AFROPUNK invaded The Peach State for a follow up to last year’s conscious demonstration of festive merriment set to take place in Georgia’s capital, the city of Atlanta.
The internationally acknowledged crusade of musical leisure, better known as AFROPUNK, is revered as the pinnacle of Afrocentric entertainment that continuously rewrites the narrative on self-love and civic engagement.
In terms of advocacy, AFROPUNK is unapologetically black – and to be frank, there’s nothing wrong with that.
This year’s festivities featured an enthralling variation of genre-defying performances that pervaded the airwaves of neighboring communities within Atlanta’s inner city streets, providing residents with the opportunity to live vicariously through the nearby echoing of amplified sound.
Saturday, October 12, 2019 was riddled with excitement and a mixture of anxiety as last minute attendees attempted to scavenge whatever remaining parking spots were available, being attentive in trying to avoid tow signs.
After being awarded my credentials I made my way on-site, where I was welcomed by dazzling displays of innovative ensembles and captivating accessories that complement the open-minded aesthetic routinely advocated on by the AFROPUNK community. The complete disregard for social norms, the expressive disdain for contemporary means of visual satisfaction – a punk, yet bawdy bravado ran amok amongst the crowd, and that type of energy was surely warranted.
Day 1 was encompassed with performances from the likes of Duckwrth, Ravyn Lenae, Sir, Sho Madjozi, Gallant, Leikeli47, Danny Brown, Earthgang, FKA Twigs and more – drawing a sophisticated edge to a blissful culmination of melodic cadences that have transcended modern day music. Each individual performance was mesmerizing within it’s own right, but one of my personal favorite takeaways from the night was FKA Twigs’ set. The famed songstress stole the show and festival attendees hearts once she welcomed a fan on-stage to lead their own rendition to one of her most notable ballads.
Sunday, October 13, 2019 maintained the same vivacity that was exemplified on the prior day, active crowd participation and attentive listening were the shared characteristics among those in attendance.
Masses of people gathered on AFROPUNK’s campus, speed-walking from the Red Stage to the Green Stage and vice-versa, in hopes of conveniently locating the appropriate viewpoint for optimal observation of their favorite act.
Although the show must go on, an unprecedented rain forecast held everyone hostage inside near the Red Stage for an apparent hour or so before transitioning into the final leg of stellar performances for Day 2.
The lineup for Day 2 of AFROPUNK consisted of – Sofa King Evil, Cautious Clay, Lucky Daye, Mahalia, Masego, Smino, Anderson .Paak & The Free Nationals, Brittany Howard and many more expressive talents. A favorable “cool-down” from the confined heat that manifested during the Red Stage lock-in provided a window of opportunity that required much guile in making the adequate informed decision – stay and watch Smino’s complete set or leave early enough to witness Anderson .Paak’s caterwauls of piousness in the form of a candid “Yes lawd” rebuttal to the crowd.
After making a conscious effort to strategically position myself in the ideal space to make a dash from one stage to the other, I couldn’t help but feel a sigh of relief. Not a sigh of relief because the ongoing “excuse me” war was almost over, but a sigh of relief that signified being contempt with the moment.
In the midst of transitioning through and around the crowd, that’s when it all registered – AFROPUNK is about creating a safe space for all parties involved. Not once did I get discouraged at being faced with navigating through thousands of bodies, because I knew that the light at the end of the tunnel was unmatched musical grandeur – and I couldn’t be more honored to experience it a second time around.
Can’t wait to see what next year brings.
