Offest Festival: Celebrating 23 Years of Musical Diversity
Discovering Global Sounds and Cultural Riches at Offest 23
Welcome to "Vintage Cafe," a reader-supported newsletter crafted for curious minds. It's my personal haven where I share my passions: music, films, books, travel, coffee, and art. As such, it thrives on the support of curious minds like yours. To stay updated on new posts and support my work, consider becoming a free or paid subscriber. By subscribing, you'll unlock exclusive content and become part of a vibrant community of enthusiasts. Choosing a paid subscription supports Vintage Cafe’s operations and enables me to keep sharing my passion for these subjects with you.
Celebrating its 23rd edition this year, Offest festival has established itself as a cultural cornerstone in a nation where journalism and funding for the arts often face significant challenges. Despite these hurdles, the festival consistently brings together an array of exceptional musicians from around the globe, filling venues and maintaining an element of delightful surprise for its audience.
One of Offest's greatest assets is its ability to introduce novel and cutting-edge artists to its attendees. In a country where cultural events are a luxury, the festival's commitment to showcasing innovative music and diverse cultures is both refreshing and inspiring. Each performance offers a unique opportunity to expand one's horizons—musically, culturally, and spiritually.
For four days, Skopje transforms into a global stage, with the Offest festival turning the city into a melting pot of sounds and traditions from all over the world. This celebration of diversity and artistic excellence not only highlights the festival's significance but also emphasizes the unifying power of music.
06.06.2004 Opening Night
Bombino
Bombino has a reputation that precedes him, and his performance at Offest was nothing short of extraordinary. Offest has consistently targeted great bands from the desert blues genre, featuring artists like Tamikrest, Tinariwen, Boubacar Traore, and Vieux Farka Toure. Bombino, with his exceptional guitar playing and deep connection to the desert blues subgenre, proved to be a stellar addition to this lineup.
The popularity of desert blues, or tichumaren in Tamasheq, the Tuareg language, has surged in recent years, becoming one of the most successful world music genres to break through since reggae. Bombino's mastery of the guitar has placed him at the forefront of this movement. Hailing from the dusty outpost of Agadez, Niger, in the Sahara, his music transcends borders and connects with listeners on a profound level.
Bombino and his band took the stage dressed in traditional Takatkat shirts made of shiny fabric with intricate patterns and thick scarves casually draped around their necks.
The first part of the performance was acoustic, with Bombino on an acoustic guitar, the drummer playing djembe, the bassist handling percussion, and the other guitarist playing electric rhythm guitar. The sound was soft and relaxing, yet energizing, as Bombino expertly picked at the strings with his long, slender fingers. The simple percussion and harmony vocals created a raw, emotional sound that captivated the audience.
Bombino, though not fluent in English, communicated with the crowd in French, which was met with enthusiastic responses. More communication in English ensued from the bassist Djakrave Dia. As the show progressed, the pace picked up, and the band transitioned to electric instruments, bringing the house down with their electrifying performance. The Western instruments carried traditional African sounds through notes and melodies, enhanced with more sound, power, and funk.
The songs were a mélange of Hendrix-styled rock, funk, and traditional African folk, creating a unique blend that resonated with the audience. Bombino's latest album, "Sahel," which he promoted at the festival, showcases his continued evolution as an artist, and his performance at Offest solidified his status as one of the world’s greatest living desert blues guitarists. Everywhere, people were head-banging, and dancing with abandon.
Despite this, Bombino's music remains distinct from the rest of the music world, and his ability to fuse traditional sounds with modern influences is a testament to his exceptional talent. The crowd at the NOB danced their hearts out, celebrating the incredible talent and vibrant energy that Bombino brought to the stage.
