Reachin’ through time: Digable Planets at The Fillmore

Touring the 30th anniversary of their first record Reachin’ (1993), Digable Planets returned to the stage once again on Saturday night, after having disbanded in 1995 due to a disillusionment with the music industry and desires to pursue their own creative paths. Their first studio album, Reachin’, was an undeniable success. The album itself peaked at number 5 on Billboard’s Top R&B/Hip-Hop Albums of 1993, while “Rebirth of Slick (Cool Like Dat)” broke the top 15 of Billboard’s Hot 100. 

Moving into their second studio album, Blowout Comb (1994), Ishmael “Butterfly” Butler, Mariana “Ladybug Mecca” Vieira, and Craig “Doodlebug” Irving leaned further into a discussion of  the Black experience in America. The group didn’t want their close attention to Afrocentrism to get lost amid the more laid back hits off Reachin’ such as “Where I’m From” and “Pacifics.” With this more intentional outlook, they explicitly interwove lyrics referencing the Black Panther movement and Black power in America—a testament to the project’s deep connection to these movements. 

Despite Digable Planets’ immediate success with Reachin,’ Blowout Comb was much less readily accepted by the public and the industry as a whole. Critics described its lyrics as ambiguous and loosely tied together, despite the focused, overtly political messaging present throughout the record. It was clear that the stark reality conveyed by Blowout Comb fell on many deaf ears. This was reflected by its radio reception; despite the masterful interplay of a huge variety of international jazz samples with studio vocals and instrumentals, the album plateaued at number 32 on Billboard’s Top R&B/Hip-Hop Albums of 1995. 

Following this progression of events, the disillusionment felt by the group as a whole is unsurprising. The talented, dynamic trio spoke candidly on subjects mainstream media has always skirted, and fell off of the cultural mainstage as a result. Despite their small discography, Digable Planets’ influence is still prevalent in more alternative, jazz influenced hip-hop subgenres. 

The band’s legacy and enduring relevance in today’s musical landscape was palpable on Saturday night at The Fillmore in San Francisco. They drew an intergenerational crowd, with ages ranging from young children with their 80s- and 90s-born parents to twenty-somethings who might have grown up listening to the Digable Planets, or discovered them later into their life. Regardless of age, the sold out venue was full of fans thrilled by the chance to see this legendary group for the first time in a long time (or ever!). 

The opener, Kassa Overall, warmed the crowd up well. Overall intertwined slower, more melodic songs with pointed, lyrical rap tracks. The venue’s crowd nearly doubled in size during his set, with everyone enjoying the performance while also anticipating the evening’s main act. 

As Overall’s last song faded, he left room for the three insects, Ladybug, Butterfly, and Doodlebug, to take command of the stage. Members of the audience slowly drew closer to the stage as the lights dimmed and each member of the supporting band sauntered on stage donning matching gray jumpsuits and sunglasses. As they settled into their positions, a hush engulfed the audience, and the sax player started soloing, drawing from Blowout Comb with “Slowes’ Comb/The May 4th Movement Starring Doodlebug.” From offstage the sounds of Ishmael “Butterfly” Butler’s silky smooth voice lofted above the roaring crowd, and he soon took to the stage. Next, Craig “Doodlebug” Irving joined in, the crowd rapping along as he swooped in from the wings. Last but not least, Mariana “Ladybug Mecca” Vieira’s crispy cool vocals  sliced through the air—the crowd roared for her, the last of the three iconic emcees to settle into the show.

The group  played through most of Reachin’, bouncing through classics like “Where I’m From,” “Pacifics” and “Nickel Bags.” The audience was in constant motion, bouncing and bopping to funky, jazz inspired beats and rapping along to each and every lyric. Between notable songs, the emcees gave the band members space to shine. Starting off strong, the bassist dove into his solo with the iconic bass line featured in “Can I Kick It?” by A Tribe Called Quest. He managed to jam his way all the way to bass lines in “Superstition” by Stevie Wonder. This homage to masterful musical precedents was followed by Kassa Overall on drums, who on top of opening also played percussion for the whole headliner set. He moved from jazzy influences to what sounded closer to rock and roll, demonstrating the playful variety that lies at the core of Digable Planets’ signature sound. 

Working their way through more songs off of Reachin’ and a couple off of Blowout Comb, Digable Planets ended their set with “Rebirth of Slick (Cool Like Dat),” a classic whose lyrics rang throughout the audience members. The song was an expected closer, and the trio waved their goodbyes—but it was not long before they made their return, encouraged by an eager crowd. 

They played an encore, attributing many of the lyrics to San Francisco and the Bay Area. Giving a final round of goodbyes, they left the stage. The house lights gradually faded back in, and people excitedly chattered with those standing around them about how amazing the show had been. Despite their lack of musical output as a group over the past 30 years, Digable Planets’  effortless chemistry and stage presence hasn’t suffered.

Article and Photography by Lucy Gleeson