Van Hunt Captures Audience

Van Hunt and his crew descended upon Deep Ellum’s Trees club Sunday night to a crowd of about two hundred and fifty eager fans and supporters in need of an alternative experience. They got what they came for. On a line-up that originally included Dallas’s own soul-butterfly princess, Carmen Rogers, there was a sense of disappointment to discover there would only be one Dallas opener instead of two. Rogers, however, was present and unscathed by not performing. Thus, Geno “June Bugg” Young, a native by way of Oakcliff and gifted soul that wears many hats musically (writer, producer, arranger, minister of music, and now indie solo artist) came correct with a six song set, opening up with the late 60’s cover, “Express Yourself”, made famous by Charles Wright and The Watts 103rd Street Rhythm Band. And in the spirit of The Watts 103rd, Geno Young and his band not only covered the song, they created alchemy with “Express”, which opened up a portal and took stance as the theme of the evening and the audience remained in surety with Young’s set. From there, Geno lead those willing into his own experience. It is here that the musical genius of Young was witnessed. With intoxicating tempos and lyrics that make one subconsciously nod and listen, Young didn’t fail at entertaining with his musique concrete. “Honey Do”, a crowd favorite, in classic Young fashion, was mellow, but maintained its’ bump courtesy of bass player, Braylon Lacy and drummer, Gino Iglehart. Young is fortunate in that he is able to work with some of Dallas’ most astute soul musicians. The segment of the Camp Wisdom click that backs Young, knows his music and it shows. Geno Young maintained that quality in his show that most inexperienced or growing solo artist lack – connecting to the audience. Due to his heavy church background, there was a continual (but not forced) reaching out utilizing call-and-response, conversation between songs, and genuine southern hospitality at the mic. In the second song of the night, he already had the crowd, arms in air, repeating dope lines such as, “Throw your hands in the sky. It’s the right direction if you want to fly.” Like a good day, Geno Young was pure enjoyment. Sure, during, “Man With Nothing to Lose”, the set closing song, (written by Lacy) a few flaws emerged. Lyrics played peek-a-boo with Young, some direction was lost, and cues were missed, but only TRUE Young supporters and aficionados of his music would have noticed (thus the personal observation). Proper impromptu application was applied and nothing in Young’s set was lost. All in all, Geno Young opened with a bang and closed his set with grace and gratitude, yet again, in classic Young fashion. Young can be experienced on his website: www.genoyoung.com.

For a man with limited (damn near nil) radio play in Dallas, Van Hunt has quite a following. The Capital Records, sleeper came with the thunder, seemingly concerned with only the music while Dallasites, groupies from Michigan (seriously, I was standing right by them), and homeboys from Arlington all surged to the stage to get a closer experience of Hunt (and his attention which was in vain). Considered a great alternative to the “soul-music” movement, Hunt came out playing his ax, steadily involved in what he was presenting. With boyish looks, but a Godly passion about him, Hunt and his band locked and never let go of each other. With only twelve songs on his debut album, the journey with Hunt at first was more memory lane than not. No song shunned its’ purpose, however, initially I was wondering were we with Hunt or Prince’s. Actually, Jessie Johnson, but it was cool, I just wasn’t ready. With a Henrix-like stance, Hunt, eventually begin to shine through in his own music. In no particular order the highlights of Hunt’s show were, “Anything To Get Your Attention”, a bass groove heavy, hip shaker with a begging undertow as it’s solar constant bringing the heat. “Down Here in Hell (With You)”, seemed the most passionate song of the evening, lyrically and a dynamic social context for dysfunctional love. Not real fancy in key changes or solo struts, “Down Here…” was R&B with a heavy pop influence that didn’t abandon the soul. Another pleaser and seemingly favorite of the night was “Dust”, the tune that holds the number one track spot on the CD. This groove about the effects of losing it, has a chorus that is so contagious, the audience through their own will power took the song from Hunt. Toward the end of the night, nearing the time with folk who have to go to work, need a boost or they’ll be out, Hunt power punched with covers by Sam Cook and Rick James, to name a few, a posthumous compliment to the good who died young. But the creme de la creme was, “What Can I Say,” a Beatle’s heavy ballad with the right combination period. There are songs that stand out and then there are songs that stand up in every musician’s life. “What Can I Say” is repeat-button worthy and it’s understood why independently minded artistic individuals like Hunt and Geno Young aren’t being played on Dallas radio. They threaten the very thin fiber of mediocrity that can be controlled, but soon, even the airwaves will be forced to recognize, let go, and let the God of soul music come down and rain on the world. The Van Hunt concert was worth it.

Camika Spencer is a nationally best-selling author, performance poet, and freelancer. Her next book, He Had It Coming will be out in September 2004. She resides in Dallas.