Say, who are you that mumbles in the dark?/And who are you that draws your veil across the stars?
Langston Hughes, 'Let America Be America Again' (1936)
Listening to “Thieves in the night” now, a song I know well and have listened to so many, many times over the years, what strikes me most is its intimacy, in particular, the verse of Talib Kweli. This reflects the way it’s recorded, there seems to be no space between the elements; this makes the music sound close to you. But it’s also the way Kweli sounds so sincere, so urgent, when presenting his verse.
Urgency is a key defining quality for me when appreciating the work of an MC, especially when you can sense something of the artist's personality and if it feels true, sincere. I’ve had plenty of conversations with hip-hop fans, more knowledgeable than me, who argue for the quality or cleverness of rhymes as being the key defining element of an artist's worth. Often such talk comes across as mathematics. For whatever reason I hear the music/feeling first – the way the music sounds, the way it’s put together.
Strange, though, to be speaking of this in relation to “Thieves in the night” that is at once heartfelt and political. I won’t summarise/paraphrase the politics as it’s there for you, written on the page, but this is politics as lived experience, as something that is deeply felt. The genius lies in the way the song allows for sentiment to co-exist with the message. See, for example, the wry quality of the hook, with its mild admonishment that can still make you smile – ‘now who the nicest?’ – while savaging the compliance, complicity of the oppressed.