For all the hype surrounding Gregory Porter, there’s a lot that’s concerning about his band. Don’t get me wrong, the man in the hat is flawless, as good as all the Grammy plaudits make him out to be, and if you haven’t seen him live you really ought to. On stage, he’s every bit as charming and charismatic as his lyrics suggest and his voice is like nothing else. It’s a voice of warmth and mellow fruitfulness that crackles like a log fire and sounds even better up close than it does on record.
Appearing as part of the month-long iTunes Festival at the Roundhouse in Camden, the singer was on typically magisterial form, launching straight into a rendition of Donny Hathaway classic ‘Someday We’ll All Be Free’ with the crowd already in the palm of his hand. From there, he strolled through ‘On My Way To Harlem’, exploring gentle dissonances and freeing up the melody, and followed it with the heartache of ‘No Love Dying’. One of the highlights of the set, it finished with a bittersweet cadenza on which Porter’s vocal was as dark and rich as mahogany.
Tracks from all three of his albums showcased the full extent of his musical and emotional range. A duet with Laura Mvula on ‘Water Under Bridges’ was a nice touch and ended with both singers riffing on the words “London Bridge is falling down”. A fiery rendition of ‘Musical Genocide’, the smouldering ‘1960 What?’, prefaced by falsetto improv, and the dirty blues of ‘Work Song’ whipped up the crowd, with the sonorous bass-notes and wistful melody of ‘Wolfcry’ and the melancholy charm of ‘Be Good’ rounding out the set. But, while Porter could do no wrong, when he stepped back from the mic it was sometimes, depressingly average.
The singer has been with his group since the beginning. They met during jam sessions at St Nick’s Pub in Harlem, they’re his musical comfort blanket and his loyalty to them is commendable. But at times it feels like he’s outgrown them, with the mismatch in quality plainly apparent in a live setting. Though alto sax player Yosuke Sato, pianist Chip Crawford, bassist Aaron James and drummer Emanuel Harroldnever quite ruined things, they came dangerously close. Outside of the groove, all four men have shaky time and seemed intent on playing showboaty lines that weren’t fully under their fingers. The result was a gratuitous blur of haphazard noodling, a splurge of high-energy licks and tasteless patterns.
Though it’s encouraging to see improvisation being brought to a mainstream audience, it could be so much better. As it is, the group are at risk of alienating their more discerning listeners and, for the sake of the music, it may be time for Porter to move on. Just imagine how good he could sound if he did.
– Thomas Rees