The name Orishas comes from the Cuban religion Santeria, which was introduced into the Cuban culture by Nigerian slaves. Orishas is the term given to the half-Gods of Santeria who rule over the forces of nature and the endeavours of humanity. Musically, Orishas is the sound of a world getting closer together, forging paths forward that bravely use hiphop music as a jump-off point for their traditional sounds put in a futuristic context, always looking forward and always moving the people. Orishas is a group of Cuba born rappers who met in Paris and now record and reside in Spain. They marry hiphop beats and rhymes with electrifying afro-Cuban instrumentation and melodies. The focus is not on sample-heavy hiphop, but on hard hiphop beats and a representation of the flavour of Cuba through poly-rhythmic conga-driven percussion and piano/guitar hooks. In the mix is good scratch turntablism and socially conscious lyrics. They have been described as Buena Vista Social Club meets Jurassic 5. I came into contact with their first album, "A Lo Cubano" a few years ago when some close friends came back with it from Cuba, saying how popular it was and how it spoke for the people and was by the people. I listened and was immediately hooked.
Which brings us to Shepherd’s Bush Empire. Their first UK appearance as part of the Latin Music festival is well-attended by an eclectic bunch of people from hiphop heads to world music types. The percussionist and DJ Niko start things up by flipping between dancehall and hiphop before Flaco-Pro, Roldan and Ruzzo bound on stage. They are cheered by all and are genuinely surprised by their reception, unsure why anyone in England would have heard of their little band. They launch into numbers from their latest album "Emigrante", with the lopsided percussion adding a real groove to the proceedings. The tracks are great samba and salsa shimmying rhythms that move everyone to dance. The bass frequencies are filled and add a rumbling that give us all the impetus to wind and grind. Roldan, the singer has a great voice and sounds like a young Ibrahim Ferrer, is the focal point of the Cuban rhythms. Ruzzo and Flaco-Pro dance about around him rapping, conscious and shaking their arses to the adoring crowd. The dancing is great, the meringues and the twisting hips add a sense of sensual fun to the proceedings. They certainly have the attention of the ladies. The language barrier doesn’t detract from great songs. You can feel the empowerment and at various points, the songs transcend language itself.
When they launch into obvious album hit "Represent" off debut "A Lo Cubano" the crowd goes wild, singing along and screaming. They stop at the end and express complete surprise that anyone hear has heard of that little song of theirs. It is this song and other hit "A Lo Cubano" that sum up their greatness. Both have samba driven pianos clanking about the mix, over a pumping hiphop beat while the percussion adds an earthy feel. The rappers twist polyrhythmic circles around us and are broken up by the impassioned vocals of Roldan. Orishas have what the rest of hiphop lacks: a sense of melody. They would rather sit and produce a musical album, rather than rely on obvious or famous samples to make them known. This is a brave and originally musical statement of intent. Especially in our precious world of hiphop. While North American rap is drowning in its own clichés and plateaus, international artists such as Orishas are doing something fresh to help invigorate the genre.
They finish with an encore of an acoustic duet between Roldan and their percussionist (a mad little guy who looks like the swimmer off that Guinness advert who can swim to and from an island in the time it takes to pour a pint), which is stunning to watch. Then the rest of the band troop out and scat to some floor-shaking dancehall to end the floor.
I’m left with a huge grin on my face, forcing my girlfriend to meringue with me on the way back to the tube station. The rhythms play out in my head. The beats groove me. It’s all good. Back to the studio with some ideas and direction.
Orishas Shepherds' Bush Empire 
The name Orishas comes from the Cuban religion Santeria, which was introduced into the Cuban culture by Nigerian slaves. Orishas is the term given to the half-Gods of Santeria who rule over the forces of nature and the endeavours of humanity. Musically, Orishas is the sound of a world getting closer together, forging paths forward that bravely use hiphop music as a jump-off point for their traditional sounds put in a futuristic context, always looking forward and always moving the people. Orishas is a group of Cuba born rappers who met in Paris and now record and reside in Spain. They marry hiphop beats and rhymes with electrifying afro-Cuban instrumentation and melodies. The focus is not on sample-heavy hiphop, but on hard hiphop beats and a representation of the flavour of Cuba through poly-rhythmic conga-driven percussion and piano/guitar hooks. In the mix is good scratch turntablism and socially conscious lyrics. They have been described as Buena Vista Social Club meets Jurassic 5. I came into contact with their first album, "A Lo Cubano" a few years ago when some close friends came back with it from Cuba, saying how popular it was and how it spoke for the people and was by the people. I listened and was immediately hooked.
Which brings us to Shepherd’s Bush Empire. Their first UK appearance as part of the Latin Music festival is well-attended by an eclectic bunch of people from hiphop heads to world music types. The percussionist and DJ Niko start things up by flipping between dancehall and hiphop before Flaco-Pro, Roldan and Ruzzo bound on stage. They are cheered by all and are genuinely surprised by their reception, unsure why anyone in England would have heard of their little band. They launch into numbers from their latest album "Emigrante", with the lopsided percussion adding a real groove to the proceedings. The tracks are great samba and salsa shimmying rhythms that move everyone to dance. The bass frequencies are filled and add a rumbling that give us all the impetus to wind and grind. Roldan, the singer has a great voice and sounds like a young Ibrahim Ferrer, is the focal point of the Cuban rhythms. Ruzzo and Flaco-Pro dance about around him rapping, conscious and shaking their arses to the adoring crowd. The dancing is great, the meringues and the twisting hips add a sense of sensual fun to the proceedings. They certainly have the attention of the ladies. The language barrier doesn’t detract from great songs. You can feel the empowerment and at various points, the songs transcend language itself.
When they launch into obvious album hit "Represent" off debut "A Lo Cubano" the crowd goes wild, singing along and screaming. They stop at the end and express complete surprise that anyone hear has heard of that little song of theirs. It is this song and other hit "A Lo Cubano" that sum up their greatness. Both have samba driven pianos clanking about the mix, over a pumping hiphop beat while the percussion adds an earthy feel. The rappers twist polyrhythmic circles around us and are broken up by the impassioned vocals of Roldan. Orishas have what the rest of hiphop lacks: a sense of melody. They would rather sit and produce a musical album, rather than rely on obvious or famous samples to make them known. This is a brave and originally musical statement of intent. Especially in our precious world of hiphop. While North American rap is drowning in its own clichés and plateaus, international artists such as Orishas are doing something fresh to help invigorate the genre.