Mach-Hommy - Three-Peat @ (Le) Poisson Rouge (Live Review)

Designed by Casma

After a drive of over an hour, I found myself on Bleecker Street in Manhattan’s Greenwich Village. I’m across the street from my destination, and a mass of people has formed a line on the sidewalk with speakers set up, blasting music. To those who don’t take a second look, you would think this is a line to get into a concert. For a moment, I did as well.  However, on second inspection, I realize I’m wrong. The House music that permeates the air is for a line of people waiting to get into the store, Thin Cookies. If you didn’t have a ticket to the show in question or were unaware, you would have no idea that a once-in-a-lifetime show would soon be underway downstairs, in the building next door. It’s currently 7 pm, and this will be my first time walking through the doors of (Le) Poisson Rouge (LPR). Driving through rush hour traffic with one goal in mind, seeing the “enigmatic” Mach-Hommy. The New Jersey native who has, in a sense, carried on the torch of the late-legendary MF DOOM. No social media, no online presence, even his lyrics aren’t allowed on internet spaces. When I saw the announcement of tickets on sale across my feed months ago, I jumped at the chance to purchase them, regardless of the price. The promise of seeing an emcee who has become one of my favorites since the release of his acclaimed Pray For Haiti album in 2021, a selection of songs never to be performed again, and only 1 out of 3 shows he was doing this year, how could I pass up the opportunity? I’ve only gone to a show alone once before, and it is a unique experience; more awareness and presence of all the happenings around you. Like others, I want to go to a concert with someone, whether they’re as big a fan as I am or not. But for this, it changed the entire experience. As I jaywalk to the entrance, I feel the excitement rising inside as I prepare to witness Mach-Hommy’s Three-Peat NYC show, a concert experience that truly was once-in-a-lifetime.

I send my final texts before stepping inside. This is a no-phone show, the first time I’ve experienced this. After getting scanned in, you put your phone/devices in a magnetically sealed pouch. I’m warned that if by some chance I’m able to unlock it, I will be kicked out of the venue. Walking down the black steps, I turn the corner to one of the most unique merch setups I have ever seen. Every artist has merch, but there is not much diversity seen in all the shows I have been to in my life, until now. Exclusive shirts, rare and extremely sought-after vinyls that, if bought resale, might cause an argument with you and your significant other, even if you try to undersell how much you really paid, candles, and ceremonial kits packaged with sage, all adorn the tables. But so too did other items not for sale, speaking to Mach-Hommy’s messaging and interests: A hardcover of the manga AKIRA, an assortment of books that touch on topics that Hommy has spoken on over his career, from “Papa Doc, Baby Doc: Haiti and the Duvaliers” by James Ferguson (touched on in the much-acclaimed 2015 mixtape, HBO), and The Black Jacobins by C.L.R. James, to name a few. Books focused on the complex history of Haiti, as the RICHAXXHAITIAN has been known to inject into his body of work. Each is a representation of the groundwork he has established for himself as an artist: one who does not restrict himself to the topics and concepts found in these types of literature.

One of the most unique aspects of any merch setup I’ve ever seen came in the form of in-person cigar rolling. Seated at the start of the merch tables was Anu Amen-Ra, from New Orleans, and a member of the Choctaw Native American tribe, known on Instagram as @sartorial_tobacconist. He’s seated in a sleek, light brown blazer and a black cowboy hat. In front of him is a thick wooden cutting board with a bountiful amount of tobacco leaves, offering to roll cigars for anyone who wants, at $20 a piece. In front of said cutting board, placed purposefully, is an authentic Choctaw tomahawk, one that he told me was held in the hands of his great-grandfather when he passed. He’s welcoming and open as I ask him about why he’s here in an attempt to get more understanding. He tells me how his family has been growing tobacco for 189 years and how important it is to not just himself, but his people, as well as Haitian culture. I can hear and feel pride in his voice as he tells me how his people will use tobacco for everything from meditation, a form of incense, spirituality, and even moisturizer, which comes from (in the simplest of descriptions) wetting and draining the tobacco, mixing it with waxes and oils that they then apply to their skin. When I first noticed him, I asked myself why Mach would have this setup at his show. He himself is always purposeful regarding his art and wouldn’t present solely because it “was cool” or unique for the sake of being unique. Anu tells me that tobacco is also important in the Haitian religion of Voodoo, used for purification and communicating with spirits; something that will come back around a few hours later. His expertise in tobacco makes it no surprise when he tells me he is now a brand ambassador for Backwoods Cigars. 

