Mel Cooke, Freelance Writer

The group No-maddz. - Winston Sill/Freelance Photographer

The No-Maddz poetry group, Oneil Peart and Sheldon Shepherd performing with Everaldo Creary who was on acting duties that night, took the house down repeatedly at Sunday's instalment of Seh Sup'm.

Performing just before the open mic section, the two, Peart with guitar and singing and Shepherd with a smoke and speaking, ignited the audience at Weekenz, Constant Spring Road, over and over. They had the women especially squealing for more with sharp lyrics and good delivery in a presentation that was as much drama as poetry, eventually having to call it a night although the audience seemed quite willing to listen to them all night.

After explaining their start in the Kingston College canteen eight years ago in a brief onstage interview, chuckling as they remembered "when we did tink we bus" performing in Miami some five years ago.

Frustrated

Then it was the combination of melody, music and musings as they explored the state of being "one a dem yute deh", including "me go to school wid no shoes on" and "me a one a dem yute deh whe mus get frustrated".

There was a request for 'Ganja Stain', which they delivered to 'pull up' effect, then spoke directly to the delighted ladies about something that was "sweeter than honey, hotter than Sting".

And they felt no pain when No-Maddz said "a no rotten me pants rotten why de front tear". They closed with 'Ghetto Lovin'.

In the earlier going, Nokia Grossett had a good impact on the audience, although his actual poetry needs significant work, a restart demanded as he asked "a which part she live? Which part bees mek honey? Which part BoJ a keep money?"

On 'Mr Government' he requested "nex' time yu read de Budget don' tink bout putting $50 on bread, put $80", the audience calling for a 'forward'.

Flipping poetry

Moji stressed the sibilance as she read in measured tones, 'Your' going into various aspects of the physical nature of intimacy ("your thighs gripped me/your sweat spilled on me") which the audience requested that she did over. And 'Bleed' examined a situation where "war makes the news as if it is flipping poetry".

Sawandi played music in between performers, doing a more extended run between the No-Maddz and the open mic section, which closed the night's poetry. Calibre examined "sufferer for sufferer for sufferer" while Kadi-Ann was passionate and very effective on 'Warriors', on which she bemoaned the young street soldiers situation where "children are the new recruits".

Young Revolution was more into rap style, backing track and all, Radikal Kelly spoke to the "lovely woman who just can't sleep at night" and Tiffany closed off with a pair, the audience accommodating a mid-poem switch.