BCUC
BCUC stands for Bantu Continua Uhuru Consciousness and their performance at Offest was an electrifying contrast to Bombino's preceding concert, igniting the stage with their volcanic energy and infectious rhythms. The seven-piece South African band, known for their powerful percussion-driven sound, delivered an uplifting and mesmerizing set that had the crowd captivated from start to finish. The massive drums and funky basslines, foundational to their music, created a pulsating backdrop for Nkosi Zithulele, the charismatic frontman whose dynamic chants and melodies in multiple South African languages held the audience spellbound.
Zithulele’s impassioned addresses on social issues and race relations in South Africa added a profound layer to the performance, engaging the audience both emotionally and intellectually without breaking the show’s momentum. Harnessing punchy top-line melodies and driving, percussive grooves, BCUC maintained their signature cyclical chanting and propensity for euphoric musical explosions within more compact structures.
Their performance featured propulsive, endless crescendos and earworming melodies that kept the audience in a state of constant anticipation and excitement. The band’s unique blend of harmonized chanting and fierce polyrhythmic drumming created a trance-inducing experience, weaving 20- to 30-minute-long tracks into a mesmerizing tapestry of sound. Each moment built upon the last, culminating in an unforgettable live show that left the audience exhilarated and yearning for more.
Upon spotting a Palestinian flag in the audience, they also addressed the ongoing struggles in Palestine, drawing a powerful connection between global struggles for justice and freedom.
The final segment of their set exemplified BCUC's unparalleled ability to whip the crowd into a frenzy, with the band teasing extended playtimes and escalating the energy to exhilarating peaks. The frontman even did an extended series of push-ups on the stage. Each climax seemed to surpass the last, leaving the audience in awe of the raw, euphoric power of BCUC’s live performance. Watching BCUC live is not just a concert experience; it’s a communal celebration of rhythm, resilience, and unbridled euphoria.
07.06. Second night
Boi Akih
Boi Akih’s performance was a mixed bag that left much to be desired. Opening the set with improvisations, the band seemed to meander aimlessly, struggling to find a cohesive direction. This lack of focus persisted, with each new improvisation failing to build any meaningful momentum. It was an underwhelming start that cast a shadow over their entire performance.
As the night progressed, the band’s songs began to take shape, but the reliance on improvisation never quite dissipated. While Boi Akih is known for its unique blend of jazz and world music with a heavy emphasis on improvisation, tonight it felt more like a crutch than a creative tool. The music, predominantly quiet, only occasionally reached minor climaxes, which were too sparse to leave a lasting impact.
Despite their reputation for captivating live shows, Boi Akih’s set failed to ignite the same energy at Offest. Their usual vibrant and exploratory sound seemed muted and tentative. Monica Akihary’s vocal prowess was on display, yet even her impressive range and emotive delivery couldn’t elevate the performance beyond its lackluster start. Guitarist Niels Brouwer’s compositions, typically rich and engaging, fell flat in the live setting, never quite finding their footing amidst the constant improvisational shifts.
In conclusion, Boi Akih’s performance at Offest was a disappointment. The aimless opening improvisations and the over-reliance on spontaneous creation led to a disjointed and unengaging set. For a band known for their dynamic live shows, this performance was an anomaly, lacking the energy and cohesion that fans have come to expect.
KUTU
KUTU's was a stark contrast to Boi Akih's aimless and quiet music. The band brought electrifying energy to the stage, proving themselves as a rock-solid dance band propelled by an excellent drummer. The singer Hewan Gebrewold was a dancing goddess, captivating the audience with her movements and vocals, making the whole show an upbeat experience that had everyone dancing.
KUTU was formed in Addis Ababa when French violinist and composer Théo Ceccaldi, a multi-layered improviser and renowned figure in classical music and jazz in his country, discovered Gebrewold’s voice. She is well-known on the local, vibrant underground music scene for her acrobatic vocals and elegant movements, as part of the 10-member rock band Jano. Together, they embarked on an adventure to create a new improvisational concept that merges Azmari and Ethio-jazz roots with the poetry and groove of global urban culture.