After I spend more money on a vinyl than I have without having to convince myself this lower resell price is better than the others, making it so that I have to pull the metaphorical trigger, I step into the main room. Low lights and a multitude of Haitian flags adorn a wall to the left under the tucked-away DJ/audio booth. In the middle is a small stage, no more than 2-and-a-half feet in height, a small round table placed in the middle, adorned with white tablecloths and 6 empty glasses (3 on one half, 3 on the other). The placement allows for a full 360-degree view of the stage for everyone in attendance. The wait in the air is palpable, as more people make their way into the venue, with some in the same situation I was just in regarding how much money they are willing to let go for merch, and if they are willing to spend $999 on the meet & greet that will be happening at the end of the show. Finally, there is movement, as Tyron de Harlem takes the stage. Fans of Mach are more than likely familiar with the man, as he conducted an interview with him back in 2015 when Mach was selling his much-beloved mixtape, HBO, on Instagram. That interview, almost 10 years to the day, laid the foundation for their relationship, Tyron tells us in the crowd, to a scattering of noises from those who know what he is referring to. Since then, he has been the only real person Mach has spoken to and allowed himself to be interviewed by on the media side of things. A moment is made to acknowledge the day in Haitian history, on September 4th, 1804, the signing of the constitution for the new nation by the first ruler of independent Haiti, Jean-Jacques Dessalines. So far, everything is on-brand for the man who keeps his face shrouded behind a Haitian flag bandana. We’re told that all will be made clear regarding why this event is phone-free.

For me, it connects the dots on why his lyrics are also banned from the internet, as it brings all focus to the moment and music, and in a way, brings us back to the style and era of Hip-Hop that Mach has been helping keep alive, while also adding to his mystique. Tyron then shocked everyone in the venue visibly with the statement that Mach wanted to show us something… a preview of the upcoming collaborative album Between Hommy and, easily one of the top producers in the game today, Conductor Williams, currently titled “We Have A Solution.” The lights dimmed, then focused on the table in the center of the stage. The energy in the room was rising as we then heard the first “Conductor, we have a problem,” pierce through the speakers and into our collective eardrums. Just like every album, there is so much to try and grasp with a first listen of any Mach-Hommy tracks. But I can say, it continues the no-sign-of-faltering that has been a mainstay with Mach’s career. Slick flows and rich rhymes over beautiful, jazzy production and Conductor Williams seasoning, resulting in an unmatched recipe. Tyron comes back on stage to say, grinning, “You see why no phones are allowed?” If Mach had walked onto the stage at that moment, the place would have erupted. However, there was one more stop before the full event could be undertaken. Continuing with the theme of Haitian pride, we were treated to a stand-up performance by Haitian comedian, TJ, who put on a great 30-minute set. Filled with everything from women defecating in NYC subways to stories about family. But, finally, it was time.

At this point, I have already been sold on the event. I’ve been to shows for some of the biggest artists, to the underground, and here you can feel the respect and admiration in the crowd that I haven’t witnessed before. You can feel the appreciation for being part of the select few in this show. Reaching for my phone, being held hostage in the magnetic pouch due to a vibration, the moment I looked down, the crowd started cheering. Up came Tyron, finally calling out the man himself. The lights went down again, sitting in the dark, except for the sparse light coming from the audio-control window and the dim lights of the bar behind me. Finally, the backdoor opened, and the man himself entered the room to a thunderous uproar. He graced the stage with so much energy, while the crowd fed it back to him. Then, in a moment I never would have expected, he walked up to the mic stand… and removed the Haitian flag from his face. The crowd, and I absolutely lost it. This would be the equivalent of DOOM removing the metal mask he seemingly always kept glued to his person whenever making an appearance. He tied the flag to the stand and kicked off the show with “The 26th Letter” off Pray For Haiti. I, like others who have never been to a Mach show, didn’t know exactly what to expect, as there aren’t many live videos of him online (not that I attempted to look before the show, to go in as blind as possible). But man, did he have an unwavering presence, and he never skipped a step. His breath control was excellent, even when moving around as much as he was, never truly stagnant on stage. The intimacy of the smaller venue brought you even closer as you could be right up against the stage on every side. He himself would get right up to the edge, peering into the space of those in the crowd, even including the audience as he transitioned from songs off Pray For Haiti to those off Balens Cho. Performing some of these songs over again, with the electricity rupturing from the crowd. Even AA Rashid appeared, known by Griselda fans for his masterful interludes and guest speaking moments on many a Griselda tape, after performing “Magnum Band Remix,” giving a great impromptu and original speech. Then, there was a pause in the performance. 

Mach stopped the show and put on the staple voice-echo effect on the mic as he does when he speaks on a plethora of his tracks. He talked about Quantum Leap, which can be defined, as he does in his own words, as well, “for a sudden, significant, and transformative shift in consciousness, belief, or personal reality.” Speaking about bridging the past with the now. This leads to a discussion about Turtle Island, which is the name attributed to North America by the indigenous people who walked the land freely. He states that since these are his fans, he knows this is a “safe space” and continues to give a history lesson about Tamanend or Saint Tammany, the Chief of Chiefs and Chief of the Turtle Clan of the Lenni-Lenape nation, who spearheaded the signing of the peace treaty between Native Americans and William Penn, the reasoning behind Philadelphia being called the City of Brotherly Love. All of this may seem like extra fat in this article, but it was again an artist and individual being true to oneself, and a little history never hurt anybody. The performance continues as the history lesson ends. He occasionally leaves the stage and walks through the crowd without missing a step. You can’t help but be fully immersed and encapsulated by his performance. At one point, he gives a brief, comical story about a recording session in Puerto Rico between him, Westside Gunn, and a local who wandered into their space. He also touched on a moment he had with an unnamed “OG” in the culture who tried to tell him to change RICHAXXHAITIAN to RICHAXXXIMMIGRANT, as they believed he would be putting himself in a box. But true to himself, his pride in his Haitian roots and his artistry, he didn’t succumb.

