Last night’s concert at Drom hit a harrowing peak with Hungarian trance-dance band Meszecsinka‘s frontwoman Annamaria Olah hidden behind her mane of long, flowing hair, wailing and flailing and crying out on the beat as her own voice echoed low and ominously in response, through a loop pedal. Guitarist/keyboardist Emil Biljarszki had explained beforehand that the song addressed an ancient Christian theme that he didn’t bother to elaborate on any further. “You’ll get it,” Olah told the crowd with an enigmatically wistful smile before bassist Árpád Vajdovich and drummer Dávid Krolikowski kicked off the big, crescendoing minor-key anthem with a hypnotic, insistently swaying pulse. Although this was an intimate club gig with pristine sound, it was easy to imagine a hundred thousand people at some European summer festival flailing and swaying in unison in response to Olah’s passion onstage. Whatever awestruck terror the song was meant to evoke – the apocalypse? A martyr meeting a particularly grisly fate? – it was impossible to turn away from
Earlier in the evening, two darkly psychedelic, Balkan-tinged folk-jazz acts – accordionist David Yengibarian and his trio, and Borbély Mihály Polygon – followed their respective opening jams with similarly captivating, disquieting numbers, albeit much more slowly and quietly. The opening trio’s was a mournful dirge that imbued a stark Hungarian folk theme with a haunted they-burned-down-my-shtetl resonance straight out of klezmer music. Saxophonist Mihály Borbély’s three-piece unit with pyrotechnic cimbalom player Miklós Lukács and drummer András Dés built shadowy noir cinematics that they slowly took in a slightly brighter, more improvisational direction. That they’d begun their set with a mashup of wild downtown John Zorn-style New York jazz and surf rock is just one example of how wildly eclectic the night was.
That a concert like this could be staged at at moment where nationalist extremists threaten to wall off the kind of transnational cross-pollination responsible for such riveting musical hybridization speaks to the potential power of resistance. Millions of people resonate to these sounds far more than to strident racist rhetoric or Twitter demagoguery. It’s up to us to mobilize and create an opposition to ensure that this kind of artistry, and the hope it represents, has the opportunity to move forward.
Because it would be a crime not to be able to witness Lukacs playing elegant blues, or channeling Carla Bley with a feral attack on the low strings of his of his ringing, overtone-laden Hungarian zither. What a shame it would have been to miss being able to enjoy the endlessly clever, tongue-in-cheek volleys of deadpan humor that Yengibarian’s drummer, Mark Badics, engaged in throughout the group’s tantalizingly short set – he’s ever bit as formidable as any of his American jazz counterparts, Tain Watts and Rudy Royston included. Or for that matter, to miss out on the chance to get lost in Meszecsinka’s mesmerizing mashups of otherworldly Bulgarian folk and lush European art-rock over irresistibly undulating beats.
This concert was staged by Music Export Budapest along with the Hungarian National Trading House, and the Balassi Institute, one of New York’s most vital cultural organizations, who champion Hungarian music, film, visual art and more. If you’re a true cosmopolitan New Yorker and you’re not on their email list, you’re missing out. In addition, this weekend’s slate of shows at Drom – Manhattan’s global music mecca – continues tonight and tomorrow with everything from darkly slinky psychedelic boleros, to Moroccan trance grooves, to classical Indian sitar music. Cover is only $10 each night; music starts at 7 and goes til past midnight.