Michael Kiwanuka at Brudenell: Small Changes Brings Soul To The Social Club

To experience live the heavenly sounds of Michael Kiwanuka in the intimate gig space at the Brudenell Social Club was nothing short of a privilege. As we awaited for Kiwanuka to step onto the stage, the anticipatory chatter around me grew. But there was a shift in atmosphere once the set began; the hushed, focussed faces in the crowd around me confirming that I was not alone in understanding just how joyously momentous the evening was. 

As I arrived at what Kiwanuka would later call this ‘legendary venue’, I could see the queue snaking from the door almost to the security gate. In the November cold, I pulled my jacket tighter and my hat lower – unaware of the rich warmth of the gig that would follow the chilly wait. 

Inside, mid-century table lamps, an old television, and a homely worn rug, all bathed in the blue stagelights contributed to the intimate, almost cosy atmosphere and added to the crowd’s building anticipation. For the first of the two sold-out shows of the evening, the crowd huddled in as first the band, then Michael Kiwanuka, walked onto the stage. Smiling throughout, Kiwanuka glanced to his band for reassurance before uniting them in the start of ‘Lowdown (part i)’, my personal favourite from the new album, Small Changes (2024). 

Kiwanuka’s unique voice matched and occasionally exceeded his recorded versions, as the best live music can, but the standout figures from the set were the two female backing vocalists, Emily Holligan and Simone Daley-Richards. Filling the space with harmonies that voluminise an impressive discography, the three voices layered together culminated in an altogether spiritual musical experience. At one point, I closed my eyes to hear the richness of soul and sound in the finger-plucking intro to ‘Light’ (from 2019’s Mercury Prize winning album Kiwanuka) and allowed myself to be surrounded by the glorious gospel-esque harmonies. The magnitude of the sound produced was underplayed by the down-to-earth stage setting, the low-key on-stage communication and the familiar atmosphere built by Kiwanuka. The crowd are equally enamoured, phones only taken out of pockets by a small few who wished to save just a few moments of the performance on video.  

Kiwanuka is singular: his traditional style timelessly melds into carefully thought-through experimentalism. Despite this excellence, a sense of familiar warmth remains integral to the set: the backing singers gently tapping tambourines, Kiwanuka’s voice layered over perfectly. Many artists choose not to speak in between songs which can be effective but Kiwanuka spoke with the crowd briefly but genuinely. When Kiwanuka compliments his time visiting Leeds, a man in the crowd playfully shouts ‘Where’ve you been?’ to which Kiwanuka laughs and the audience laughs along, entirely settled into the comfort of the evening. In the times where it is just Kiwanuka’s voice carrying us through the melody, I occasionally noticed the band members watching him with a look of admiration that mirrored the faces in the crowd. 

Amid the noise of post-punk and Brat-pop dominating current music trends (I still have space for these both!), Kiwanuka’s exploration of music is in some way as warm and comforting as his homely set, but with a truly transcendentally uplifting sonic atmosphere that is a genuine treat. Listening back to Michael Kiwanuka’s discography after the concert I am reminded of the exceptional qualities in his music, yet I find myself yearning for the all-consuming ambience of the live experience. There really is nothing like it.

Words by Francesca Lynes.