I was standing next to a group of 5 that came all the way from New Jersey, and they were just as lively as he was (maybe even more). It was as if Jesus came back and was speaking the gospel straight to them, and they knew every word leaving his mouth. You can see the appreciation in the response Mach had every time he came over to our direction, and his acknowledgement of them after some of the songs finished, pointing in our direction with “Y’all are hype, I see y’all!” At about halfway through this set, the music stopped. There was a deafening silence in the anticipation as he then proceeded to go to the table and lift the tablecloth; each move he made felt so loud in the moment. Two slim-tall glass jugs were stashed there. One with a substance that shone like milk, and the other water. Without saying a word, he poured them into the glasses, 3 for each liquid. He lit the candles with help from some members of the audience. He then lit a cigar he kept on him (told you it would come back), holding it in his mouth as he continued. He got 3 Sunflowers and placed them with a sense of precision: two set vertically, with the other across them. Speaking with someone of Haitian descent later that night, they informed me that this seemed like a Haitian Voodoo ritual. At this point, I am locked into what is moving away from a Hip-Hop show to a performance piece I haven’t seen since attending the Mr. Morale & The Big Steppers tour. He finishes this moment by pulling out a small hand-sized cauldron and pours powder into it, causing smoke to rise. He carries it and walks around the edge of the stage as close as possible to those of us who are standing right up against it. After one lap, he takes his lightly smoked cigar and places it in the cauldron, positioned on the floor next to the table, and leaves the stage.

After a brief intermission, which could have been 1 minute or 30, he comes back out, wearing pink-heart-shaped sunglasses, picking up right where he left off. At one point, he casually walks into the crowd, handing out roses to women in the audience. During another song, he again walks into the crowd; this time, however, he pours out shots straight from a bottle to some of the male attendees. Throughout all of this, I can’t help but be enamored by the entire event. Mach just might be one of the best performers in Hip-Hop today. After returning to the stage, we come back to speaking about Quantum Leaps and bridging the gap between the past and the now. This culminates in a shocking and full-circle performance of “Rhinestone Cowboy” by MF DOOM; we all collectively lost our minds to one of the best songs from DOOM’s extensive catalog. For his final walk through the venue, Mach played the much-beloved “Wooden Nickels.” A deeply personal track where he talks about his personal life and the passing of his father and grandfather. He posts up by the bar at the back of the venue, the first time he’s stayed in one place when maneuvering through the sea of bobbing heads. The song, the subject matter, and the love from the audience find us with a vulnerable Mach who is brought to tears by the end of the track, met with a ruckus applause from each of us, wiping away tears as he walked back to the stage. There are very few shows and artists that receive that type of affection from the crowd with such unabashed respect or love, and this is one of the lucky few combinations. When he finally steps off to end the show, he expresses his appreciation and love from us all and hops off the stage, saying his goodbyes. We all stand in shared disbelief at the performance we all witness. But, it was only right that after a few short minutes, the man stepped back out to perform one final song, “Mozambique Drill” of the acclaimed Wap Konn Joj!, walking through the crowd one final time. I can easily say that I was ready for the show to continue for another hour, and I know I was not the only soul in that building thinking the same thing. 

Tyron graced the stage one last time to announce something exclusive now being available at the merch tables and to thank everyone for coming. Walking out of that show felt the same as when you leave a hangout with your closest friends for hours. As I debate spending even more money than I should on tapes and potentially another vinyl, I walk back outside to the real world. A sense of realization that I just left what might be one of the greatest shows I have ever been to washes over me. It felt like a play or, as previously mentioned, a performance piece. Only those of us in attendance will ever get to see that show the way it played out. That setlist is never to be played again in that way. New York was blessed with a performance from New Jersey that can only be seen if the Giants or Jets pull off a miracle at MetLife Stadium. I walk to my car, playing the moments repeatedly in my head. Sitting with the joy and satisfaction of hearing some of my favorite songs from “Marie” to “THE SERPENT AND THE RAINBOW.” Nary a few concerts before having come close, and it will be hard for any concert after to relate to what I just witnessed for 3 hours in total. An incomparable performance and execution that not even some of the largest artists in the Hip-Hop space have or could put together. In all the advertising and descriptions of the shows, it has been labeled as a once-in-a-lifetime performance, and man, did it hit the mark. If by some chance you get the ability to see Mach-Hommy live, I can only say one thing with the utmost confidence and assurance: do NOT miss the opportunity.

Songs Performed

Pray For Haiti:

The 26th Letter

No Blood No Sweat

Magnum Band

Makrel Jaxon

Marie

Balens Cho:

Labou (2x)

Separation of the Sheep and the Goats (2x)

Magnum Band Remix

Lajan Sal (2x)

Wooden Nickels

Traditional

RICHAXXHAITIAN

POLITickle

PADON

SUR LE PONT d’AVIGNON

THE SEARPENT AND THE RAINBOW

LON LON

SAME 24