(Above: D’Angelo’s signature slow jam “Untitled (How Does It Feel)” eventually ends up in church as the closing number in his June 9, 2015, concert at the Midland Theater in Kansas City, Mo.)
By Joel Francis The Kansas City Star
The quaint concept of chronos means nothing to D’Angelo.
Twenty years after releasing his first album, the soul singer made his Kansas City debut at the Midland on Thursday night. He kept the crowd waiting more than an hour after an abbreviated opening set by Meg Mac’s backing band (the Australian singer was ill and unable to perform). Perfunctory encore breaks stretched more than five minutes.
D’Angelo made every moment worth the wait, and then some.
Songs that span a few minutes on the album were stretched to more than double their length throughout the night as D’Angelo and his 10-piece band, The Vanguard, rode the groove and twisted every wrinkle out of the arrangements. The two-hour set leaned heavily on last year’s “Black Messiah” — his first release in 14 years.
A leading player in the mid-’90s neosoul movement, D’Angelo wears his influences proudly. “Sugah Daddy” started as one of the best Sly Stone songs D’Angelo never wrote (and better than several he did), until a flick of the wrist transformed it into a James Brown jam. The vamp between the first two songs of the night, “Ain’t That Easy” and “Betray My Heart,” sounded like a lost Parliament-Funkadelic track. References to Prince and Earth, Wind and Fire also were abundant.There wasn’t a bum note or dull moment in the set, but a few songs stand out. The powerful #blacklivesmatter anthem “The Charade” ended with D’Angelo and his two guitarists clustered together, taking solos as the song built in intensity.The pairing of “Left and Right” and “Chicken Grease” pushed the party to another level. With the two horn players and three backing vocalists lining the front of the stage, it felt like a New Orleans parade.Fans started heading toward the exits during the first encore set, when the clock tipped toward midnight. The ones who stayed were treated to an epic version of “Untitled (How Does It Feel),” D’Angelo’s biggest song. Unlike the infamous video, D’Angelo kept his clothes on, but ended the slow jam by dismissing his band members one by one, until he was alone behind the keyboard.
“Really Love” offered a chance for several band members to shine. Singer Kendra Foster stole the spotlight with ballet-influenced moves during the introduction. Bass player Pino Palladino’s nimble fingers provided a delicate counterpoint to Isaiah Starkey’s classical guitar. Later in the song, D’Angelo pulled Starkey out front for a great call-and-response solo, where scatting was transformed into fretwork.
Seconds after saying goodnight during “Chicken Grease,” D’Angelo called the saxophone player forward for a solo and disappeared, only to quickly return playing guitar. It would be another 20 minutes before he said goodnight and meant it. And everyone in the house was better for it.
Setlist: Ain’t That Easy; Betray My Heart; Spanish Joint; Really Love; The Charade; Brown Sugar; Sugah Daddy. Encore 1: Another Life / Back to the Future / Left and Right / Chicken Grease. Encore 2: Untitled (How Does It Feel).
(Above: D’Angelo exposes “The Charade” in the opening hours of Black History Month on “Saturday Night Live.”)
By Joel Francis The Daily Record
Two anthems of the civil rights movement were released within days of each other, in the dying weeks of 2014. John Legend and Common wrote “Glory” for the civil rights film “Selma.” As the third track on D’Angelo’s long-delayed third album, “The Charade” was released with less fanfare but greater anticipation.
More importantly, after being shunted to the underground for more than a decade, protest music has reemerged in the mainstream. Both “Glory” and “The Charade” were performed on national, network television in February.
On paper, “Glory” almost looks too obvious. John Legend recorded an entire album of R&B protest songs with The Roots in 2010 (with Common guesting on the lead single). Common’s history of uplifting poetry has earned him invitations to perform at the White House and guest spots from Maya Angelou and the Last Poets on his albums. “Glory” isn’t the first time Common has invoked Martin Luther King for a film. In 2006, he collaborated with Will.I.Am an end-credits anthem for the movie “The Freedom Writers” that sampled King’s “I Have A Dream” speech.
It is clear from the opening gospel chords, that “Glory” is a celebration. It doesn’t challenge the listener like Common’s “Song for Asatta” or Legend’s version of “I Can’t Write Left Handed.” It something we can all feel good about while listening. That may sound like an insult, but it’s not. The civil rights movement brought out the worst in our society, and anyone who weathered that storm, or had a loved one who did, deserves a moment to catch their breath, smile and feel proud.
While “Glory” namechecks Ferguson, “The Charade” captures the confusion, frustration and anger of the injustice there. “All we wanted was a chance to talk,” D’Angelo pleads in the chorus. “’Stead we only got outlined in chalk.”
Like most of the songs on “Black Messiah,” “The Charade” doesn’t announce its presence as much as slink into being. D’Angelo’s lyrics are tough to decipher on the first listen, demanding repeated listens and close attention. “Glory” has a gospel choir; “The Charade” has multi-tracked vocals.
The difference between the songs is even more stark in performance. On “Saturday Night Live” D’Angelo and his band dressed in all black, with a chalk outline behind the singer on the floor. Backing vocalists wore shirts stating “I Can’t Breath” and “Black Lives Matter.” D’Angelo wore a hoodie, his face hidden in the shadows. The blistering delivery was a gauntlet – ignore this, America. Driving the point home, the ensemble raised fists in the air over the dying notes, summoning images of John Carlos and Tommie Smith at the 1968 Olympics.
Less than two weeks later, Common and Legend were tapped to close the Grammys. Backed by an orchestra and a gospel choir, everyone wore suits and was clean-shaven. The production dovetailed with Beyonce’s stirring version of “Take My Hand, Precious Lord,” King’s favorite song. The performance was moving, but if “Glory” didn’t feel as powerful as “The Charade” on “SNL,” it might be because it felt more safe.
“Glory” points to how far we’ve come and “The Charade” shows how far we have to go, but both songs end up at the same hopeful place. “Comin’ of the Lord, my eyes have seen the glory,” Common concludes. “With the veil off our eyes, we’ll truly see/and we’ll march on,” D’Angelo affirms. “And it really won’t take too long.”