Concert Review: Mal Devisa, Skin Tone, and Joni Void at Casa del Popolo
By Rían Adamian
I went to Casa del Popolo this past week to catch the stacked bill consisting of Mal Devisa along with locals Skin Tone and Joni Void. People were a bit in short supply, it being a Sunday night, but high quality art was not!
Skin Tone’s set explored the outer limits of the saxophone on a bed of drone, and did not lose any steam for its duration. It started with a couple frozen notes, then dissonant wrinkles emerged and grew eerier as Skin Tone began to stomp onstage – a march away from his more melodic material. His horn was already saying a lot, but Skin Tone made the message of his set explicit: Do not be complacent in the continuous displacement of indigenous peoples and killing of black people. At this point, Skin Tone ceased marching and began free-form squealing his portrait of racism, capturing fear and sadness in a pure form. It is worth noting that this squealing is beyond where other sax heroes like Pharoah Sanders go. If you want to hear the place between overtones where a person’s soul lies, then see Skin Tone and watch him crack it wide open.
This set was one Joni Void had been looking forward to since supporting Mal Devisa years ago at a Brooklyn show, and being consequently inspired to continue developing his style. Playing at Casa del Popolo, as opposed to Art Lounge (where I previously saw him), allowed him to dial up the low end of his tracks. This gave the thick, patient thump of Joni Void’s kick drum a greater physical presence, making better friends with the freckled, high-end glass sounds. The opening and closing tracks of his set were particularly special, being composed not of found sounds, but of photos: the opener, a picture of himself, the closer, one of his father.
This was Mal Devisa’s first time playing in Montréal. She played a string of songs, and it feels more appropriate to talk about her style in general rather than the individual tracks. Together, her voice and bass put other forms of expression to shame. As a songwriter, each of her songs are a world of their own in a nutshell. She does not waste a single word in drawing emotional arcs complete and cathartic. The songs compel you to cry at the way things are, then instill a warm confidence in knowing things are that way. When she sings, it’s as though you are with her instead of with the audience, demonstrating a rare ability to command any space she decides to play in. It is exciting to watch where she will go from here, as she is already a master. Overall, I am super happy to have been able to catch three inspiring artists in one go – all are highly recommended!