jams vibrantly coming to life as all caution was thrown to the wind and people sang and danced like there was no tomorrow. Using the atmosphere to their advantage, will.i.am announced that they were about to drop a new song; ‘RITMO (Bad Boys for Life)’ following the usual musical style of BEP and using a sample of Corona’s ‘The Rhythm of the Night’ upon which to build the track. Slowly dialling it back, will.i.am gave an impassioned speech on how much he loved New Zealand and that while we were not perfect, it would be the first place both he and the rest of the band would run to should the world begin to fall apart; his request for everyone to light up their phones during ‘Where Is The Love?’ (which featured a cheeky little snippet of ‘My Humps’ with alternative lyrics) seeing Western Springs twinkle brighter than the Hope Diamond itself. Now signed to Sony, Black Eyed Peas will be looking to once again dominate the charts, their live performances proving that they very much have the heart and skills to do so.
With only one act left to go, the comedown was hitting some of the patrons hard, those that partied a little too much during the day, making a zig-zagged dash for the stairs before the headliner of the evening had even begun.
A controversial choice due to not only her music falling outside of the age range of the average Friday Night Jams patron but the dismal reviews coming out of Australia, Miss Janet Jackson arrived preaching a sermon about control; control of her image (many media outlets being disappointed that photographers weren’t allowed to cover her set), her music but most importantly of the world around her. Looking stunning in a black jumpsuit and combat boots, surrounded by a troupe of next-level dancers sporting post-apocalyptic ensembles, everything was going fine until she began to sing, Jackson’s voice coming through as weak and off-pitch. Clearly having difficulties with her in-ear monitors and plagued by a continual hissing noise that suspiciously sounded like a backing track not mixed in properly, the exodus began barely two songs in.
‘Nasty’, ‘The Best Things in Life Are Free’, Busta Rhymes ‘What’s It Gonna Be’ soon all began to sound like one long track, with garbled lyrics and overwhelming bass, the only redeeming feature of the first half being the fact that Janet Jackson could still break out her renowned dance moves. But as hard as she tried, the stands and the fields continued to empty at an alarming rate, the crowd chatter becoming louder as many questioned the validity of her vocals; her encouragement of those still hanging in there continually coming through at a different volume to her singing. There were even points where her mouth was not moving at all, although to be fair this was during some of her more complicated dance routines.
‘Miss You Much’ and ‘What Have You Done for Me Lately’ ushered in a more consistent quality level of vocals, which while enjoyable to listen to just raised further questions regarding the lip-synching rumours that have plagued her entire Australasian tour. The rest of her songs soon began morphing one into the next, the level of interest even for the fans still holding on for the end beginning to waver. A dedication to her late brother Michael in the form of ‘Scream’ and a last ditch attempt to drag the whole thing back from the jaws of death with a punchy version of ‘Rhythm Nation’ and Janet Jackson was gone, the house lights abruptly springing to life and semi-blinding those who were left still staring at the stage in hope of an encore.
Officially at an end and the verdict was in; the third annual Friday Night Jams failed to reach the heights of 2018, their promise to return (next year?) posing the intriguing question of just who is left to tour when it comes to RNB guilty pleasures.
One thing’s for sure, lip-syncers need not apply.
Were you there at Western Springs for this HUGE RnB and Hip Hop festival? Or have you been to Friday Jams Live on a different year? Tell us about it in the comments below!
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