David Rudder defends We Culture at Sound Forge

VETERAN musician David Rudder did not disappoint at the closing of Defend We Culture as he spent an hour taking patrons down memory lane, in music.

Told that they could be removed if they disregarded the health protocols, patrons for most of his repertoire remained seated, stamping their feet, gyrating on the white plastic chairs and raising their hands in the air as they sang the lyrics to his songs at the February 28 concert.

At one point, Rudder himself ordered the crowd to ignore the rules as he told them to “get up and wine” to the “true national anthem of Trinidad and Tobago” as he began singing Trini to D Bone.

Prior to the instructions, patrons were obedient with a few people, mostly women, stepping out of their seats to dance in their own prescribed “safe zones” as others sat and clapped and danced, as instructed.

Monday night saw the end of seven nights of entertainment by the likes of 3canal, Neil "Iwer" George, Voice, Preedy, Nailah Blackman, Nessa Preppy, Freetown Collective and the A-team band that began on February 22. The events, which had the backing of the Office of the Prime Minister and the Tourism Ministry, was titled Season 22 Carnival.

Those attending were welcomed with traditional Carnival characters and pan by Nutting Big Pan Groove. At the end of Rudder’s performance there was a further cultural display with fire breathers and more traditional Carnival characters.

At 8.15 pm he took the stage at Sound Forge, Christopher Samuel Drive, Mucurapo, Port of Spain.

Rudder, before giving the instructions to get up and wine, teased the crowd asking them if the protocols banned them getting up and dancing, before he began singing Bacchanal Lady. While the country was offered only a taste of Carnival and with Monday supposed to have been Carnival Monday, part of the crowd threw off their restraints and got out their seats. This caused no bacchanal as Rudder belted out the lyrics.

During his set which he dubbed Portrait of Trinidad Rudder moved the waists of women in attendance and the feet of the men as the theatre-styled concert changed to closer resemble a fete, a very tamed one.

Ironically, while singing Welcome to Trinidad, a song that highlights the lawlessness of the country, the crowd, for the most part, was acquiescent and remained seated. The ushers in fancy sailor costumes had no cause to make patrons walk the plank, even with Rudder’s mutiny that lasted all of one song.

After singing Trini to the Bone and beckoning the crowd to get out of their seats, Rudder ensured they returned.

“Ladies and gentlemen please sit for this next song I don't want you to get in trouble” he said before he began singing The Hammer followed by Dust in Yuh Face.

At this point the crowd, realising it was nearing the 10 pm closing, loosened a bit and more people were seen dancing in the aisles.

Rudder controlled the mood of the crowd not only with his lyrics but with his actions. When he sat and sang Haiti, the crowd seemed to have morphed into a history class and he became their lecturer. There was not much talk or singing during this performance.

He kept the same aura when he paid tribute with two dedications in song to cultural icons Lutalo “Brother Resistance” Masimba, who died last year and Patricia Alison "Pat" Bishop who died in 2011.

His penultimate song sent Sound Forge into a frenzy as he teased that he only had one more song and the band began the instrumental for High Mas. Those who were seated and dancing before got up. Some masks were down, some up, but most people were dancing and singing and smiling as they sang the refrain in unison Ahhhhhhhhhh-Men!”