The band’s music was a combination of Ethiopian tribal rhythms, galloping vocals, improvisations, and punk energy, all bolstered by a powerful rhythm section and a lineup with infectious energy: electro-space keyboards, ancient percussion, hypnotic bass, entrancing dance, and celestial voices. This dazzling trance ensemble captivated with an explosion of magical rhythms and energy.
KUTU's performance was a mesmerizing blend of cultures and sounds, creating a vibrant and unforgettable experience. The synergy between the musicians was palpable, and the audience couldn't help but be drawn into the hypnotic rhythms and dynamic stage presence. By the end of the show, they had people from the audience on stage dancing together. It was a night of pure musical magic that left everyone in high spirits, dancing to the beat of a truly innovative and captivating band.
08.06. Third night
Vicente Amigo
Vicente Amigo's performance was nothing short of extraordinary. As the lights dimmed, Vicente quietly made his way to the stage, settling into his armchair under a soft spotlight. The concert began with hushed anticipation, but the moment he strummed the first notes, it became clear that he was a master of his craft. His opening solo piece was a tour de force, a lengthy showcase of intricate guitar techniques that turned him into a one-man orchestra.
The first song was a full display of Amigo's unparalleled playing abilities, serving the music while demonstrating his technical prowess. His fingers danced across the strings with breathtaking speed and precision, yet every note was imbued with deep emotional expression. Vicente Amigo is renowned for his collaborations with flamenco legends like Camarón de la Isla, Enrique Morente, Diego el Cigala, and Carmen Linares. However, he also stands at the forefront of flamenco's modern evolution, blending traditional elements with contemporary influences to create a unique musical language.
Years ago (2009), I had the opportunity to see him play at the Guitar Art Festival in Belgrade, where he wowed the crowd. Imagine the festival’s lineup back then: Ennio Morricone with his 100-person orchestra, Sting and Edin Karamazov, Vlatko Stefanovski and Miroslav Tadić, and Vicente Amigo. He had to be good.
Amigo's stage presence was fiery and captivating. Clad in a white shirt and seated on a throne-like chair, he played with an effortless, easy style and crystal-clear tonality. His opening solo, performed alone on stage, highlighted his ability to absorb contemporary and classical influences into his flamenco guitar style, cementing his status as a legend of the guitar.
After some time, his band members joined him on stage, creating a rhythmic undercurrent in the dim light. The ensemble featured Antonio Fernández Perona “Añil” on second guitar, Francisco “Paquito” González on cajón and percussion, Ewen Vernal on bass, and Rafael de Utrera on vocals. Amigo's fiery presence was complemented by his band, each member contributing to the rich, dynamic sound. Rafael de Utrera, in particular, added depth with his powerful vocals and rhythmic clapping.
Amigo's performance was a journey through the soul of flamenco, blending lyrical beauty with rhythmic intensity. He has recently released a new album, and he played several songs from it, such as "Corcovado," "Bolero A Los Padres," and "Manuela." The ensemble's chemistry was palpable, each musician feeding off the other's energy. Yet, after several songs with the band, Amigo returned to the solo format, bringing the audience back to the intimate, mesmerizing world of his guitar. He concluded the show with “Requiem” a poignant song.
Vicente Amigo's concert at Offest was a masterclass in flamenco guitar, a blend of tradition and innovation that left the audience spellbound. His effortless technique, combined with his deep emotional expression and innovative spirit, truly made him a leyenda de la guitarra, a legend of the guitar.
09.06. Closing Night
Volosi
On the final evening of Offest, the festival moved from the grandeur of NOB's grand hall to the intimate setting of the Youth Cultural Center's Dancing Hall. The night featured three diverse bands from different countries: Volosi from Poland, Kalata from Macedonia, and Naked from Serbia. Among these, Volosi stood out as a revelation, delivering an unforgettable performance that captivated the audience.
