D’Angelo’s performance at the Palais Theatre was a marvel to behold. Attendees didn’t know what to expect. The release of the critically acclaimed 2014 record Black Messiah had captured a brand new crowd of fresh-faced millenials, drawing them towards R&B and neo-soul unlike any of his contemporaries. The back catalogue of D’Angelo’s work, rooted in the early 90s and expanding through to the start of the 2000s, drew a contrasting older crowd. He’d filled out the hall of the Palais for good reason – there was something for everyone to enjoy.
A focus on his older songs was an interesting choice. It ensured a greater emphasis on his conservative past – the man who at one point had issues with being seen as a sex symbol – leaning closer to that old persona rather than the politically-inspired man who pre-emptively released Black Messiah. However, that’s not to say it didn’t make for a welcome set. D’Angelo’s performance had an energy to it that drew audience members from their seats within the first thirty seconds of his appearance onstage, all ensuing into a groove, dance and realm of movement. The upbeat performances from his back catalogue inspired more crowd involvement than his later tracks, creating a set that would be perfect for Bluesfest’s carefree environment.
The man fluctuated between playful, sexual and soulful – while carrying hints of the greats in his onstage swagger. There were moments where he’d be engrossed in his guitar playing, embodying the performative essence of Jimi Hendrix. Other times, he’d be dancing around the stage, clapping and effortlessly roping the crowd into joining him, much like James Brown in his prime, or tinkering in isolation on a piano with a small hint of Prince. D’Angelo took cues from these iconic performers, accentuating their talents into a powerful combination of the three. Even though he may have been emulating these musicians, D’Angelo’s personal characteristics were still prevalent and the show was very much his own. At one moment during his performance of Really Love, D’Angelo waltzed up to the front right of the stage and started singing directly to a woman in the audience below (R.I.P. her boyfriend). During The Charade, he gestured to the crowd to raise their fists in the air as a motion of solidarity to the people involved in the Black Lives Matter movement in the United States.
The set was broken up with a small intermission which led into a long-winded encore. With a soulful rendition of his Voodoo hit, Untitled (How Does It Feel), D’Angelo effortlessly departed the intensely lit spotlight and lone piano, transitioning into a full-bodied performance to dazzling lights, and the enthused instrumentation of his backing band, The Vanguard. The set ended with a furiously funky performance of Chicken Grease, the entire crowd transforming their last reserves of energy into a final euphoric dance fest as D’Angelo danced across stage, a boyish grin on his face, before finally leaving in the dark.
LOVED: The Palais smells old. Like a good book, not like bad milk.
HATED: Not getting up the front for a high five with D’Angelo.
DRANK: Overpriced bottled water. Boo.
BY THOMAS BRAND
