Friday 8 October 2021, 7–10pm
For this particular event we are operating at full capacity with standing. For that reason we want to keep things as safe as possible for yourselves, the artists and the staff, and upon entry we require proof of a lateral flow or PCR test taken within 24 hours of arrival. A picture as proof is fine.
Thrilled to welcome back the astounding trio of Chicago footwork originator and pioneer RP Boo alongside ever-radical, longstanding collaborators Seymour Wright and Paul Abbott.
RP Boo, Seymour and Paul share a fascination with the musical history of Chicago – a source of which is of continual nourishment to their ongoing practice. While RP Boo’s footwork takes from the rhythmic structures of Chicago house and the samples, grooves and melodies of 60’s/70’s Chicago soul, disco and R&B, Seymour and Paul share a fascination with these musics, and bring to this lineage a long term engagement with Chicago’s jazz traditions, from Baby Dodds to the AACM.
“Few if any other producers can touch an RP Boo beat for its sheer exhilaration factor.” – The Quietus
RP Boo – a.k.a. Kavain Space is a man who is revered and respected amongst the dance music cognoscenti. He’s cited as one of the originators of Footwork, the fast, repetitive, rhythmically syncopated music & dance style that’s a grandchild of Chicago house and which has been brought to the wider world via releases from Planet Mu and others, alongside internet archaeology from fans, experts and enthusiasts.
Rising to prominence in 2010 with the release of the Bangs & Works compilation on Planet Mu, the Chicago producer has been on the forefront of the footwork sound since its inception, with early singles like "Baby Come On" turning into regional hits way before the genre become widely known. Inspiring countless producers like DJ Spinn or the late DJ Rashad, RP Boo's signature sound is rooted in footwork's most vital principles while pushing it into LegacyFingers, Bank Pads & Shoe Prints.
“RP Boo's music is challenging. Not in the sense that it's esoteric, but in the sense that its twisted rhythms offer an actual challenge to dancers.” – Resident Advisor
Opening possibilities of language and learning from below, XT bounce questions of the specific material conditions, histories and logics of the saxophone and drum kit in a flexible, manifold process of collaboration, augmentation, bifurcation, antagonism and technological and somatic feedback. Increasingly they plug in, using synthetic and amplified saxophone and drums to extend magnify and delay what they do.
The project explicitly folds together their overlapping interests in language, learning, politics and an investigative ethics of emancipation.
