Genesis Owusu Is Revolutionising What It Means To Be An Australian Artist

Last week, we had the pleasure of attending Genesis Owusu’s show at the Enmore Theatre. Yes, it was the show that was rescheduled due to the original date famously breaking the floor at the venue. What resulted however was iconic and not so literally groundbreaking for a variety of other reasons. It was a landmark moment in the trajectory of Australian music. It showcased a changing of the guard in the future of what local music is like, demonstrated by Owusu’s dominance of the stage one of the most prestigious venues across the country.

It’s scary to think how many Genesis Owusus we’ve lost over the years. How many artists of migrant or refugee descent have attempted to break through the Australian music industry but couldn’t because Australian music culture didn’t look or feel like them? How many incredible, groundbreaking artists have we lost because their favourite radio station didn’t play local music that didn’t represent the Australian experience that they were feeling? How many young artists have not thought about performing because their favourite festival idealised a culture that was so far from what they experienced with their friends or family?

It’s this context that spawned Owusu’s talent and creativity and his perseverance makes Smiling With No Teeth so groundbreaking and revolutionary. It’s one of a kind in this so-called ‘Australian’ music landscape. The irony is, I doubt Owusu would consider himself an Australian artist. The phrase, and the term is limited by virtue, it suggests the preconceived notion of what the art is, what it’s inspired by, or who it is being presented towards. It connotes the culture and the inspiration that was previously stated, the same hallmarks of our traditional music landscape that has potentially shunned so many incredible artists that just didn’t fit in. 

While yes, it’s no flashing bright breaking news that Smiling With No Teeth is an incredible album given the universal acclaim it’s received. ARIA Awards, triple j awards, a glowing Fantano review, international tour opportunities highlight this, but seeing the record live, in full, presented to an Australian audience showcased the record's full power, dominance, emotional and representational power. 

The show was a melting pot of indie-pop, rock and roll, punk, soul and hip hop. The genres, while on paper can be jarring to a common audience moulded together perfectly, both sonically and through sentiment. The Black Dog Band which featured a crew of crazy musicians included Andrew Klippel, Touch Sensitive, Julian Sudek, Jonti, Kirin J Callinan and backing vocalists Kobee White and one of our favourite R&B artists KYE, translated the sonic ethos of the record to the live stage with precision. 

Despite the chaos and enthusiasm on stage around him, Owusu presented as more than just a rapper, a singer or band member, but as a frontman in its truest form. Smiling With No Teeth is an ambitious record at heart, one that is deeply reflective, both outwardly and inwardly as Owusu reflects on the roller coaster his individual experience has been. Hence, it was incredible to see, after over a year the record transferred onto the stage, with Owusu front and centre.

An ignorant onlooker would not have been surprised to hear the show and assume a punk or rock show was occurring. It had all the hallmarks of the genre, rattling bass lines, distorted guitars, a raging mosh pit and a charismatic vocal performance. What was missing though was the beer and cigarette infused lyrics, the masculine bravado and the cringe, default lyrics of some Australian rock and roll about surfing, the beach and the pub that the poor Enmore Theatre has seen so many times. Owusu presented a coming of age tale that explores mental demons, healing, systematic oppression and racism, justice, individual presentation, his love life and his astonishing power as a Ghanian-Australian man in a format that the Australian audience understands, rock ‘n’ roll.

Between the heavy punk and guitar laden and driven songs, Owusu presents his deepest, darkest and most difficult to swallow blows. Whip Cracker was by far the most anthemic peak of the night, which he held the audience's attention supremely. The track digs into the deepest corners of societal oppression, as Owusu darts off his chest the issues with toxic masculinity and overt racism in our own backyard. His performance was powerful, with his frustration clear. The audience's attention was in the palm of his hand.

Genesis Owusu is delivering this show and tour across the country and the globe. He’ll be the biggest name on many local festival lineups, and deservedly so. He will be one of the most sought after live acts Australia has ever seen. Whether he is doing it deliberately or not, Owusu is dismantling what it means to be an Australian artist. He is renegotiating the well established image of Australian music culture that has been forced upon audiences by industry players for decades. For that reason, Genesis Owusu is one of the best Australian artists ever. 

I can’t wait to see how many little incredible artist’s he spawns and inspires.