The long-running franchise's latest instalment "might be the summer's most satisfying blockbuster"
London Brixton Academy
[a]D'Angelo[/a] is 100 per cent extraordinary, the definition of soul made flesh.
A pause, and he's back, in a box-fresh new vest and working the most intense voodoo R&B you're likely to see this lifetime. For, let's make no (chicken) bones about it - D'Angelo is 100 per cent extraordinary, the definition of soul made flesh. The spirits of Marvin Gaye and Al Green, Sly Stone and James Brown, Bobby Womack and Prince haunt the stage tonight, but Michael D'Angelo Archer's uncanny gift is to channel the energies and individual talents of the textbook's litany of heroes into his one taut, charismatic body.
At times, this epic revue has the air of homage, with the horn section hitting those clipped, JB's-style stabs and the rest of the stellar band's dozen players (including, bizarrely, bassist Pino Palladino, whose other current employer is one Richard Ashcroft) gliding through a seamless series of liquid funk jams. But this is no mere revivalism: like his most obvious contemporary - and sometime collaborator - Lauryn Hill, D'Angelo has the skills to both respect and update his influences, to align himself to a classic soul pantheon and still sound contemporary.
It all begins, in deference to the ceremonies and mystique implied by this year's wonderful 'Voodoo' album, with his band finding the itchy, looping groove of 'Devil's Pie' dressed in black monk's robes, cowls shadowing their faces. There is melodrama and high kicking, a slickly psychotic cover of Trouble Funk's '80s go-go classic 'Drop The Bomb', and a constantly ecstatic, high-pressure atmosphere that holds fast for the entire two-hour duration.
And then, of course, there's D'Angelo. As he repeats the refrain of 'Untitled (How Does It Feel)' again and again and again and, yes, again while his band slope off one by one, resplendent in his fourth new vest of the evening, it's apparent he's one of those rarer-than-hen's teeth soulmen who combine an earnest spiritual dimension with braggadocio-free sex appeal as effectively as their publicity claims. He gets it on, and on, and he never lets you, or himself, down. What else can you say? Shit. Damn. Motherf--r. Alright.
With Skepta and Stormzy dragging hard lyricism into the mainstream, Flowdan’s blunt rap suddenly feels on trend
The Canadian band bring little to the table with their second album of meat-and-potatoes tunes
Please, let this fifth Ice Age film be the last
Spielberg’s take on the beloved Roald Dahl novel is restrained, nostalgic and sweetly sentimental