SEAN PAUL | LIVE REVIEW
Motorpoint Arena Cardiff, Mon 20 Aug
Sean Paul’s visit to Cardiff’s Motorpoint Arena saw the venue transform into a Jamaican dancehall club for one very impressive evening of ragga nostalgia, booty shaking and tight music. The rapper, producer and hitmaker didn’t hold back in a packed set that spanned his whole career and even showcased some new material.
The crowd were mainly fans whose uni or college days had been spent listening to Paul’s breakthrough 00s albums Dutty Rock and The Trinity. But it was no surprise to see younger, albeit equally intoxicated, fans who know his more recent hits and collaborations. Regardless of age, everyone was there to have a good time. Well, all the “pretty ladies” were anyway (Paul’s epithet, not mine). There were a few men too: after all, someone had to queue at the bar.
DJ Miller and Mista Bibbs’ support slot got the crowd going with a set of well-chosen floorfillers. A strange moment followed when an unnamed member of the crew took the mic to see who most wanted to go backstage to meet Sean Paul. After one person offered their phone as some sort of bribe, said crew member declared himself “the black Tom Jones” and asked why, if he was in Wales, nobody was throwing their underwear at him. A few moments later a selection of bras and knickers were flung onto the stage. Followed by a shoe. Hopefully the nature of the clothing removed didn’t help him decide who got to go backstage. I couldn’t see who was picked. I was queuing at the bar.
When the main act did arrive, he didn’t let up for the first four songs as his brilliant musicians knocked out the numbers in impressive style while two incredible (if a little underdressed) dancers took choreographed dancehall moves to a different level. There were plenty of impromptu routines from the audience too, mainly focused around the now infamous booty drop.
After a barrage of classics and newer hits Paul relied on his collaborations with Sia, Beyoncé and Anne-Marie to fill the set. As good, and as popular, as these songs were, they relied heavily on the lead vocal backing tracks from the original artists. I can’t really understand why Paul didn’t just bring a female singer with him to fill the gap. It would have added a lot.
One small gripe aside, the Jamaican invasion was genuine fun and it was very refreshing to see the lead artist working harder than anyone else on the stage – except maybe the semi-nude dancers.
words JOHN-PAUL DAVIES photos MORGAN CHURCH