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Heather Golder

At 6 p.m. on August 17th, the usually sedate Jazz and World Music room of Amoeba Berkeley turned into the single hippest place to be in the Bay Area.  Pharoahe Monch, playing with a full band, an energetic DJ, and two amazing vocalists, tore the place down with a half-dozen song set in support of his new album, Desire. 

The band and DJ Boogie Blind started playing at six o'clock sharp, using the sound check as a chance to jam jazz-scratch style.  I caught tantalizing bits of Monch's single "Body Baby" (a swing-influenced, Elvis-drenched dance song that should be as big as "Hey Ya" based on catchiness alone).  Fifteen minutes later, with the crowd warmed up and starting to bob their heads, two vocalists joined the band and started to sing "Pharoahe, Pharoahe," until the charismatic MC himself hopped up on the stage and tore right into "Let's Go."

The fans didn't hesitate to join in:  "one for the money, two for the show, three to get it crackin' in the hood, let's go!"  Fingers flew up, one-two-three, and then arms waved wildly and the folks packed into the center area in front jumped in unison.  Monch performed like he was standing in front of a stadium-sized audience, using every square inch of Berkeley's intimate stage to stomp and pace as he rapped.

The second song, "Free," showcased Monch's lyrical skills and was our first chance to appreciate Mela Machinko's vocals.  The strength of his fellow musicians was the show's biggest surprise for me.  It's another accomplishment to add to Pharoahe's list--he can write, he can rap, he can perform, and by god, he can find some serious live talent to work with.  "Free" is an image-packed anthem for independence in the age of corporate labels that treat artists like property.  Monch works the slavery metaphor ("your A&R's a house nigga, the label's the plantation, now switch that advance for your emancipation") and then pushes it even further by incorporating modern references to The Matrix and terrorism.

The band and fans had a chance to catch their breath before the next song as Monch gave a few shout-outs (and we shouted back!) for hip-hop legends like Eazy-E, Jam Master Jay, Biggie, and Tupac.  He added a big acknowledgment to soul music--which he uses in innovative and moving ways on several tracks on Desire--and slid into a smooth version of "We Must Be In Love," a single that is floating around on the internet.  Mela and the male vocalist, Showtyme, crooned and danced in time while Monch rapped and pumped the crowd up.  For "Push," the DJ led us into a group soul clap as Mela and Showtyme sang until Monch (who has an unexpectedly attractive and grounded singing voice) joined them.

It was a good vibe:  we were hot, the store suddenly seemed like it could be a nightclub, people were dancing and yelling and looking to each other in surprise that such a show was happening.  Yet none of that could compare to the out-and-out tear-it-down energy of the final two songs.  Showtyme opened up the title track of the new album, "Desire," by belting out the chorus while clinging onto the back of a large tattooed security guard.  The band, from the amiable Boogie Blind to the serious Beat Down on drums, seemed as delighted with Showtyme as the crowd was.  Pharoahe brought more of his intelligent and allusive lyrics, rapping about his fight to retain his individuality.  He briefly returned to the slavery metaphor of "Free" with another one of his razor-sharp lines:  "slave to a label but I own my masters."  Unlike so many current commercial hip-hop artists, Monch is not concerned with flashing his money or ability to stack up sexual conquests.  He's also not above caring about the state of music.  "Rap's fatally ill, please get concerned," he asks mid-song.  During the second chorus, Showtyme made a lap of the store, twisting wildly through the crowd as he sang, reducing the band to laughter again.

After "Desire" wound down, Monch took a minute to give some credit to his band, The Push (every member of which played his ass off, to put it technically) and DJ Boogie Blind.  He also acknowledged Mela Machinko and Showtyme by saying "these are not background singers, these are singers."  Anyone who had the pleasure of watching them on stage would agree--both are featured on the album on several songs, but there is no way to describe what incredible entertainers they are without seeing them live as well.

Monch was most of the way off the stage when Boogie Blind slipped in the distinctive first few notes of the hit "Simon Says" from Monch's 1999 album Internal Affairs.  The crowd whooped with excitement, and the DJ growled "dooo it!" into his mic.  There was a moment of hesitation as Monch questioned whether we would destroy the store, then he gave in and knocked out a version of the song that had everyone hopping to the beat and screaming along with the demand of the chorus to "get the fuck up, Simon says, get the fuck up."

Immediately after the show, while the crowd lined up to get photos taken and albums and limited-edition event posters signed, I stepped outside for a little fresh air.  The van for a local hip-hop station had stopped in front of the store.  The passenger, seeing fliers, asked (with disbelief) a fan on the sidewalk, "Pharoahe Monch just played a show here?  Really, Pharaohe Monch?  Right now?"  The guy on the sidewalk smiled and nodded slowly.

I'll admit it:  I had my doubts before the show.  Could the big sound and huge presence of Pharoahe Monch fit on the small stage of Amoeba Berkeley?  Could the smart and catchy lyrics of his songs translate to a short show?  Could Monch bring the shake-your-ass energy of his big hits to an intimate venue?  Yes yes yes.  His brief show last night was more fun, more accomplished, and more impressive than half of the shows I've seen at concert venues the last few years.  From Paul McCartney to Pharoahe Monch, these instores are proving to be full-fledged musical happenings.  Don't miss 'em.