Volosi, a Polish folk-classical string band, met at a wedding and have since created a unique fusion of traditional and classical music. The band's lineup consists of two violins, viola, cello, and double bass, bringing together five very different players who have developed a distinctive fusion style. Their all-instrumental compositions seamlessly switch between rousing anthems underpinned by rhythmic plucked strings and bass, rapid-fire improvisation, and traditional Romanian (Wallachian) influences. This combination of contrasting elements works to their benefit, resulting in music that is vibrant, dynamic, and utterly innovative. Their sound blends classical and film music with Polish folk traditions, creating a new and exciting musical entity.
From the moment Volosi took the stage, their energy and passion were palpable. The interplay between the musicians was mesmerizing, as they navigated complex arrangements with precision and flair. The violins soared and intertwined, the viola and cello provided rich harmonic textures, and the double bass grounded the ensemble with deep, resonant tones.
The music of Volosi is a communion of contrasting elements, creating a vibrant and dynamic soundscape that is both innovative and deeply rooted in various traditions. Their performance at Offest was a testament to their exceptional talent and creativity, leaving the audience in awe of their musical prowess.
The band's ability to blend traditional folk with classical sophistication made for a truly unique and memorable experience.
Kalata
Following the electrifying performance by Volosi, the stage was set for the Macedonian six-piece band Kalata at the Youth Cultural Center's Dancing Hall. Kalata, a collective of intriguing musicians, blends folk songs with jazz elements, creating a unique musical experience. Their repertoire consisted of traditional songs rearranged with a fresh twist, alongside their original compositions. Led by bassist Simeon Angelovski, the band approached their performance with the spontaneity and energy of a jam band.
Fronted by the dynamic vocal duo of Minela Bogdanovic and Marija Ilievska, Kalata's melodies were further enriched by saxophonist Kiril Kuzmanov, all propelled by the extraordinary drumming of [Damjan Grujo]. Their set included captivating renditions of traditional songs and originals such as "Lenche" and "Ка се zaljubile," which showcased their ability to breathe new life into beloved classics.
However, despite their evident talent and engaging stage presence, Kalata's performance was marked by inconsistency. The band's playing and arrangements fluctuated in cohesion, resulting in occasional dips in energy. This unevenness hinted at a group still finding its feet and developing a musical vocabulary that would provide a more polished and unified sound.
Nonetheless, Kalata's potential was undeniable. The interplay between the musicians, particularly during their improvisational segments, revealed a promising synergy that, with time, could evolve into something truly remarkable. Their innovative approach to combining folk and jazz elements is a refreshing addition to the music scene, and as they continue to refine their craft, they have the potential to become a standout act.
Naked
The closing act of the night, Naked, was the cherry on top of an exceptional evening at the Youth Cultural Center's Dancing Hall. Formed in 2006 in Belgrade, Serbia, Naked brought their eclectic sound to Offest, captivating the audience with their dynamic performance. Though it was my first time seeing the band live, their albums "Nakedonia" and "Get Naked" had been on heavy rotation for me when they were released.
Naked defies easy categorization, seamlessly blending jazz, pop, folk, and everything in between. This band exhibits a remarkable sense of what's appropriate for every musical setting they find themselves in. Their performance showcased a mesmerizing unity, making it seem as though the six musicians were a single entity. Their live set was an exuberant display of creative concepts and diverse influences, drawn from their globe-spanning backgrounds and individual interests.
Their music was a vibrant mix of melodic jazz, folk, and rock, spiked with theatrical flair. The addition of local guests enhanced the performance, with the talented saxophonist Petar Hristov bolstering the brass section, and the extraordinary Zarina Prvasevda delivering a sassy blues song with her powerful vocals. Each member played with heart and soul, creating an immersive and unforgettable experience.
Naked’s set was a fitting conclusion to the festival, demonstrating their ability to bring a unique and uplifting energy to the stage. Their music, rich with cultural and stylistic fusions, left the audience in awe and perfectly rounded off an evening of outstanding performances. Naked provided an extraordinary closing act, cementing their reputation as a band that knows no bounds in their musical journey.
Photo credits:
The first two nights: Tatjana Rantasha
The last two nights: Zdenko Petrovski