DoomCannon performs at Ronnie Scott’s Upstairs – Jazz News in the UK
Introducing a fresh track during the middle of his set, Dominic “DoomCannon” Canning humbly admitted that it wasn’t going to align with the jazz-fusion style he is typically associated with. Nonetheless, in his mind, every piece he creates feels like an integral part of his overall body of work. Trying to encapsulate his music into a succinct label, he jokingly referred to it as “soft-boy R&B”, eliciting some understanding chuckles. However, in the end, he accurately summed it up as simply “DoomCannon.”
In the realm of recorded music dominated by algorithms and tailored recommendations, crafting music based on a genuine inner impulse, unconstrained by market trends or promotional ease, may present a tough sell. Yet, Canning’s unwavering commitment to creating music that defies conventional norms might just be his most significant asset. Throughout a captivating set primarily featuring tracks from his last year’s album, Somewhere In Between, he and his band traversed through precision-filled fusion, soul-stirring melodies, bopping hip-hop, and pulsating alternative rock – seamlessly blending genres within a single composition. This approach of playing what resonates emerged as one of the set’s two key cohesive elements, alongside the remarkable musical prowess on display.
Executing such a diverse range of sounds and styles with authenticity requires a special skill set, one that the DoomCannon ensemble effortlessly showcased. Francisco Garcia De Paredes skillfully navigated his hollow-bodied electric guitar through a sequence of acrobatic solos, culminating in a guitar rendition of piano chords to accompany Canning’s solo, courtesy of inventive use of effects. Gili Goldberg defied physical norms by adapting a rapid fingerpicking technique akin to bluegrass onto his electric bass strings, proving that the impossible could indeed be achieved.
Whether handling the alto or tenor saxophone, or contributing vocally, Kaidi Akinnibi, part of the fresh wave of London jazz virtuosos unafraid of genre boundaries, stood out as a commanding presence. The phenomenal drumming prowess displayed by Oscar Ogden exemplified the fusion of human feel with the dynamic energy of electronic beats, characteristic of the burgeoning London jazz scene. His seamless transitions between traditional bop and electronic-inspired beats underscored his ability to meld disparate styles.
Canning’s musical dexterity should not be overlooked; while predominantly stationed at the piano and occasionally on synths, he embraced a collaborative ethos, refraining from dominating the spotlight, soloing sparingly, and prioritizing the collective sound. Through lighthearted interactions with the audience, he demonstrated charisma and relatability, particularly when highlighting the British aversion to participation in interactive segments and the male reluctance to seek assistance. The songs that followed these exchanges, notably ‘Today’s Prayer’ featuring rapper TINYMAN and ‘Untouched’ sung by Tahn Solo, emphasized poignant messages delivered with passion and flair.
Ultimately, the essence of a DoomCannon track transcends mere sonic attributes or stylistic categories. It resonates in the meaningful storytelling and the unwavering dedication of its creators to communicate with vigor, precision, and flair. In a music landscape longing for substance and authenticity, the world would undoubtedly benefit from more of this distinctive artistry.