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Konsertrecension: Maxida Märäk shines as a tireless agitator

Ahead of the autumn's debut album has Maxida Märak said that she is aiming to be more commercial. New ep ”Scars” is clearly a qualifying attempt, where Märak s

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Konsertrecension: Maxida Märäk shines as a tireless agitator

Ahead of the autumn's debut album has Maxida Märak said that she is aiming to be more commercial. New ep ”Scars” is clearly a qualifying attempt, where Märak sings a soft falsetto song of radiopoppig r&b.

Development is, in a way, in line with the whole of her artistskap, which always seemed a bit svårplacerat; applicants. Perhaps it is because she is, despite many years in the industry, so far only released singles. With the foundation of hip hop, she has nosing on everything from the ”Jills veranda”-country, interpreted the Zarah Leander, and released their own ”Baseball bat” which is a long, aggressive discharging in the form of a yoik.

Halfway into the concert at Debaser, she takes yet another break in also has a younger sister and strikes down on the stage next to his dj, and for the moment acoustic guitarist Linnéa Sundqvist.

– A bad cover band at the local pub made me discover this song several years ago, she tells her about Steve Earls bluegrassklassiker ”The mountain”. I made it into a protest song that spread all over Sápmi.

Märaks stripped and the original version, with the verse in the sami language, is a trojan horse if the highest o commercial substance gruvexploateringen of Sápmi. Expressed with total presence.

it is not for the music experience going on a Maxida Märak gig. The pre-recorded klubbbeatsen is compact, hard, distorted, and becomes the right tedious in the long run. Not on Maxida Märak-gig for överraskningarnas sake. In a one-hour running time, it happens very little. The guest artists, which would otherwise become a compulsory element in the English hiphopkonserter, is conspicuous by its absence. Let Linnéa Sundqvist replace reggaestjärnan General Knas in the new låtsamarbetet ”northern lights” is a choice that neither makes the song or outstanding a greater service.

Instead, it is in the role of lyricist and tireless agitator who Märak shine. The long mellansnacken is personal and full of pathos. In the evening's only encore ”Pipes” devotes herself to the high-class SD-bullying by rhyming ”party election night party” with the ”roll small bun, bake a little rassekaka”. The audience seems to agree; that is precisely why the going on a Maxida Märak gig.

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