Sudan Archives has sold out Loppen. This is impressive on its own terms, and even more so for an artist from outside of Denmark with only two EPs to her name. But there isn’t a second of her set that makes you doubt how she got to this point. Brittney Denise Parks is a performer.
The set is, rather confusingly, part of Copenhagen Jazz Festival. Though Parks has cited a range of influences for Sudan Archives — hip-hop, West African rhythms, R&B — jazz isn’t an immediately obvious one. The violin isn’t generally associated with jazz, but it is central to Sudan Archives. And what she does with the instrument challenges the ideas of what it is meant to do. Aided by pre-programmed beats, Parks loops her instrument in an endless fashion, sometimes bowing it, sometime giving a solid thump, and sometimes strumming it in a way more akin to finger-picking a guitar than the traditional pizzicato.
Parks works every angle of the stage, whether singing or playing violin, strutting in dangerously high flatform boots and getting the crowd moving in a hot, sweaty mass. Her vocals blur in such a way that it’s hard to tell what’s a backing track (like the beats) and what’s been looped, but her delivery is dynamic. She can be half-spoken and direct as on “Nont for Sale,” but she can also flatten everyone in her path by belting out a note.
As we’ve all seen many phoney encores, a genuine one can take everyone by surprise, including the artist. Parks has left the stage following her planned (and, admittedly, appropriate) encore, but the audience is still cheering, then stomping, then chanting for her. It takes her a moment to return; again, she only has two EPs, what is there left to play? But she does treat us to a new, beat-driven song. While it doesn’t have the impact of her planned final song, “Come Meh Way,” the thrill of the collective excitement is enough to carry us all home.