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TUESDAY<br />
CLUB.<br />
TENTH<br />
BIRTHDAY.<br />
18th november<br />
@shef uni.<br />
nitin<br />
sawnhey.<br />
1ST NOVember<br />
@leadmill.<br />
It lore volent wis nos auguerat<br />
popular night inim for ing hip ea hop, faccum drum<br />
The promoters of <strong>Sheffield</strong>’s most<br />
amconsenibh n’ bass and general erostrud sub-centred et<br />
voloreet action decided diam to quat, throw quat. an Ut<br />
prat unusual praesequi event for their tem birthday. incing<br />
All that was revealed was that<br />
eros eliquat la faccums<br />
there would be a secret line<br />
andrerosto up of favourites consendreet<br />
- drawn from a<br />
ulla decade’s am, worth quis numsan of performers. henisl This<br />
illaNulputpat intrigue combined iustinci with the bla loyalty<br />
adigna of TTC’s following consecte ensured molenit<br />
sold<br />
out days before the event.<br />
alis nibh exer accum dolorpercing<br />
Warming up el in ut the ver main ilit room luptat.<br />
Xer were sum Foreign num Beggars, inim quam who<br />
ipsuscilit entertained nis with num their qui usual bla blend<br />
faccum of microphone dolutat. showmanship<br />
and beatboxing amusement.<br />
Molor sectet, corem quations<br />
are exceptionally dionsequis good eum at ex<br />
These seasoned campaigners<br />
ecte creating feuissed a party dunt mood, wis but elis it<br />
augiam would be irilisi. nice if they displayed<br />
Venit their considerable euissi. Rate talents dolutpat. a little<br />
better - perhaps performing more<br />
Ignim zzrit estis exeraesto<br />
hip hop and playing less dubstep<br />
odigna and metal. coreet They were lobore followed tet by<br />
veniatuerat. Kentaro, whose Ut magical laortisi abilities tat.<br />
Iquat. in turntablism Aliquam kept conulpute<br />
the listening<br />
core crowd vulla entertained, consendre but whose ea<br />
set perhaps lacked the energy<br />
con eros nonse dolutat<br />
required for the moment, being<br />
inisis quite choppy aut la in feugiam form and adipit genre.<br />
aliquatio commy nonsent<br />
endre tie min hent aliquis<br />
Nitin Sawhney’s most recent<br />
release, London Undersound<br />
features guest appearances from<br />
Paul McCartney, Natty, Anoushka<br />
Shanka and artwork from seminal<br />
British sculptor Antony Gormley.<br />
It is fair to say, then, that Mr<br />
Sawhney is a highly-regarded<br />
fellow. Musician, DJ, film maker<br />
and educationalist - Sawhney has<br />
been an outspoken champion of<br />
cultural integration through artistic<br />
means for over a decade.<br />
From the opening track ‘Sunset’<br />
to the finale ‘Prophesy’, Sawhney<br />
and his band effortlessly crossed<br />
genre boundaries, mixing cultural<br />
influences from <strong>In</strong>dia, South<br />
America, The Middle East, Oriental<br />
Asia and Europe together with<br />
constant references to modern<br />
popular music. Whilst purists<br />
may deplore Sawhney’s use<br />
of traditional cultural styles as<br />
popularisation, I see Sawhney’s<br />
use of these forms as an important<br />
symbol - a fusion of culture, time<br />
and place.<br />
The action in the back room was<br />
jump-started by a blistering set<br />
from The Haggis Horns. It was a<br />
pleasure to see these guys back<br />
in action and playing so well after<br />
the tragedies they have overcome<br />
this year.<br />
Skream, Toddla T and Mary<br />
Anne Hobbs provided their usual<br />
brands of beat-based wizardy.<br />
However, this element of the line<br />
up was so evidently orientated<br />
towards current fashions that<br />
some felt slightly cheated by<br />
TTC’s claim of ‘favourites from the<br />
decade’.<br />
Nicky Blackmarket, by contrast,<br />
deftly delivered a stomping set<br />
of old jungle favourites which<br />
was exactly what was required<br />
to close the night. Regardless of<br />
individual performances on this<br />
night, 10 years is a damn long<br />
time to provide the kind of quality<br />
we all now take for granted.<br />
Tuesday Club, we salute you.<br />
BEN DOREY® REGLER.<br />
Most significantly though,<br />
Sawhney’s music is a<br />
representation of the UK in the first<br />
decade of a new millennia, a vast<br />
expanse of cultural and ethnic<br />
diversity, but unlike the attitudes<br />
that divide and segregate our<br />
society Sawhney openly embraces<br />
these backgrounds, fusing them<br />
into something beautiful and fluid.<br />
Tabla, cello, drums, keys, guitar<br />
and an array of backing singers<br />
from varied places and with varied<br />
styles combined incredibly and<br />
performed with the tightness that<br />
most bands can only dream of.<br />
Whilst the concept for Sawhney’s<br />
new album may outshine the<br />
actual repertoire of songs it<br />
offers, the bulk of this set came<br />
from older records, with tracks<br />
‘Homelands’, ‘Dead Man’ and<br />
‘Moonrise’ particularly standing<br />
out.<br />
I implore those not yet familiar<br />
with Nitin’s work to discover this<br />
cultural champion yourselves –<br />
he’s a winner.<br />
reg regler.<br />
SOUNDCHECK.<br />
PAGe FORTY-six.<br />
tuesday club. nitin sawnhey.
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