The Musical Mastery of Michael Kiwanuka – Live at the Piece Hall 2024
Written by Erin Clark
Edited by Eve Moat
Allow me to set the scene, dear reader. It’s a disappointing drizzly Thursday evening, as me and my partner are racing down the M62 towards Halifax – both suitably tired from days of respective master’s thesis writing and production running, yet both seeking solace in the fact that our shared evening was soon to be soundtracked by the wonderful musical stylings of Michael Kiwanuka. A short car ride, and a good few navigating steps later, we joined the masses that had gathered despite the adverse plans of the weather eagerly anticipated the arrival of the artist – ponchos donned and pints clutched. The Great British summer.
To the setting of a warm orange glow, and the soundtrack of thunderous applause, Michael Kiwanuka graced the stage. Not only equipped with his own awesome musical talent, the singer also took to the stage with an arsenal of exceedingly talented individuals providing support in the form of both impressive backing vocals and instrumentation. Each as adept as the next, the group of performers on stage convened in their mutual musical interests to provide a deliciously heartly feast for the adoring crowds. Though I’m sure that all in attendance would be in agreeance that the weather could undoubtedly have been better, the masses were satiated purely basking in the warmth conjured by Kiwanuka’s musical warmth.
The congenial music introduction of Kiwanuka and the amassed crowd was the 2019 single ‘Piano Joint (This Kind of Love).’ Though this wasn’t the most energetic start to a gig that I’ve ever seen, I am definitely in favour of a gig start which provides an accurate cross-section of the artist’s discography, rather than providing a high energetic standard which most artists fail to maintain following the start of the set. The winding road of the song invites the listener to enter into existential introspection alongside the artist :
“All I know is
My oh my, this kind of love
It’s taken me from my enemies
Don’t let the pressure get to me
My oh my, it’s bad enough
Could you stay with me?
Don’t let me go
Sadness and fury is all I know”
Image Credit: Rhodes Media
An energetic gear shift came in the form of the perpetually upbeat single, ‘You Ain’t the Problem,’ which was welcomed by the crowd as if the song was a much-adored old friend – which may be partly accounted for by the track’s soundtrack of the 2020 Men’s Euros and the subsequent popularity from this accolade. The irresistible groove of the song entailed that the crowd was soon pushing through any sort of rain-induced blues by dancing to the beloved single – with the very literal act of dance being twined with the metaphorical dance of repeatedly putting up and taking down rain hoods in time with the intermittent rain spells.
A few songs later came a truly unexpected sonic treat, in the form of a surprise duet with critically acclaimed singer-songwriter Lianne La Havas. The two formidable forces met and vocally mingled over the common ground of Kiwanuka’s ‘Rule the World’ from his sophomore album Love and Hate, released in 2016, which adeptly provided the musical landscape for both musician’s talents to be thoroughly exercised. Kiwanuka’s dulcet soft tones fused beautifully with La Havas’ capacity for effortlessly strong belts which resounded throughout the historic walls of the venue. This performance was equal parts delectable and refreshing, a truly goosebump-inducing surprise.
As the appreciative crowd’s rapturous applause gradually toned down, the instantly recognisable primary notes of Kiwanuka’s anthem ‘Hero’ enounced from the stage. The politically-charged anthem encapsulates the artists experience of racist prejudice, and perception of perpetual global violence against Black people, existentially questioning if his heightened cultural platform over others makes “him the Hero now” – masterfully combining heavy lyrics with equally heavy, wailing and climatic guitar riffs. The whole of Kiwanuka, but ‘Hero’ in particular, is exemplary of the artist’s emotional, existential and ultimately heartfelt musicianship – an album which so well-deservedly received the ultimate accolade of the Mercury Prize. Kiwanuka is truly a master at his craft, and this single’s performance in particular reiterated my love for the musician’s absolute artistry.
Image Credit: Rhodes Media
As the musical tendrils of Kiwanuka’s backing band exited the stage, the artist was revealed in his stripped-back acoustic form, reminiscent of the theme of the artist’s first album – the eloquently tender Home Again. Following a touching introduction about his personal mental state prior to the release of his critically-acclaimed debut, the artist (acoustic in hand) strolled through performances of ‘Rest,’ ‘I’m Getting Ready,’ and ‘Home Again’ in a simultaneously rapid and relaxed succession. This tripe bill of some of the artist’s oldest work highlighted his touching journey from an exceedingly talented, yet unguided uni-dropout to the thoroughly well-rounded and artistically ambitious individual who stood in front of me atop the stage.
Image Credit: Rhodes Media
Providing a performance formidable enough to distract from dire weather conditions, Michael Kiwanuka did nothing but exceed every expectation I had prior to witnessing his mastery.
Immense musicality and ethereal vocals, coupled with visually beautiful graphics behind the artist, provided so much more than a gig experience. And there we have it, a brief synopsis of Kiwanuka’s succinct, 18-track set neatly compacted into an exceptional sensory experience. Kiwanuka is an artist who’s artistry needs to be physically witnessed in order to be fully appreciated.
This event is part of the summer series ‘Live at the Piece Hall 2024’ sponsored by TK Maxx; for more information about the upcoming gigs including Loyle Carner, Pixies and Noel Gallagher’s High Flying Birds, visit https://www.thepiecehall.co.uk/culture/.
